68
PHOTOGRAPHY MASTERCLASS MAGAZINE | ISSUE 15 | 2014 How to Choose where to focus Project 365 THE IRONMAN OF PHOTOGRAPHY Shoot Silky smooth waterfalls Eolo Perfido Interview featured SONY QX10 AND QX100 PHONE LENSES INTERNATIONALLY PUBLISHED CREATIVE PORTRAITURE & FINE ART PHOTOGRAPHER EXPERT GUIDE BUYERS GUIDE INSPIRATION MASTERCLASS Photography MASTERCLASS AMAZING PHONEOGRAPHY PHOTOSHOP GET THE CROSS- PROCESSING EFFECT

Photography Masterclass Issue 15 - 2014.pdf

Embed Size (px)

Citation preview

Page 1: Photography Masterclass Issue 15 - 2014.pdf

PHO

TOG

RAPH

Y M

ASTE

RCLA

SS M

AGAZ

INE

| ISS

UE 1

5 | 2

014

How to Choose where to focus

Project 365THE IRONMAN OF PHOTOGRAPHY

Shoot Silky smooth waterfalls

Eolo PerfidoInterview

featured

SONY QX10 AND QX100 PHONE LENSES

INTERNATIONALLY PUBLISHED CREATIVE PORTRAITURE & FINE ART PHOTOGRAPHER

EXPERT GUIDE

BUYERS GUIDE

INSPIRATION

MASTERCLASS

PhotographyMASTERCLASS

AMAZING PHONEOGRAPHY

PHOTOSHOPGET THE CROSS-

PROCESSING EFFECT

Page 2: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 2

PhotographyMASTERCLASS

Contact Details:

Email: [email protected]: PhotographyMasterclassMag.comFacebook: Facebook.com/PhotographyMasterclassMagazineGoogle+: Photographymasterclassmag.com/googleplusTwitter: Twitter.com/MagazinePMFlickr Group: Flickr.com/groups/photographymasterclassmag/

© Photography Masterclass Magazine 2014

EDITOR: Gill Roberts

CONTRIBUTORS:Sandro Schroeder

Jo Plumridge Mike Browne Larry Lourcey Tony Northrup

Eolo Perfido Gavin Heffernan

PHOTOGRAPHERS:Alexei Even

Mike HeineyLorenzo Mittiga

Geoff HolmanMiroslav Petrasko

Bilal ArslanPeter Stewart

Tomás San AndrésPatt Luluquisin

Partha RoyPhil Koch

Marisa NourbeseAndrew Stewart Mackenzie Smith

Maria KaimakiHaakon Nygård

Naphat ChantaravisootDebbie Di Carlo

Derek KindAnna-Gloria Schaffer

Paul WhiterIan Sweet

Darren WestRif Safiullin

Christina SantiagoJap Salem

Clemens Geiger

COVER PHOTO BY:Maria Kaimaki

Page 3: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 3

TAP AND HOLD THE SCREEN TO SHOW THE TOP BAR.Tap Home to return to the app home page

SWIPE HORIZONTALLY TO GO TO NEXT PAGE

HOW TOUSE THIS APP

TAP AND HOLD THE SCREEN TO SHOW THE BOTTOM BAR.Swipe horizontally to quickly navigate pages Tap selected page to view

PHO

TOG

RAPH

Y M

ASTE

RCLA

SS M

AGAZ

INE

| ISS

UE 1

5 | 2

014

How to Choose where to focus

Project 365THE IRONMAN OF PHOTOGRAPHY

Shoot Silky smooth waterfalls

Eolo PerfidoInterview

featured

SONY QX10 AND QX100 PHONE LENSES

INTERNATIONALLY PUBLISHED CREATIVE PORTRAITURE & FINE ART PHOTOGRAPHER

EXPERT GUIDE

BUYERS GUIDE

INSPIRATION

MASTERCLASS

PhotographyMASTERCLASS

AMAZING PHONEOGRAPHY

PHOTOSHOPGET THE CROSS-

PROCESSING EFFECT

Photography Masterclass Magazine | 4

Project 36514

How To Choose Where To Focus

19Expert guide

An interview with internationally published creative portraiture & fine art photographer, Eolo Perfido

44Featured Photographer

Sometimes called the Ironman of Photography, Project 365 will help you advance your photographic skills and challenge your creativity

How To Shoot Silky Smooth Waterfalls

29Masterclass

ReadersGallery

Editors choice Behind TheScenes

BUYERS GUIDE5606 52 62

Your Best ShotsShowcased

A Hand-Picked Selection Of Our Favourite Photos

Icelight Toronto Timelapse

Sony QX10 and QX100 Phone Lenses

Photoshop26

Get The Cross-Processing Effect

Photography Masterclass Magazine | 6

EDITOR’SCHOICEA Hand-Picked Selection of our Favourite Photos

UNTITLEDBy: Alexei Even

Shot Details: Canon EOS 5D Mark II, at 50mm, f/1.8,

1/250 sec, ISO 320Portfolio | Facebook Photography Masterclass Magazine | 14

PROJECT 365PHOTOGRAPHY

INSPIRATION

THE IRONMAN OF PHOTOGRAPHY

By Sandro Schroeder

Y ou are looking for a new chal-lenge? You are trying to find your own style? You want to improve your photographic view? Project 365 will not only

challenge your creativity, it will help you advance your photographic skills.

THE IDEA

The concept is straightforward and sim-ple: You take one picture each day, for a whole year. No exceptions, no excuses. What sounds like an easy task, turned out to be one of the most challenging, but at the same time most inspiring and reward-ing years in my photography.

LLENA DE ROMANCEBy: Marisa NourbeseProject 365, Day 220

Portfolio

Photography Masterclass Magazine | 18

EXPERTGUIDE:How To Choose Where To Focus

THE MONARCHBy: Patt LuluquisinPortfolio | Facebook

Page 4: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 4

Project 36514

How To Choose Where To Focus

19Expert guide

An interview with internationally published creative portraiture & fine art photographer, Eolo Perfido

44Featured Photographer

Sometimes called the Ironman of Photography, Project 365 will help you advance your photographic skills and challenge your creativity

How To Shoot Silky Smooth Waterfalls

29Masterclass

ReadersGallery

Editors choice Behind TheScenes

BUYERS GUIDE5606 52 62

Your Best ShotsShowcased

A Hand-Picked Selection Of Our Favourite Photos

Icelight Toronto Timelapse

Sony QX10 and QX100 Phone Lenses

Photoshop26

Get The Cross-Processing Effect

Page 5: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 5

MESSAGE FROMTHE EDITOR

W elcome to this edition of Photography Mas-terclass.

Photographing waterfalls has always been an extremely popular subject for photographers and if you know what you’re doing you can produce some truly amazing shots. In our in-depth masterclass on page 29 we discuss in detail how to capture silky smooth waterfalls with well composed and bal-anced lighting and ideal contrast, so you can go out and shoot some really stunning shots of your own.

If you’ve been seeing that edgy cross-processed look people are doing in photographs these days, and been wondering how to get that look in a

few of your own images, it’s easier than you might think! In this issue’s Photo-shop video tutorial on page 26, Larry will show you how to quickly and easily replicate the cross-processed look and even how to step up an action in Pho-toshop to do it for you.

We’ve got plenty of other informative articles and videos to keep you in-spired, including a great expert guide on how to choose where to focus, and an amazing timelapse of the recent Ca-nadian ice storm in Toronto.

We hope you’ll enjoy this issue. If you try out any of the techniques men-tioned, we’d love you to see your re-sults, so please do share them with us on our Flick Group or Facebook page. Happy Shooting!

EDITOR’SNOTE

Gill

Page 6: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 6

EDITOR’SCHOICEA Hand-Picked Selection of our Favourite Photos

UNTITLEDBy: Alexei Even

Shot Details: Canon EOS 5D Mark II, at 50mm, f/1.8,

1/250 sec, ISO 320Portfolio | Facebook

Page 7: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 7 NIA

GAR

A F

ALL

SB

y: M

ike

Hei

ney

Shot

Det

ails

: Roc

co, G

host

of X

mas

Pup

pies

Pas

t, ad

opta

ble

pooc

h fr

om L

as V

egas

Ani

mal

Net

wor

k R

escu

eCr

edit

to “

Hot

Rod

City

” La

s Ve

gas

who

allo

wed

the

shoo

ting

of t

he

“Scr

ooge

d Ca

b” th

ey h

ave

in th

eir

TV/M

ovie

car

col

lect

ion

Tum

blr

EDITORS CHOICE

Page 8: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 8 THE

OVE

RU

ND

ERB

y: L

oren

zo M

ittig

aSh

ot D

etai

ls: N

ikon

D80

at 1

0.5m

m, f

/10,

1/2

00 s

ec, I

SO 1

00Po

rtfo

lio 1

| Po

rtfo

lio 2

EDITORS CHOICE

Page 9: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 9 BAC

KCO

UN

TRY

HEL

I SK

IING

By:

Geo

ff H

olm

anD

escr

iptio

n: A

mag

ical

mom

ent a

t Sno

ww

ater

Hel

iSh

ot D

etai

ls: C

anon

EO

S 5D

Mar

k II

with

8-1

5mm

fish

eye,

at

15m

m, f

/7.1

, 6 s

ec, I

SO 3

200

Port

folio

| W

ebsi

te

EDITORS CHOICE

Page 10: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 10 MO

VIN

G U

ND

ERG

RO

UN

DB

y: M

iros

lav

Petr

asko

Shot

Det

ails

: Can

on E

OS

5D M

ark

II w

ith C

anon

16-

35m

m f2

.8 le

ns,

at 1

6mm

, f/8

, 1 s

ec, I

SO 1

00Po

rtfo

lio |

Blo

g

EDITORS CHOICE

Page 11: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 11 TEA

STO

RR

YB

y: B

ilal A

rsla

nSh

ot D

etai

ls: C

anon

EO

S 5D

Mar

k III

, at 1

00m

m,

f/2,

1/1

00 s

ec, I

SO 2

50Po

rtfo

lio |

Face

book

EDITORS CHOICE

Page 12: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 12 THE

TREN

CH R

UN

By:

Pet

er S

tew

art

Shot

Det

ails

: Can

on E

OS

5D M

ark

II w

ith S

amya

ng 1

4mm

f/2.

8 le

ns,

at 1

4m, f

/2, 3

0 se

c, IS

O 2

00Po

rtfo

lio |

Web

site

EDITORS CHOICE

Page 13: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 13 GR

EEN

WIN

DO

WS

By:

Tom

ás S

an A

ndré

sD

escr

iptio

n: S

hot t

aken

at a

spe

cial

mom

ent i

n w

hich

ligh

t cau

ses

very

at

trac

tive

tone

cha

nges

in th

is b

uild

ing

of V

alle

cas

in M

adri

d (S

pain

)Po

rtfo

lio 1

| Po

rtfo

lio 2

EDITORS CHOICE

Page 14: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 14

PROJECT 365PHOTOGRAPHY

INSPIRATION

THE IRONMAN OF PHOTOGRAPHY

By Sandro Schroeder

A re you are looking for a new challenge? Are you are try-ing to find your own style? Do you want to improve your photographic view? Project

365 will not only challenge your creativity, it will help you advance your photograph-ic skills.

THE IDEA

The concept is straightforward and sim-ple: You take one picture each day, for a whole year. No exceptions, no excuses. What sounds like an easy task, turned out to be one of the most challenging, but at the same time most inspiring and reward-ing years in my photography.

LLENA DE ROMANCEBy: Marisa NourbeseProject 365, Day 220

Portfolio

Page 15: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 15

I stumbled across the idea of Project 365 on a blog I was following, in just the same year I got my first DSLR and seriously start-ed photography. I chose to begin on New Year’s Eve, making it my resolution for the following year. The pro-ject demands commitment and self discipline and it will reward you. It makes no difference if you are a beginner or an advanced photographer. Some call it the Ironman of Photogra-phy, because you have to be persistent and focused. Furthermore, the project is perfect hands-on training

on many different areas of photography.

THE TECHNICAL SIDE

The first month was quite easy, I just took pictures of small details around me. But thirty pictures and a month later, there was nothing left. Or at least I thought so. Soon I started to experiment with differ-ent camera settings. I tried shooting long time expo-sures from a swivel chair, and played with different white balances. Not every picture was perfect, but I

got to know my camera. Experiments with flash, manual focus and picture editing followed.

From a technical side, I learned the basics in three months. I wonder how long it would have taken me if I’d just used my camera every once in a while. My Project 365 was a person-al Photography 101. This is why I highly recommend it for beginners – it trains you like an athlete. You will make progress after a rela-tively short period of time, and achieve so much.

INSPIRATION

PROJECT 365 - DAY 125By: Andrew Stewart Mackenzie Smith

Project 365, Day 218Portfolio | Website

Page 16: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 16

THE CREATIVE SIDE

Over a year, you will naturally have good and bad days. Sometimes you wake up and instantly have several ideas for the photo of the day. Write these down, as you just need one of them that day. On other days, you will still be searching for an idea in the evening. This is where your notes come in. The pressure can give you inspiration or take it away. But it forces you to deal with what you have. It helped me to find my style. It turned out that I concentrated on simple compositions, minimalistic images, repeat-ing patterns or symmetry. Years later, this is still what I enjoy the most when I look through the viewfinder. The project catapulted me right into an own style.

THE ACHIEVEMENT

After 365 days, you will without doubt be proud of your work. Even if you do not like every single picture, finishing this project is a unique feeling. The photographic year will have its ups and downs, but you will grow with them. Additionally, you will have a very personal diary of a year. I like to return to my “Project 365” folder every now and then. It includes photos of my first wedding as a photographer, pictures of places I visited and special moments of that year. Not to mention, it is the document of the most chal-lenging and most inspiring year in my photography.

INSPIRATION

LILTBy: Marisa NourbeseProject 365, Day 218

Portfolio

Page 17: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 17

INSPIRATION

TOP TEN TIPSYOUR OWN PROJECT 365:

Follow these top tips to get the most our of your own Project 365

01 Subjects for photos are everywhere around you.

02 Look for details and unusual perspectives.

03 Experiment with different techniques and get to know your camera.

04 Write down your ideas and use them on days when your creativity is lacking.

05 Look at your pictures at regular intervals. Try to find and identify your own style, while still keeping your photography varied.

06 Get connected: Use platforms like Flickr and 500px, or start a blog. Share your experiences and get inspired by others.

07 Accept the variety in quality: you cannot take 365 perfect pictures.

08 Everyone struggles one day or another. Some at the half way point, some in the last month. Don’t worry about this.

09 Let the camera be your daily companion.

10 Document everyday life as well as memorable events.

About the Author: Sandro Schroeder, 21, is a Journalism student and has been fascinated by photography since childhood days. Project 365 was a cornerstone for learning the basics and finding his own style. You can view some of his work on his portfolio or visit his blog.

PHOTO: DAY 238By: Sandro Schroeder

Page 18: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 18Photography Masterclass Magazine | 13

GREAT PHOTOGRAPHY DOESN’T HAVE TO BE A GUESSING GAME

Fotozaar is a series of eBooks that teach photography by example. Each eBook contains a collection of compelling photographs and the stories of how they were made.

Step by step, the photographer of each image walks you through the exact process they used to create that image — so you can use those same techniques to expand your own photography skills.

SAVE 20% WHEN YOU BUY VOLUME 1 & 2 TOGETHER.

FOTOZAAR VOLUME 2

• Learn the secrets behind 20 incredible photo-graphs

• Covers a variety of different types of photog-raphy (including portraits, nature, landscape,macro, street, and lifestyle)

• Download as an Adobe PDF

$8.00

Page 19: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 19

EXPERTGUIDE:How To Choose Where To Focus

THE MONARCHBy: Patt LuluquisinPortfolio | Facebook

Page 20: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 20

EXPERT GUIDE

IN A PHOTOGRAPHCHOOSE WHERE TO FOCUS

HOW TO

by JO PLUMRIDGE

E very photographer knows that a great photograph needs to be in focus. But how do we choose where to focus in an image in order to produce the best possible photographs? Well, the answer to that depends primarily on your subject matter and what you are choosing to photograph.

To understand where to focus in an image, you first need to understand the combination of factors that go into a correctly focused photo. Obviously, choosing the correctly positioned focus point is vitally important but, in ad-dition to this, you will need to consider your choice of aperture and what that’s doing to your depth of field.

Modern DSLRs come with a number of focus points – ranging from 3 to 9 on slightly older models, right up to 39 and 51 on newer cameras. Cameras with the larger range of AF-points also allow for groups of points to be selected together, making it even easier to get your photograph in focus. It’s imperative to get into the habit of selecting your focus point manually as cameras can be easily confused – particularly if the scene is very busy and there are many things that could be your intended subject matter.

Page 21: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 21

In conjunction with using a suitable focus point, choosing where to focus will be de-termined by the aperture setting you’ve chosen. This is because your aperture setting controls depth of field – i.e. how much of your image behind your focus point is in focus. A small depth of field, represented by a large aperture (for example f/4) is com-monly used for portraiture, whereas a large depth of field, represented by a small aper-ture (for example f/22) will mainly be used for things such as landscape photography.

Deciding where to focus in a simple head and shoulders portrait is one of the sim-plest tasks of all. One thing that every strong portrait shares is pin-sharp eyes, so you should always aim your focus point to fall in-between the eyes (think of it a bit like a bulls eye!). As most portraits are shot with the aforementioned smaller depth of field, it’s even more important that you focus very accurately, as only a small part of the im-age will be in focus. Portraits are usually shot with telephoto lenses, which inherently enhance depth of field, making it easier to throw the background out of focus.

EXPERT GUIDE

GAZEBy: Patt LuluquisinPortfolio | Facebook

Page 22: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 22

Of course, things become slightly more complex if you add other objects or props into a portrait, as the camera can become confused without some guidance. Pros often shoot portraits in the subject’s working or home environment, leading to more than one object being a possible focus point for the camera. Whilst you would still want to focus on your subject’s eyes, you’d need to choose a larger depth of field if you wanted to get both your subject and a prop in focus. Alternatively, it can be equally ef-fective to use a slightly larger depth of field that only focuses your subject, but allows for the prop to be soft but still discernable. In turn, your shutter speed will need to be adjusted for the loss of light caused by using a smaller aperture.

In many ways though, portraits are easier to focus than a larger scene, as you’ll be using a single focus point on a small area. Although using a large depth of field means that your entire image can be sharp, care still needs to be taken to ensure that you choose an area to focus on carefully. There are several problems that can arise when photographing a landscape with a large depth of field. A common mistake when fo-cusing can be to choose a point too near to the front of your scene. All lenses have a minimum focusing distance and anything closer to the lens than this will appear blurry. By focusing too close to the front of the image, you can cause this to be a noticeable problem. But you also don’t want to focus right on the horizon, as this will increase the issues with the front of the scene. Ideally, you want to focus on something right in the middle of the scene, so as to ensure optimum focus and sharpness throughout the image.

EXPERT GUIDE

UNTITLEDBy: Partha Roy

Portfolio 1 | Portfolio 2

Page 23: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 23

Of course, shooting landscapes with a large depth of field should be automatically easier to achieve, as wide-angle lenses don’t display small depths of field to any great extent. As a rule of thumb, however, I try and shoot all my landscapes at at least f/22. If you aren’t using a pro lens and f/22 is the minimum aperture you can achieve, try to open the lens up a stop to f/16. This is because its best to try to avoid using the smallest aperture that your lens has because lenses gener-ally lose sharpness at their smallest and largest apertures.

A great photo needs to be sharp. Taking care to focus on the right spot in your shot is an essential part of this process – just don’t forget to keep your finger on the shutter button once you’ve focused!

About the Author: Jo Plumridge is a UK based photographer, writer and lecturer. She specialises in portrait, corporate and travel photography, and writes photography, travel and comedy pieces for magazines, websites and books. You can see some of her work at her website or follow her on Twitter.

I WAS HEREBy: Phil KochPortfolio | Website

EXPERT GUIDE

Page 24: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 24

FOCUS: PART 1CHOOSING WHERE TO

VIDEO TUTORIAL:

VIDEO PLACEHOLDERInternet Connection Required

Choosing where to focus depends on the image you’re taking and you have to work with your Depth of Field

in mind too. Some images have a subject within them as with a portrait, whilst oth-ers like landscapes the whole image is the subject. So you have to choose the aper-ture and point of focus that’s appropriate.

Focal length has an impact on where you need to focus too. Long lenses have a shal-

low depth of field and short lenses have a wide one. So if you’re shooting a portrait and want a shallow depth of field you need to focus precisely on the part of the image you want sharp.

The best way to explain where to focus is for you to watch the video which centres around people. In part 2 we’re going to look more at where to focus when you’re shoot-ing a landscape.

About the Author: Mike became a professional photographer in 1993 and has won many awards as well as working as a TV camera man with credits from ITV and the BBC. He turned his hand to training in 2006 when he wrote his first book Digital Photography Exposed. His Youtube channel currently attracts 1000 subscribers a week. More about Mike

EXPERT GUIDE

Page 25: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 25

FOCUS: PART 2CHOOSING WHERE TO

VIDEO TUTORIAL:

VIDEO PLACEHOLDERInternet Connection Required

In where to focus part 1 we looked at the elements involved with your choice. Here in part 2 we’re exploring

where to focus when you want the whole image sharp as with a landscape.

When you’re shooting landscape chances are you’ll be using a wide angle lens which has a large depth of field - especially at small apertures. You still need to be careful where you focus and choose an appropri-ate focus mode for the job.

About the Author: Mike became a professional photographer in 1993 and has won many awards as well as working as a TV camera man with credits from ITV and the BBC. He turned his hand to training in 2006 when he wrote his first book Digital Photography Exposed. His Youtube channel currently attracts 1000 subscribers a week. More about Mike

EXPERT GUIDE

Page 26: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 26

PHOTOSHOP:Get The Cross-Processing Effect

Before

Page 27: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 27

IN PHOTOSHOPGET THE CROSS-PROCESSING EFFECTVIDEO TUTORIAL:

by LARRY LOURCEY

PHOTOSHOP

VIDEO PLACEHOLDERInternet Connection Required

C ross-Processing - the EASY way! Have you been seeing that edgy cross-processed look people are doing in photo-graphs these days? Wondering

how to get that look in a few of your own im-ages? Well it is easier than you might think!

In this video, I’ll show you how quickly and easily you can replicate the cross-pro-cessed look in Photoshop. We will even cover how to setup an action to do it for you!

Give it a try on a few of your images and see what you think.

About the Author: Larry Lourcey is an award-winning portrait artist, based in Dallas, Texas. He teaches photography workshops across the U.S. and maintains a popular YouTube Photography Channel. Catch up with him on Twitter, Google+, his YouTube Channel, or website.

Page 28: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 28

Page 29: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 29

SILKY SMOOTH WATERFALLS

HOW TO SHOOTMASTERCLASS

AUTUMN INTERLUDEBy: Maria Kaimaki

Shot Details: Nikon D300 at 80mm, f/16, 1 sec, ISO 200

Portfolio | Website

Page 30: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 30

FRESH MILKBy: Haakon Nygård

Portfolio | Website

MASTERCLASS: INSPIRATION

Page 31: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 31 BLU

E PO

OL

By:

Nap

hat C

hant

arav

isoo

tLo

catio

n: B

rúar

foss

Wat

erfa

ll in

the

gold

en c

ircl

e ar

ea o

f Ice

land

Shot

Det

ails

: Nik

on D

600

at 1

6mm

, f/1

8, 3

0 se

c, IS

O 2

00Po

rtfo

lio 1

| Po

rtfo

lio 2

MASTERCLASS: INSPIRATION

Page 32: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 32 SQU

AW R

OCK

FA

LLS

IN T

HE

FALL

By:

Deb

bie

Di C

arlo

Shot

Det

ails

: Can

on E

OS

5D M

ark

III a

t 60m

m, f

/11,

1 s

ec, I

SO 1

00,

Neu

tral

Den

sity

Filt

er (S

ingh

Ray

), &

Cir

cula

r Po

lari

zer

Port

folio

| W

ebsi

te

MASTERCLASS: INSPIRATION

Page 33: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 33 MO

RN

ING

AT

THE

FALL

SB

y: D

erek

Kin

dSh

ot D

etai

ls: A

com

bina

tion

of tw

o ex

posu

res

to

expa

nd th

e dy

nam

ic r

ange

sho

otin

g in

to th

e su

n.Pe

ntax

K-x

with

Sig

ma

17-7

0mm

f/2.

8 Le

nsFa

lls: 2

1mm

, f/1

9, 0

.7 s

ec, I

SO 1

00Sk

y: 2

1mm

, f/1

1, 1

/125

sec

, ISO

100

Port

folio

| W

ebsi

te

MASTERCLASS: INSPIRATION

Page 34: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 34 THE

RET

UR

N T

O T

HE

MIL

LB

y: A

nna-

Glo

ria

Scha

ffer

Loca

tion:

The

mill

nea

r th

e G

ollin

ger

Wat

erfa

ll in

the

Dis

tric

t of S

alzb

urg,

Aus

tria

Shot

Det

ails

: Can

on E

OS

500D

at 1

0mm

, f/1

1, 2

sec

, ISO

100

Port

folio

MASTERCLASS: INSPIRATION

Page 35: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 35 PAN

THER

FA

LLS

- CA

NA

DA

By:

Pau

l Whi

ter

Shot

Det

ails

: Nik

on D

800

at 1

7mm

, f/1

6, 1

.6 s

ec, I

SO 1

00Po

rtfo

lio 1

| Po

rtfo

lio 2

MASTERCLASS: INSPIRATION

Page 36: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 36 BU

ACH

AIL

LE E

TIVE

MO

RB

y: I

an S

wee

tSh

ot D

etai

ls: C

anon

EO

S 5D

Mar

k II

at 1

9mm

, f/1

3, 1

/8 s

ec, I

SO 1

60W

ebsi

te

MASTERCLASS: INSPIRATION

Page 37: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 37

MASTERCLASS

WATERFALLSSHOOT SILKY SMOOTH

HOW TO

Waterfalls are an extremely popular sub-ject amongst photographers and are some of the most breath-taking natural landscape features you’ll ever get the chance to capture. Although it’s possi-ble to capture some really stunning shots, it’s not always that easy to do well with-out knowing what you’re doing. You need to combine the correct composition, ex-posure and lighting to produce a beau-tiful shot. Photographing waterfalls isn’t hard once you know the method we’ll discuss here. We’ll look at how to get silky smooth water with well composed and balanced lighting and ideal contrast.

The really crucial step to silky smooth wa-ter is using a slow shutter speed and we’ll discuss methods for achieving this in de-tail. Let’s get started and take a look at all of the things you need to get that perfect shot!

EQUIPMENT

There are a few pieces of equipment that you need to successfully photograph a waterfall:

1. Wide Angle Lens2. Tripod3. Circular Polarizing Filter

4. Neutral Density Filter(optional depending on lightingconditions)

5. Remote Shutter Release (optional)

WIDE ANGLE LENS

Your choice of lens will very much depend on how far away from the waterfall you are shooting and also the type of compo-sition you are aiming for.

In general, you’ll usually want to shoot with a wide-angle lens. Why? Waterfalls are often located in tight canyons meaning you’ll be shooting quite close to the base of the waterfall, so the majority of the time a wide angle zoom lens will be necessary, allowing you to get in the entire waterfall and some of the surrounding foliage. Ide-ally something in the range of a 15mm to 25mm would be best on a cropped frame sensor camera, if you’ll be shooting close to the base of the waterfall.

If you do happen to be able to stand far enough back from the waterfall then you will probably be able to shoot with a mid range lens, meaning less distortion than you would normally get from a wide-angle. In most situations though, you’ll probably find the wide-angle necessary.

Page 38: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 38

MASTERCLASS

TRIPOD

The most important part of your kit is go-ing to be your tripod. Because we’ll be using long exposures you’ll need a tripod to stabilise your shot. This allows you to avoid camera shake and capture the silky smooth water movement we’re after, while still maintaining a sharp image.

CIRCULAR POLARIZING FILTER

While not essential, using a circular polar-izing filter will make a huge difference to your final shot.

Shooting near water often creates prob-lems with reflections, usually from the wa-ter reflecting bright light into the lens. A circular polarizing filter is a screw on fil-ter that can reduce glare and saturate the green foliage and colours around the wa-terfall. It also reduces the amount of light entering your lens by around a stop or two, meaning you can reduce the bright-ness, in turn allowing you to use a longer exposure than would have been possible without the filter.

When shooting with a wide angle lens, one thing to bear in mind is to make sure you purchase a good quality filter. Cheap-er polarizing filters can result in vignetting around the edges of your photo which will be especially noticeable with a wide angle lens.

We have a full explanation on how to use polarizing filters in Issue 6 of the maga-zine so be sure to check it out.

NEUTRAL DENSIT Y FILTER

A Neutral Density filter reduces the amount of light coming into your camera by plac-

ing a dark element over the front of your camera – kind of like wearing sunglasses. Because you’ll be using long exposure times sometimes the light will just be too bright for the exposure you want. Using a Neutral Density filter in this situation will allow you to get a longer shutter speed which can be useful in bright lighting con-ditions.

Neutral Density filters are not crucial for all waterfalls however. Because you’ll frequently be shooting in deep canyons which will be in shadow, this will often allow you to get the long shutter speed you want without the use of the ND filter. Whether you need it or not will just de-pend on the lightning conditions and we’ll explain more about this a bit later.

In Issue 2 of the magazine you can find a full expert guide on using Neutral Densi-ty filters which explains exactly how they work and how to purchase the best one.

REMOTE SHUTTER RELEASE

A remote shutter release is optional, but allows you to take your shot without touching the camera. This allows you to get sharper images by preventing you from shaking the camera when you press down the shutter button.

DO YOUR RESEARCH FIRSTIt always helps to do some pre-planning first before you go out shooting. You nev-er know - there may be a fantastic water-fall nearby which you don’t know about and doing a simple google search will reveal its location. It also helps to study the compositions of other waterfall pho-

Page 39: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 39

tos before going out shooting so you can decide what type of compositions you like best beforehand, so when you arrive at the waterfall you already have an idea of the type of shot you’d like to create.

THE BEST TIME TO SHOOTIt’s essential to pay attention and visit wa-terfalls when the lighting conditions are just right. The best time to shoot a water-fall is on an overcast day, when the best type of diffused light occurs, as clouds act as natural diffusers. Diffused light is perfect for photographing waterfalls be-cause it assists with really intensifying the contrast and bringing out any details in the shadows. Lower light means you can get a slower shutter speed. It also helps to minimise the harsh light and any reflec-tions off the water.

However, often because waterfalls are in canyons anyway, provided the sun is behind the mountain and you have the entire waterfall in shade you should be able to achieve a decently long enough shutter speed with good balanced light, whether it’s an overcast day or not. If it’s not a cloudy day then visiting the waterfall at sunrise or sunset should yield the best results, as long as the whole waterfall is in shade at that time. The worst time to photograph a waterfall is when half of it is in sun and half in shade as your camera won’t be able to cope with the contrast.

COMPOSING YOUR IMAGEWhen you first arrive at the waterfall don’t start setting up your camera immediately. Take a few minutes to walk around, hav-

ing a look at different angles and positions through your viewfinder.

A tip for a good composition would be to shoot at an angle, rather than directly in front of the waterfall. Try experimenting with different compositional effects, for example, by including more foreground, or shooting sections of the waterfall rath-er than the entire thing.

A large part of your composition will be based on your own personal taste, but take inspiration from other waterfall pho-tos and incorporate the elements about those compositions that you like the most into your own photo.

In the video accompanying this arti-cle, Tony Northrup suggests firstly mak-ing sure that you put your tripod on nice steady ground. Putting your tripod in the water is not going to be steady enough and although it might be good for com-position, it may result in a shaky picture when using a long exposure. Like most compositions you want to try and fill the frame with you subject as much as pos-sible. With waterfalls this means you need to try and get down as low as possible and really tight in on the closest waterfall. This creates depth to your photo by put-ting part of the waterfall in the foreground of your shot and part of it in the back-ground.

SETTING UP AND TAKING YOUR SHOT In order to get that silky smooth water ef-fect you’ll need a long shutter speed.

Shutter speed is the time which the shutter

MASTERCLASS

Page 40: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 40

in your camera remains open to capture an image. Basically it affects the amount of light entering the camera. Longer shut-ter speeds can be achieved by using a smaller aperture (high f-stop number), meaning less light is let in over a period of time resulting in a longer exposure time, and by using a low ISO (making the sen-sor less sensitive to light)

1. Once you’ve decided on your com-position, set up your camera up on its tri-pod and make sure it’s steady.

2. Make sure your camera is set toshoot in RAW, so you have the option to do any minor adjustments necessary in post-production.

3. Next while looking through yourviewfinder; carefully adjust your polarizing filter to its maximum. As you look through the viewfinder, rotate the filter and watch until all the reflections in your image dis-appear. This might require a few rotations of the filter. You’ll notice that the greens in the foliage will also start to look a lot more saturated.

4. Switch your camera to manual mode.

(Alternatively you can try shooting in Shutter priority mode, but you may find that it does not give you the aperture you need to be able to get the depth of field you want. If that is the case then manual mode will be necessary.)

5. Select a shutter speed of one or twoseconds.

6. Choose a small aperture such asf/16 initially. You can then go smaller (e.g. to f/22) later on if you find that doesn’t

give you a long enough shutter speed. If you can, it’s best to try to avoid using the smallest aperture that your lens can go to because lenses generally lose sharpness at their smallest and largest apertures.

7. Next select the lowest possible ISO(around 50 to 100). A low ISO will help you achieve a longer shutter speed but it also has the added benefit of producing less noise. Using a long shutter speed makes your image much more prone to noise so a low enough ISO will help to avoid this.

8. Take a test shot and review yourshot, taking time to look at the edges of your histogram to work out if you’re los-ing any detail in the shadows or highlights of the image. If you’re histogram is right up against either side then you’re losing detail.

If you find you’re losing detail in the shad-ows (the histogram is up against the left hand side) then try a slower shutter speed and take another test shot.

If you find you’re losing detail in the high-lights (the histogram is up against the right hand side) then try a faster shutter speed.

Depending on the lighting conditions your camera might not be able to properly ex-posure a shot with the long shutter speed you need. There could just be too much light, even if you’ve chosen the smallest aperture possible (e.g. f/22), combined with the lowest possible ISO.

If this is the case, you could just wait for lower light such as sunset, but there is another option to reduce the amount of light and this is where your neutral density filter comes in handy.

MASTERCLASS

Page 41: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 41

By putting on a neutral density filter, a few stops of light are effectively blocked out, allowing you to get the long shutter speed you need sometimes even in bright sun-light.

Finding the right exposure when photo-graphing waterfalls takes a lot of experi-mentation, and you may need to adjust your camera settings to get the prefect silky smooth water you’re looking for. Just keep taking a few test shots and adjust-ing your settings slightly until you get the look you’re after.

ADDITIONAL TIPS FOR SHOOTING GREAT WATERFALL SHOTSOne of the most frequent issues you’ll find when photographing waterfalls is move-ment in the surrounding foliage and trees if the day isn’t perfectly still. Using a long shutter speed will yield you a silky smooth waterfall, but any wind will cause the sur-rounding trees and foliage to blow slightly in the breeze. They may end up looking blurry in your final shot due to their move-ment during the long exposure.

Additionally, one of the common prob-lems you may run into when photograph-ing waterfalls is overexposed blownout spots in the water of the image. This is because the water is bright and reflects the light whereas the surrounding foliage is in shadow. You may notice this occur-ring even when the surrounding foliage and trees are underexposed.

There is a simple solution that can solve both the moving foliage in the wind prob-

lem, and any overexposed spots in the water. After you’ve taken your shot of the waterfall that you’re happy with, take a look around the edges of your photo to see if any of the plants look fuzzy or soft. Also take a look at the water itself to see if there are any blownout overex-posed spots. If there are, these can easily be solved by taking two exposures – one for the water and then one for everything else.

For the water shot use the technique we described earlier by using a slow shutter speed and long exposure and try to get your water looking as close to white as possible in your final shot.

For the surrounding foliage, use a faster shutter speed to freeze any motion in the trees and have the shot slightly overex-posed compared to the water shot, to counteract the effects of the shade. You may want to use a larger aperture (i.e. smaller f-stop number) and a slightly high-er ISO than you did for the water itself. You can then use Photoshop to combine the two exposures using layer masks.

In Issue 11 of the magazine, Larry Lourcey has a full video tutorial on how to use lay-er masks, so be sure to check it out if you want to know more about using this technique.

Like anything in photography, photo-graphing waterfalls takes practice and some experimentation. The results can be truly amazing, so get out there and start putting some of these tips into practice!

MASTERCLASS

Page 42: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 42

WATERFALLSSHOOTING SILKY SMOOTH

VIDEO TUTORIAL:

VIDEO PLACEHOLDERInternet Connection Required

In this video, Tony Northrup gives his tips on photographing waterfalls to get the longest shutter speed possible for your

conditions. The longer the shutter speed you can get, the prettier the waterfall you shoot is going to be.

This video is an excerpt from Tony’s highly successful photog-raphy book, Stunning Digital Photography.

MASTERCLASS

About the Author: Tony Northrup is a award-winning author and commercial photographer based in Water-ford, Connecticut. Among other books, Tony is the author of the top-rated photography book, “Tony Northrup’s DSLR Book: How to Create Stunning Digital Photography,” which fea-tures over three hours of video training and free lifetime updates. You can follow him on Facebook, Twitter, and his YouTube channel, or view his portfolio.

Page 43: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 43

PHOTOGRAPHYMASTERCLASSMAG.COM

SUBSCRIBE TODAY& SAVE 25%

Subscribe to Photography Masterclass Magazine and receive a huge saving on the normal cover price.

Save25%ON THE NORMAL

COVER PRICE

Page 44: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 44

FEATURED PHOTOGRAPHER

WE SPEAK TO INTERNATIONALLY PUBLISHED CREATIVE PORTRAITURE & FINE ART PHOTOGRAPHER, EOLO PERFIDO

Photographic Speciality/Style: I’m a portrait photographer with particular interests in creative portraiture and fine art pho-tography. My studio specializes in Advertising Photography.

Long-term Photographic Ambition: We are living in an era where long term ambitions are privileges. I’m continuously keeping myself stimulated with a series of concrete short term ambitions. Right now I’m working on my next series after completing my current projects of Propaganda and Clownville.

SKY RUGBY 2011 ADVERTISING

EOLO PERFIDOFEATURED PHOTOGRAPHER:

Page 45: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 45

Short Bio:Photography arrived quite late in my life, but fortunately passions are timeless, so at 28 I picked up a camera without knowing that after a while my desire would be to keep it in my hands forever. Taking pictures has become something that goes beyond the simple creation of images and has deeply changed my way of experiencing life and relating to others.

In the past 12 years I have worked for several international agencies and clients such as JWT, Saatchi & Saatchi, Leo Burnett, BBDO, Corbis, Pepsi Cola, Kraft, Gatorade, and Novartis.

My images have appeared in many magazines and journals such as The New York Times, Communication Arts, Panorama First, Vision, Vogue Russia, GQ Russia, L’espresso, and Computer Arts to name a few.

In the last few years I’ve been also honored to assist field photographers such as Steve Mc-Curry, Elliott Erwitt and James Natchwey at several of their shoots in Europe, Africa, Asia and South America.

HERO 3

I was born in France in a small town called Cognac. I now live in Rome but work all over the world.

FEATURED PHOTOGRAPHER

Page 46: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 46

.How did your love of Photography start?Since I was a child I’ve always been in love with comics and illustration works, but I’m not very good at drawing. I remember one day I was lucky enough to assist a photog-rapher shooting, and it was through this ex-perience that I understood that I could ex-press myself through a creative approach to portraiture photography. This was a stormy and beautiful discovery.

Where does your photographic inspira-tion come from?From everything and everyone: an event, talking with a person, reading a book, go-ing to an art fair, watching a movie, reading comics. I always try to be as open as I can to external influences because I know that my mind needs this flow to be inspired..

FEATURED PHOTOGRAPHER

ARKHEE - DOGMA

Page 47: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 47

What would consider to be your greatest achievement (or achievements) in your photography to date?Being able to transform my great life passion into my work. It’s been difficult at times but I’ve always pushed hard. Through my many successes and failures, passion and focus has given me the right energy in most situations.

FEATURED PHOTOGRAPHER

MAX UKRAINE 2006-02

Page 48: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 48

What’s your favourite photo that you’ve ever taken & why?My favourite set of photos are some of the images from the Clownville and Propaganda series I shot. This series gave me huge satisfaction, being featured in many magazine arti-cles and exhibitions in several countries. The last exhibition we did in Brazil in the Galleria Janet Costa in Recife was incredible. If I had to choose one or two pictures I would say Mein Klown from the Clownville series and The Beast from the Propaganda Series are my favorites.

FEATURED PHOTOGRAPHER CLOWNILLEE MON SOON

Page 49: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 49

What’s inside your kit bag?I have two different sets of kit - one set for my assignment work and a basic set for when I’m doing street photography.

The studio kit is made up of three full big bags:

My bodies are two Canon 5D Mark IIIs and a Canon 70D for video. My main lenses are all Canon: a 35mm f2, 50mm f1.8, 85mm f1.8, 100mm macro f2.8, 24-70mm 2.8 and 17-40mm f4.

In my bags you can also find 2 SSD 2.5” hard drives, 2 portable flash, 4 led lights, 2 portable reflectors, ca-bles, batteries, extra memory cards and a Macbook Pro 13”.

When I’m walking alone doing Street Photography I like to go with just a Cam-era and a 35mm lens.

Which piece of kit couldn’t you do with-out?My camera and my 50mm lens. Its minimum kit but you can still do so many things with it. I believe that some of the simplest ap-proaches to photography are still the most powerful ones.

FEATURED PHOTOGRAPHER

FASHION 21

Page 50: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 50

What words of advice would you give to beginners?Don’t wait until the right moment, when you think you may feel ready. Just jump into the real world and learn by doing. And meet a lot of people. Photography is not only about the internet.

View more of Eolo Perfido’s work on his website, Facebook page, or follow him on Twitter

FEATURED PHOTOGRAPHER

MARKUS 2

Page 51: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 51

PHOTOGRAPHYMASTERCLASSMAG.COM

WANT TO CONTRIBUTE TO

PHOTOGRAPHY MASTERCLASS?

If you are a photographer with tips to share and are interest-ed in helping others improve their photography, then we’d love to feature your content in the Photography Masterclass Magazine.

Your submission can be based on any topic relating to digital photography, including post production. We also accept reviews of cameras, lenses and equipment.

Email your articles or videos to [email protected] and your content could appear in an upcoming issue!

Page 52: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 52

TIMELAPSEICELIGHT TORONTO

BEHIND THE SCENES

A 3 minute timelapse/experimental short from Gavin Heffernan, filmed in Toronto during Ice Storm of Christmas 2013.

Be sure to watch the second half of the video for some really stunning unique visual lighting effects

(you can see these from 01:26 onwards)

VIDEO PLACEHOLDERInternet Connection Required

Page 53: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 53

BEHIND THE SCENES:

I was home over the holidays in Toronto during the epic ice storm of 2013 and I managed to bundle up and face the insanely cold temperatures to get some timelapses and document the damage - including a massive tree that crashed through the fence in our own yard (0:28-0:35) and a huge array of destruc-tion unlike anything I’ve ever witnessed. As documented elsewhere, the ice

storm also brought much beauty, with a blue blanket of transparent ice not seen since Schwarzenegger in Batman and Robin.

BEHIND THE SCENES

“ICELIGHT TORONTO TIMELAPSE”

GAVIN HEFFERNAN’S

Gavin gives us a behind the scenes look on how he put it all together

Page 54: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 54

BEHIND THE SCENES

But with the destruction came some beautiful colors and incredible sights. In the sec-ond half of the film, I discovered that the icy branches gave off some insane lighting affects. Loving the surreal lighting effect of the ice on the trees, I experimented with utilizing / enhancing this with a cocktail of Light Rays/Zooms/Rotations/Saturation - creating the kaleidoscopic “ICELIGHTING” effect you see in the second half of the video. I imagine it’s gonna be a “love it or hate it” effect, but I found it very transfixing, with a similar trippy rotational buzz I get from watching star trails.

Stills are available to see on Flickr.

About:Shot and Edited by: Gavin Heffernan / Sunchaser PicturesFor more of our timelapses, visit the Sunchaser Vimeo pageOr check out the official website at SunchaserPictures.com

Shot on the Canon EOS 6D with Canon 24mm 1.4F lens and TC-80N3 Intervalometer.

Music: “MISTAKE” Courtesy of MobyGratis.Com. Music Performed by Moby.

Page 55: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 55

PHOTOGRAPHYMASTERCLASSMAG.COM

HOW TO SHOOT

This issue of Photography Masterclass is packed with content, including a guide to Fashion Shoot Photography from a Pro,

and a Masterclass on shooting great action shots.

FIND OUTHOW NOWIN THIS CONTENT

PACKED ISSUE

GREAT ACTION SHOTS?

WANT TO LEARN

Page 56: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 56

READERSGALLERYYour Very Best Shots Showcased

MODEL SHOOTBy: Darren West

Shot Details: Nikon D300S at 70mm, f/9.5, 1/180 sec, ISO 200

Portfolio

Page 57: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 57 MU

SIC

SQU

AR

ES #

1B

y: R

if Sa

fiulli

nSh

ot D

etai

ls: H

asse

lbla

d H

3DII-

39 a

t 100

mm

, f/3

.4, 1

/125

sec

, ISO

50

Port

folio

1 |

Port

folio

2

READERS GALLERY

Page 58: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 58 BEL

LE F

LEU

RB

y: C

hris

tina

Sant

iago

Shot

Det

ails

: Can

on E

OS

Tebe

l T3i

at 5

5mm

, f/1

0, 1

/30

sec,

ISO

200

Port

folio

1 |

Port

folio

2

READERS GALLERY

Page 59: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 59 FOLL

OW

YO

UR

BLI

SSB

y: J

ap S

alem

Shot

Det

ails

: A c

ombi

natio

n of

nin

e ve

rtic

al p

anor

ama.

Ca

non

5D M

ark

II w

ith C

anon

17-

40L,

at 1

9mm

, f/1

6, 1

sec

, ISO

50

Port

folio

1 |

Port

folio

2

READERS GALLERY

Page 60: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 60 SHA

NG

HA

I AT

NIG

HT

By:

Cle

men

s G

eige

rSh

ot D

etai

ls: A

com

bina

tion

of 4

sin

gle

shot

s st

itche

d in

to o

ne p

anor

ama.

Ca

non

7D a

t 10m

m, f

/13,

30

sec,

ISO

100

Po

rtfo

lio 1

| Po

rtfo

lio 2

READERS GALLERY

Page 61: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 61

PHOTOGRAPHYMASTERCLASSMAG.COM

PhotographyMasterclassMag.com

YOUR VERY BEST SHOTS SHOWCASED

Having your photos featured in the pages of Photography Masterclass is easy.

In each issue we’ll feature some of our favourite Photography Masterclass Reader photos.

Visit PhotographyMasterclassMag.com to submit your details for inclusion.

Page 62: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 62

The Low-down on the Latest

BUYERS GUIDE

PHONE LENSESSONY QX10 & QX100

DSLR Quality Lenses For Your Smartphone

L ast year Sony announced the launch of the QX10 and QX100 Smart Lenses which are certainly changing the landscape of phone photog-

raphy forever. The QX10 and QX100 are essentially camera lenses which you at-tach to your smartphone instead of your DSLR, allowing you to capture profes-sional quality photos and videos directly from your phone. The great thing about

these lenses is that they are compat-ible with iOS or Android phones, making them non-platform specific.

In addition they are first ever camera lenses to have their own camera bit inside them, meaning you control them with your phone and the images are automatically uploaded to your phone as you shoot. Using your phone as the viewfinder, allows you to see what the lens sees.

© PHOTOJOJO

Page 63: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 63

But that’s not all – the lenses comes with a built in Wi-Fi signal (you don’t need an internet connection) making it possible to connect your smartphone or tablet to the lens wirelessly. And it links especially fast with NFC-compatible phone models. This means you don’t need to necessarily attach the lens to the camera to shoot and can shoot off-camera. The great benefit of this is you can set the lens up on a Gorilla pod for example, and take shots from anywhere you like with your phone in your hand!

Sony has developed its own app called PlayMemories mobile to go along with the lenses which let you can control things such as shutter release and zooming, as well as settings for aperture, white balance, exposure, and much more. The PlayMemo-

ries app lets you easily export your images to your favourite smartphone apps, allowing you to touch them up with your preferred editing app and share them the same way you always share images with your smart-phone.

Both lenses come with optical image sta-bilisation which compensates for camera shake blur during handheld still image shooting. When shooting videos, this en-hances stabilisation compensates for roll-ing camera shake. The lenses also have an advanced autofocusing system which can swiftly and sharply focus on subjects in bright environments as well as dimly lit conditions, which are usually a challenge for autofocusing systems.

© PHOTOJOJO

BUYERS GUIDE

Page 64: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 64

© PHOTOJOJO

© PHOTOJOJO

BUYERS GUIDE

Page 65: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 65

The QX10 is the lower priced of the two lenses and offers a 10x optical zoom, giving your phone the power to get up close and personal. It’s possible to capture smooth detail, even in low light, thanks to an 18 megapixel sensor.

The QX100 is the professional lens of the two for advanced shooting. It has a large 1 inch 20.2 megapixel sensor for precision detail and low light shooting. It also has a largest aperture of f/1.8 with an almost per-fectly round seven-blade diaphragm which allows you to shoot images with a really shallow depth of field, giving you complete control to create beautiful background de-focusing effects.

With the QX100, you can manually ad-just focusing and zooming via the SLR-style control ring - a feature unavailable on smartphones and compact digital cameras. It’s possible to use the highly responsive

single-shot autofocus, continuous auto-focus, or switch to the Direct Manual Fo-cus (DMF). The Auto HDR feature on the QX100, expands the dynamic range of images from darkest shadows to brightest highlights. The D-Range Optimiser (DRO) feature similarly adds details to the high-lights and shadows, and can be used when photographing moving subjects.

With the QX10 and QX100, you’re ready for serious photography on your smart-phone. It’s everything that makes great photographs great – high quality lens, performance sensor, zoom and control – coupled wirelessly with the power of your smartphone. It’s the perfect combina-tion between the high quality of a DSLR lens coupled with the convenience of your smartphone, and a great step forward for phone photography.

© PHOTOJOJO

BUYERS GUIDE

Page 66: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 66

PHONE LENSESTHE SONY QX10 AND QX100

VIDEOBUYERS GUIDE

VIDEO PLACEHOLDERInternet Connection Required

This official video from Sony reveals the features of their smartphone attachable lenses

All images in this article were provided thanks to Photojojo.com.

Page 67: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 67

PHOTOGRAPHYMASTERCLASSMAG.COM

SUBSCRIBE TODAY& SAVE 25%

Subscribe to Photography Masterclass Magazine and receive a huge saving on the normal cover price.

Save25%ON THE NORMAL

COVER PRICE

Page 68: Photography Masterclass Issue 15 - 2014.pdf

Photography Masterclass Magazine | 68

Improve Your Photography Ski l lsTips & Techniques For A Better Business

Motivat ion & Inspirat ion - To Refuel Your  Enthusiasm

Grab Your Free Issue

Free Issue