I’ve decided I need to change my digital workflow as I think my current one can be greatly improved. As it stands I try to do as littl…
I’ve decided I need to change my digital workflow as I think my current one can be greatly improved. As it stands I try to do as little post processing as possible, most of my photos are only processed in Nikon Capture. Adobe Lightroom looks like one possible option, but before I take the plunge, what do the rest of you use?
Just hit the 100 image mark and I like every one I’ve posted. Thanks to all you guys who’ve commented, webgrrl, Craig & Kim Shillington, ...
Just hit the 100 image mark and I like every one I’ve posted. Thanks to all you guys who’ve commented, webgrrl, Craig & Kim Shillington, kathleen, spike, sharon, lost boy, jim painter and everyone else I’ve forgotten who’ve posted so many kind comments on my pages. It’s really appreciated and it’s been great finding this site. I’m so glad I did! / I’ve discovered so many great and talented artists that I really admire and value viewing their work on this site. / Red Bubble really is a blessing to us all! thaNks GUys!! XXX
I have wanted to own or run a gallery for some time now mainly to display and sell local artist’s work, but because of the economics of …
I have wanted to own or run a gallery for some time now mainly to display and sell local artist’s work, but because of the economics of my home town, the fierce competition of the larger cities around me, and the fact that I am a poor photography student with a family and no money, It has never been practical. / The other day I was walking through Wal-Mart (American retail super-center run by under paid needy workers) and I noticed they had new lcd monitors set up at the end of the isles for POS (Point of Sale) demonstrations. These POS screens also had speakers which I had not seen before in a POS. / What I saw in my head was this; A gallery that caters to the artist and the customer by offering an experience I know I have never had at a gallery: You walk in to the gallery and it looks much like a normal gallery, 10 or so 19 inch digital picture frames, each with sound so that the artist can display their work with their interpretation in their voice, or their choice of music, poem, noise, etc. (some of these I know you would be dealing with copyrights). / Depending on technology you might also be able to place your order for what ever size print you like right there at the frame. Preferably printing would be done in house so that the artist could see that the prints are what they need to be, but that would only be if there was enough demand to pay for it. I think that artist control of finished product is a must if this idea is going to work. In a conventional gallery the artist brings the finished piece into the gallery, so there is nothing that can really go wrong. With my idea the artist is letting a third party print their work, and I would want it to be exactly how they want it. / Please let me know what you think of this idea. If you don’t like it, please tell me why or what you would change. If you do like it, please tell me why and what you would change. Thank you for your time and comments, Shaun
WOW, I never expected that this morning, but I sold my first card of “Lone Wolf”...That totally awesome!!! Anyway, great thank the the b…
WOW, I never expected that this morning, but I sold my first card of “Lone Wolf”...That totally awesome!!! Anyway, great thank the the bubbler who purchased it, and thanks also to all of you for your great support through the last months!!! Thanks again!!! You made my day!!! Frank
One of the most common questions I’ve seen in the forum is, “What camera should I buy?” / There’s no definitive answer. In the end, most c…
One of the most common questions I’ve seen in the forum is, “What camera should I buy?” / There’s no definitive answer. In the end, most cameras on the market are decent. I’d like to think that rather than one camera being better than another, one camera is better at some things than others. A nice big dSLR is great, but can you slip it into your pocket? / A compact is handy, and great in social situations, but it’s not going to be much shop with sports or wildlife photography! / In the end, a camera is a tool and it’s important you choose the right one for the job. First up, lets look at compact cameras. / There’s plenty of these around, they’re constantly being updated, replaced and improved. Also the cheapest digital option. / Very handy for carrying with you. Can slip into a pocket and are always on hand when you need it. / One problem though is they’re slow. Slow start up, slow to take a shot, often quite a big delay between pressing the button and the image being taken, often you can lose the moment. Another is the sensor size. They have very tiny sensors, and when the manufacturers shove in as many megapixels as the larger sensor on a dSLR, the image quality can degrade. This page shows the difference in sizes between compacts, dSLRs and 35mm, also explains with tables and charts about the resolutions of these. Last, and definitely not least, image control. / There’s very little control to be had with a compact camera. / But Uncle Stevie, my compact has full manual controls! / Yes, many compact cameras do. But again, the size of the sensor comes into play here. Because the sensor is so small, the image is effectively cropped in comparison to a 35mm, or ‘full frame’ image. This is the crop factor people talk about. On a compact, this is even more profound. / Depth of field is controlled by a few factors. One is how close/far the subject is from the camera. The further away, the more depth of field. Get close, and it becomes very narrow, like in most macro shots you see. / Another is focal length. Wide angle lenses tend to have a deep depth of field, whereas telephoto, or long lenses, have quite a shallow depth. / It’s all about balancing one against the other. / 28mm on a 35mm camera is wide angle, and your subject has to be quite close to the camera for a shallow depth of field. / On a compact camera, to achieve the ‘28mm equivalent’, you have to go much, much wider. On the Canon Powershot S70, the lens is infact 5.8-20.7mm, with the 5.8 being equivalent to the wide angle 28mm. Even at the telephoto end, there’s going to be little control over depth of field. / In a way this is great for compact cameras, it means people will rarely get out of focus shots! Not so great if you’re using it as a creative control. / The other factor in controlling depth of field is the aperture, but quite often this ends up having no effect due to the extreme wide angle of the lenses in use. Somewhere in the middle ground is the dSLR-like group of cameras. / They look a lot like an SLR, have a lot of the features, but they don’t have interchangable lenses (blessing and a curse, the more a lens can do, the less it does well, but you’ll never have to worry about a dirty sensor!) of a true SLR. Their response times can be sluggish, but not as slow as a compact. The biggest downfall is the same as the compacts. The sensor. Most share the tiny sensor of a compact, running into the same issues. They often have a much greater reach with extremely long zooms, which is why they need to be a lot bigger. The dSLR market is not quite as flooded with models, but there’s still a wide choice. Some entry level models come in cheaper than some compacts, while the top of the line can be in excess of $10,000. Here budget plays a big part in deciding what to buy. If you buy a $10,000 body but can’t afford a good lens, your images will suffer. The lens is the most important part of the equation here. They’re the part you keep. Unfortunately digital camera bodies are an expensive, yet disposable item. / What do you need out of your camera? / Are you going to be shooting sports? Possibly spending time in bad weather? Shooting gigs in low light? / You need to look at what you’re doing and decide if you need weather sealing, good high ISO performance, fast FPS. / These are the major differences as you move up the camera food chain. And while it might be nice to be able to shoot at 11fps, do you NEED it? / Also, if you’re going to get big, expensive lenses, you may need a pro body designed to handle them. The entry level models are designed to work best with the more affordable light, plastic bodied lenses. / Decide what you want to do, work out what you need and then find out what will fit both your needs and budget. Film SLRs! / But Uncle Stevie, film is dead. The man in the camera shop said so. / Of course he said so. / What’s in his best interest? Selling a $2,000 digital camera that’s obsolete in 18 months, or selling a $500 film camera that’ll produce beautiful images for a lifetime, or longer, and the odd roll of film for a couple bucks? Film is far from dead. While consumer films are dropping off, companies such as Fuji have continued to improve and extend their professional film range. Recently due to great demand they brought back Velvia 50. An all new type of Provia was released. Companies that have ended film production have had their processing plants bought out by other companies who are filling the demand. / Just as print film, slide film and black and white films all have different characteristics, between each other and brands, digital is just another medium with its own characteristics. / Depending on the situation film is not more expensive than digital. So in summary. Think about what you want from your camera, both in terms of portability, function and artistic aesthetics and get the best tool for the job. Make sure you get what you need out of the camera (and yes, that may be the portability of a compact!), forget the other bells and whistles. When budget is a constraint, remember to take into consideration lens choice and other accessories such as memory cards, card readers, filters, extended warranties, etc. If you have old lenses and want to use them on your new camera, check for compatibility first. Most importantly, go into a store, handle the cameras, find one that feels comfortable to hold and use. Compare viewfinders, make sure you can see clearly, especially glasses wearers. For the most part, ignore megapixel counts. It’s become a race and a way to market new cameras, but people can and have been printing quite large images from 6mp cameras. (Keep in mind RB requires 10mp for large prints). If you want to try film, don’t be put off by the talk of it being dead. You can pick up a second hand film body for next to nothing, and trying out a couple rolls of film won’t cost much at all. Keep in mind, this advice is my opinion. Not everyone will agree with everything I’ve said. / I’ve not mentioned any particular models because they change so fast. Latest news, reviews and comparisons can be found on the DPReview website.
Right on I just notice that “Foxy” made the front page just now in the “popular section 1day”. Thanks all for commenting my work and a…
Right on I just notice that “Foxy” made the front page just now in the “popular section 1day”. Thanks all for commenting my work and adding it to your favs!!! You guys just made my day!!! Thanks again!!
Hi all, It’s been a while and the subject and cause for my entry today is to ask some advice if I may? If you were to purchase a go…
Hi all, It’s been a while and the subject and cause for my entry today is to ask some advice if I may? If you were to purchase a good all round camera what choice would you make? I like my wildlife, sunsets, landscapes and macro but I dont think the little camera I have (megxcon c480 8 x Optical zoom) bought on Ebay for $400 three years ago will take me much further. I am not a professional but would be looking to upgrade I suppose one day. Don’t have alot of money (interest free purchase sounds good!) If anyone could shed some light I would be much appreciated. Oh the one I have now is 8Mp. I prefer digital now as its easier to work with. / I would dearly love to do more macro as well. Any thoughts? Suggestions? Cheers Sal :))
Something I’ve come to realise from my photography is that although a good tool (camera) can help the workman (photographer), the most im…
Something I’ve come to realise from my photography is that although a good tool (camera) can help the workman (photographer), the most important thing is that you get the most out of the camera you have. I haven’t previously stated what sort of camera I use for my digital photos. This is partly because I think that people may judge my images differently if they new what I used. But I’ve decided to speak a bit more about what I use and how I use it. Nearly all my digital images are shot on a point-and-shoot 6-megapixel Canon A540. There are many advantages of shooting with a cheap, compact digital. For a start they’re cheap! Mine cost $300 with a 1GB SD card and case. The newer version of mine with an image stabiliser can be bought for pretty much the same price. / They can also produce quality images in classically good photography conditions (ie. soft, ambient light) as long as you use the lowest ISO and a tripod when a slower shutter speed is needed. You learn to work within different boundaries. For example, you quickly realise that to take acceptable photos of architecture you have to choose from limited viewpoints otherwise you’ll have curved lines that should be straight all over the place. / And they’re so small. / You can stick it in your pocket, and there you have it… the equivalent of a 35mm 35-135mm lens and it weighs next to nothing. You don’t need to think twice about slinging it round your shoulder, so you catch those moments where you wish you had your camera. There are definately advantages for getting a “better” camera (such as an SLR). They are much more versatile in terms of the conditions in which you’re able to take good quality photos, and there’s something very satisfying about looking through the lense rather than off a live LCD. Personally, I have a 3 film SLRs and a rangefinder. The one I have begun to use predominantly is a Fujica ST705W with some really sharp fujinon and SMC Takumar lenses. I am pretty happy with what I have. I have the advantages of digital with my point and shoot, and advantages of film with my SLRs. One thing that I think that everyone should experience from using film is the need to make every photo count. With digital, you can tend towards shooting and then looking, whereas with film you must and do look, at everything, before you shoot. I think it has taught me to be thoughtful. So what’s the point of all this? Well…. I’ve kind lost it a little bit, but basically it was to say that if you don’t have the money for a Hasselblad, fear not! The camera you have is probably better for learning on anyway as long as you expore its potential. And if you do try to use it to its fullest potential you’re likely to produce some fine work in the process.
http://i38.tinypic.com/35d27u9.jpg / !http://i28.tinypic.com/jtryms….
http://i38.tinypic.com/35d27u9.jpg / / / 01. Do you consider yourself more of a photographer or digital artist? / Both . . .I consider myself a photographic/digital artist. I started out doing traditional photography and then my father gave me a digital camera and introduced me to the wonders of Adobe Photoshop. I then fused digital and traditional together. Eventually the digital camera and darkroom came to be my preferred way to create images. . I don’t use 2 or 3-d rendering programs, vector graphics or a graphics tablet – just a standard mouse. My techniques are more about using, images i photograph with a digital camera and layering and/or modifying them. There is a lot of refining, alternating, blending and manipulating involved in many of my more surreal and conceptual artography. 02. Most of your work revolves around self-portraits. Why is that? / I originally did self-portraits because of the content of my book, “Haunting Hands”. I felt it necessary and appropriate. After that, it became a matter of convenience as I was always available for a shoot and there were no limits or boundaries when using myself as a model. Everything I wished to express felt personal and intimate. I wasn’t sure how I would use someone else to express my vision. As time went on, I developed a desire to fold others into my photography. However, I discovered that I still needed to be the main focus of my images. Or I would inevitably pick a model who photographed like another version of me. I also cherish my privacy and solitude. It is difficult for me to open up my little universe and invite someone else into my creative process without it feeling intrusive or overwhelming. Even though photographing other people has always proved to be a richly rewarding experience for me. The struggle has always been getting to the point where I commit to doing a shoot with someone, as part of me always wants to back out and cancel. Most of the models I have photographed have been friends, the shoots unplanned and spontaneous. The other models were people persistent about working with me. They nudged me enough to make the shoot happen. 03. Much of your work tends to be very stark or surreal. Why do you think this appeals to you? / I feel like a wanderer between worlds most of the time. One foot barely in reality and the other foot placed firmly in the land of dreams and nightmares. I think the starker more surreal aspects of my work appeal to me because these images mirror the way I experience my world. It is kind of stark, isolated, dreamlike and marked with intense highs and lows. The images feel like the ethereal world, in which I, choose to live. 04. When you start an image, do you have an end-result in mind, or does it evolve as you work? / There are times that I have an end result in mind. My ideas are planned out, well-crafted and defined. Other times the idea pops into my head and I will do a spontaneous photo-shoot and see what develops. Either way, the end result never matches my original imagery or vision, but it makes for a wonderful starting point. 05. How do you know when something is done? / When in the processing stage of an image it is a feeling I am chasing after. When I look at an image and it “feels right” I know I am done. 06. Where do your ideas come from? Do you ever suffer from a creative block? What do you do to keep yourself creatively charged? / Inspiration comes from tapping into a source greater than myself . . . the universal thread . . . the collective consciousness . . . Spirit . . . God . . . LOVE – whatever you prefer to identify it as. It is the of opening/expanding . . . receiving of creative energy, surrendering to it, embracing it, channeling it, processing, expressing and outputting it through my unique personality and soul imprint. I never suffer from a creative block because images, creative connections, words, and poems are spinning in my fast, hyper-active mind, 24/7. I do suffer from periods of depression, angst or high anxiety, at these times I lose my drive to create and will experience a block of inactivity. I don’t do anything to keep myself creatively charged but I have observed that when I allow other people into my world, it becomes more high-stimulus and I, in-turn, more productive. 07. Many of your images appear within the context of a series,what is it about the series that appeals to you? / I find that doing my individual images in the context of a series allows for a broader emotional canvas. I can let an idea, thought or feelings evolve, progress and move through me and in turn my images. I like the sense of completion I receive when taking a series from conception to birth. 08. Are you trying to convey a specific emotion with your work? / Most of the time i am just chasing after an image in my head and it is only in hindsight that i reflect upon the meaning/emotion. Recently, i have become more interested in making a conscious choice in choosing what message i wish to convey and what kind of feelings i want to bring to the surface. I have recently become more purpose orientated with my work. I want my images to do more than entertain the imagination. I am now at a place in my life where i desire to create art for purposes of inspiration, healing and connection. 09. What do you find the most rewarding about what you do? / I find sharing and connection to be the most rewarding aspects of what I do. My art is my link to the outside world. Sharing it feels like an intimate experience for me. I like the idea that something I created from a personal place can be a vehicle for allowing pain, joy, sensuality and creativity to surface and be experienced by others. I also like how sharing my work puts me in touch with other artists. It gives me a chance to experience new perspectives and different types of creative energy. 10. What is the role of the erotica in your work? / When it comes to erotica, I put the emphasis on sensuality. I like to take the sensuality to the edge of what would be considered erotic but not quite go over that edge, perhaps just blur the line a bit. I like pushing boundaries without quite crossing them. I feel that the most erotic feeling to be experienced is that of anticipation. For me the image of two people just about to kiss, lips so close but not quite touching, faces tilted, eyes closed – is more tantalizing than an image of two people already engaged in a kiss. The suggestion of . . . is very stirring for me as opposed to portraying/photographing some act that is sexually explicit. 11. I’m curious about your technique, can you tell me about your process for creating an image? / In the way of studio photography my technique for creating an image is a lack thereof. I do a lot of experimenting. I’m not one to document, craft or develop various techniques, it feels too tedious. How I create an image depends on my mood and materials at hand. When I first started out, I was using house lamps positioned very close to me – it was all I had at the time and I was using my sheets, comforters and table cloths for backdrops. Then I acquired one halogen lamp, purchased some backdrop materials from a fabric store and began experimenting with B/W 400 CN film. Eventually I got some halogen work lights, constructed a simple home studio and mostly shot with a digital camera. I like to keep things as simple as possible it makes the creative process feel more enjoyable for me if I am not tied up in technical aspects. I find those things tend to work themselves out. And in the way of the digital dark room . . . i do, do a lot of finishing work in Adobe Photoshop. 12. What would you identify as some of the key milestones in your evolution as an artist? / The influences of others have manifested as key milestones in my evolution as an artist, including; models I’ve worked with, along with friends, love relationships and fellow creatives. Each person offered me new ways to approach my photography. They provided me with a link me to the outside world and gave me different ways to look at and live my life. Another milestone was almost four years ago when I took time off from relationships’ and went into seclusion for several years. During that time I started taking good care of myself emotionally, spiritually and mentally. I opted for a natural, holistic approach to my overall health. I became a vegetarian, then a vegan and embraced the benefits of yoga and meditation practices. I gradually worked through my destructive behaviors and the reasons behind them. This changed the creative process for me. I let go of the belief that I needed to create from a place of dysfunction, darkness and despair. 13. How did you become a photographer? / Quite by accident . . . . in my early twenties I had dreams of being a writer, perhaps a great novelist dreamy sigh. Around that time I started putting together the book, “Haunting Hands”. Initially intended to be a collection of poems I had written about surviving incest. I decided it would feel more personal if I created the cover for the book myself. I purchased a camera and turned my living room into a makeshift studio. I did a series of self-portraits and then another and another. The process of creating and putting myself in front of the camera was cathartic, liberating and healing. The photographic medium opened up a whole new world for me and ignited a kind of passion within that I didn’t even know I was capable of experiencing. My book transformed into a photographic essay and that started me down the path to becoming a photographic artist. 14. I see that you have a book out now. Can you tell me a little bit about it? / Yes, I am very excited about it! J A E D A – shades of the soul was published in December 2008. Through my poetry and artography i bare my body and unravel my soul. It is comprised entirely of my self-portraits and in it, i share my spirituality, sexuality, pain and triumphs. 15. From your web-site, it is clear that you are a survivor of childhood sexual abuse. How has this influenced your work? / What does it feel like for this to be public knowledge? My earlier work greatly consisted of survivor-related photography. It is a recurring theme for me. Yet as I progress, heal and evolve my work has started to reflect other aspects and themes. Having it public knowledge has been an empowering experience. It took away the negative power incest used to have over me. Negative power such as keeping secrets, keeping silent, unsuccessfully trying to repress and bury my feelings. I no longer felt isolated or alone in my experience. I was able to let go of the shame. It gave me a chance to turn my pain into something productive instead of destructive. 16. So, would you say that, to some degree, your work is therapeutic? / Yes, my work provides me with a safe way/place to express and store my pain. The process of creating is cathartic in and of itself. Once my feelings and experiences are expressed through images or words . . . I feel this tremendous sense of relief as i release my feelings out into our loving universe. Then our universe is able to shoulder some of my pain, which in turn, helps pave the path to healing. 17. Do you see a relationship between emotional pain and your creativity? What about love, when you are in love how does that impact your work? / Yes, for the most part, pain has been the prod when it comes to my creativity. In my earlier works I created from a place of destruction and dysfunction. It has only been within the last couple of years that I have been able to create from a place of peace, balance and awareness. When I am in love, my creativity goes into overdrive, most noticeably when in the initial stages of infatuation. I am in a blissfully altered state, feeling euphoric as my emotions and senses heighten – combined with a pace that is frenetic. 18. Can you tell me a bit about your book, “Haunting Hands”? / I published a small run of, “Haunting Hands” back in 1996. I was in my mid-twenties and at that time, i felt a desperate need to process what happened to me in some tangible form, such as poetry. Then came the need to get this story to others and raise awareness to childhood sexual abuse/incest, from an adult survivor perspective. I also wanted to feel connection to other survivors. The book is visceral, raw and dark. It mostly expresses what it felt like to be victimized and to try and live day in and out with the pain attached to being victimized and the destructive ways in which I tried to numb or manage that pain – as an adult. I created more survivors related photographic art and poetry after publishing that book. In hindsight, the book feels incomplete to me. 19. What would you like to say to your viewers and readers of your artwork? / I would like to let my viewers know that i feel blessed to serve them with my passion. And I hope my art serves them emotionally, spiritually and mentally. I want to reach into their hearts, invite deep emotions to surface and inspire them. My art is about being one of the connecting factors in the universal thread we share. / Purpose + Passion = BLISS :) 20. How do you like living in Seattle, Washington? / I love living in Seattle, it is the perfect city for me. I love the melancholy lullaby of the rain and the overcast skies. / /
A day ago, another great artist, SusanC decided she wants my Universe...
A day ago, another great artist, SusanC decided she wants my Universe as a card, so she went ahead with that impulse and placed the order. Thank you so very much Susan for your commited appreciation of my work. I hope the Universe will bring to your door even more inspiration and creativity. Happiness is a given. Please visit Susan’s art shoppe, she’s got a great palette of wonderful compositions.
On Saturday, April 12, 2008 my band, Under Pressure will be playing at a benefit dance for a local man …
On Saturday, April 12, 2008 my band, Under Pressure will be playing at a benefit dance for a local man who has contracted a rare lung disease, and will likely not be able to return to work. Earlier in the day there will a Chinese auction and a silent auction. Both Darlene and myself have donated a print each of the organizer’s choosing. Here are the two images that they chose to put up for auction. / / /
Hi All, I have just discoverd the work of Angela Barnett on RB & am completly blown away! / Her work is incredibly beautiful, creati…
Hi All, I have just discoverd the work of Angela Barnett on RB & am completly blown away! / Her work is incredibly beautiful, creative & inspiring. Here is the link if you would like to check out her work for yourself : ) Angela Barnett Cheers, / Leeo.
I am so happy! I sold a card of My SeLf SuRvIVeD ThE NiGhT !http://images-3.redb…
I am so happy! I sold a card of My SeLf SuRvIVeD ThE NiGhT THANKS SOOOOOOOOOOOOOOOOOOOOOOOO MUCH TO / Karen Anderson / Karen Anderson Gallery / / Check out her gallery! It is BEAUTIFUL!
An adjustment layer is a layer that only contains an adjustment such as levels or hue/saturation. They are more versatile than simply ap…
An adjustment layer is a layer that only contains an adjustment such as levels or hue/saturation. They are more versatile than simply applying an adjustment to a layer in your image. For one thing they do no damage to pixels where applying an adjustment directly to a layer will permanently alter the image. Another is that the adjustment layer provides a layer mask so you can apply the adjustment to specific parts of the image by painting on the layer mask. Adjustment layers give you the ability to change the blend mode and opacity, and if you double click on the adjustment layer icon if will bring up the dialog box so you can make changes to the settings. I hope you found this information helpful. Feel free to add to this or ask questions. I will do my best to answer them.
featured in the group Digital Lomo ,Cross Processing,Faux Polaroid and Alternative Photography...
featured in the group Digital Lomo ,Cross Processing,Faux Polaroid and Alternative Photography / Thanks to the hosts : lightdancer79 / RMRPhotography / & / Brian David Braun :) / Very glad !!! ;-) / All the best PB
13 Feb 2009 / What is Infrared False Color? / / In infrared film photography, we can say 100…
13 Feb 2009 / What is Infrared False Color? / / In infrared film photography, we can say 100% its unique fancy reddish usually end with high contrast B/W monochrome photography. To get specific false color in infrared film photography is really hard, it’s depend on characteristic of film. That’s why i really salute to each photographer these days who still take picture with this method. Because I really know its super duper very hard to do that, last time i do this, from 1 roll of Kodak EIR, only 2 photos that really well. / / These days, with help from Digital Photography technology and Digital Post Processing, Infrared false color has reach the spot what we called Creativity. With “Creativity”, sky is the limit. Every photographer can express their own photo with unique “taste”. But is that true? as easy as that the concept in Infrared Digital Photography? / if the answer is YES? then why we state the infrared color is white, bluish? / Infrared photo always identical with B/W, white-bluish. That’s the positioning marketing in our mind. I’m not say that was wrong, but with that background of mindset. I just want to explain what is the False Color it should be…. For me personally, false color is Color of Love / ........ / I know the Color Of Love, / (And It lives in side of you) / I know the color of truth, / (Its in the image of you) / If it comes for the heart, then you know that its true, / It will color your soul, like a rainbow / (Like a rainbow) / And the color of love, is in you / Boyz II Men – Color of Love Check this 4 photos bellow : / 1st photo is natural photo from camera / / Pre-set white balance to Grey 80% (Natural photo from Camera) / There are many other photo i can show for example, but let me ask you question. / Which one do you prefer? which one is your fav color? which one is your infrared? So get back to the question “what is False Color in infrared digital photography?” / for me the answer is clear now, its the inner beauty of infrared. We can see the creativity of the color in 1 photo. So many different color can be represent in one composition of photo. As long as you feel comfort to represent the photo to viewer. Its your Freedom! So what is the hint for today? as we know the fundamental of color profile in our camera is Preset White Balance. That’s the keyword, thats why its so important. Without Preset White Balance before, usually you will not optimally get the beauty of false color in Infrared Photo. Some people always say preset white balance to green grass, white. I declare 100% that’s not wrong, but let me ask you think for a second.. How is the effect of my photo if you preset white balance to Gray? Blue? Red? Yellow? or other color? / Trust me, you will get so many fantastic new color combine in your photo. I bet the color you won’t expect before. Welcome to the entrance of Freedom Creativity of Infrared Digital Photography – False Color my friends. For easy way, to white balance preset I recommend using the Color Target Card. / / Point to what color you prefer as a base of white balance, until camera accept it good as preset white balance. In this point practice make perfect, what i mean.. base on experience you will know which color is the best to get your ” own infrared false color” I don’t push you to buy the color target card anyway, just download from internet. Print and laminated it, what you see is what you get. Still want to know what is another “gain” of Pre-Set White Balance? / In digital post processing, we know that color is bit of data (01010110101), that’s why we know color in computer language as a Chain of Color. Let’s straight to the point, you know that if we push the hue or channel mixer into maximum, we will get the color that we want, for example gold yellow. But we also get the “noise/grain” in the photo, how to avoid it? Do the Pre-Set White balance!!!! What???? / Let me share, basically I make a simple plan before take a picture like “concept, message of photo, and know what is the end point color of my photo..” Let say i want the color of my photo is yellow gold. I always Preset White balance into 70% Grey or 80% Grey as a starting point natural color. Now you know why i write that sentence after first photo. Yes my friend, I always do Pre-Set White Balance before start capture my first photo for setting a color start point in Camera. To achieve what specific color in post processing without push bar in channel mixer into 100% or push the hue bar to the right (+180) in hue & saturation bar to get yellow gold. The reason is when I get specific color, the noise/grain will reduce, because I move the starting point of color. / This make you clear or confused? Conclusion with this method, I will get specific False Color Infrared exactly what I want, with less noise/grain on my photo, and guarantee the photo will less noise when the customer see it on large print. Combine this method with Focus Shifting to increase the sharpness as well I believe valentine is the best moment to say I love you, more and more each day to the inner beauty of Infrared Digital Photography. Sorry a bit melancholic, but that’s me! lol / / For clear concept in mind, i recommend you read my journal “Infrared Digital Photography – Basic Concept” as well. Open for discussion, feel free to ask a question / Happy Valentine everyone. Please accept this journal as “Valentine gift” from me, / Anwar Salim
I just found this very interesting article on how to use the zone system in the digital world. I just thought I’d share it with you. ”...
I just found this very interesting article on how to use the zone system in the digital world. I just thought I’d share it with you. >>>click<<<
I would like to thank the hosts of All Soft And Cuddlies for Featuring PORTRAIT O…
I would like to thank the hosts of All Soft And Cuddlies for Featuring PORTRAIT OF A BAT. I’m so pleased that you think this guy is soft and cuddly enough to be featured! :)) / Thank you to the hosts of Backyard Macro and Closeups for Featuring WATCHING….a head shot of my puppy Littlegirl! Much appreciated! / And thank you so much to the hosts of the APBT Lovers Group for Featuring my T-Shirt FEELING BLUE with my puppy Yo Yo on it. It’s so nice to be appeciated. :)) /
For those who are interested, and have equine style works that might be right for their request. CALL FOR ARTISTS: EX ARTE EQUINUS …
For those who are interested, and have equine style works that might be right for their request. CALL FOR ARTISTS: EX ARTE EQUINUS 3 INT’L COMPETITION / Ex Arte Equinus 3 International Equine Art Exhibition / CALL FOR ENTRIES Presented by Art Horse Magazine (http://www.arthorsemagazine.com)Art Horse Magazine announces `Ex Arte Equinus III`, an internationalequine art competition for fine artists. The competition is open to Artists from all over the world, who can enter up to twelve images showing their best work in the categories of Painting, Drawing, Sculpture, Photography, and Digital Art. This competition will provide equine artists the opportunity to show theirwork on an international level. Images of winning artwork will be published in issue #10 of Art HorseMagazine (published March 2010). Winners and selected images will alsobe published in a book programme about the show. Entry Deadline is October 30th.Contact: exarte_director@arthorsemagazine.com Details and prospectus : www.arthorsemagazine.com/art_competition.html / Art Horse Magazine P.O. Box 13017 Beaumont, TX 77726-3017 exarte_director@arthorsemagazine.com / http://www.arthorsemagazine.com
Not to those exclusive groups for people who have been on RB for over a year...
Not to those exclusive groups for people who have been on RB for over a year, not for groups for persons who do graphic art, or who are published authors, or who make comics, or for those who are real artists who use real ink or paint, nor for those who sketch or paint the wilderness or scenery, nor for photographers, because I never photograph anything either well or worthwhile. Nope! I never get invited, because, I am assured, I am just a digital artist, and I should stick to groups like that. For digital artists, as you know, cannot do a thing else, and they never do any of their work by hand, but, only by tricks and that is not any sort of art at all. It has nothing to say, no meaning, and takes no talent to create Digital art: / Yuck! Why would anyone want to look at that! Not only is it “boring”: and lacklustre but it just doesn’t mix well with other art This is not really a pity party, by the way. This is for self amusement, so liberties have been taken in regards to which sort of groups I was not invited to that were exclusive, and why. Sort of making fun of myself, because I did run into a group that was exclusively for people who have been on Red Bubble at least a year (which doesn’t actually sound that exclusive to me), and, I have never been invited to an exclusive group that I would fit into by what they say are their standards, so I did feel a momentary twinge of “poor poor pitiful me” and then I got over it, and decided to turn it into something more entertaining. I hope it entertained you: I know it entertained me!
Hey guys, The Digital Photography group has recently compiled a group calendar, ...
Hey guys, The Digital Photography group has recently compiled a group calendar, with 100% of profits going to charity! The charity is called Renaissance Now, and they’ve even got a link on the site to the group. I think it’s a great group effort and opportunity to raise awareness, help the poor and all… check it out here.
Hi friends, just got another feature. Yipeeeee. Click the pic to leave your comments please. Don. / !http://images-1.redbubble.net/img/...
Hi friends, just got another feature. Yipeeeee. Click the pic to leave your comments please. Don. / Featured in Children and the Power of Raw Emotion Group
Kreddible Trout Photography’s employee of the year, William Foley...
Kreddible Trout Photography’s employee of the year, William Foley has won third place!!! in Digital Camera Magazine’s Photographer of the Year 2009 Destination Everywhere Category! with his shot The S.S. Perception. This year’s competition attracted more than 100,000 images by photographers from 126 countries around the world. There are 30 finalists. Mr. Foley was surprised to have made the shortlist last month and is still on the floor giggling after getting the news this morning. He looks like we might need to call for some medical assistance. As we here at Kreddible Trout Photographic Industries try to keep things as professional as possible around the office, we’ve sent the rest of the staff home as the display of shock has become mildly embarrassing. When asked what he was going to do with the 100 GBP winning he shrieked something about jube-jubes and a tiara, then continued to roll around on the floor. The professional team here at KTP, under the advisement of out PR and Legal departments would like to extend bounteous thanks to Photo Radar and are truly honored by this placement. Thank you.
Wow, I just had the pleasure to see that Rosa has completed a book of her beautiful work!! / Just like all of her images, everything in t…
Wow, I just had the pleasure to see that Rosa has completed a book of her beautiful work!! / Just like all of her images, everything in the book is gorgeous. / She has included photography and much of her writing in English as well as Spanish. I hope if you know Rosa, you will take the time to go and check it out!! What a wonderful accomplishment!! / CONGRATULATIONS ROSA!!! / Ecos Fidelles / by Rosa Cobos
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