电影 : 云图 (Cloud Atlas)

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◎译  名  云图
◎片  名  Cloud Atlas
◎年  代 2012
◎国  家 美国/德国/中国香港/新加坡
◎类  别 剧情/悬疑/科幻
◎IMDB评分 8.2/10 from 32,880 users
◎导  演 汤姆·提克威 Tom Tykwer
安迪·沃卓斯基 Andy Wachowski
拉娜·沃卓斯基 Lana Wachowski
◎主  演 汤姆·汉克斯 Tom Hanks  ….Dr. Henry Goose / Hotel Manager / Isaac Sachs / Dermot Hoggins / Cavendish Look-a-Like Actor / Zachry
哈莉·贝瑞 Halle Berry  ….Native Woman / Jocasta Ayrs / Luisa Rey / Indian Party Guest / Ovid / Meronym
裴斗娜 Du-na Bae  ….Tilda / Megan’s Mom / Mexican Woman / Sonmi-451 / Sonmi-351 / Sonmi Prostitute
吉姆·斯特吉斯 Jim Sturgess  ….Adam Ewing / Poor Hotel Guest / Megan’s Dad / Highlander / Hae-Joo Chang / Adam / Zachry Brother-in-Law
雨果·维文 Hugo Weaving  ….Haskell Moore / Tadeusz Kesselring / Bill Smoke / Nurse Noakes / Boardman Mephi / Old Georgie
吉姆·布劳德本特 Jim Broadbent  ….Captain Molyneux / Vyvyan Ayrs / Timothy Cavendish / Korean Musician / Prescient 2
本·威士肖 Ben Whishaw  ….Cabin Boy / Robert Frobisher / Store Clerk / Georgette / Tribesman
凯斯·大卫 Keith David  ….Kupaka / Joe Napier / An-kor Apis / Prescient
詹姆斯·达西 James D’Arcy  ….Young Rufus Sixsmith / Old Rufus Sixsmith / Nurse James / Archivist
周迅 Xun Zhou  ….Talbot / Hotel Manager / Yoona-939 / Rose
大卫·吉亚斯 David Gyasi  ….Autua / Lester Rey / Duophsyte
苏珊·萨兰登 Susan Sarandon  ….Madame Horrox / Older Ursula / Yusouf Suleiman / Abbess
休·格兰特 Hugh Grant  ….Rev. Giles Horrox / Hotel Heavy / Lloyd Hooks / Denholme Cavendish / Seer Rhee / Kona Chief
大卫·詹森 David Jensen ….Super
Robert Fyfe  ….Old Salty Dog / Mr. Meeks / Prescient 1
马丁·乌特克 Martin Wuttke  ….Mr. Boerhaave / Guard / Leary the Healer
Robin Morrissey  ….Young Cavendish
Brody Nicholas Lee  ….Javier Gomez / Jonas / Zachry’s Older Nephew
阿曼达·沃克尔 Amanda Walker  ….Veronica
Ralph Riach  ….Ernie
Andrew Havill  ….Mr. Hotchkiss
Tanja de Wendt  ….Mrs. Hotchkiss
Raevan Lee Hanan  ….Little Girl with Orison at Papa Song’s / Catkin / Zachry Relative
戈兹·奥托 Götz Otto  ….Groundsman Withers
Niall Greig Fulton  ….Haskell Moore’s Dinner Guest 2 / Mozza Hoggins
Louis Dempsey  ….Haskell Moore’s Dinner Guest 3 / Jarvis Hoggins
Martin Docherty  ….Haskell Moore’s Dinner Guest 4 / Eddie Hoggins
Alistair Petrie  ….Haskell Moore’s Dinner Guest 1 / Musician / Felix Finch / Lascivious Businessman
朱珠 Zhu Zhu  ….Megan Sixsmith / 12th Star Clone
斯薇斯特·L·唐兹尔 Sylvestra Le Touzel  ….Haskell Moore’s Dinner Guest 5 / Nurse Judd / Aide in       Jojo Schöning  ….Papa Song Punk
Laura Vietzen  ….Young Ursula
Thomas Kügel  ….Ursula’s Father
◎简  介
本片是根据英国作家大卫·米切尔(David Mitchell)的同名小说改编而成的史诗科幻巨作,由《黑客帝国》导演沃卓斯基姐弟(原沃卓斯基兄弟)联手《罗拉快跑》导演汤姆·提克威共同拍摄而成。主演更是阵容强大:包括奥斯卡影帝汤姆·汉克斯、影后哈莉·贝瑞, 雨果·维文、休·格兰特、本·威士肖、周迅、裴斗娜、苏珊·萨兰登、詹姆斯·达西等。投资超过一亿美元,由“钻石级幕后团队”所打造,制作团队中累计有67个奥斯卡奖提名。
《云图》是大卫·米切尔的第三部小说。它的故事分为成六个部分,分别发生于1850年的太平洋、1931年的比利时、1975年的加州、21世纪初的英国、反乌托邦时代未来的内索国和后末日未来的夏威夷。六个故事看似彼此独立,但彼此之间却存在着某种神秘的相互影响,并最终形成真实的联系。该小说出版于2004年,荣膺英国国家图书奖最佳小说奖和理查与茱蒂读书俱乐部年度选书,同时入围布克奖、星云奖、克拉克奖决选。

2005年,在《V字仇杀队》的拍摄现场,娜塔莉·波特曼将《云图》的原著英文小说交到了拉娜·沃卓斯基(那时的拉里·沃卓斯基)手中,从那时起他便萌生了将本片改为电影的想法。但将文字转化成为电影叙事的镜头语言这一难题,使得片方单剧本就修改了十几遍。对于故事复杂性是否会考验到观众的接受能力,制片人格兰特·希尔给予了很积极正面的回应,“《黑客帝国》和《盗梦空间》都是很费脑力的电影,但他们的票房都相当成功,很多人会痴迷的去研究和挖掘故事的更深层次。《云图》恰巧可以满足人们的这种需求。”这位好莱坞顶级制片人认为复杂的叙事和深刻的思想并不会让观众望而却步,相反会吸引更多不同层次的观众。格兰特先生也认为,本片的“重生”“涅槃”等思想十分符合亚洲人的佛家思想,因而也使得本片在亚洲的融资以及卖片计划得以顺利实施。
故事从6个人在不同时空的生活入手,从公元1850年一直贯穿到后末日时期的未来。据悉部分演员会横穿整个影片,分别在六个故事中饰演不同的角色。我们将看到汤姆·汉克斯这样影帝级的演员与其他巨星在银幕中大玩穿越。
花絮
汤姆·提克威和沃卓斯基姐弟共同编写了影片的剧本,并且共同执导了影片。所以,这是电影史上少见的一部三个导演共同完成并且分署编导名的非短片合集的长片作品。
所有的演员在最终版本的影片中都拥有不止一个角色,这些角色跨越了时间、种族,甚至是性别。在有限的拍摄时间内,演员在不同角色之间的转换相当困难,这是对他们的巨大的挑战。哈莉·贝瑞说自己在一周内分别要在不同的导演手下扮演不同的角色,她的角色分别是:1930年代的犹太人,一个部落的老女人以及一个1970年代的环保主义者。
影片的拍摄过程分成了两块,一块是汤姆·提克威的“剧组”,而另一块则是沃卓斯基姐弟执导的部分。这两个拍摄组互不干涉,除了演员之外,不共享任何剧组成员。
在拍片期间,汤姆·汉克斯开始把沃卓斯基姐弟叫成“妈妈和爸爸”,其原因是,这群人在一起合作得亲密无间。
这是拉里·沃卓斯基在变性后第一次以拉娜·沃卓斯基的身份与安迪·沃卓斯基一起拍片。
影片原作小说的作者大卫·米切尔在影片中客串了一个间谍的角色。
詹姆斯·麦卡沃伊和伊安·麦克莱恩这两位英伦演员原先都准备在影片中扮演角色的。

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日志

在北半球,我们已经迎来了秋季。这意味着我们将迎来一个充满红色、橙色和黄色的世界。这是拿起相机出去记录美好世界的最佳时刻之一。下面是一些小建议,帮助你更好地用照片来展现这个丰收季节的丰富多彩。

1. 靠近


摄影:JustyCinMD

一两片树叶。只是一两片。一叶知秋,这已经足够展示这个季节的美丽了。尽管在你面前可能有一大堆落叶,但你只需要其中一两片形状完整且美丽的就够了。

2. 广角


摄影:emmett.hume

装上你的10mm或16mm镜头吧。用它将整个森林尽收“眼”底。你应该避免在画面中摄入太多的天空(除非天空美得令人心醉)。

3. 小镇


摄影:DannyBen

如果你住在一个风景如画的地方,可能对秋天的美景已经非常熟悉了。否则不妨来一次旅行,寻找那些具有古典田园风情的地方。

4. 人们


摄影:Phil Roeder

别忘了给照片中加入一些人的身影。我们经常会过于关注落叶和颜色,而忘记了周围的人。他们也是这个故事中的一部分。

5. 落叶堆


摄影:h.koppdelaney

在吹叶机出现之前,被扫成一堆一堆的落叶是这个季节的景象特色之一。人们会把这些落叶要么集中扫走,要么烧掉。

6. 落叶


摄影:thesullys

落叶是秋天的特色,但是很难拍到漫天飞舞的画面。在这个例子中,一个自愿玩叶子的人会很有帮助。发挥你的创意。寻找一个叶子即将脱落的树枝,然后轻轻摇晃它一下,看看会发生什么。

7. 逆光


摄影:Zach Dischner

有些画面只有太阳能够做到。使用点测光来保证曝光准确。

8. 儿童


摄影:Pink Sherbet

孩子们喜欢和树叶一起玩。你不需要做任何事,只要让他们去自由地发挥天性即可。

9. 霜


摄影:Andrew Dunn

降霜可以给树叶增加一些有趣的东西。不妨早起数日,寻找一些特别的东西。

10. 小径


摄影:Ian Muttoo

这张照片令人有身处其中的向往。一条小径或道路,能够吸引着观众逐渐“走”入照片所展示的世界中。

11. 起伏的道路


摄影:joiseyshowaa

12. 野外


摄影:Peter Rivera

在其他季节中,你很少能看到一个铺满树叶的场景。寻找一处只有同一种树的封闭区域。在暮秋时节来到这里,你会发现所有地方——石头上、湖面以及道路上——都盖满了落叶。它们讲述着又一个季节即将结束的故事。

『摄影教程』12招教你捕捉秋天的颜色

12 tips to become a better smartphone photographer

[By Daphne Sashin, CNN]

(CNN) — Wondering how to get the most of your smartphone camera? Is there more to mobile photography than filters to make your pictures look better than they really are?

Multimedia journalist and iPhone street photographer Richard Koci Hernandez recently joined the CNN iReport community on Facebook for a chat about how to become a better smartphone photographer.

“People do not understand the unbelievable opportunity that mobile photography is giving photographers,” Hernandez said. “It’s a golden age.”

Hernandez offered these tips:

1. It’s all about the light. “Photographing in the right light — early morning or late evening — has the potential to make the most ‘boring’ situation into a spectacular one!”

2. Never use the mobile zoom. “It’s terrible and the first step to an unsuccessful image. If you want to get close, zoom with your feet! Get close and your images improve,” he said.

3. Lock your exposure and focus. Your photos will improve 100%, Hernandez said. “With the default camera app, you can tap and hold on the screen to set where you want your exposure and focus. Once the box “blinks,” it’s locked. You can also use other apps like ProCamera to separately set and lock the exposure and focus.

4. Silence your inner critic. “See if you can go one day of shooting every time your inner voice says, ‘I’d like to take a picture.'”

5. Edit, edit edit. Restrain yourself from sharing everything. Post only the best, and your audience will grow. “We don’t need to see all 10,000 of your ugly children,” he said. “I try and pick my least ugly. it’s hard to choose and very personal.”

6. Technical proficiency is overrated. “Exercise your power of observation. Learn to look and see deeply.”

7. Filters don’t replace a good eye. “You still need the basics. Look for the moment and light and subject. If you choose to add a sepia, black and white or other nostalgic or creative filter later [with an app such as Instagram or Hipstamatic], that’s OK, but remember lipstick on a pig, it’s still a pig.” And if it’s for journalism, he added, “then it needs to be unfiltered.”

8. Shoot from the hip for better candids. “Hold the phone about waist-level and tap away. Your friends and family will not know what you’re doing. Be sneaky about it. The moment they know you’re shooting, the images become less candid. You’ll get a lot more bad shots, but when you get a good one, you’ll want to hang it on the wall!”

9. Give yourself assignments and deadlines. Take 20 images of one thing from different angles. You’ll begin to see the world differently, even if it’s just walking around the bowl of fruit on your kitchen table and observing how the light falls on it from different angles.

10. You have to know what you want to see before you can see it. “Make a list of things you want to photograph today and find them! If you know my work, then you know the No. 1 thing on my list are men in fedoras! Or any hat for that matter!”

11. Study other photographers. “I spend an unhealthy amount of time looking at images. It’s the only way to get better, in my humble opinion. My favorites are Roy Decarava, so happy we discoveredViviam Maier, and on Instagram, a dude named Daniel Arnold out of New York is just killing it!”

12. Always be ready. “You want to make sure that when your mind and heart says ‘shoot,’ you have no excuses, like, Oh, my camera was in my purse, pocket, or, gasp, your camera wasn’t around. It’s one of the main reasons I love mobile photography — my camera is always with me.”

 

想知道如何才能以最佳方式利用智能手机摄像头?除了滤镜应用之外,还有没有其他方式能让智能手机拍摄的照片更漂亮?

近期,多媒体记者、iPhone街头摄影师Richard Koci Hernandez表示:“人们还没有意识到手机摄影带来的机会。这是一个黄金时代。”他针对这一问题给出了12点建议。

1.光线非常重要。“在合适的光照条件下,例如清晨和傍晚时拍照,往往能使无趣的场景变得精彩。”

2.绝对不要使用缩放功能。“这是导致照片质量变差的原因,也是不成功照片的第一步。如果你希望放大物体,那么靠脚步去变焦。靠近之后,你的相片质量将得到改善。”

3.锁定测光和对焦点。“通过默认的照相应用,你可以点击屏幕区域,选择希望的测光和对焦点。你也可以使用其他应用,例如ProCamera,去设置及锁定测光和对焦点。”

4.从内心想要拍照。“你可以看看,是否有一天,对于拍摄的每一张照片,你内心都在说,‘我想要拍这张照片。’”

5.编辑,编辑,编辑。不要急于分享照片,只发布最好的照片,然后你的粉丝就会越来越多。“我们不需要看见你那1万个不好看的孩子。我总是试图找出最漂亮的照片。这很难选择,同时也是见仁见智的。”

6.不应过分强调对技术的掌握。“利用你的观察力,学会深入观察。”

7.滤镜无法取代优秀的观察。“你仍然需要基本技能。了解场景、光线和物体。如果你选择使用滤镜去营造一种气氛,当然可以,但请记住,即使给猪化妆,这仍然只是一头猪。如果照片将被用于新闻,那么不应增加任何滤镜效果。”

8.从下往上拍摄获得更好的照片。“将手机放在腰部位置,你的好友和家人将不会知道你在做什么。如果他们知道你在拍照,那么就会不自然。如果这样做,你会得到许多糟糕的照片,但也会获得一些你非常想分享的优秀照片。”

9.给自己分配任务和截止时间。从不同角度给某一物体拍摄20张照片,你将会看见不同的世界。例如,对于厨房餐桌上的一篮子水果,你可以看到光线在不同角度时的效果。

10.在拍照之前,确定想要什么样的效果。“对于你今天想拍的东西,列一个列表并找到这些东西。如果你了解我的工作,那么会发现,我列表中排名第一的是戴呢帽的男子。”

11.向其他摄影师学习。“我花了很多时间去研究照片,我认为,这是使自己变得更好的唯一方式。我最喜欢Roy Decarava。在Instagram上,一个名为Daniel Arnold的家伙也很厉害。”

12.永远做好准备。“你需要保证,当你内心想要拍照时,你的相机不是在你的钱包里,也不会不在身边。这正是我喜欢手机摄影的主要原因,因为相机总是在身边。”

(译文转自 新摄影)

 

 

Black and White RAW Processing for a Landscape Image – Weekly Lightroom Edit Episode 2

This is the written article for our Weekly Lightroom Edit – Episode 2 that was released on November 25, 2011 on SLR Lounge. To view this tutorial in video form, click here.

Hey guys, welcome to Episode 2 of our Weekly Lightroom Edit. Last week, we had a few questions regarding black and white workflow. So, in this tutorial, we are going to do a black and white edit of the RAW image that you see below.

Our final image will look like the following:

Download the Exercise File

First thing, let’s download the exercise file by clicking here. (Note: This image is provided by Lin and Jirsa Photography for educational purposes for DPS and SLR Lounge users only)

Black and White RAW Workflow Tips

Last week we had a question when it came to the RAW Workflow with black and white Images. Well, for the most part everything is going to stay exactly the same. We still want to make sure that we are working from the largest adjustments, to the smallest in that order. However, we do want to first make sure that we switch the image to black and white by hitting ‘V’ prior to starting the workflow.

So, this is the general workflow process I follow when editing RAW files as black and white images, note that we are going to also add an additional advanced step for Detail Enhancements.

1. Convert to Black and White (‘V’)
2. Brightness/Exposure
3. Temperature/Tint (affects B&W toning)
4. Recovery/Fill Light
5. Blacks/Contrast
6. Clarity
7. Cropping
8. Detail Enhancements (spot removal, graduating filters, brushes)
9. Sharpening
10. Lens Corrections

Starting with a Vision

Once again, we want to start editing with a vision of where we want the final image to be. For this image, I picture a very dramatic panoramic landscape with a nice graduating sky while falling to black along the rocks. Again, there is so many things that we can do with this image, this is just my interpretation.

The Basic Adjustments

So, let’s obviously start by switching our image to black and white by hitting ‘V’, and then let’s start making the adjustments below.

Brightness +85 – Again, I want to pull up the brightness of the image without affecting the highlights as much as Exposure would. So, I am using Brightness over Exposure as it is mid tone biased instead of highlight tone biased.

Temperature/Tint As Shot – Typically with a black and white, I won’t do too much adjusting to the temperature and tint. The exception to this is when the black and white toning doesn’t quite look right due to incorrect out of camera white balances. This usually manifests in strange contrast and color graduation. I.E. The image lacks overall contrast, or when skins tones look far darker or brighter than they would in color. Since the out of camera white balance for this image is fairly accurate, When we convert this image to black and white, we don’t see these issues. So, we are going to leave these at default, and revisit later if we must.

Recovery 0 – I am not worried about smoothing out highlight tones over skin since this image is primarily a landscape image. Since this image was shot with the sun, everything is quite bright. Thus, using Recovery in this situation would pretty much darken the entire image, requiring us to have to raise the Brightness which is just going to counteract the Recovery. So, we don’t need recovery in this image. If we want to darken the sky, we will do it with Graduating Filters as you will see shortly.

Fill Light 0 – Again, I want this image to be dramatic, which means that I need to have some nice deep blacks in the image for contrast. Raising Fill Light is only going to brighten these deep shadows. Therefore, we are going to leave it at 0 as well.

Blacks +12/Contrast +60 – Again, we are going for a dramatic image, so I want high contrast and some deep blacks. Since this is primarily a landscape portrait given the subjects are so small, I am not worried about their faces and skin tone highlighting. So, I first am going to raise my blacks to the point where I feel like the deep shadows are properly clipped. Then I am going to raise my contrast up to give the image the additional pop that it needs. Using the correct Black vs Contrast mix will ensure that your image pops without sacrificing too much shadow detail from too much Blacks, or creating strange graduation and highlights from too much Contrast.

Clarity 0 – Contrast and details in this image look fine, so we are going to skip adding additional clarity.

We are done with our Basic corrections, and your image should now look like the image below.

Cropping to Improve the Composition

Ok, so now let’s move on to our finishing touches starting with Cropping.

Crop (‘R’) – Hit ‘R’ to bring up the Crop Overlay. First, we are going to adjust the aspect ratio of the image. As we talked about, I want this image to be a panoramic image, so I think an aspect ratio of 2:1 would look great. So, in the right side in the Crop and Straighten Dialogue, click on the pull down menu where it says Original and select Enter Custom as shown below.

We are going to use a 2 to 1 ratio, which means the image will be two pixels wide for every 1 pixel tall. So, enter 2 and then 1 as shown below.

Next, we are going to modify the crop itself so that the image has a slightly stronger composition. When this image was shot, I shot it literally with my stomach against the sharp rocks on the ground. So, getting the crop perfect, was not only difficult, the priority at the time was getting my chest from off the rocks that were impaling me. So, while I am all for getting it right in the camera, it just didn’t happen on this shot. So, we will fix it. We are going to pull in the crop so that the couple sits on the right 1/3 vertical line, and on the top 1/3 horizontal line as shown below.

Now the image has a slightly stronger composition, and should look like what you see below.

Detail Enhancements

We have quite a few detail enhancements that we need to make at this point that are really going to bring out the drama in the image. Let’s start first with spot removal.

Spot Removal (‘Q’) – Now, while we keep our sensors and lenses quite clean, given the amount that we are out shooting, we almost always still have some spots when shooting at higher apertures. Because of our crop, we have actually cropped out the majority of these spots, but just for practice, you guys can remove them anyway. Simply press ‘Q’ to select the spot removal tool, set your Brush to Heal and the opacity to 100. The size is going to vary, but you want the tool to be just a bit larger than the spot you are healing. Next, click on each spot in the image.

Now, this is just an exercise, because you will see that all the spots I removed are basically outside of our cropped area as shown in the image below. This wasn’t intentional, we just got lucky this time, haha!

Graduating Filters (‘M’) – Now let’s move onto the next detail enhancement. We are going to use the Graduating Filters to burn the rocks and the sky to add that extra bit of drama that we are missing.

Let’s first burn the sky down a bit. To do so, select the Graduated Filter button by hitting ‘M’. Next, simply set exposure to -1.00 and the rest of the sliders at default as shown below.

Notice that this time we are using Exposure over Brightness. This is because this time I do want the adjustments to have a bias towards the highlights.

Now, you are going to click and drag from the top right, and pull down the brush keeping the edge roughly along the angle of the rocks as shown below.

You want to be careful not to cover the couple too much as they will become too dark. Now, let’s move onto burning the rocks.

We are going to create two burns on the rocks. The first burn is going to darken the rocks overall, while the second burn is going to focus on dropping the base of the image to complete black.

Press ‘M’ again for a new Graduated Filter, and this time we are going to simply change the exposure value to -1.66 (leave everything else at 0). Now, you are going to drag up from the bottom, again at the same degree as the rock face as shown below.

This adds a nice darkening effect to the rocks, but now I want the very bottom of the image to fade to complete black, as if there was no light on that area. I feel that this final effect is really going to work to pull the focus into the center of the image following the rock line.

So, Press ‘M’ one more time for a new Graduated Filter, and this time change the exposure to -3.00. Now again we are going to drag up from the bottom at a slight angle, only covering the bottom of the image as shown below.

Great job guys, we have now created an awesomely dramatic panoramic black and white of our scene. You should now see the same thing as the image below.

Lens Corrections and Sharpening

Ok, we are nearly done, we are just going to make some final adjustments to adjust the vignetting as well as the sharpening.

Sharpening Amount 70, Radius 1.5, Detail 30 – Once again, we are zooming in on the image to 100%, then adjusting our sharpening to taste. For me, I am just going to default to my standard sharpening settings as shown above.

Noise Reduction Luminance 40, Detail 50 – This adjustment is really one of preference. The image looks fine with a little bit of grain, but I personally am not a fan of the grain that is showing up. It doesn’t quite look like a nice fine consistent film grain, so I am just going to kill the noise by adding +40 to my Luminance noise reduction.

Lens Vignetting Amount +10, Midpoint 40 – Just to slightly brighten the corners for consistency in the tone graduation, I am adding a slight bit of reverse lens vignetting. Again, this is really a minor adjustment and just preferential at this point.

Great job guys, we are done, now your final image should look like the following.

If I were submitting this image to a magazine or competition, I would open it into Photoshop and remove that slightly distracting little strip of houses showing in between the rocks. But, that is a simple adjustment and unnecessary for the purposes of this tutorial.

Hope you all enjoyed! Be sure to join us on Facebook to get the latest updates on new SLR Lounge posts.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Black and White RAW Processing for a Landscape Image – Weekly Lightroom Edit Episode 2

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7 Easy Tactics for Better Coastal Landscape Photography

Coastal landscapes can be an incredibly satisfying subject for landscape photographers and can result in some stunning images. Besides abiding by the general guidelines for landscape photography, here are a few other things you might like to think about next time you’re down by the coast with your camera.

Yamba

1. Get There at the Right Time

While coastal landscape photography can be done at any time of the day or night, most photographers who are consistently getting great results will favour golden hour or blue hour as their favourite times to shoot. Getting there around these times allows you to capture stunning changing lighting conditions. Get used to shooting from before sunrise or until after sunset.

2. Get an ND Grad Filter

The secret sauce of coastal landscapes that are shot around golden and blue hours is an ND grad filter – a weapon of choice for a lot of landscape photographers. This simply makes it a lot easier to get a correct exposure on your skies (which basically act as a huge and bright light source) at the same time as the fore and mid-ground which can often be in shadow at the same time.

Bare Island Storm

3. Reduce Camera Shake

Shooting in lowish light means that you are going to have to stabilise your camera as best you can. That usually means a tripod for starters. You might also like to employ a remote shutter release or at least the delayed timing functionality that is standard with a lot of DSLRs.

4. Remember Your Foregrounds

When you’re concentrating on the beautiful colours of a sky in the golden or blue hours it can be very easy to forget that foreground interest can really add an element of interest to a coastal landscape that is irreplaceable. Usually a little scouting around a location will turn up all sorts of potentially interesting foregrounds that can complete your composition.

DSC_0053-2

5. Shutter Speed and Water

Remember that if you are taking photographs in low light, with a slow shutter speed then water can appear blurred or misty. Personally I like that effect. If you don’t then you will want to make your shutter speed faster and adjust your other settings accordingly. This can get difficult in low light, so it’s probably an idea in this case to get to the location when there’s a little more light around. Alternatively you could shoot with wider apertures or increase the ISO but neither of those options is necessarily great for landscapes (depending on your intentions).

6. Don’t Forget Black and White

While the colours of coastal landscape photography are a great reason to be attracted to this subject, amazing results can also be had with black and white (and you don’t necessarily even have to shoot at blue or golden hour to get them). Play with your images in post production and test the effects of black and white – sometimes you can get a real gem by accident, but going with the intent of shooting b&w can get you even better results.

Bare Island Bridge

7. Turn Around

At popular photography locations on the coast around the time of sunset, there is a big mistake you see the entire crowd make most of the time (assuming you’re shooting in a location that’s popular with photographers). They only look towards the sun. Quite often there is amazing light in the other direction too – especially if there are a few clouds around! Don’t forget to at least look at what is happening in the rest of the sky.

DSC_0059

This is by no means an exhaustive list of tips for coastal landscapes (in fact you can even find some other great ideas right here on DPS). Why not share some of your own tips in the comments?

Rob Wood is the founder of Light Stalking. He recommends you check out “How This Award Winning Coastal Photograph Was Taken” and this guide to “Landscape Photography for the Serious Amateur“.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

7 Easy Tactics for Better Coastal Landscape Photography

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