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Camaras Digitales Online Las Ultimas novedades en Camaras digitales.

29ago/15Off

Beauty Dish

Cada fabricante de flashes profesionales de estudio dispone de una gama completa de accesorios para todas las posibilidades de contraste y amplitud de iluminación necesarias. Entre tantos accesorios hay uno que me gusta en particular y ese es el Beauty Dish o “plato de belleza”. Se trata de un plato con sección parabólica que como ya escribí en otro post, posee unas propiedades muy particulares en la distribución de la luz reflejada. Con este accesorio, realicé el test de moda de este post.

Isarrualde Photography off camera flash modelo Gemma Cadenas

Las fotos se hicieron en el Puerto Olímpico de Barcelona, en verano, al atardecer. Como se aprecia en la fotografía anterior, el sol estaba muy bajo y en contraluz. Primero realicé varias tomas sin flash para establecer como quería que se viese el fondo, en cuanto a nivel de exposición y profundidad de campo. Luego adapté la potencia del flash de modo de igualar la luz del flash a la de la escena con luz natural, en Ratio +1.
Cuando se trabaja en contraluz es inevitable que haya zonas sobre expuestas en la imagen resultante, sobretodo al encuadrar la foto con un fondo de cristal que reflejaba el sol. Lo que determinó la exposición final fue decidir hasta que punto quería que el cabello en el contorno estuviese quemado en la toma.

Isarrualde Photography off camera flash

El Beauty Dish es un accesorio de un diámetro mayor a otros reflectores más normales. Por otra parte, dispone de un pequeño plato que evita que los rayos de luz salgan directamente y obliga a que toda la luz rebote en su interior. Los interiores suelen ser de acabados en aluminio satinado con cierta rugosidad y también los hay de superficies blancas. Los blancos dan un resultado más suave, con un degradado menos evidente que cuando el fondo es plateado.
Beauty Dish  Beauty Dish

La luz que produce este accesorio está a medio camino entre la dureza de un flash directo con un reflector parabólico estrecho y la luz que produce una caja de luz. La luz es más dura e intensa en el centro y se va suavizando hacia los extremos, de ahí que hay que ajustar muy bien la dirección de este accesorio y lograr un mayor brillo en el rostro de la modelo, que se vaya degradando a medida que se expande desde el centro.

Beauty Dish  © Victor van Dijk

En el caso que nos ocupa no utilicé el Beauty Dish con un flash de estudio sino que utilicé la técnica Strobist, que consiste en utilizar flashes de reportaje en vez de flashes de estudio y lograr similares calidades de luz con flashes que son más económicos y portátiles. Como se aprecia en la imagen anterior, pueden colocarse dos flashes detrás del accesorio y hasta más. En otros posts ya expliqué las diversas posibilidades de accesorios que permite utilizar esta técnica.

Isarrualde Photography off camera flash Bowens Beauty Dish with Yongnuo 560

En kit que suelo utilizar consiste en dos flashes chinos Yongnuo 560, totalmente manuales, con un adaptador Phottix para accesorios de Bowens, más unas baterías Godox PB820 y los indispensables tranceptores de radio Pocket Wizard.

Isarrualde Photography off camera flash

Busqué un sitio en sombra pero con un fondo interesante. En los alrededores de la Torre Mapfre hay muchas fachadas de vidrio que reflejan el entorno a esa hora del día. Aprovechando los colores de la ropa de la modelo escogí un rincón que reflejaba los árboles circundantes y que el color del cielo estuviese entonado con los azules y celestes de la camiseta.

Isarrualde Photography off camera flash

Como en la fotografía anterior, en esta segunda fotografía evalué la luz ambiente ante de agregar el flash. El fondo me gustaba mucho pero al rostro de la modelo le faltaba brillo. Sus bonitos ojos verdes quedaban muy poco iluminados y el flash resolvió el problema. En este caso coloqué una funda blanca traslúcida delante de la parábola para disminuir el contraste y lograr un brillo algo más disperso que en la fotografía anterior.

Isarrualde Photography off camera flash

El sol iba cayendo y tuve que improvisar con rapidez. El siguiente cambio de ropa tenía unos colores que había visto en el hall de un edificio cercano. Nos trasladamos allí y realicé la siguiente foto sin luz ambiente ya que era muy escasa en la entrada del edificio. Un simple golpe de flash resolvió la foto. Eso si, con un Beauty Dish directo, frontal.

Isarrualde Photography off camera flash

Por el resultado obtenido no parece que la fotografía se hubiese realizado casi de noche, pero como se aprecia en la imagen siguiente, la hice en esas circunstancias. Fue necesario utilizar trípode y una velocidad de obturación algo baja, para poder recuperar algo de la luz artificial que se situaba detrás de la fachada de vidrio esmerilado martillado.

Isarrualde Photography off camera flash

Cuando hice las últimas fotografías la luz natural era muy escasa. Coloqué dos flashes casi cruzados y fui bajando la velocidad hasta lograr la relación de ratios de iluminación que más me gustase.

Isarrualde Photography off camera flash

Como en el ejemplo anterior, en las imágenes resultantes no se aprecia que se han realizado casi a la noche. Lo que me gusta de la técnica Strobist es que este test de moda se realizó con un equipo muy sencillo, liviano, de fácil portabilidad y relativamente barato en relación a los flashes de estudio.

Isarrualde Photography off camera flash

En la última foto podemos ver que ya era casi de noche.

Isarrualde Photography off camera flash

La luz ambiente comenzaba a ser la de las farolas de vapor de sodio o mercurio, del alumbrado público. En este caso, la ropa era muy oscura pero contrastaba muy bien con la pared de madera escogida como fondo. Como se aprecia en la imagen anterior, utilicé un Beauty Dish como luz principal – aquella que le da carácter al retrato – complementada por una luz de efecto lateral dura producida por un flash sin accesorios, situado muy lejos. El flash de efecto permitió no solo perfilar el rostro de la modelo, sino también disminuir el contraste de la sombra del cuerpo en la pared.

Isarrualde Photography off camera flash

Debo destacar que quedé muy contento con los resultados, no solo por profesionalidad de una excelente modelo como lo es Gemma, sino también por la inestimable colaboración de la maquilladora María Isabel Martínez.

Isarrualde Photography off camera flash

Esquema de iluminación  Esquema de iluminación

Esquema de iluminación  Esquema de iluminación

Esquema de iluminación  Esquema de iluminación

Beauty Dish.pdf

Reservados todos los derechos. © Isarrualde Photography
Prohibida toda reproducción parcial o total sin el consentimiento escrito del autor.


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The Iconic Holga Toy Camera Is Being Reborn In Digital

Digital Holga Camera

My experience with Holga cameras goes like that of many other people. I had one in college and I loved it. I used it to shoot a lot of crummy photos and some good ones, but I had a great time shooting with the thing. With dark rooms harder and harder to come by, the Holga has fallen out of fashion, but now they're turning to Kickstarter to bring it back in digital form.

The campaign hasn't been live for long, and it's already closing in on its funding goal. In fact, it might already be funded by the time you read this. They're only trying to raise roughly $38,000 to get things rolling. The camera itself looks a lot like the familiar film version with its boxy shape and classic badge. Since the body is now filled with delicate electronics, I'm hoping the case is built more securely so it won't need to be wrapped in tape like many of the old ones to keep light out.

The lens on the front of the camera is made of glass and has two aperture options: F/2.8 and F/8. They are, however, offering adapters so you can use other old Holga lenses on the new digital camera. You can shoot images in either 4:3 aspect ratio or 1:1 square images, similar to the adaptable aspect ratio of the original. Whats not mentioned on the Kickstarter page, however, is the size or spec on the sensor. One of the original appeals of the Holga was that it shot on medium format film, so even though the camera was relatively lo-fi, you were able to make big prints from the large negatives. It seems fair to assume, however, that there will be a relatively small sensor inside of this camera, so it will probably be perfect for Instagram and not so hot when it comes to enlargements.

Digital Holga Camera

You can back the Kickstarter now, and it will cost you anywhere between $75 and $90 depending on how early you get in on the pre-order. I backed the project almost purely based on nostalgia and will be giving the camera to my daughter. I think she'll enjoy the interesting effects produced by the quirky lens and the overall simple operation of the thing.

Ultimately, it will be interesting to see if people are interested in this kind of digital product with smartphone cameras making it so easy to take crummy pictures on the go if that's your goal. One thing the Holga has going for it, though, is that there's no screen on the back, which means it emulates that old mystical experience of not seeing pictures until you're done shooting. Of course, you can use a wifi-equipped SD card to cheat the images onto your smartphone.

See the Kickstarter page here


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Reto Semanal 124: Plaza

Hoy te reto a capturar la plaza de tu pueblo, ciudad o lugar de vacaciones. ¿Te animas a mostrarnos sus secretos? ¿Cómo Funciona? (Recordatorio) Cada semana propondré un nuevo reto, se trata de un tema que tendréis que plasmar en una fotografía y subirla a la página de Facebook del blog poniendo en la descripción la palabra […]

Este artículo aparece publicado originalmente Reto Semanal 124: Plaza en Blog del Fotógrafo.


28ago/15Off

Peak Design Releasing Lens Changing System to Kickstarter Backers First

I’ve changed lenses hundreds—maybe even thousands—of times in my life and doing it on the fly still feels pretty awkward. The new products from Peak Design were created to alleviate that problem, and they’re offering them exclusively to backers of their latest Kickstarter Project.

The CaptureLENS and Lens Kit systems are basically double sided lens mounts that attach to Peak Design’s straps and clips. One side holds your extra lens, while the other side is open. That way, when you take the lens off of your camera, you have a secure place to put it.

The CaptureLENS is attached to a Capture Clip, so you can attach it to a backpack strap or a belt or whatever else you have. The Lens Kit doesn’t come with the clip, so it’s cheaper and easy to integrate if you’re already a Capture Clip user.

For right now, you can only order the kits by adding onto a pledge to their Kickstarter for the Everyday Messenger camera bag. The Lens Kit is $40 and the CaptureLENS is $80. You can wait until 2016 to order either one, but the price will likely go up by roughly $10 or more.

You can get them in Canon, Nikon, and Sony E mounts.

It’s a clever idea and one that addresses a very annoying problem, so I’m interested in trying it out. A part of me is a little concerned about having my extra lens dangling on the outside of my bag with just a mount to hold it, but I’ve always found the Capture Clip to be very solid, so I’d likely get over it.


27ago/15Off

Photo Workshop: Miami Lighting

Event date:
  • February 19th, 2016 at 10:00am to February 21st, 2016 at 1:00pm

27ago/15Off

Instagram No Longer Requires Square Photos, Allows Portrait and Landscape Orientation

Instagram Allows Portrait and Landscape Photos

Instagram has caused a pretty substantial rejuvenation of the square image format that was, for a long time, strongly associated with Hasselblad film cameras. People found ways around the forced square format like adding padding to their images or even using special apps to circumvent the shape. Now, however, Instagram has lifted the square-only rule and now allows photos and videos in both portrait and landscape orientations.

Here’s the quote from the Official announcement: “Square format has been and always will be part of who we are. That said, the visual story you’re trying to tell should always come first, and we want to make it simple and fun for you to share moments just the way you want to.”

In addition to the change, you can now also apply all filters to all types of media, so the same filters work for both video and photos. You can also adjust the intensity of the filters on videos.

This is perhaps the biggest change to come to Instagram since it became the massive photo sharing behemoth it currently is.

So far, the announcement hasn’t been live long, but the reaction from users seems overall very positive. There’s a sense of “finally!” that seems to emanate from comment sections discussing the topic.

Personally, I think this is a positive change for Instagram. I know many photographers use the platform for sharing their work and connecting with fans and other creative people, but don’t like the idea of cropping images in a sometimes unnatural way. Now, that’s no longer an issue.

Surely there are some Instagram purists who will decry the change, claiming that the square format was an inherent part of the service’s charm and aesthetic. While that may be true for some, I think the overall increase in appeal for photography enthusiasts will be a net positive.

If you’re an Instagram hater, is this enough to get you to try it out?


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Usain Bolt Wins Race, Gets Smashed By Cameraman on Scooter

As a photographer, I understand the drive to get the best possible shot. As a reasonable person, however, I get annoyed when I see photographers (and videographers) doing ill-advised things to get those shots. Recently, perhaps the best runner in the world was nearly taken out by a wobbly camera man on a Segway.

Usain Bolt won the 200-meter final at the World Track and Field Championships in Beijing. Then, during his victory celebration, a camera man, who was following Bolt very closely, bailed off of his Segway-like scooter and sent it barreling into the runner’s legs. Luckily, Bolt was able to spring right back up, uninjured, but it was a very scary moment.

Even though this was a videographer, I have seen plenty of still photographers putting themselves in risky positions like this. I’ve seen wedding photographers pop out in the aisle in front of a couple and sports photographers standing on the course during a world up mountain bike race in order to get a shot. And while getting the best photo is important, it should always be safety first.


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¿Conoces el Factor de Conversión de tu Cámara Réflex? Aquí Te Lo Explicamos

Desde Blog del Fotógrafo queremos hacerte la vida (fotográficamente hablando) más fácil. Ese es el objetivo de cada uno de los artículos que escribimos. Por eso voy a dedicar la entrada de hoy a contarte de qué va eso del factor de recorte o factor de conversión del que seguro que has oído hablar o […]

Este artículo aparece publicado originalmente ¿Conoces el Factor de Conversión de tu Cámara Réflex? Aquí Te Lo Explicamos en Blog del Fotógrafo.


27ago/15Off

Canon Bringing the EOS M3 Mirrorless Camera to the US This Fall

Canon EOS M Mirrorless Camera

If Canon’s EOS M3 mirrorless camera looks familiar, it’s because it has been available overseas for the better part of half a year. Now, however, Canon has announced that the M3 will be making its way stateside in October.

The M3 is the follow-up to the M2, which actually never officially made it to the United States. It has a 24.2-megapixel APS-C sensor paired with a DIGIC 6 image processor, as well as a 49-poing Hybrid AF system, which Canon says is 6.1x faster than the original M. AF was kind of a sore point for the original, so that’s a welcome improvement.

Canon EOS M Mirrorless Camera

The back of the camera is equipped with a 3-inch tilting touchscreen with 1,040,000 dots of resolution. That’s the primary way for composing images unless you opt for the electronic viewfinder, which is an optional accessory that mounts to the shoe. The front of the camera has an enhanced grip, which makes the camera a fair bit more ergonomic than the original M.

Canon EOS M Mirrorless Camera

I will be very interested to see how this camera is received here in the US. The body-only will cost $679, while the kit with the 18-55mm IS kit lens will be $799. There’s also a two-lens kit that includes a 55-200mm IS STM zoom lens, pushing the price to $1,049.


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New Gear: Canon’s New 35mm F/1.4L II USM Lens Has New Optical Technology

Canon 35mm F/1.4L USM II Prime Lens

There are lots of fancy types of glass elements companies can stick inside their lenses to improve optical performance. Today, joining the ranks of the aspherical and super-low dispersion elements are Canon’s new Blue Spectrum Refractive Optics elements, which make their first appearance in the 35mm F/1.4L II USM.

According to Canon, the new elements are composed of a “new organic optical material with unique anomalous dispersion characteristics.” The BR optics refract blue light to a greater degree than other types of elements, which they claim does an unmatched job when it comes to stopping chromatic aberration.

Simply put, Canon claims that their new lens element technology can pretty much put an end to the ugly purple and green fringing that you sometimes see in very high-contrast areas of your photos.

The new lens as 14 elements in 11 groups, some of which should be familiar like UD, Super UD, and Fluorite. It focuses down to roughly 11-inches, which is very solid for a lens at this focal length, and it also has Canon’s Sub-Wavelength Structure Coating to help combat ghosting and flare.

The outside of the lens has gotten a bit of a redesign as well, increasing the weather-proofing, including a fluorine coating on the front and rear elements to combat moisture and finger prints.

All that new technology, however, comes with a serious price tag of $1,799. That’s an increase from the previous version and more than three times the price of their 35mm F/2 IS.

It’s clear that Canon is working on squeezing every last bit of image quality out of this lens so it can take advantage of all the resolution offered from high-megapixel cameras like their new EOS 5Ds. We’re very interested to see how the new lens performs both in the field and in the lab, especially when compared to the popular Sigma 35mm F/1.4 Art.


26ago/15Off

Tips From a Pro: An Introduction to Microscopic Photography

Michael Peres loves photographing the tiny details of our natural world. A professor of biomedical photographic communications at Rochester Institute of Technology, Peres specializes in capturing these intricate details by photographing with a microscope. Here, he explains how he does it.

I became interested in taking pictures of tiny things over 40 years ago while I was studying pre-med in college. I was exposed to this fascinating and invisible world while learning how to delineate muscle tissue from connective tissue using a light microscope. I was drawn into each new subject that I was asked to study and it still amazes me how things are organized. I love photographing snowflakes, flowers and other natural objects. I started sharing my work on Instagram in March 2014 and have been fascinated by the worldwide followers who are drawn to my images.

Finding A Subject

Finding a good subject starts with staying curious about the world. I find it is really important to be open-minded about potential samples. The other day, on a walk with my dog, he came home loaded with burrs. After removing as many as I could, I decided to examine one under the microscope. It was just a weed, but under the microscope it became elegant and complex.

Hepatica

Michael Peres

A hepatica flower and fiber optic lights were used for the illumination. The photomicrograph includes the flowers stamen and pistil and is approximately three times magnified in this picture.

Locating and handling small objects is a big part of the process’s success. Damaged samples or those with artifacts will have a different visual presentation than excellent samples and it’s important not to let the damage become the focus of the photography. Finding a sample without blemishes is the first priority for the type of pictures I want to make. That is not to say that the subjects of my photography are perfect—they are not.

There are two different things that I am thinking about when I prepare a sample to photograph—dissection and isolation, which of these takes precedent depends on the subject and its magnification. When photographing flowers, I typically use dissection scissors to remove petals to improve visibility of its structural elements. When I photograph aquatic organisms, I try to isolate them in a drop of water under a cover glass. Less is always more in this case. Each subject brings unique problems and require different methods to make the sample small enough, flat enough, or thin enough to photograph.

I also purchase prepared biological slides such as cross sections of plants or animal tissue—it is very difficult to prepare these types of slides without precision equipment. Wards Natural Science and Carolina Biological Supply Company sell thousands of subjects that are prepared for microscopic examination.

Gear

When shooting microscopic images my crucial pieces of gear are microscopes, a fiber optic light, a DSLR camera body, a macro lens, extension tubes, bellows and a tripod. When I’m photographing snowflakes, flowers or other subjects found in nature I’m often in my garage and I keep a ready supply of clean microscope slides and a piece of black velvet fabric for use as a background. I also have many needles, tiny brushes, and cotton tipped sticks that I use these for moving the samples and tidying up the area around them.

I typically use a compound light microscope for my photography. Light microscopes are quite common and easy to find. They can be expensive or relatively cheap, a student microscope might cost as little as $250 while a high-end research grade microscope might cost $200,000. A fairly good low-end research grade used microscope can be found for $5000.

A compound microscope


Microscopes magnify subjects using two lenses. The first stage of magnification is produced by the objective lens and the second stage of magnification is the eyepiece. An objective lens has a focal length just like traditional photographic lenses that are used on a DSLR camera. Working distances are very small for this type of photography—a typical range of objective magnifications for a light microscope might include a 2x, 4x, 10x, 20x, 40, 60x or 100x. I pick my lens on the microscope based on the sample’s magnification requirements. Magnification influences the image’s depth of field, so a big thick sample (.5cm) benefit from low magnification, while very flat subjects need more magnification.

When using a light microscope it is possible to make pictures using a smartphone or a fixed lens camera and is a great starting point. With these cameras the lens should be placed at the eye point of the microscope, which can be located by holding a piece of paper approximately 1 cm from the eyepiece of the microscope. A very small dot of light will be visible on the paper, this is the eye point and where the lens should be directed. A small tripod can be helpful to hold the camera in place. Gaffer’s tape is often my best friend as a technical photographer because it lets me secure the phone of other elements of the system during my shoots.

Although using a smartphone or fixed lens camera works, I like to use a Nikon D300s or a D800 with the lens removed and the body hung over the microscope’s eyepiece using a vertical copy stand or tripod. I also use extensions tubes or bellows on my camera to manage the ambient light—which can create flare and lower contrast. With a DSLR you need to align the camera’s sensor over the small dot of light from the eye point. To make a microscopic image I will align the sensor of my camera over the eyepiece at a distance where the circle of illumination produced by the microscope is large enough to cover the sensor without seeing the circle. Confirm that the light point has covered the sensor by checking the camera’s LCD screen. Be cautious when setting up though: it is very important to be aware of the distance between the eyepiece and the unprotected sensor.

Michael Peres' photo studio inside his garage

Lighting Your Subject

I primarily use the microscope’s built in light and supplement it with fiber-optic lighting. When I look at a sample for the first time, I envision what I want the image to look like and work to get there. I make many tiny adjustments to the light’s position, which makes a large difference in the results. Some of the subjects I am photographing might be one or two millimeters in size, or smaller. How much fill light is needed or what makes the light’s angle just right are the decisions that I make before shooting. My strategy is based largely on how the light is working with the sample itself. The three styles of lighting I use most regularly are Kohler, Darkfield and Polarized.

Kohler Lighting: 

When I photograph a prepared “thin-section,” like the Loligo Squidlet, I am trying to create a neutral and uniform back lighting called Kohler illumination. This style of lighting allows the microscopist to maximize the contrast and resolution in the image and the production of uniform and even lighting behind the sample. I continue to use it because it creates portrait-like treatments of the things I photograph.

Squidlet

Michael Peres

This photomicrograph is of a squidlet, an immature squid from the species Loligo. It is magnified approximately eight times in this picture. This type of a sample is called a whole mount and was a prepared slide that I purchased. The immature squid on the slide was approximately 1mm.

Darkfield: I will also use darkfield, which makes an object glow against a black background, creating an astronomical type look. Darkfield lighting comes from behind a transparent subject and is shined through the sample at oblique angles. This style of lighting produces a very dramatic look, the downside is that everything will be lit when using darkfield including the things you do not want to have lit—like dirt, scratches or air bubbles.

Developing Bone

Michael Peres

This picture was made from a slide that included developing human bone. It was photographed using darkfield illumination. The photomicrograph shows maturing bone cells and spongy bone and is magnified approximately 75 times.

Polarized: I use polarized light when I am photographing samples that exhibit birefringence, which is a technical term that describes how a sample may or may not “show” rainbow-like-colors when placed into a polarized light microscope. Samples that include hairs, fibers, chemicals, minerals, some insect wings, and many synthetic objects will look as though they are made of rainbows when examined using polarized light. Polarized light is used to reveal internal information in these samples that otherwise may not be visible.

Prescription Pill

Michael Peres

This picture is of the Merck® medicine foradil that is prescribed for asthma. The photomicrograph was made using polarized light and reveals the crystals that were formed as the chemical evaporated and dried after a solid pill was dissolved in hot water. This photograph also contains the edge of the cover glass that I used in the preparation that is .15mm thick. The colors represent different components of the chemical. The picture is magnified approximately 15 times.

Focusing


To focus the magnified image with my DSLR I remove the camera’s lens and project the image directly into the DSLR’s camera body. The microscope focus controls are then used to focus the image in the camera’s viewfinder. Making a crisp image can be challenging. The DSLR’s viewfinder does not pick up the same amount of fine detail that the microscope can create, so things often look a little rougher in the viewfinder then they end up looking in the RAW files. It takes some practice to be able to predict how the image will appear once it is recorded.
 
It is also possible to focus using live view. In a dimly lit room, this can be very helpful for observing critical image definition within a sample. If you are using a smartphone that has been carefully positioned over the eyepiece, you will still want to focus the image displayed on the phone’s display by manipulating the microscope’s focus knob. 


Processing

One of the biggest challenges in this type of work is creating contrast and structural delineation of internal parts and I try and do the hard work during the shoots. When I am photographing, I work slowly to inch my way towards making an interesting result using lenses and light.

I am very cautious about too much image processing. In post-processing I am most interested in tone management, setting white or black points and removing irrelevant dirt. I shoot RAW, open the RAW file in Photoshop and then I preprocess the structural details that are present in the file, but often not very visible. I also perform a minor amount of clarifying or sharpening at this stage. After making minor tone changes in Photoshop, I will sharpen the file using the high band pass filter. 


I think it is important for the images to not be totally flawless. Nothing is perfect in life and I think if the images are too perfect they might seem computer generated. My goal for this work is to make scientific photographs that operate in non-scientific environments and enable people to learn something new about the world they live in. My pictures feature real things and life also has blemishes and areas that are out of focus.


26ago/15Off

Mecánica Industrial

Dos de mis tíos han trabajado en fábricas de automóviles y tres de mis primos han estudiado mecánica industrial por unos años. Si bien mi vocación estuvo lejos de allí, siempre me han gustado las herramientas y las máquinas. La sistematización industrial automática basada en la electricidad, la electrónica, la hidráulica y la neumática han producido máquinas fascinantes que me recuerdan la película futurista Metrópolis de Fritz Lang, obra maestra que quizás haya influido en Tiempos Modernos de Chaplin.

Isarrualde off camera flash  modelo Belén Cuello / Valentino Bookings

La idea de realizar una clase de Moda en el taller de Mecánica Industrial de la Escuela Don Bosco de Montevideo surgió porque un tiempo atrás había realizado otra clase en ese centro de enseñanza y me gustó mucho esa atmósfera de otros tiempos que tiene el edificio. Como decía antes, algo me recordó a Metrópolis por lo que las primeras poses fueron un guiño al personaje del robot que usurpa la figura de María, la heroína del film.

Maria_from_the_film_Metropolis_on_display_at_the_Robot_Hall_of_Fame Maria en el Robot Hall of Fame

La ropa quizás ayudó a que me formase esa idea y optamos por un maquillaje muy marcado, algo parecido a como se maquillaba en los tiempos de la película, con contornos de ojo muy delineados.

Metropolis  María en Metropolis

La luz ambiente era escasa al trabajar a 200 ISO por lo que tuve que utilizar un diafragma f4 y una velocidad de obturación muy lenta.  Podría haber subido el ISO pero la modelo era muy profesional y supo no moverse durante cada disparo. El foco fue muy crítico ya que no suelo trabajar a un diafragma más abierto que f 5,6 en temas de Moda, pero en esta localización no quise que la profundidad de campo fuese muy grande.

Bowens softlite  Softlite de Bowens

Un Beauty Dish de Bowens como luz principal produjo un degradado intenso donde la luz se va perdiendo a medida que llega a las manos. Como el ambiente era bastante oscuro y el contraste alto, coloqué un difusor circular de Lastolite para aumentar algo la superficie de iluminación principal y de este modo disminuir un poco el contraste general en el cuerpo de la modelo. Las dos luces de efecto que coloqué en semi contraluz oblicuo tenían ventanas Wafer 60 y estaban a un valor + 1 EV sobre la luz principal del Beauty Dish. De este modo el perfilado en el pelo, brazos y ropa oscura destacaba y separaba a la modelo del fondo.

Wafer softbox  Caja de luz Wafer

Como ya expliqué en otro post, las cajas de luz de Wafer son de muy alta calidad por su gran difusión, en relación a otras ventanas.

Isarrualde Photography off camera flash

La segunda toma era más complicada ya que la chaqueta era de terciopelo negro con solapas muy brillantes. La fotografía de Moda, más allá de sus intenciones de  impacto visual, debe enseñar la ropa y entenderse como es. La opacidad del terciopelo y el brillo del satén contrastan la prenda y tuve que cambiar el esquema de iluminación.

En esta toma quise que el ambiente se viese más, a la vez que debía resaltar los brillos de la prenda. Utilicé una ventana frontal para “espejar” los brillos del satén y lograr un rostro con menos contraste, más suave. Por otra parte dirigí uno de los flashes hacia el techo blanco para lograr un rebote de la luz en una superficie amplia y destacar algo más el ambiente. Un tercer flash por la derecha iluminó una de las máquinas de fresar.

Isarrualde Photography off camera flash

La tercer prenda también tenía su dificultad. Como se puede apreciar la colección era en torno al color negro brillante y aquí había que resaltar los pliegues de la blusa. Por otra parte la falda era corta y las piernas muy largas y bonitas. La luz en este caso fue cruzada para resaltar la prenda y dar volumen a las piernas. Utilicé dos cajas de luz Wafer de Bowens como luz principal y el Beauty Dish frontal con el difusor Lastolite solo actuó como luz de relleno, o secundaria, para disminuir el contraste en las sombras.

Lastolite diffuser  Difusor Lastolite con soporte LL LA1104

La pizarra que casualmente estaba ilustrada con dibujos de clase era un buen elemento para cerrar la perspectiva y hacer algo distinto a las dos tomas anteriores. En este caso la coloqué frontal a la cámara para evitar que se produjesen brillos sobre ella. El el plano era mas abierto que los anteriores, por lo que me animé a disparar a f 2,8 con una distancia focal de 46 mm.

En esta toma el calzado y la estilización de las piernas eran muy importantes y la modelo posó de maravilla. Su calzado era adecuado, me gustó mucho, pero no pude olvidar la inspiración inicial en la ciencia ficción de Metrópolis y recordé los tacones en forma de cono que Nicholas Ghesquière diseñó para Balenciaga en la colección Primavera 2009. Hubiesen quedado muy bien, en este ambiente tan mecánico y tan industrial.

alenciaga Constellation Cone Heels  Balenciaga Constellation Cone Heels

Esquema de iluminación  
Esquema de iluminación  
Esquema de iluminación  

Reservados todos los derechos. © Isarrualde Photography

Prohibida toda reproducción parcial o total sin el consentimiento escrito del autor.


25ago/15Off

Consigue Panorámicas Diferentes Gracias a Este Truco, Extremadamente Sencillo (Increíbles Fotografías de Ejemplos)

Antes de la era digital, la fotografía panorámica estaba reservada a unos pocos apasionados con cámaras específicas para trabajar en este formato. A día de hoy, cualquiera con una cámara digital y acceso a un ordenador o incluso cualquiera con un Smartphone, es capaz de realizar fotografías panorámicas de forma sencilla y rápida. Puede que […]

Este artículo aparece publicado originalmente Consigue Panorámicas Diferentes Gracias a Este Truco, Extremadamente Sencillo (Increíbles Fotografías de Ejemplos) en Blog del Fotógrafo.


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New Gear: Lomography’s Lomo’Instant Montenegro Camera

Leather jacket weather is just around the corner and to celebrate the change of seasons Lomography has released a classy new black leather wrapped Lomo’Instant camera.

The Lomo’Instant Montenegro has the standard 27mm built in lens and comes with three additional options (the 170° Fisheye, the 35mm Portrait and the 10-15cm Close-Up). It also come with Lomography’s Splitzer and a variety of color flash gels. The new leather-wrapped version of this popular camera will retail for $179.


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New Gear: Olympus OM-D E M10 Mark II Camera

The OM-D line from Olympus has been a super popular option for a while and now their entry-level camera is getting an upgrade.

The OM-D E M10 Mark II remains small and sleek and has the the classy retro design that the OM-D line is known for, but has some substantial ergonomic improvements and in-body 5-axis image stabilization that is found in the E-M5 and the E-M1. The OM-D E-M5 II has a 16-MP Live MOS sensor and a TruePic VII image processor to aid in its ability to capture sharp images in low light shooting situations. Design wise Olympus has reconfigured the camera’s body to make it more comfortable for shooting. It keeps that retro style, but the metal dials have slightly different textures to make it easy operate while looking through the 2.36M dot OLED EVF.

It can shoot sequentially at 8.5 fps, the camera’s touch screen can be used as an AF target pad and there are a handful of new creative shooting features: 14 art filters, Live Composite mode, which can now be controlled remotely through the OI.Share app, 4K Time-Lapse, Focus Bracketing and Keystone Compensation.

The camera comes in black or silver, will be available in September for $649.99 (body only) or $799.99 and paired with the M.Zuiko Digital ED 14-42 f/3.5-5.6 EZ lens.


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Enter Our August Photo Contests

Summer is starting to wrap up, but before the leaves start changing, you have one more chance to show off your summer photos in this month's Photo contests.

Our Photo Challenge is searching for your best beach photos, so grab your camera and head toward the sea to capture what you can capture. Shore birds are a great subject, but portraits and landscapes are pretty great as well.

And, as always, you can enter our open competition, the Your Best Shot contest. There are no category restrictions, so just bring your most creative work.


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Lindsay Adler’s Five Tips For Helping a Portrait Subject Relax

One of the most common questions we get about portrait photography is how to help the subjects relax. It takes a special kind of person to really enjoy being on the business end of a camera lens, and they can be few and far between. In this video from Creative Live, Lindsay Adler shares some helpful tips for making your subject less nervous.

A lot of this information comes from tons and tons of experience. Being able to read the cues that your subject offers is of really high importance.

Do you have any special tips or tricks you use in order to make your portrait sessions go more smoothly?


24ago/15Off

Lindsay Adler’s Five Tips For Helping a Portrait Subject Relax

One of the most common questions we get about portrait photography is how to help the subjects relax. It takes a special kind of person to really enjoy being on the business end of a camera lens, and they can be few and far between. In this video from Creative Live, Lindsay Adler shares some helpful tips for making your subject less nervous.

A lot of this information comes from tons and tons of experience. Being able to read the cues that your subject offers is of really high importance.

Do you have any special tips or tricks you use in order to make your portrait sessions go more smoothly?


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