Photography in the Winter Season 从 How to Photograph Fireworks Displays 作者：Darren

This post on Winter Photography has been submitted by Andre Gunther. Find more articles and photographs on Andre’s Website or tweet him.

Learn why winter is the best season for photography!

As the days get shorter, we like to curl up and enjoy the comforts of home. We contemplate, consummate and commemorate.

However, now is the best time to get out and create. Winter presents some unique shooting opportunities and qualities for photographers like no other season can.

Quality of Winter Light

The angle of the sun on the horizon is smaller during wintertime, creating numerous pleasing effects for photographers, such as a prolonged period of the magic hour.

We refer to the magic hour as the time around 

Quality of Winter Light

The angle of the sun on the horizon is smaller during wintertime, creating numerous pleasing effects for photographers, such as a prolonged period of the magic hour.

We refer to the magic hour as the time around sunrise or sunset, when most of the light is reflected and the direct light of the sun passes through a lot more atmosphere, thus filtering out the harsh neutral or blue cast.

Throughout the entire day, the sun will never reach a high zenith, always illuminating our subjects at a much more pleasing angle. Summer sun often causes extreme shadows and contrast and the lighting shifts more towards blue tones.

Due to the low angle of the sun, textures will look three-dimensional and become alive and shadows will be long and deep. We can use shadows to support our main subject, to hint at the presence of a subject by only showing its shadow or to create a sense of scale by comparing shadows. Shadows are copies of our subjects with different qualities that can greatly enhance our composition.

Weather

I live in California and most of the summer all I get is a flat blue sky. Come winter, things change. Suddenly the sky gets interesting. Finally, the setting sun has the reflector it needs to create sunsets we only see get during the winter months. The clouds reflect the sunlight and because it now travels thousands of miles through the atmosphere, its deep red light will illuminate the clouds and the landscape creating unique “scapes” that only photographers know exist and many attribute to the wonders of digital image manipulation.

Winter has many other beneficial weather patterns to offer. Nothing is as exciting as photographing a virgin snowscape in the first light of the day. When a white veil of beauty covers all the unsightly spots and the frost glistens from the trees reflecting the first rays, you know that only winter can provide such beauty.

Tips and Challenges

Here are some technical tips for those of you who need no further convincing that winter time is the prime photography season.

Cameras tend to underexpose white and overexpose black as they gravitate toward neutral grey. You need to overexpose snowscapes by up to 2 stops. If you are shooting sunrises, you will not have much time to figure things out as the light changes quickly, so it is good to know this. Always keep an eye on your histogram.

Shoot RAW at least during those times so you will not have to figure out the white balance. RAW also lets you correct your exposure somewhat.

Once your camera clips your highlights, you cannot recover them. Expose for the brightest spots that you want to be visible.

Batteries do not last as long when cold. Carry enough of them and keep them warm. I usually carry mine in the inside pockets of my jacket and not in my backpack.

If your tripod does not already have some foam around the legs, you may want to put some insulation foam on it. Avoid touching metal in freezing conditions.

When you return from a photoshoot in the cold, let your equipment get warm slowly to avoid condensation inside your lenses. I leave mine in the bag for a couple of hours before taking them out when I am inside. Resist reviewing your photos right away.

Conclusion

Do not miss all the opportunities winter hands you. Take full advantage of the warmer light, the deeper shadows and the favorable weather patterns and your images can look better than ever.

摄影爱好者常犯的十个错误 from 作者：Andre Gunther 来源：蜂鸟网

这是一个大多数人（包括我）在摄影过程中常犯错误的概览，这些错误往往会搞糟一个好的照片或让我们无法拍摄出好的效果。讲解如何拍照对我来说是一个巨大的跳跃，因为这比些photoshop指南更加主观。我在旅途中时常看到网站上的一些老照片，惊讶于为什么我竟然拍出这样差的照片（至少我可以有很多不咋样的例子给你展示）。要讲解如何走出误区，首先从哪些是错误的开始，来展开这一系列摄影技术教程。

　　1、照片太凌乱（少即是好）

　　在拍摄中，往往掌握一个少即是好的原则。按下快门前，先问问自己你想拍摄的镜头中第一个注意到的是什么？然后分离出你看到的，不要在镜头中包含的太多。否则，观看者会感到困惑，想知道你到底要展示什么，你费尽心机拍摄这些照片为的是什么。

　　比较下面费城市区的几张照片

费城市区的凌乱
这张图片的描画了城市的空间是多么压抑

费城的倒影
一幢老建筑倒映在一幢新建筑中

　　第二张照片包含在第一张照片里面；然而，第二张却真正说出了我想要展示的——新旧建筑的对比。大多数的“快照”包含的场景甚至比第一张照片还要多，这将更多地淡化主题。

　　普通人的眼睛和心智往往可以观察出三维场景的不同。实际看到的也许很不错，但机械地混合到一张平面的照片后往往正相反。

　　那些你当时没注意到的问题，肯定在你面对观者时会凸显出来。当然，如果你想要说明在一个大城市中空间是多么的珍贵或者建筑之间连接的如此紧密，第一张照片仍然是个不错的图片。正是这个原因。我甚至不想修正最初的照片（裁剪图片上边的空间）——它可以让人感到压抑和紧张。

　　即使这张公寓建筑（下图）并不是严格意义上的摄影杰作，但它却很好地展示出为什么我见到这座建筑是那么的烦躁（不断重复的窗户）。在这张图片中有太多的东西让它缺少了很多趣味。

费城的公寓建筑

　　这就是一个很好的有太多杂乱事务的例子：

Bruhls Terrace Dresden（易北河边的一条大街，位于德累斯顿
<德国Saxony邦首府>—译者注）

　　如果某人有雅兴看完这张图片，他一定会茫然了。一旦你看到左下角的降落伞边（你的眼睛几乎已经在画面以外了），你便会想知道那个脱离了画面人的状况，你也就离开了画面了。一张好的照片，应该吸引着观赏者投入其中而不是相反。

2、在摄影过程中不要有坏天气。

　　对于一个摄影爱好者来说，不会遇到坏天气真可以算是神话了。事实上，我最好的照片都是拍摄于很多人认为是坏天气的日子里。一些地方看起来正好被暴风雨来临前厚重的云层所笼罩，像这张“半穹”（half dome——位于约塞米蒂国家公园，请原谅我将它翻译成这样，其实更多的直接叫他half dome好了—译者注）的照片：

冬季暴雪中的半穹

　　那天，我看到很多旅行者带着失望离开了公园，但是也有很多像我一样的人撑着伞拿着相机抓拍最好的一瞬。

　　我时常看到注解中那些拍照人对没遇到纯净蓝天的抱怨（我称它为让人讨厌的天空），他们的照片看起来很阴暗。遇到这种天气，很多人几乎懒得拍照了，这是一个大错误！

3、没有耐心

船长岩（El Captian—美国加州Yosemete国家森林公园—译者注）
的日落和暴风雨

　　耐心是一种美德。我就曾在约塞米蒂国家公园（美国加利福尼亚州中部——译者注）拍摄过冬景，那是我拍过的最好照片之一。冬天真的是对你耐心的最好考验，每天都笼罩在雨水和雾气之中，阴暗的天气用来摄影的话真是糟糕透了（甚至比不上那个半遮掩在云中的半穹）。

　　然而，我始终都逗留在那里期盼一个晴朗的时刻，而它，真的出现了。我也得到穿过云层一睹船长岩的拍摄赏赐——沐浴在金色阳光下的胜景。当然，我承认，呆在那里一整天是有点极端了。下边是另一个例子：

彩虹中的韦纳尔瀑布（Vernal Falls，美国加州Yosemete
国家森林公园—译者注）

　　我知道如果我耐心等待那里的日出日落，彩虹就一定可以出现在韦纳尔瀑布前。我为了这一刻等了90分钟（它也仅仅持续了大约一分钟而已）。当我站在寒冷的薄雾中，心里猜度着彩虹是否能够出现。很多摄影爱好者从我身边走过，不知道我在找寻什么，站了一会儿便因为无聊走了。另有两个家伙随后加入了我，陪我一起等待，最终我们获得了最美好的奖励。

4、对数码相片的态度

　　数码相片是摄影爱好者的一个福音，你可以不用花费一分钱便随意拍摄更多的照片，并且你可以立刻从显示屏中看到效果。但是，人们往往错误的使用预览功能。当你询问人们最喜欢数码相机什么功能的时候，十之八九会告诉你最好是数码相机可以删除他们不喜欢的任意图片！从什么时候开始删除照片是最好的特征了？

　　一张照片的品质只能在大显示器上才可以判断，除非有些照片的确很糟糕（比如，当你按下快门的时候某个人走进了你的镜头），否则你永远永远不要删除任何照片。

　　曝光强度只能依靠柱状图来判断（那些预览屏不一定被校准或者在阳光下看到的并不准确）。只有使用专业的参数（柱状图、曝光、光圈、ISO等等）才可以判断你照片的质量。

　　永远不要以预览屏上显示的效果来判断照片。你尽可以在家里删除图片（如果这会让你开心），但我一般保留所有的东西。闪存正在变得难以置信的便宜，我通常携带者一个数码伴侣（存储照片），这就可以让我不用删除任何照片而清空我的存储卡。

5、对Photoshop的态度

　　我最近写了一篇“请稍后PS”的日志。一个“摄影师”拍摄了一组照片，却发现没有打开闪光灯，他收起相机后淡淡的说“我一会儿PS一下”。

　　这种观点有很大错误（如果你想知道的更多请阅读我的其他日志），但即使他可以用Adobe Photoshop解决所有问题（他也许会让照片噪点增多），他也会花费在照片上花费很多的时间。

　　再用闪光灯拍摄一张也许仅仅需要几秒钟，所以如果你觉得照片拍摄的并不理想并且你也有机会，还是重新拍摄一张吧（但是不要删除先前的那张——参见第四点，一些人也许会在新照片中闭眼，或者某些其他原因先前的照片比较好）

　　Photoshop对摄影爱好者来说是无价的工具（我甚至自己还写一些Photoshop指南）；然而，它并不是万能药，你也不能单纯使用PS让一张坏照片成为一张好照片。

　　我是一个技术菜鸟（计算机方面的），我们常说：垃圾进—垃圾出（计算机用于，意为计算机再强大，也只能处理有用的信息，进去的是垃圾，出来的还是垃圾—译者注），同样的道理适用与Photoshop。

6、镜头中有不必要的景物

玻利尼西亚人的石像，后边带有一些杂乱的背景

换个角度，单独的玻利尼西亚石像

　　你常常感觉自己考虑的很周到了，也认为自己拍摄了一个很完美的照片，但当你在电脑上重新看这些照片时会在照片中发现竟有一根很丑的树枝、电线或者其他什么你未曾预料的东西。正如第一个错误切切实实存在一样，大脑捉弄了我们。当你按下快门前，不要着急，先从取景框中查看一下场景，用你的眼睛从左上到右下仔细审视一下，集中精力找出那些杂物。

　　很多时候，哪怕只是细微的变换下角度或者移动一点，便可以让照片看起来更出色。看看上边的两张照片，我边靠近石像边拍下了照片，我立刻意识到背景有些喧宾夺主了。三维场景映射到二维照片，背景往往会凸显出来，向左走两步便可以分离出想要表现的主题。

7、总是从站立的高度来拍照

　　很多时候，如果摄影者能够放低镜头（在你膝盖或腹部），拍出的效果也许会更好。

俄勒冈州沙丘上的野草

　　我是趴在地上照出这张照片的，我可以让这些野草占据整个图片的主导位置，并展示出了被风吹过沙丘的完美曲线。

　　这是另一个来巴尔的摩（美国马里兰州的一城市—译者注）的例子。很多照片都是爬到制高点来拍摄的：

内华达州瀑布——约塞米蒂国家公园

　　从你选则的高得不能再高的有利地势拍摄。你可以爬上一棵树或者通过你车窗拍摄（尽管上边的图片是从那样的角度拍摄的），多走几步去爬附近的一座山来获取更好的视角，这只取决于个人决定。良好的角度并不会总可以发现，但你却可以很快学会如何鉴别角度和视角的好坏。这可以得到更多有趣和非静止的图片。

　　    下面的图片是一张秘鲁库斯科的图片：

 库斯科广场德阿马斯

　　很难找到一个有利地势来拍摄这张照片，我徘徊了一会儿，始终都在琢磨着如何拍摄出这个城市。 

　　我一直都在寻找一个可以包含那个市场、两座教堂和带有文字山峰的角度来拍摄，但无论我走到哪里，我的视线不是被挡住就是无法拍下所有的内容。过了一会儿，我找到了一个废弃的教堂，在一个小女孩很热情的指引下我到了尖顶（她是非官方的钥匙保管者）。我为她的友善给了一点小费，我们都很开心。

　　我得到了任何其他人都没有的照片，因为我为了找寻这个有利地形付出了更多的时间。事实上，其他任何地方都无法拍摄到这个城市广场了，因为根本没有开阔的视野。

　　关于这张响尾蛇的照片，俯下身子，跟这条蛇眼睛对眼睛很有趣生动。然后才站起来（不用担心，一个大玻璃窗让我很安全，这张照片是拍摄于动物园的

响尾蛇

8、只拍摄死板的人像照

　　大多数人都要在本已完美的场景前加一个摆好pose的人。不要误会我的意思，很高兴有人站在那里，但是有多少你真正有兴趣来欣赏和逗留呢？图片看起来毫无动感，人们总是摆同样的姿势。你还是站在蓝色幕布前摆姿势吧。

　　我不反对在旅行过程中拍摄人像照，其中有一些会很有趣，但是我想抓拍瞬间会是更好的选择。人们在一起嬉笑玩乐的场景会比让他们生硬的站在镜头前要有趣的多。

9、不愿意照上其他人

　　这种态度跟前一个误区正好相反，其实有绝对正当的理由来将其他人拍摄进照片。我常常等无关的人离开图片再拍摄，并没有意识到他们也是属于场景的一部分。出于版权原因，我通常只是发表人脸难以辨认或者至少获得口头许可的照片。

　　在图片中应该有人物的4条最常见的理由是：

　　1）、引导观赏者进入画面。放置一个人物于主区域以外，并让他面朝主体。观赏者也会不自觉的认同这个人物。

　　2）、给所拍摄的场景一个参照尺度。只有拍摄进一个人，观赏者才可以准确的明白“精致拱门”（Delicate Arch，位于拱石国家公园(Arches National Park)内—译者注）的巨大：

   或者给出场景的深度

　　3）、人物本身就是场景不可获取的。一个演员或者体育场中的运动员

　　4）、记录人们生活的照片，人物与场景紧密的关联在一起 

10、比例错误的远景

　　你的相机拥有变焦功能，不是吗？使用它！

　　再回到刚才说的旅游摄影。很多人在一个很棒的场景前摆好姿势，比如说一座大山前，从近距离拍照。

　　在照片中，大山因为人物的对比而显得过分的矮小。如果你尽可能的离得远一些，使用变焦拉近场景，这样人物和山脉的比例就恰当了（你可以拉进到你感觉舒服为止），而且，既然你在变焦，山峦便会变得很大，使整个照片似乎更加有趣。你每个朋友一定会嫉妒你拍出如此棒的照片，因为它不仅是一个人像照，更有一个巨大有趣的背景（山峦）。

　　同样道理适用于没有人物的照片。如果你想拍摄一个前景和背景的主题，远离前景并拉近镜头。这将更好的突出出背景，这将让你的照片更和谐。

圣塔伊尼斯修道院（丹麦）和较小的十字架

圣塔伊尼斯修道院（丹麦）和看起来较大的十字架

　　上边两张照片唯一不同的就是我所站的的位置。十字架和钟楼在两张图片中距离相同，但上边的图片却压缩了钟楼和十字架的景深（太合我胃口了，所以我走近了几步）。有时候情形正好相反，你退后一些也许会让背景更近了。

　　靠近大炮，突出了大炮并矮化了背景中的堡垒（这正是我想要的效果，因为我想要展示大炮的尺寸）。

一个在巴尔的摩堡垒的大炮

写在最后

　　艺术不是一件我们可以掠取和掌握在手中的东西，没有一定之规，没有对与错。规则是用来被打破的，而且很多我见到最令人惊讶的杰作都没有遵循任何规则。这篇文章仅仅是用来启发摄影初学者进一步思考和实践。

　　我也一直都在学习和发展我的风格。我决不主张拍摄完美的照片，有些人可能喜欢，但是其他人并不是这样。

　　然而，我已迈出了我的第一步，并且我也很乐意与我的读者分享我的见解。

　　这篇文章将是摄影系列的第一篇。到目前为止，我的写作重点放在工具技巧和技术。

　　无论怎样，我们都应该首先作为一个摄影爱好者和艺术家，去努力改进我们的技巧。在下个月，我希望可以写出更多关于摄影的文章，尝试深入钻研摄影技术（曝光、精神……）、艺术方面（构图、形式、布置）及更难以琢磨的（如何保持，如何预见情形）。希望可以很快再见到大家。

　　原作者: Andre Gunther译者: Cheney

Pond, Bishop Creek 作者：gdanmitchell

PonBishop Creek. Sierra Nevada, California. October 5, 2008. © Copyright G Dan Mitchell - all rights reserved.

Autumn colors reflected in a pond on Bishop Creek, Sierra Nevada, California.

After starting my shooting very early in the morning - I had earlier photographed some groves near the turnoff to North Lake and some expansive views of Sabrina Basin from near Aspendell - I continued up the Bishop Creek drainage to this small pond along the upper reaches of Bishop Creek. As I set up in this spot along the southeast shore of the creek, the sun was just beginning to come over the high ridge behind me. As it did so it illuminated the aspen grove on the far side of the creek and added a glow to the dry ferns and creekside plants. I worked quickly and got a few shots as the sun/shade line moved across the trees and plants and soon hit the creek itself.

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谈谈摄影偷拍技巧12招 (豆瓣 摄影小组)

http://digibbs.tech.163.com/bbs/dc/102516531.html 
我不是教你诈，摄影是件被动的事情，在你黑魁魁的镜头面前，谁真能泰然自若?“决定性瞬间”绝不是摆出来或等来的，自然流露才最动人，所以有时不“偷”不行! 

　　盗亦有道，偷拍更是非常道。玄机背后总有法门，托《天下无贼》的福，俺也来个乱弹偷拍十二式。1.隐蔽第一 

　　“要想钓鱼，首先不能把鱼惊走”，于是布勒松把自己银白色的徕卡M3涂成黑色，于是大师们都用黑胶布把相机的铭牌贴掉，于是脏兮兮的“管道工”卡帕混进戒备森严的会场独家拍摄托洛茨基，于是托马斯用藏在裤脚的间谍相机连接快门线拍到电椅处死女犯人…… 

　　摄影包是一定不能再挎了，选用黑色小巧的相机并巧妙伪装，长袖衣服将利于隐藏相机，机身上粘根耳机线，下手时戴上耳机佯作聆听状。如果是单反数码相机，按下快门时不妨来段响亮的同步干咳以掩人耳目。若是普通DC，更别忘了关闭快门声音。曝光前事先确认将闪光灯和自动对焦辅助灯关闭，否则必死无疑。 

　　要学贼王黎叔，低调，一定要低调! 

　　2.瞒天过海 

　　一定要漫不经心，装作和旁人说话或呈懵懂菜鸟状不停把玩相机，分散对方注意，或声东击西预先将相机对往别处……总之让目标有八辈子都不会和你有关联的感觉，再伺机下手。要领在于双眼余光的妙用和假痴不颠的演技。 

　　3.欲擒故纵 

　　一旦被发现，故意让对方明确你已准备彻底放弃，转过身体假装拍摄其他东西，就在其放松一瞬也就是动作进行即将抵达高潮的一瞬，迅速回身下手!这招欲擒故纵往往能活色生香：某年全国人像摄影金奖作品，就是摄影师告诉模特拍完时模特放松一瞬拍得的。 

　　4.守株待兔 

　　像《这个杀手不太冷》里的狙击手一样，对目标可能出现的位置预调参数静待其现身，可对周围类似物体测光并预设好焦点，用AE-L/AF-L锁定。这招狗崽队的伎俩阴险却屡试不爽：杜瓦诺正是这样架着三脚架连续三天躲在反光玻璃橱窗后拍到了路人观看人体油画时妙不可言的表情。 

　　5.非典型性取景 

　　数码相机的可翻转LCD简直是为偷拍量身定做，你再不用和目标正面遭遇。平常人都会习惯地认为拍照都要将相机举到眼前，所以可翻转LCD帮了你大忙。旋转LCD并放长相机肩带绷紧以低角度拍摄，可保证持机平稳又不易暴露。借助可翻转LCD，单手拎持相机在腰以下位置偷拍，将大大减少被发现的几率，只是必须握稳相机先。另外，将LCD取景屏翻转180度，转身背向目标，装作在浏览从前拍好的照片，你可轻松拍到身后的目标。 

　　另外，很多时候根本不容许或来不及取景，你别无选择只能盲拍，这就要求你有稍深的道行了。多拍几张，有助于提高成功率。对于DSLR，配上腕带将有助于盲拍时的握持稳定性。 

　　6.浑水摸鱼 

　　贼当然唯恐天下不乱。如果你天生胆小，那么去混乱场面偷拍吧。人多嘈杂的公共场所如风景区、演出、颁奖典礼、时装表演、联欢会，通常没人会在意你的存在。当然，你要装得煞有介事并镇定自若。 

　　7.攻心为上 

　　“绝大多数人都认为天下无贼”，所以不但要“偷”，还要理直气壮!赌大赢的就大，无数传世名作都是大师们偷拍来的——必须怀揣这样的“抱负”去“偷”。如果你是《荆轲刺秦王》里那个到了秦王宫就面热心跳战战兢兢的助理杀手，那么别自取其辱了，早点收山拍花花草草去吧。 

　　直觉的反应最重要，快、准、狠，一个都不能少。万一被发现了，用你的诚意和执著去打动对方博取理解。不打不相识，只要不是出于猥亵的动机，难说你们还能成为朋友。 

　　8.暗渡陈仓 

　　目标太明显不易靠近时，你需要一个“帮凶”MM来配合，让她靠近目标，看似给MM拍照，实则伺机对目标下手……动作一定要快，否则人家会成人之美地迅速走开。这一招要求两人演技浑然天成。实在不行就连着“帮凶”一起拍进去，大不了过河拆桥回来用PS裁掉。 

　　9.预先构图 

　　对于DSLR，熟悉如28mm、35mm、50mm等各常用焦距段的视场范围和各自在变焦环上的对应位置，凭感觉迅速将变焦镜头推至所需位置瞬时完成构图，或借助变焦头的焦距刻度来预设焦距段，将大大提升你的偷拍效率。 

　　偷拍必用长焦镜头的说法难免偏颇，偷拍是一种直觉的空间抽取，现场对你的刺激和事后别人看你照片的感受往往相去甚远，照顾事件发生的环境空间很重要，广角镜头具有更大的视场和景深，更能交待环境，所以大师们多用广角头来偷拍，大不了再靠近一点。 

　　偷拍要以速度取胜，往往不可能瞬时做到构图精确，所以要尽量留出取景余量，宁空勿满。 

　　10.预先测光 

　　明确大致拍摄环境时可预先完成测光，参考周围物体或自己的手掌确定曝光值。条件允许时还可使用包围曝光。切记数码相机的曝光一般宁欠勿过。在不牺牲画质的前提下，尽量使用较高感光度以防止手震——“贼”下手时心慌气短端不稳相机是家常便饭。 

　　11.暗偷不如明抢 

　　最高的技巧是无技巧。偷偷摸摸其实欲盖弥彰，索性大义凛然迎上去正面猛拍甚至故意惹恼目标，明明是贼却要当自己是警察，简单说就是要有英雄般大义凛然的“范”!而且这般不管不顾往往能拍到更戏剧化的表情。 

　　细看大师作品，你会发现很多照片是在对象觉察摄影师在场的情况下拍摄的，这才是偷拍的最高境界。 

　　12.走为上 

　　走到目标面前突然停下举机就拍，在对方发现但尚未确定被偷拍的犯懵瞬间绝尘而去……大师布列松的杀手锏，偷拍史上最屡试不爽同时也是最高明的一招。当然，这需要敏捷的身手还要浑身是胆。不过如果你长着一张金•凯利或周星驰式的脸，即使激怒了目标，难说也会被小放一马。 

　　这十二式往往需要综合运用才能“得逞”。偷拍是摄影师必备的技巧之一，首先你得非常熟悉手上的相机，扎实的摄影基本功更不在话下。 

　　盗亦有度。我们所说的偷拍是以不侵犯别人隐私为第一前提的，“偷”只是一种不得已的非常手段，它必须是自律和有限度的，任何情况下我们都应该绝对尊重自己的偷拍对象，冒犯个人隐私更是不可。记住，用长焦镜头偷拍别人隐私场所是违法的，可被处以5天以上行政拘留。 

　　当然，也有人执著如斯，罗恩•盖尔拉因为偷拍马龙•白兰度被此君打掉下巴，戴上橄榄球头盔盖尔拉依然穷拍不舍…… 

　　天下有贼，只是这偷拍的“贼”应是精通摄影技艺的快手，更是富有涵养和风度的非常君子，切勿误入歧途。

A star is born...on Pentax Photo Gallery.从 Pentax DSLRs 作者：Editor: Yvon Bourque

Hi Pentaxian friends,

I have several links to other blogs and forum sites listed herein, and consequently, other sites point to my blog as well. It is sort of a vote-of-confidence when you exchange links with other sites. I have some great links listed in my blog site that you should visit when you have time. It ranges from blog sites, forums, tutorials, galleries and other interesting photography related sites. I tend to gravitate around Pentax based sites, but not always.

One of those site is called Alunfoto, and it is administered by by Jostein Øksne, of Oslo, Norway. He uses Pentax equipment and from reading his blog, he has been using Pentax equipment for a long time. Some of his work was captured on film with a Pentax 645. There are certainly many good photographers around the world, many are famous, many are famous in the USA but not necessarily known elsewhere, and vice and versa. Although I do not know Jostein Øksne personally, I know that he visits my blog regularly and even drops me comments occasionally.

The reason I'm bringing your attention to him, is that he represents what I would like to produce as a photographer. His photos are so good that it makes me envious every time I look at them.

You probably all know how difficult it is to have a photo accepted in the Pentax Photo Gallery. Well, Jostein has 87 photos that were accepted in the Pentax Gallery. His talent is remarkable.

See his photos for yourself in the Pentax Gallery.

You can leave comments on his photography aptitudes here, as he is a subscriber to my blog. You can also log on to his blogsite and let him know that we appreciate his inspiring photographs. Tell him I sent you.

And to you Jostein, keep up your good photography work. You are an inspiration to me.

Yvon Bourque

The Many Colours of Fall 从 My Camera World 作者：noreply@blogger.com (nielsp)

I was visiting a good friend for a Thanksgiving weekend (Canadian), which in Ontario is just at the peak of the Fall colours. I brought my camera to get some photos of their grandkids playing around and maybe other images of the other guests celebrating the great friendships we have and of course, then sitting down to one of those great feasts that is spread end to end on large dinning room tables.



The photo has a special meaning for me and maybe that is why I have a particular fondness for this image. I do like the stark silhouettes set against the vibrant and brilliant sunlit fall foliage across the pond. There is just a suggestion of detail, the white stripes and the silver belt work and a small hint of skin tones that give them some depth. The 2 people seem to be gazing out over something. Also the red life jacket seems to add another element and its red colour being in the foreground harmonizes well with the fall colors in the background.

There was a third person in the original photo, but for my own reasons I only wanted these two.

It was a reasonably straightforward process to remove the 3rd person, except for the fact I took a slight detour down the path. Like driving a car, some routes are almost automatic. I at first decided I was going to mask out the person and using the same image below move it to another part of the reflection over the opening and using the transform tool to increase size to better fit the opening.

The 3rd person mask was easy, as it only needed to be slightly larger than the person. Objects like foliage with no clear structure blends well, as you can go over the mask edge to pick more or less from one side to suit the natural lines.

It was then I realized that by inverting the image I could use the original foliage and with a little blurring and sizing work make a perfect fit.


I marked 2 cross-hair style grids on the correct version and at a diagonal to each other to determine if there were any angle corrections needed in the inverted alignment.


The bottom part of the image shows the inverted image and how it was compressed vertically to fit the size of the reflected pond.

The inverted image was set to a blur of 5.9 to match the level of blur in the pond surface. Now the new blurred part matched the removed person cutout, but the colour tones were way too smooth.

When I examined another section of the pond I found that the noise was not just speckled but had short vertical patterns also.

The above pattern was created by creating a new layer and adding noise
Add Noise: 200%
Motion Blur: angle 90; distance 26.
Add Noise: 10%
Add Noise: 125% and fade to 8% as I wanted a little more of a building block texture

This layer was set to overlay and reduced to 4%, which seemed the best match the area beside the masked 3rd person.





The above image shows another angle overlooking the pond and a clue as to what the lifejacket was meant for.


Niels Henriksen

A Photographers Adage


The difficulty with color is to go beyond the fact that it's color – to have it be not just a colorful picture but really be a picture about something. It's difficult. So often color gets caught up in color, and it becomes merly decorative. Some photographers use [ it ] brilliantly to make visual statements combining color and content; otherwise it is empty. -. - Mary Ellen Mark,, Mary Ellen Mark : 25 Years by Marianne Fulton , ISBN: 0821218387 , Page: 5

Editing Images 1

http://georgebarr.blogspot.com/2008/10/editing-images-1.html

作者：George Barr

In the sequence above you first see the unedited colour image straight from stitching. Next is the result of a black and white conversion with the default settings in the Photoshop BW conversion adjustment layer.

Next is the result of a major lightening of the yellow at the same time as doing a significant darkening of the blue. While this is somewhat akin to shooting the original with an orange filter, it's not quite the same, and of course is infinitely adjustable via the sliders - who'd go back to film?

The last image is the final edit of a few days ago that I previously showed you - in which the mountains have been brought out somewhat (though not enough according to Chuck and he might well be right), darkening of the lower right corner and of the left side, and not quite so much lightening of the yellow - I kinda like the even lighter yellow of the "filtered" adjustment shown above.

Note how wishy washy the bluffs on the right are after the filtered BW conversion. Much improved after a few extra masked curves darkened them more and more.

Just to see if Andy (note, I'd earlier mistakenly put Chuck down for the suggestion on the mountains) might be right, here's a crop of the mountain range before and after a quicky contrast adjustment via a masked curves layer.




Looks like Andy's right - significant improvement - I'd been afraid to push things this far but hey, I like it.

This brings up the point that images are always a work in progress - when requested to make a print after a few months, I often make further adjustments and sometimes go back to an earlier save so I can redo the further steps. I don't always prefer the new version, but sometimes I really do.