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Archive for the ‘Digital Camera’ Category

How many times I saw in any photographic situation that made you want to have one of those expensive shift lenses? If you usually devote to photography of architecture, surely a few.

Shift lenses allow us to correct the perspective distortion caused by the point of view and the inclination of our regular cameras, because if we do not keep the sensor or film plane parallel to the shooting ground, the distance will be different in some points and others of the same, and therefore be reflected smaller or larger in the captured image (distortion). But if you only have the possibility to use a common target not worry! What we can “make do” later in our computer.

And they call the “workaround” because it really is what it is. Any amendment to the pixels of the original decision we make will result in an inevitable loss of picture quality, especially when it comes to this kind of “stretching” to which the computer is making up a lot of things. But always what should matter is the end result rather than the purist, so the absence of appropriate material as we can do this within limits.

Of course, a view camera would be much better, but I’ll stick to the usual case, the conventional digital cameras that nearly everyone, whether compact ultrazoom, reflex, etc.

The first thing we think about is if we truly want to correct the perspective of our pictures, it is often not only not be needed but may be just part of the fun you have and correct us if we are charging. That said, let’s assume that this is the case of a correction that we are interested.

I also wanted to comment that this is nothing new or that has been invented to digital technology, but that was analog and the same is done simply by tilting the grass roots where we put the photosensitive paper, preferably with an enlarger head allowing movements, of course, if we are not losing much sharpness that we extend to F/16.

However, the distortion of perspective is that you can see in photos like this – although in this case I took a picture with vertical and horizontal distortion, so you can see more clearly, usually suffer and it is remarkable that most often it is only vertical – and we have several alternatives to correct it, so let’s see them.

I leave you with a reflection of Misha on the handling of images, which to this day and age I think you will be very interesting at the same time may generate a very healthy debate. And keep in mind about all that talk about a man who manipulated images, long before the introduction of modern digital photography.

“… It is not a new idea to manipulate photographic images. In fact, to some degree, every image is manipulated. The real power of photography emerges when altered reality is presented as existing and taken for granted. An obviously manipulated image turns out to be hoax that shows lack of understanding of the particular power which has the picture: write convincingly in our subconscious that it captured on camera ever. In the best example of the image successfully manipulated, the question would never arise, “Is this real?”

In these times we all think that digital photography has almost ceased to side or chemical analog photography, as we discussed in one of our earlier post , we can still find, as there are photographers who continue to perform his work, hereby photo.

This is the case of Misha Gordin, Russian photographer, famous for his work to recreate in large mental universes, in which makes clear the concept of man over his environment. Works that evoke mystery, solitude and a great number of emotions which, trying to convey, these feelings are so important in the human being as they are to think or reflect. All this, with the help of White and Black.

Obviously, I write to discuss his work only, but to teach, still today, this level photographers are able to do so shocking images, and without the use of any digital item. In all his pictures, we see photomanipulations, masks, covered, burned, and so on, until a myriad of techniques both positivism as photo development, which makes them a delight to the eye, any passionate about photography. Techniques that today, with the use of photo software, seem to us far more simple, but for half as in the analog / chemist, not just double or triple their difficulty, but require a taste, and know Photo above normal.

Gordin, has come to gather up more than forty negatives at once, to get many of their final shots, or what would be the same, to make a digitally manipulated photograph, with about forty different layers (not set), but with all the difficulties, which contains the similarity in analogical positivism.

A life devoted to art and conceptual photography is what has made ??this Russian work no more than two months a year photographing and leave the rest of the year for substantiated in your home. Each of his works, goes to market with seven copies, instead of ten (as usual), leaving the three remaining children as a legacy. Copies that can reach three times its price, by the fact done “by hand”.

Day 20 to June 23 will celabrar in Logroño, Fotoconservación 2011. Is an international conference that will aim, trying to put on the table certain regulatory standards, to what is intended to be, conservation and restoration in the current picture. According to several sources within the organization is believed to become “one of the landmarks of photography for the last 30 years.”

The idea of ??holding this meeting is given for about 25 years when it began to address the inclusion of chemistry to conservation of photographic legacy.
A great initiative which will undoubtedly bring together great people of the world of photo restoration and conservation, as Anne Cartier-Bresson, Jesus Robles, Nora Kennedy, Romer Grent … among others. Speakers who contributed ideas and experiences, to get the lead back to a better state of preservation, from the first moment (even when shooting).

As many know, due to the inclusion of digital photography and social networking, much of photography has had to “reiniventarse” and this is also one of the aspects to be dealt within the world of conservation. Along reliza will be parallel activities, conferences, such as the course “New systems for digitizing historical materials on photographic support” among others. (For more information consult the official website )

Fotoconservación 2011 Promotional Poster

It’s a great initiative without doubt, and hopefully get to float new ideas, and it seems that due to the massive viewing of images at our disposal every day, important issues such as this has been shelved thinking that is characteristic only of a non-digital photography, but neither is a lot less so. We must be aware that all our material (whether or not digital), has a shelf life and keep getting longer is very important for ensuring a photographic legacy.

Finally, I mention that attendance at both conferences, (there is one international and one national) and parallel activities can be performed through the web of Fotoconservación.

With a share of Mr. Mauro A. Sources have come to an article by Digital Photography where he discussed various situations that everyone who starts in the photo (or take time on it) should be avoided. The truth is that in this passionate world in which to me is still much to learn, is very common to take a series of “vices” that can give rise to no progress on it. Already we have spent time in XatakaFoto to provide you some guidelines to advance in photography, but now we will try to identify situations that lead to stagnate.

The first and most important is knowing how to take advantage of every opportunity to take your camera with you. If you really like photography and want to advance in it, you have to be clear that you can never know exactly when it will be the perfect time to get a good picture. So we should always carry with us, beyond vacations, holidays or family gatherings. This is not to say that hanging always carry your SLR in the neck, fortunately we have the compact and even some phones that allow us to take great pictures.

But if it is true that we should try to carry an SLR camera when we can. Its variety of controls allow us to change many camera settings to get different results. This unfortunately can not be achieved with some compact cameras, at least not all, and of course ditch the cell phones.

Another point to avoid is not to take our time to take photographs. Many times we are going “too fast” and we do not stop for a moment to compose your picture or wait for the right time to take it, Japanese seem eager to take pictures of monuments. How many times have we said in XatakaFoto, the picture is composed in a very high percentage, in knowing how to take the perfect time. This requires knowing look to identify it, and this will only get your time sipping.

Do not worry what people say even in the many times we were frozen at the time to see a good snapshot wondering if people who are around us believe that we are “freaks.” I must confess that I am often happens, shyness overcomes me and gives me “trouble” getting the camera. Obviously not going to cut traffic by posing in the middle of Piccadilly Circus with our tripod, but if you overcome the fear of taking the camera.

We should also lose their fear (me at least, I suffer a lot) to ask a stranger who is on the street if we can portray whatever reason. As always says, “no” for an answer we already have, and maybe surprise us and kindly agreed to do portraits.

A final point is that we should avoid being “diehards”, if you’re starting out in the world of photography, even if it takes many years, I’m sure there’s still much to learn. This can be achieved in many ways, from reading blogs of photography (I am not referring to this in particular, that while we teach, there are many more options in the Web 2.0) journals or even by looking at the work of other photographers recognized .

2020 Vision for a wilder Britain , UK is a photographic project for nature conservation. From a creative point of view and different attempts to sensitize the viewer to love nature. Probably this feature is a major that unites all those photographers who like contact us with the landscapes and nature. Concenciarnos should everywhere else.

Perhaps our role in society is not to overburden the people with technical persuasion but for speakers who can motivate on the practical importance of protecting the vitality of the ecosystems that sustain the welfare of all. The task, then, is motivating people by communicating in simple terms that connect with their value systems.

Within this project particularly highlight Ben Hall which has gained worldwide recognition as one of Britain’s leading photographers specialize in nature, although you have very big project in the photographers with their corresponding galleries to enjoy it. Focused almost exclusively on the British Isles, although you can visit his website the photos are extraordinary Patogonia Argentina, Ben has developed a deep knowledge of their natural heritage and how to represent visually. His images are often surprising and always trying to raise awareness of people with nature. He is described by Living Edge magazine as “a passionate photographer of nature and a perfectionist in the details.”

Ben’s personal approach to wildlife photography is in the creative art of “seeing.” Its aim is to use your image to convey his personal vision, to generate an emotional response and to excite the viewer’s aesthetic sensibility. Often pre-viewing a particular image in your mind before heading out to photograph. To realize this vision by making a photographic image can take weeks or even months, and often is seen frequently return to the same place to capture the perfect shot.

After many comments for and against the Lomographic movement decided to see for myself how they live their fans. The perfect occasion was a workshop held in Sevilla (Full show, there is nothing!) On Spanish Lomography community. It also learning the technical merits of Lomography, would have the opportunity to try some of their cameras and, above all, to share experiences with other students.

Our teacher was Pasquale Carpile, Lomographic Ambassador in Spain, and one of the most knowledgeable of Lomography at all levels.

During the course I had the chance to chat with him, and dispel the biggest myth about analog: their fondness for these cameras is not far from the ignorance of the digital or resistance to change, but by choice after years of picture behind him.

During the workshop I was assigned a Diana F + , a classic medium format and version Mini , with reels of 35mm, and the ability to work under formats to stretch up to 72 photos. Among the houses of other colleagues could see a little of everything:

Some LC-A , the lifetime, which we discussed recently.
A Rocket Sprocket , with its super-wide angle, it seemed fun to use and very practical.
A Lubitel , which took many looks for its dual purpose, and that is an experience of use to those who had never done before looking down photos.
And finally, a Horizon , much sharper, professional … and expensive.
Besides all these, Pasquale had his LC-Wide incognito, and he had not yet been formally introduced.
My reel with the Mini was pretty disastrous: focus, misframing, and demonstrating that it is a good idea to try to switch the different formats do not know well the camera. The fault may have been the photographer, but I hope you count as a first experience.

The F + instead behaved much better: the 120 format holds no muss exposure errors, and sharpness in the center makes the vignetting and softness of the edges are a supplement, not a problem (although tastes are always colors, well saturated and contrasted in this case).

I have to admit that the film is completely unaware that he had loaded in either chamber. Will the lack of custom.

Photo: Javier Prieto , a Diana F +
The general feeling was very pleasant: I had a great day, and was worth no doubt. Normally I have a chip that when you have no automatic need to make an extra effort, but instead with Diana in the hand that is completely different: once prefocused and tested whether or not clouds on the horizon, what remains is to shoot … and usually the result is sorpendentemente interesting (just as it was in the negative sense, the reel with my Mini Diana).

During the course we had several curious moments, rarely more than one face of tourists and locals, and at least twice had to improvise a small dark room in a black jacket to save a reel that was not removed correctly. After so many years in digital, some crafts of this kind is at least curious.

As for the rest of the students, the general feeling was the same as I was, that until we saw the results did not dare to say. For this post I wanted to ask, and offer some of his statements. I leave with them, and you can see that we will close our little Lomographic season with an interview with Pasquale, which I hope will help you to tie to those who still do not be a clear opinion.

In any case, I advise you to just try, as I did: some of these cameras are a very small investment, and you can always wait until there is a workshop in your city, or somewhere nearby.

In this crazy world of digital photography in which increasingly incorporate new technological developments unthinkable a short time, there are many people who want to keep feeling the magic of analog photography. Mythical-plastic markings as Diana, Holga or Lomo symbolize the opposite of what technologically perfect.

The simplicity of these cameras, toys attached to the great personality of his photographs, caused largely by their own deficiencies in construction, have made ??this a market increasingly in demand among fans who want a simple picture and a final surprise .

Until now this was a limited world of film photography, but the proposal launched by the Indian industrial designer and Holga Saikat Biswas D, may reach the toy-camera digital photography scene also.

Saikat proposes an all-plastic camera made, including its lens, with a very simple design and basic functions. It is so simple that its technical details not distract us and we can focus simply on making pictures. A pair of wheels to select sensitivity and shutter speed, four focus modes and a button to select the format are all configurable options. The lack of screen means we can not see the pictures until they move on to the computer, which makes that part of the movie magic that is until it is revealed.

Its strength would be a full frame sensor, but without some of the latest technical developments, which would make a most imperfect and cheaper camera rather the cost. For those who want to complicate your life would be added as an accessory diaphragm rings, a small plastic display and a swivel mini-flash.

The truth is he has a great painting, to see if anyone is encouraged to fund it and see it soon in stores.