How to use the flash

Every time you take a flash photo, you are making two exposures simultaneously.

You are making an exposure of the ambient light, and an exposure of the flash's light.

The ambient exposure is controlled by the f/stop and the shutter speed.

The flash is controlled by the aperture.

You need to decide which one is key light and another is fill light.

Case 1 (Flash is key light)

1. Get a full ambient exposure.

2. Drop the exposure down to create a little "drama." How much, is up to you.

3. Bring your subject back up to full exposure by adding flash.

Case 2 (Flash is fill light)

Think of the sun as your main light source, and strobe as a secondary light.

Sync speed is the fastest shutter speed you can use with flash.

You cannot use a faster shutter speed than the sync speed with flash.

Sync speed is important for two big reasons:

The first and obvious reason is that fast sync helps stop motion.

The second reason, is that faster sync speeds help get enough flash power to balance with direct sunlight.

Slow sync speed

You'll want to use slow sync flash in any low-light situation when you feel that the normal flash will give you a bland, staid photo.

Another application is when photographing an action/sports subject and you want to capture the action with a panning technique (use rear curtain sync for this.)

Due to the lower shutter speeds associated with slow sync flash, you need to stabilize the camera to avoid camera shake. You’ll likely need a tripod or monopod with slow sync flash and may want to consider using a cable release to avoid as much camera shake as possible.

High speed sync HSS Vs. normal sync speed

The faster sync lets us shoot at larger apertures, which requires less flash power, which lets our flash recycle faster, which lets us shoot more frames per second.

High-speed sync flash is used when you want to use a shutter speed that is faster than your camera’s native flash sync speed, or when you want to use a wider aperture setting that requires a higher shutter speed as is often the case with outdoor daylight shooting.

High speed sync is continuous light.

Changing ISO does nothing to help since it's the ratio of ambient to flash light that's important.

Front curtain sync Vs. Rear curtain sync

In normal or front curtain sync, the speedlight fires at the beginning of the exposure.

In rear curtain sync the speedlight fires at the end of the exposure.

Flash power is flash duration time.

The Nikon SB-800 flash duration specifications are shown below :

1/1050 sec.   at M1/1 (full) output

1/1100 sec.   at M1/2 output

1/2700 sec.   at M1/4 output

1/5900 sec.   at M1/8 output

1/10900 sec. at M1/16 output

1/17800 sec. at M1/32 output

1/32300 sec. at M1/64 output

1/41600 sec. at M1/128 output

Depth of field

Depth of field

Depth of field is the amount of distance between the nearest and farthest objects that appear in acceptably sharp focus in a photograph.

What affects depth of field

The f/stop

The smaller the f/stop (the larger the number, the smaller the diameter of the aperture), the more depth of field there is.

At f/2 (small number, big aperture), you will have comparatively narrow depth of field, with little in focus on either side of your focus point...

The focal length of the lens

The shorter your focal length, the more depth of field you will have.

A 20mm lens will have more depth of field than a 50mm will have more than a 100mm.

With really short lenses, like 4 mm, you will have immense depth of field. With long lenses, like 400mm, you will have miniscule depth of field.

The distance to the subject

The closer you are to your subject, the less depth of field there will be.

The further away you are, the more depth of field you will have.

The subject distance to the background.

Lens quality:resoluation and contrast

Lens quality:resoluation ,contrast,MTF

Everyone is likely to be familiar with the concept of image resolution, but unfortunately, too much emphasis is often placed on this single metric. Resolution only describes how much detail a lens is capable of capturing — and not necessarily the quality of the detail that is captured. Other factors therefore often contribute much more to our perception of the quality and sharpness of a digital image.

To understand this, let's take a look at what happens to an image when it passes through a camera lens and is recorded at the camera's sensor. To make things simple, we'll use images composed of alternating black and white lines ("line pairs"). Beyond the resolution of your lens, these lines are of course no longer distinguishable:

ISO 12233 chart

Modulation Transfer Function(MTF)

Modulation Transfer Function or "MTF" is a measurement of the optical performance potential of a lens. MTF charts can give you a better understanding of the optical quality of lenses, and can be useful references when researching, comparing and purchasing a lens.

The y-axis (vertical axis) of a MTF chart plots the transmission of light through the lens with a maximum value of "1.0" which would indicate 100% transmittance of the light, although 100% transmittance of light is not possible because glass is not 100% transparent.

The x-axis (horizontal axis) shows the distance from the center of the image towards its edges. So, the "0" in the lower left corner represents the center of the lens and the numbers along the lower axis represent the distance out towards the edge of the lens in millimeters.

How to read a MTF chart

There are two groups of data plotted on a Nikon MTF chart: Sagital and Meridonial lines.

"Sagital lines" (the solid lines) represent the contrast measurements of pairs of lines that run parallel to a central diagonal line that passes through the middle of the lens from the bottom left hand corner to the top right hand corner.

"Meridonial lines" (the dotted lines) represent line pairs also positioned along an imaginary line from the center of a lens to the edge but these line pairs are perpendicular to the diagonal line.

There are two groups of test lines for each Sagital and Meridonial value: one group or line pairs at 10 lines per millimeter and a second group at 30 lines per millimeter. The lower line pairs (10 lines/mm) will generally be plotted higher on the graph than the more challenging fine resolution 30 lines/mm.

The red 10 line/mm (10 lines per millimeter) indicates the lens' ability to reproduce low spatial frequency or low resolution. This line indicates the lens' contrast values and the higher and straighter this line is the better; because the higher the line appears the greater the amount of contrast the lens can reproduce. 
The blue 30 line/mm (30 lines per millimeter) indicates the lens' ability to to reproduce higher spatial frequency or higher resolution; this line relates to the resolving power of the lens and again the higher the line the better.

The line starts on the left of the chart which represents the center of the lens. As the line moves to the right it indicates the edge of the lens, so you can see how the contrast and sharpness of the lens decreases from the center to the edge of the image.

http://www.quickmtf.com/

How to convert a color photo to black and white?

How to convert a color photo to black and white?

Photoshop

Add an adjustment __ black and white (non-destructive)

Convert to Grayscale (Destructive) Image > Mode > Grayscale __ Click ‘Discard'

Add an adjustment __ Hue/Saturation__saturation slider all the way to the left (-100)

Add an adjustment __ Channel Mixer__ Tick the monochrome box.

Move the Red, Green and Blue sliders to the left or right to lighten and darken in the photo.

The total of the three sliders should be 100% at all times.

Lightroom

Use the black and white preset.

Use HSL/Color/B&W__select B&W__use the adjustment tool to edit.

Use Nik silver flex pro

Use Topaz B/W effect

Dxo Film pack 5

Before I press the shutter need to think.

Before I press the shutter need to think.

Why I want to take a photo of this scene?
What story do I want to tell?
How is the light direction and quality?
Need to modify the light?
How to compose?
Where to place the camera ?
What’s Going on in the Foreground and background?
Where is the focus point?
Ask depth of field or motion?
Shoot now or waiting?

Panoramic photography

Panoramic photography is a technique of photography, using specialized equipment or software, that captures images with horizontally elongated fields of view.

It is sometimes known as wide format photography.

 

The term has also been applied to a photograph that is cropped to a relatively wide aspect ratio.

 

Time-lapse photography

Time-lapse photography

For my Nikon D800 and D600

2 methods to create time lapse

1 Menu__Shotting menu__Timelapse photography__Setting (Create 1920x1080 mov.file)
2 Menu__Shotting menu__Interval timer shooting__Setting  (Use the software develop movie file)

Nikon the Time lapse feature is not available in the following modes:
Live View
With a shutter speed set of bulb
Bracketing
HDR
Multi exposure
Interval timer

Loop Lighting

Loop Lighting

Loop lighting is a minor variation of Paramount lighting. This is one of the more commonly used lighting setups and is ideal for people with average, oval-shaped faces.

Key Light. To create this setup, the key light is lowered and moved more to the side of the subject so that the shadow under the nose becomes a small loop on the shadow side of the face.

Fill Light. The fill light is also moved, being placed on the opposite side of the camera from the key light and close to the camera–subject axis. It is important that the fill light not cast a shadow of its own in order to maintain the one-light character of the portrait. The only position from which you can really observe whether the fill light is doing its job is at the camera. Check carefully to see if the fill light is casting a shadow of its own by looking through the viewfinder.

Hair and Background Lights. The hair and background lights are used in the same way as they are in Paramount lighting.

Lighting Ratios

Lighting Ratios

Once you have your basic lighting equipment and your basic lighting techniques down, your next step is to learn lighting ratios.

If you understand these ratios, it is much easier to control your lighting to create mood, add a sense of depth or shape, and control the way textured surfaces look. People are intimidated by the term "lighting ratios". After all "ratio" implies math, and people hate math. But by the end of this short article you'll see how easy lighting ratios really are.

Most people realize that a studio lighting set-up can use 3 or 4 lights.

They get intimidated thinking about how they're going to figure out how all those lights will work together and what the lighting ratios will be.

Well guess what, you only need to worry about two lights: the main light and the fill light! These are the two lights that "shape" your image.

Any other supplemental lights only "accent" your image, and don't need to be included in the ratio.

Now, what is the ratio? In a nutshell, the ratio is the difference between the main light and the fill.

If your main light were twice as bright as your fill, the ratio would be 2:1. Thinking about exposure factors, a factor of 2 is equal to one stop of exposure, and if you increase your exposure by one stop, you are allowing in twice the amount of light.

Therefore, a 2:1 ratio would mean that there is a one-stop difference between the lights. A 3:1 ratio would be a stop and a half difference, and 4:1 would be a two-stop difference.

The thing to remember when dealing with the ratios is that you multiply or divide by 2. This means that if you want to determine how much exposure difference there is in a ratio of 5:1, you would divide 5 by 2. The answer would be 2 1/2 stops. If you had a scene with a 2 1/2 stop difference between the lights and you wanted to determine the ratio, you would multiply 2 1/2 by 2 and would give you 5 for a 5:1 ratio. I told you the math wouldn't be hard!

I don't recommend using ratios beyond 8:1. If you do, you'll have shadow areas with little or no visible detail. I've included a chart that shows the most common lighting ratios with the exposure difference and how that lighting ratio is most commonly used.

See, lighting ratios are easy. All it takes is a little practice to master lighting ratios and to make it all stick. There's nothing like doing it a couple of times to make it all make sense. Once you master light, your photography will improve dramatically.

Paramount Lighting

Paramount Lighting

Paramount lighting, sometimes called butterfly lighting or glamour lighting, is a traditionally feminine lighting pattern that produces a symmetrical, butterfly-like shadow beneath the subject’s nose. It tends to emphasize high cheekbones and good skin. It is less commonly used on men because it tends to hollow out cheeks and eye sockets too much.

Key Light. For this lighting setup, the key light is placed high and directly in front of the subject’s face, parallel to the vertical line of the subject’s nose (see diagram above). Since the light must be high and close to the subject to produce the desired butterfly shadow, it should not be used on women with deep eye sockets, or no light will illuminate the eyes.

Fill Light. The fill light is placed at the subject’s head height directly under the key light. Since both the key and fill lights are on the same side of the camera, a reflector must be used opposite these lights and in close to the subject to fill in the deep shadows on the neck and shaded cheek.

Hair Light. The hair light, which is always used opposite the key light, should light the hair only and not skim onto the face of the subject.

Background Light. The background light, used low and behind the subject, should form a semicircle of illumination on the seamless background (if using one) so that the tone of the background grows gradually darker the farther out from the subject you look.

Profile Lighting

Profile Lighting

Profile lighting (also called rim lighting) is used when the subject’s head is turned 90 degrees from the camera lens. It is a dramatic style of lighting used to accent elegant features. It is used less frequently now than in the past, but it still produces a stylish portrait.

Key Light. In rim lighting, the key light is placed behind the subject so that it illuminates the profile of the subject and leaves a polished highlight along the edge of the face. The key light will also highlight the hair and neck of the subject. Care should be taken so that the accent of the light is centered on the face and not so much on the hair or neck.

Fill Light. The fill light is moved to the same side of the camera as the key light and a reflector is used to fill in the shadows (see the rim-lighting diagram above).

Hair and Background Lights. An optional hair light can be used on the opposite side of the key light for better tonal separation of the subject’s hair from the background. The background light is 

used normally.

Split Lighting

Split Lighting

Split lighting occurs when the key light illuminates only half the face. It is an ideal slimming light.

It can be used to narrow a wide face or nose.

It can also be used with a weak fill to hide facial irregularities.

For a highly dramatic effect, split lighting can be used with no fill.

Key Light.

In split lighting, the key light is moved farther to the side of the subject and lower than in other setups. In some cases, the key light is actually slightly behind the subject, depending on how far the subject is turned from the camera.

Other Lights. The fill light, hair light, and background light are used normally for split lighting.

Rembrandt Lighting

Rembrandt Lighting

Rembrandt lighting (also called 45-degree lighting) is characterized by a small, triangular highlight on the shadowed cheek of the subject. The lighting takes its name from the famous Dutch painter who used skylights to illuminate his subjects. This type of lighting is dramatic. It is most often used with male subjects, and is commonly paired with a weak fill light to accentuate the shadow-side highlight.

Key Light. The key light is moved lower and farther to the side than in loop and Paramount lighting. In fact, the key light almost comes from the subject’s side, depending on how far his head is turned from the camera.

Fill and Hair Lights. The fill light is used in the same manner as it is for loop lighting. The hair light, however, is often used a little closer to the subject for more brilliant highlights in the hair.

Background and Kicker Lights. The background light is in the standard position described above. With Rembrandt lighting, however, kickers are often used to delineate the sides of the face (particularly the shadow side) and to add brilliant highlights to the face and shoulders. When setting such lights, be careful not to allow them to shine directly into the camera lens. The best way to check this is to place your hand between the subject and the camera on the axis of the kicker. If your hand casts a shadow when it is placed in front of the lens, then the kicker is shining directly into the lens and should be adjusted.

Broad Lighting vs. Short Lighting

Broad Lighting vs. Short Lighting

These terms are often tossed around when talking about lighting patterns, but think of them more as a style rather than a pattern. Many of the patterns we’ll practice below can also either be broad or short, so it’s hard to define them as their own unique patterns. Nonetheless, you need to be able to recognize them.

Broad Light: With the subjects face angled so it is not facing the camera head on, broad lighting will occur when the light source is spread across the side of the face closest to the camera, making it illuminate the broadest part of the face visible to the camera.

Use this when you want to widen your subjects face or help tone down the appearance of wrinkles.

Short Light: Just the opposite. Again with the subject’s face angled, short light is what you get when the light source is illuminating the side of the face that is farthest from the camera, which will also happen to be the shortest half of the face visible to the camera. Short lighting is flattering for most faces because it produces a slimming effect.

广告摄影

广告摄影

五花八门的商品是很难用同一的技术和方法来处理的，每一类商品都有其特点，要拍摄好，必须仔细研究商品的外形、质地及用途，根据广告的创意要求，确定好拍摄器材，给出最佳的布光和构图，并在拍摄过程中进行严格的技术控制，才能取得完美的效果。

如果按物体对光线的作用性质来分类，那么所有的物体可分成三大类，这就是吸光物体、反光物体和透明物体。

在广告摄影中，掌握这三类物体的拍摄技巧是最为基本和重要的。

吸光物体

最常见的物体，像木制品、纺织品、纤维制品及大部分塑料制品等都属于吸光物体。吸光物体的最大特点是在光线投射下会形成完整的明暗层次，其中，最亮的高光部分显示了光源的颜色；明亮部分显示了物体本身的颜色和光源颜色对其的影响；亮部和暗部的交界部分，最能显示物体的表面纹理和质感；暗部则几乎没什么显示。

对吸光物体的布光较为灵活多样。表面粗糙的物体，如粗陶制品等，一般采用侧光照明来显示其表面质感。表面光滑的物体，如部分塑料制品和表面上过油漆的物体等，一般都有光泽，会反射少量定向光线，所以宜用大面积光源来照明，

反光物体

主要有银器、电镀制品和搪瓷制品等，它的最大特点是对光线有强烈的反射作用，它一般不会出现柔和的明暗过渡现象。

反光物体布光一般采用经过散射的大面积光源。布光的关键是把握好光源的外形和照明位置，反光物体的高光部分会像镜子一样反映出光源的形状。由于反光物体容易缺少丰富的明暗层次变化，所以，可将一些灰色或深黑色的反光板或吸光板放置在这类物体旁，让物体反射出这些色块，以增添物体的厚实感，改善表现效果。

对形状和体积特别复杂的反光物体，布光时需要采取复杂的措施，最常用的是“包围法布光”。“包围法布光”是指除了照相机镜头开孔之外，用一个亮棚将被摄物体包围起来，然后再在亮棚的外边进行布光。“包围法布光”所用的亮棚可以用白纸或白色织物做成，用透明的支架，如有机玻璃棒或尼龙绳等加以固定。用“包围法布光”时亮棚的设计布置是多样的，但有一点应明确，反光物体会像镜子一样毫不保留地将周围的一切反射回去，亮棚稍有缺陷，就会在被摄物体上显示出来。

透明物体

指各种玻璃制品和部分塑料器皿等，它的最大特点是能让光线穿透其内部。

拍摄透明物体时，表现物体的透明感并不困难，不管背景是深是浅，它总会透过去；但是，对于透明物体光亮感的表现，就要利用反射，使之产生强烈的“高光”反光，透明物体的形状则利用光的折射来达到预期效果。如果按常规给透明物体照明，如用45°侧光照明，拍摄的效果并不好，此时，大部分光线会透过物体，只有一小部分被反射，不管使用什么背景和色彩，透明物体只能隐约可见。对透明物体最好的表现手法是：在明亮的背景前，物体以黑色线条显现出来；或在深暗背景前，物体以浅色线条显现出来。

明亮背景黑线条的布光主要是利用照亮物体背景光线的折射效果。透明物体放在浅色背景前方足够的距离上，背景用一只聚光灯的圆形光来照明，光束不能照射到被摄物上，则背景反射的光线穿过透明物体，在物体的边缘通过折射形成黑色轮廓线条，线条的宽度正比于透明物体的厚度。改变光束的强度与直径可以得到不同的效果，光束的强度越强，直径越小，画面的反差就越强。画面的反差情况仅仅由聚光灯的强度与直径决定，是非常有利于拍摄时的控制。

暗背景亮线条的布光方法主要是利用光线在透明物体表面的反射现象。被摄体放在距深色背景较远的位置上，被摄体的后方放置两只散射光源，由两侧的侧逆光照明物体，使物体的边缘产生连续的反光。“暗背景亮线条”的布光特别有利于美化厚实的透明物体，但这种布光手法技术上不易掌握，需要不断调试才能达到预期的效果。此外，在运用这种布光时，一定要彻底清洁透明物体，任何灰尘或污迹都会毫不客气地被显现出来。

拍摄透明物体，还应注意曝光控制，使用“明亮背景黑线条”方法时，用测光表对明亮的背景测光，然后按测得的测光数值增加1级曝光，这样既能保证背景明亮，又能保证物体轮廓线是黑色的。使用“暗背景亮线条”方法时，曝光量的确定较为复杂，此时，可测量18％标准灰板，以这个测光数值曝光，亮部会曝光过度形成白线条，而暗部也能保留适当的层次。

广告摄影最常见的拍摄题材。但有经验的摄影师都承认，食品是最难拍摄的物品之一。

很多食品或菜肴在室内常温下放置一段时间后就会改变其色泽和质感，因此，摄影师必须在拍摄前做认真而细致的准备，待食品或菜肴烹调上桌后，在最短的时间内完成拍摄，才能保持其原始的色、

拍摄食品的布光较少使用直射的硬光，而是使用仍带有一定方向性的柔光。柔光的柔软程度视食品的表面状况而定，若食品的表面较为粗糙，一般应使用光性稍硬的柔光；若食品的表面光滑，则要使用光性极软的柔光，这样，食品的质感得到最佳表现。

布光时，要注意光照亮度是否均匀，对暗部要作适当补光，以免明暗反差过大。在需要用轮廓光勾画被摄体外形时，轮廓光也不宜太强，并要在泛光灯前加装蜂巢，以控制光域，不干扰主光。

在选择餐具时要注意餐具的形状、纹样及色调是否与食品谐调，要记住，食品是主，餐具是宾，绝不能喧宾夺主。

当今的食品摄影要求明亮、柔和的光线、浅景深、少的食物、少的光线。

用小刷子给食物或是蔬菜刷上食用油，食品在镜头下会显得特别鲜亮；

可以用喷壶将水与甘油的混合物喷在玻璃或瓶子上，喷洒形成的液态物与水珠相似；

没有做熟的食物从拍摄的效果来看会更好一些。

Optical aberrations 像差

Optical aberrations

An optical aberration is a departure of the performance of an optical system from the predictions of par axial optics.

In an imaging system, it occurs when light from one point of an object does not converge into (or does not diverge from) a single point after transmission through the system. Aberrations occur because the simple par axial theory is not a completely accurate model of the effect of an optical system on light, rather than due to flaws in the optical elements.

Aberration leads to blurring of the image produced by an image-forming optical system. Makers of optical instruments need to correct optical systems to compensate for aberration.

像差（英语：Optical aberration）是光學中，實際像與根據單透鏡理論確定的理想像的偏離。

這些偏離是折射作用造成的。

像差是由透鏡對色光的不同彎曲能力所致，並造成帶有色暈的像。

單色像差與是与色無關的像差，包括使畸變、像場彎曲等變形像差和面像、形像、散光等使像模糊的像差。

像差在照相機、望遠鏡和其他光學儀器中可以通過透鏡的組合減小到最低限度。面鏡也有與透鏡一樣的單色像差，沒有像差。

初階像差分為五種：球面像差、 彗形像差、 像散、 場曲、 畸變。

Aberration may refer to: 色差, 像差

Optical aberration, an imperfection in image formation by an optical system.

光学像差，在图像形成的光学系统的一个缺陷。

Spherical aberration, which occurs when light rays strike a lens or mirror near its edge.

球面像差，光线照射时，会发生一个透镜或反射镜的边缘附近。

Chromatic aberration, caused by differences in refractive index for different wavelengths of light.

色差，不同波长的光折射率的差异造成的。

Defocus aberration, which occurs when a system is out of focus.

离焦像差，它发生在一个系统离焦点。

Coma aberration which means "comet" in Latin, is similar to spherical aberration; it applies to rays entering the lens at an angle.

彗形像差，在拉丁语中的意思是“彗星”，是类似球面像差，它适用于光线进入镜头的角度。

Distortion is a deviation from rectilinear projection, a projection in which straight lines in a scene remain straight in an image. It is a form of optical aberration.

失真是一种偏离直线的投影，在一个场景中的直线的投影图像中的保持直。它是一种形式的光学像差

Focal length

Focal length

The focal length of a lens determines its angle of view, and thus also how much the subject will be magnified for a given photographic position.

Focus lens perspective

Perspective distortion takes two forms: extension distortion and compression distortion, also called wide-angle distortion and long-lens or telephoto distortion.

When talking about images with the same field size. Extension or wide-angle distortion can be seen in images shot from close using a wide-angle lens (with an angle of view wider than a normal lens).

Object close to the lens appears abnormally large relative to more distant objects, and distant objects appear abnormally small and hence more distant – distances are extended.

Compression, long-lens, or telephoto distortion can be seen in images shot from a distant using a long focus lens or the more common telephoto sub-type (with an angle of view narrower than a normal lens).

Distant objects look approximately the same size – closer objects are abnormally small, and more distant objects are abnormally large, and hence the viewer cannot discern relative distances between distant objects – distances are compressed.

人像摄影

人像摄影 Portrait Photography

一个人像摄影师所要完善的方面很多，但从技能上讲主要有五个方面：

1是对人物形体美姿的研究，简称为形。

2是对人物神态的把握，简称为神。

3是对光的理解与运用，简称为光。

4是对色彩与色调的运用与控制，简称为色。

5是研究构图给人们带来的视觉感受，简称为局。

形要求动。决定人物的形体与曲线的变化。就是说只有让人物形体动起来，才能表现出活力与曲线的美感。

神要求韵。决定人物的情态与意境。就是说一个摄影师对人物神态要把握到位。只有把人物情绪真实的表现出来，才能使作品感人。韵，是一幅人像作品的灵魂所在。

光要求影。决定作品的影调层次与立体感。就是说一个摄影师对光度、光位、光质、光型、光色等基本概念理解掌握后，要根据人物神韵的需要灵活运用光线，最终达到所要的影调效果。

色要求调。决定作品的格调与品味。色调是色彩的搭配与光线色温运用的产物。不同色调的作品会给人带来不同格调的视觉感受，同时也表达了人物不同的意境。.所以一个摄影师必须对色调深入的了解并能动性的运用。

局要求变。决定摄影师的构图角度与审美。就是说摄影师在构图时要灵活，要善于从多角度及不同构图形式进行变化。只有从多角度及不同的构图形式进行构图，才能有更多的摄影作品。构图的变化能体现出一个摄影师的审美观，一个摄影师有什么样的审美观，就会有什么样的作品问世。

What is Dynamic range tone ?

What is Dynamic range tone ?

Dynamic range in photography describes the ratio between the maximum and minimum measurable light intensities (white and black, respectively).

Tone影调

依照调子的不同，摄影作品主要分为三个类型，即高调、低调、中间调。

高调是以白到浅灰的影调层次占了画面的绝大部分，加上少量的深黑影调。高调作品给人以明朗、纯洁、轻快的感觉，但随着主题内容和环境变化，也会产生惨淡、空虚、悲哀的感觉。

人与背景保持一定距离，对背景用强于人物的光，以人物测光，背景曝光过度，形成亮调，但要记住，背景亮度不能太强过人物主体，否则高光溢出，画面灰雾度重。应以人物暗部曝光。

低调以深灰至黑的影调层次占了画面的绝大部分，少量的白色起着影调反差作用。低调作品形成凝重、庄严和刚毅的感觉，但在另一种环境下，它又会给人以黑暗、阴森、恐惧之感。

人物与背景距离拉开，尽量使用暗调背景，不对背景用光同时让人物的布光尽量不到达背景，以人物亮部测光。背景严重曝光不足形成暗调，即低调画面。

中间调以灰调为主，处于高调和低调之间，反差小，层次丰富，影像以白至浅灰、深灰至黑的影调层次构成。

中间调画面可分为两类：一类强调反差，画面上以黑白为主，去掉灰色的表现，给人以强烈的视觉印象；另一类注重灰色的表现，黑、白、灰各影调层次都能很好地反映，给人的印象是层次丰富，质感细腻。中间调作品是摄影中最常见的一种影调画面。

High Dynamic Range HDR

HDR 

High Dynamic Range photo is really just two (or three, or nine) photos taken at different exposure levels and then mashed together with software to create a better picture.

For my Nikon D600 setting

Press the BKT button at front body left hand side,

Set the no of shots (3 only) and compensation.

Custom setting menu e6

For my Nikon D800 setting

Press the BKT button on top body left hand side,

Set the no of shots (3-9) and compensation.

Custom setting menu e5

Use photmatrix to develop.

Type of photographer

Type of photographer

Portrait Photography

Architectural Photography

Wedding Photography

Event Photography

Fashion Photography

Macro Photography

Food Photography

Nude Photography

Still Life Photography

Street Photography

Commercial Photography

Aerial Photography

Black and white Photography

Underwater Photography

Time-lapse Photography

Digital photo editing work flow

Digital photo editing work flow

Transfer photo to computer and backup.

Review the photo and rating or reject and sorting.

Lens correction.

Cropping.

Global adjustment (exposure, highlight, shadow, white balance, saturation, contrast) etc.

Local adjustment (Selective area adjustment)

Fine tune (Sharpness, Noise remove spot etc.)

File save or export.

Photo editing software

Photo editing software

Photoshop CC 2015

Lightroom CC 2015

Capture One Pro 9

DxO Optics Pro 10

Nik Software Suite

Topaz labs

Portrait Professional Studio 

ArcSoft Portrait Plus 3

Nikon Capture NX

Canon's Digital Photo Professional (DPP)

Color space and color model

Color space and color model

A color model is an abstract mathematical model describing the way colors can be represented as tuples of numbers, typically as three or four values or color components.

A "color space" is a useful conceptual tool for understanding the color capabilities of a particular device or digital file. When trying to reproduce color on another device, color spaces can show whether you will be able to retain shadow/highlight detail, color saturation, and by how much either will be compromised.

Light and color

Light and color

Without light, there would be no color.

The Characteristics of Color:

Hue: Is any color on the color wheel.

Value: (also called brightness or luminosity)

Saturation: (also called Chrome)

Color theory

Tints are created when you add white to any hue on the color wheel.

Shades are created when only black is added to a hue.

Tones are created when you add both black and white to a hue. 

Chrome: how pure a hue is in a relation to grey.

Intensity: the brightness of a hue.

Luminescence: A measure of light reflected from a hue.

Additive & Subtractive Color

The additive model is based on mixing the light,

The subtractive model is based on mixing the pigments.

We work with the additive model (RGB) when preparing contents to be displayed on TV, internet, mobile or any light source.

When working for printing, we work with the subtractive model (CMYK).