This is my final blog post for this class. Over the course of this class, I have learned several things that I will continue to use throughout my future photography endeavors. The first one of which is the concept of side, back, and front lighting. The idea behind this concept is that the photograph that one is trying to take can be drastically altered based on where the lighting is coming from. The second thing is the idea that diagonal, jagged lines can grab a person’s attention more than straight horizontal or vertical lines. The third and final thing is this idea that every photographer has their own unique style. Over the course of this semester, I have done many different blog posts on many different photographers, and I have been in class with many other student photographers. I am completely astounded by the fact that even though we are all using the same equipment, and essentially pressing a button that each photographer myself included has a completely different style than any other photographer. I do not know if any of the other students realized this, but seeing everyone's different styles it was easy to see their different influences and what shaped each of their photos. This is what I loved most about his class; seeing everyone’s unique styles develop and grow over the course of the semester.
Wednesday, December 4, 2019
Tuesday, December 3, 2019
Post 14: Photography Final Portfolio
Camera: Canon EOS Rebel T6
Lens: EFS 18-55mm MACRO 0.25/0.8ft
Focal Length: 55mm
ISO: 3200
Shutter Speed: 1/1600
Aperture: F5.6
Flash: None
Camera: Canon EOS Rebel T6
Lens: EFS 18-55mm MACRO 0.25/0.8ft
Focal Length: 55mm
ISO: 6400
Shutter Speed: 1/1600
Aperture: F5.6
Flash: None
Camera: Canon EOS Rebel T6
Lens: EFS 18-55mm MACRO 0.25/0.8ft
Focal Length: 55mm
ISO: 200
Shutter Speed: 30 Seconds
Aperture: F11
Flash: None
Camera: Canon EOS Rebel T6
Lens: EFS 18-55mm MACRO 0.25/0.8ft
Focal Length: 55mm
ISO: 1600
Shutter Speed: 1/500
Aperture: F5.6
Flash: None
Camera: Canon EOS Rebel T6
Lens: EFS 18-55mm MACRO 0.25/0.8ft
Focal Length: 55mm
ISO: 800
Shutter Speed: 1/500
Aperture: F5.6
Flash: None
Camera: Canon EOS Rebel T6
Lens: EFS 18-55mm MACRO 0.25/0.8ft
Focal Length: 55mm
ISO: 800
Shutter Speed: 1/500
Aperture: F5.6
Flash: None
Camera: Canon EOS Rebel T6
Lens: EFS 18-55mm MACRO 0.25/0.8ft
Focal Length: 55mm
ISO: 800
Shutter Speed: 1/500
Aperture: F5.6
Flash: None
Camera: Canon EOS Rebel T6
Lens: EFS 18-55mm MACRO 0.25/0.8ft
Focal Length: 55mm
ISO: 200
Shutter Speed: 1/800
Aperture: F6.3
Flash: None
Camera: Canon EOS Rebel T6
Lens: EFS 18-55mm MACRO 0.25/0.8ft
Focal Length: 55mm
ISO: 800
Shutter Speed: 1/800
Aperture: F6.3
Flash: None
Camera: Canon EOS Rebel T6
Lens: EFS 18-55mm MACRO 0.25/0.8ft
Focal Length: 41mm
ISO: 100
Shutter Speed: 1/500
Aperture: F7.1
Flash: None
Camera: Canon EOS Rebel T6
Lens: EFS 18-55mm MACRO 0.25/0.8ft
Focal Length: 55mm
ISO: 100
Shutter Speed: 1/125
Aperture: F7.1
Flash: None
Camera: Canon EOS Rebel T6
Lens: EFS 18-55mm MACRO 0.25/0.8ft
Focal Length: 55mm
ISO: 100
Shutter Speed: 1/125
Aperture: F7.1
Flash: None
Camera: Canon EOS Rebel T6
Lens: EFS 18-55mm MACRO 0.25/0.8ft
Focal Length: 55mm
ISO: 100
Shutter Speed: 1/500
Aperture: F5.6
Flash: None
Camera: Canon EOS Rebel T6
Lens: EFS 18-55mm MACRO 0.25/0.8ft
Focal Length: 51 mm
ISO: 400
Shutter Speed: 1/1000
Aperture: F5.6
Flash: None
Camera: Canon EOS Rebel T6
Lens: EFS 18-55mm MACRO 0.25/0.8ft
Focal Length: 23mm
ISO: 200
Shutter Speed: 1/1000
Aperture: F5.6
Flash: None
Camera: Canon EOS Rebel T6
Lens: EFS 18-55mm MACRO 0.25/0.8ft
Focal Length: 25mm
ISO: 200
Shutter Speed: 1/1000
Aperture: F5.6
Flash: None
Camera: Canon EOS Rebel T6
Lens: EFS 18-55mm MACRO 0.25/0.8ft
Focal Length: 18mm
ISO: 200
Shutter Speed: 1/320
Aperture: F8
Flash: None
Camera: Canon EOS Rebel T6
Lens: EFS 18-55mm MACRO 0.25/0.8ft
Focal Length: 18mm
ISO: 100
Shutter Speed: 1/1000
Aperture: F5.6
Flash: None
Camera: Canon EOS Rebel T6
Lens: EFS 18-55mm MACRO 0.25/0.8ft
Focal Length: 36mm
ISO: 100
Shutter Speed: 1/160
Aperture: F5.6
Flash: None
Camera: Canon EOS Rebel T6
Lens: EFS 18-55mm MACRO 0.25/0.8ft
Focal Length: 21mm
ISO: 100
Shutter Speed: 1/125
Aperture: F5.6
Flash: None
Camera: Canon EOS Rebel T6
Lens: EFS 18-55mm MACRO 0.25/0.8ft
Focal Length: 55mm
ISO: 1600
Shutter Speed: 1/1600
Aperture: F8
Flash: None
Camera: Canon EOS Rebel T6
Lens: EFS 18-55mm MACRO 0.25/0.8ft
Focal Length: 55mm
ISO: 100
Shutter Speed: 1/250
Aperture: F8
Flash: None
Camera: Canon EOS Rebel T6
Lens: EFS 18-55mm MACRO 0.25/0.8ft
Focal Length: 55mm
ISO: 200
Shutter Speed: 1/250
Aperture: F8
Flash: None
Camera: Canon EOS Rebel T6
Lens: EFS 18-55mm MACRO 0.25/0.8ft
Focal Length: 18mm
ISO: 100
Shutter Speed: 1/200
Aperture: F5.6
Flash: None
Camera: Canon EOS Rebel T6
Lens: EFS 18-55mm MACRO 0.25/0.8ft
Focal Length: 30mm
ISO: 200
Shutter Speed: 1/2500
Aperture: F5.6
Flash: None
Post 13: Photographer Babak Tafreshi
One of the things that are not normally in the limelight of photography is night-time photography.
Night-time photography is its own beast within itself, having to calculate the shutter speed and aperture
to make sure that there is enough exposure in the photo. However, when a night photo has properly
exposed the image that is captured is will undoubtedly not only be unique but will also show the magical
qualities of a nighttime landscape.
Night-time photography is its own beast within itself, having to calculate the shutter speed and aperture
to make sure that there is enough exposure in the photo. However, when a night photo has properly
exposed the image that is captured is will undoubtedly not only be unique but will also show the magical
qualities of a nighttime landscape.
Babak Tafreshi is a photographer/science journalist who specializes in night-time photography and
video. He began his work of photographing the night sky when he was a teenager and has since
transformed it into not only a life long passion but a career. Tafreshi works with National Geographic,
Sky & Telescope magazine, the European Southern Observatory, among others. His work is significant
not only because it focuses on the night sky, but he uses the night sky, “to bridge Earth and sky, art and
science, cultures and time”.
video. He began his work of photographing the night sky when he was a teenager and has since
transformed it into not only a life long passion but a career. Tafreshi works with National Geographic,
Sky & Telescope magazine, the European Southern Observatory, among others. His work is significant
not only because it focuses on the night sky, but he uses the night sky, “to bridge Earth and sky, art and
science, cultures and time”.
Insta: babaktafreshi
Website: babaktafreshi.com
Monday, November 25, 2019
Post 12: Photographer Michael Yamashita
Michael Yamashita is a photographer who specializes in Asia and has worked with national geographic for the past thirty years. Throughout his career, he has published eleven books and has shown in several galleries including the National Gallery in Washington D.C. All of these achievements that show just how credible Yamashita is as a photographer, and it shows in his work. Through his photos, you can see the different complex cultures in Asia that you would not otherwise be able to see, and his background of Asian studies allows him to be able to not only show them in their best light but in a way that allows the continuation of the captured movements in the viewer’s imagination.
Yamashita’s Instagram page was one of the first pages that I followed when I first joined Instagram.
We share the same passion for travel and to experience new cultures. I think this is what essentially
drew me to his work. Through his work, I am able to see that passion and to some very small degree,
I am able to share his own experiences with travel.
We share the same passion for travel and to experience new cultures. I think this is what essentially
drew me to his work. Through his work, I am able to see that passion and to some very small degree,
I am able to share his own experiences with travel.
Insta: yamashitaphoto
Website: https://www.michaelyamashita.com/
Tuesday, November 19, 2019
Post 11: Photographer Chris Burkard
When it comes to nature photography many people do not realize that there are two aspects to take
into consideration: wildlife and landscape. Many of the best-known nature photos are those that show
animals. Maybe a polar bear swimming underwater, a leopard seal with a fish in its mouth, a jaguar
carrying a crocodile out of the water for a meal, or any others of the countless photographs out there that are all amazing. There are even more of landscapes that are equally stunning but are considered to carry less of a significant impact than those of their wildlife counterparts. Chris Burkard is an author, creative director, speaker, and photographer who specializes in landscapes. His work showcases the pristine beauty of nature from unique perspectives. In his travels around the world he has captured, both in photography and video powerful images that show not only the beauty but the power goes along with it. Looking at his photographs one can not help but feel small in comparison to what they see.
into consideration: wildlife and landscape. Many of the best-known nature photos are those that show
animals. Maybe a polar bear swimming underwater, a leopard seal with a fish in its mouth, a jaguar
carrying a crocodile out of the water for a meal, or any others of the countless photographs out there that are all amazing. There are even more of landscapes that are equally stunning but are considered to carry less of a significant impact than those of their wildlife counterparts. Chris Burkard is an author, creative director, speaker, and photographer who specializes in landscapes. His work showcases the pristine beauty of nature from unique perspectives. In his travels around the world he has captured, both in photography and video powerful images that show not only the beauty but the power goes along with it. Looking at his photographs one can not help but feel small in comparison to what they see.
Instagram: ChrisBurkard
Website: https://www.chrisburkard.com
Tuesday, November 12, 2019
Post 10.5: Share and Critique
ISO: 100
Shutter speed: 1/500
Aperture: F7.1
ISO: 1600
Shutterspeed: 1/1600
Aperture: F8
Post 10: The Ethics of Photography
When it comes to photography there are many questions regarding the ethics surrounding the work.
How much was the photo staged and how much was it altered in photoshop are just a couple of
examples of such things in question. While there are many topics that are a part of this debate for the
purpose of this post I will only be discussing the ethics of editing a photo in photoshop, and the baiting
of animals because, in my opinion, these are the two that pertain the most to digital nature photography.
How much was the photo staged and how much was it altered in photoshop are just a couple of
examples of such things in question. While there are many topics that are a part of this debate for the
purpose of this post I will only be discussing the ethics of editing a photo in photoshop, and the baiting
of animals because, in my opinion, these are the two that pertain the most to digital nature photography.
Editing photos in photoshop can be useful to adjust the images before printing them. The simplest
forms of editing can be simply bumping up the exposure in the photo, making the colors more vibrant,
or even just cropping the image. Photoshop is a powerful tool though and is capable of much more.
Through photoshop an image can be altered so much that the end product looks nothing like the
original image. For example, if you went on a photography trip to photograph wolves, but were unable
to get any clear and decent photos of them, but you did get some fantastic landscape photos. Then in
photoshop, you could simply add a pack of wolves moving across your fantastic landscapes. Many
people consider this “cheating” because the wolves were not in the original photograph, and
depending on where you got the image of the wolf pack, someone else took the photo of the wolves.
The concept of editing and adjusting the photos after they are taken is a difficult concept for many
photographers to justify because for them the true art is in photography lies in the ability to take a
photo without the need for adjustment after the photo is taken. Then there are photographers who
feel that their art lies in what they are able to do to adjust an image in photoshop, editing photos in a
way that almost creates a new niche in art.
forms of editing can be simply bumping up the exposure in the photo, making the colors more vibrant,
or even just cropping the image. Photoshop is a powerful tool though and is capable of much more.
Through photoshop an image can be altered so much that the end product looks nothing like the
original image. For example, if you went on a photography trip to photograph wolves, but were unable
to get any clear and decent photos of them, but you did get some fantastic landscape photos. Then in
photoshop, you could simply add a pack of wolves moving across your fantastic landscapes. Many
people consider this “cheating” because the wolves were not in the original photograph, and
depending on where you got the image of the wolf pack, someone else took the photo of the wolves.
The concept of editing and adjusting the photos after they are taken is a difficult concept for many
photographers to justify because for them the true art is in photography lies in the ability to take a
photo without the need for adjustment after the photo is taken. Then there are photographers who
feel that their art lies in what they are able to do to adjust an image in photoshop, editing photos in a
way that almost creates a new niche in art.
Another hot topic for debate between nature photographers is the baiting of animals. This is when a
photographer will hire someone to or they will do it themselves lure wild animals into a more ideal
setting for photos to be taken. This can be accomplished in a number of different ways. The most
common is with food. Leaving peanut butter for a mouse to come by and find it, or meat out for a bear
to come and find will not only bring the animals to the photographers, but the photographers can
control the setting they photograph the animals in to a certain degree. What many people do not
realize though is that baiting can be harmful to the animals. An animal that is too used to come across
food that is associated with human smells can become too comfortable around humans, leading to
dangerous situations for both the humans and the animals. There are other forms of baiting though
that have a more immediate form of danger for the photographers and the animals. There are
photographers that will essentially “hunt” the animals they want to photograph in order to get the
perfect shot. For example, a photographer who is interested in photographing mountain lions might
hire someone to run a mountain lion up a tree with their dogs, allowing the photographer to not only
know where the cat is but allowing him/her to photograph the animal in a dramatic setting.
photographer will hire someone to or they will do it themselves lure wild animals into a more ideal
setting for photos to be taken. This can be accomplished in a number of different ways. The most
common is with food. Leaving peanut butter for a mouse to come by and find it, or meat out for a bear
to come and find will not only bring the animals to the photographers, but the photographers can
control the setting they photograph the animals in to a certain degree. What many people do not
realize though is that baiting can be harmful to the animals. An animal that is too used to come across
food that is associated with human smells can become too comfortable around humans, leading to
dangerous situations for both the humans and the animals. There are other forms of baiting though
that have a more immediate form of danger for the photographers and the animals. There are
photographers that will essentially “hunt” the animals they want to photograph in order to get the
perfect shot. For example, a photographer who is interested in photographing mountain lions might
hire someone to run a mountain lion up a tree with their dogs, allowing the photographer to not only
know where the cat is but allowing him/her to photograph the animal in a dramatic setting.
There are many things that can be considered wrong on both sides of the debate of ethics surrounding
photography, but what exactly is considered wrong varies with each person and what they believe to
be okay when shooting. For this reason, it is important that every photographer takes the time to take
a step back and think about what they are truly okay with and how far they are willing to go to their
photos.
photography, but what exactly is considered wrong varies with each person and what they believe to
be okay when shooting. For this reason, it is important that every photographer takes the time to take
a step back and think about what they are truly okay with and how far they are willing to go to their
photos.
For more information on the ethics of photography please feel free to read the articles linked below.
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