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Posts Tagged ‘imaging’

Yes here it is a bellows from a Bronica medium format camera being used on a 7D DSLR camera as a lens shade, it also makes a attractive head for some people.

Steve Galloway with a Canon 7D DSLR with a Bronica bellows

Photography by David W McMahon

This was taken on a recent trip to Slimbridge with the MSc students from the MSc Biological Photography and Imaging, during this visits the students were working with Prof Heather Angel on their projects and Steve was filming the event on his Eos Canon 7D

see entry heather angel

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MSc Students working hard on their photography skills

On a visit to the Monkey Forest, the students from the MSc Biological Photography and Imaging, had work so hard during the day they needed to rest, but did they rest on their laurels, no even during a brief respite they were still snapping away at the monkeys in the monkey forest.

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Carol Grant
Winner of the 2009 Nature Conservancy Photo Contest

Growing up in Southern California, Carol Grant has always been intrigued by the beauty of the ocean. “As a child, I vividly remember watching episodes of Sea Hunt after school and wondering if I could ever have underwater adventures too,” says Carol.

This curiosity led Carol to pick up a camera. “I think [al]most anyone who has a passion for the natural world dreams of being able to communicate that beauty through photographs,” she says.

As her experiences with marine life grew, Carol says she became determined to learn how to photograph the unique creatures and habitats with which she fell in love. “Underwater photography is challenging because it entails not only a knowledge of photography, but specialized equipment knowledge, excellent buoyancy skills and confidence in handling oneself well underwater at the same time,” explains Carol.

Full story at Nature Conservancy

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Jaroslaw Grudzinski

Photography is my way to express myself and landscapes are my favourite subject. You can find both natural landscapes and unreal dreamy ones in my port. I’m not really interested in presenting the world as everyone sees it. If you browse through my images you’ll get to see the word the way I saw it at any given moment it, not the way it really was.  You’ll find a variety of images here, not just landscapes so just take look.

Facebook http://www.facebook.com/#!/pages/Jaroslaw-Grudzinski-Photography/103908349646982

I came across Jaroslaw Grudzinski on Facebook. his work looks great and I hope you enjoy his work as much as I did.

His website is at Jaroslaw Grudzinski Enjoy some great work and be inspired.

 

 

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Paint Dropped into Water, but stunning photos

The creative 42-year-old Mark Mawson has been taking pictures for 22 years but recently came up with his eye-catching method of creating the watery blobs. Mark, who specializes in shooting underwater scenes and people, simply takes different kinds of paint and drops them into a tank before snapping the outcome with his camera, using a strobe to light up the scene. The difference in the density of the paints creates varying shapes.

More images here

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RL Hopkins.

Normally, books on wildlife photography are packed with sumptuous, ultra close shots of wild life, going about their natural business, unaware of a photographer only metres away.This book has that, but takes the story further by tipping in wild, wild shots of the natural environment, icebergs, cascading rivers, caves, deserts and more. Author Hopkins has covered the wild world for over 20 years, moving from large and medium format cameras to 35mm SLRs, 4×5 sheet film, 645 trannies and on to digital capture. He confides that “photography found me later in life, a consequence of my background in geology and affinity for nature and wild places.” He suggests that you can use this book as a workbook, accessing its contents without any particular order. The messages are clear: know your equipment; be as open as possible to what nature presents; be in the right place at the right time. Preparation is crucial; know the seasons and their characteristics; understand the seasonal patterns of wildlife behaviour. Frequently, the inside knowledge you can gain may not come from photographers but from locals who live in the territory. Gear up with precise knowledge of your equipment; make sure you understand all the camera’s features; comprehend the role of the histogram to fully utilize the image’s brightness range; pack a wide range of lenses; always use a tripod … and so on. The info is techy but highly readable, which makes the book a good read in its own right. Hopkins’ writing style is conversational, with the occasional anecdote to leaven the text. I figure the book would appeal both to beginner and experienced wild life enthusiast. Also, I enjoyed the many images that verged on the abstract … you don’t always need to shoot sharp, clean and clear. Fuzzy is sometimes the way to go!

 

 

 

Author: RL Hopkins.
Publisher: Lark Books.
Length: 240 pages.
ISBN: 978 1 60059 522 6

And a good price at on line book stores.

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Michael “Nick” Nichols National Geographic Photographer

I spend a huge amount of time on a story, but I don’t take that much time to make it easier. A Geographic assignment is going to take a year of my life any way you slice it, because that’s what it takes to get it.

The editor and the director of photography and my editor tell me what to do, but the reality is simple. There’s only one person that goes out the door, and the story has to be made from what I took pictures of. I’m on my own out there. One of the things I think people misunderstand is that there’s nobody that gives you a list or anything, there’s not a whole lot of research that anybody else does. In my case, I usually dream up the stories and try to sell them to my editors.

When I’ve gotten the assignment, I do as much research as humanly possible about the subject. My rule of thumb is usually I spend as much time in the field as I do preparing. So, two months in the field means two months preparing. Even if 90 percent of that research is useless, it’s important. When I’m doing research, ideas about pictures come to my head. That doesn’t mean I’m going to go out and set up pictures, but it gives me a lot of ideas so I can hit the ground running. And as long as I let serendipity through, I’ll still get pictures that just happen. But by going to all the places that I’ve lined up, all the little pieces should start to give us a whole and tell us something about Indonesia or tigers or whatever the particular subject is.

Learning languages is good, though I have to say it’s overrated because I don’t speak languages. I wish that I had learned them as a child, so if you’re really young and you’re reading this, definitely study languages. If I had learned all the languages of places I’ve worked at, you know, I’d just be a linguist. You can do fine drawing pictures, with facial expressions. The language you do want to learn, though, is how to be polite in that culture. If you can say hello to people, good afternoon, thank you, they’ll know, okay, he’s made some effort. And you’ve got to learn what not to do, all those things you can do wrong. You don’t want to make a cultural faux-pas.

I shot 2,000 rolls of film on the Megatransect — how can I not make a hundred good pictures? I would just say try it. It has nothing to do with quantity. Well, it does — I’d much rather have 2,000 rolls than have 2. I wouldn’t want to be put on a rationing diet, because the reason you shoot a lot of film is because the shooting, the pushing of the button, brings you around. It’s like an experiment. You’re dancing. And then you realize, aaaah, that’s where the real dance is — over there! And you zero in on it and make the real frame. So all the bad pictures and the garbage you discard.

But you have to be able to see, and you have to have a point of view. To say photography is completely objective isn’t correct, because it’s not. It’s my point of view about tigers. It’s my point of view about chimps, or central Africa. And I think that’s it — that’s when I realized I really was a photographer, when I saw that I was starting to express myself. That’s why I think it takes 5 years. There’s a point when you’re copying somebody else, or you’re just trying to do what Time magazine wants you to. I don’t do what I think National Geographic wants me to do. I did maybe on the first project, because I was scared to death. But quickly I learned that this is my vehicle, and I can drive this thing. I mean, 2000 people work in the building, but there are only so many of us that go out in the field and do that work, and we can drive the train. And so having a point of view is absolutely essential, and no amount of money or film gets you that. It’s so easy to take boring pictures.

At the Geographic, which is different than other publications, the photographer is involved all the way to the final layout. It’s a fine art to working that situation, because I know that it’s not the 80 good pictures that I got. What the world’s going to see are12 or 20. And if I don’t think a lot about how those go on the page and the display of them, then I’m not really following it all the way through. I got frustrated with the magazine industry because other magazines just took my pictures and published them however they wanted. And everything’s so subjective — you’ve got thirty frames, and the hand is in a different place in each of them — and there might be a particular nuance to a frame that I’m going to push for.

In the past Geographic didn’t assign a staff photographer to do something like wild tigers, they’d have assigned a tiger scientist and said look, you’ve got a few grants here, and when you come up with enough pictures we’ll publish a story on tigers. And the weakness of that is that there’s no point of view. It’s just a scientist’s pictures about tigers. I look at the big story that goes with it. At the same time I want to go out there and spend the same amount of time that scientist did to get pictures of tigers. And I’ve been lucky enough to be able to do that.

I work so hard in the field and what I do is so intense. I go underground for nine months and don’t come up for air. I don’t have a lot of tolerance for someone who can’t get that obsessed.

But there’s another side to that, too. Somebody like Dave Alan Harvey, his whole gig is being lyrical. It’s not that he has to work so hard, it’s that he has to interact and he has to capture those moments around him. There’s so many ways for photography to work.

But whether or not I can maintain that intensity another ten years, I don’t know. I physically don’t think I can — I’m falling apart. Five knee surgeries, I’ve had malaria like 20 times, all this shit. And I would also like to see what young photographers want to do. That’s why I’m thinking about starting a photography foundation, giving out grants, which is all about nurturing young photojournalists, which is exactly what I want to do with this website.

Taken from Michael “Nick” Nichols web site lots of information

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