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									                           LAST FRAME                           September - 2003
                                                               SEPTEMBER2008
                                                               SEPTEMBER - 2003
                       T                          St. Albert Photo Club’s Monthly Newsletter
                       H
                       E


                                                                                                  FINAL
                                                                                            POINT STANDINGS
                                                                                            Derald Lobay 30
                                                                                            Al Popil 14
                                                                                            Sieg Koslowski 13
                                                                                            Eric Klaszus 12
                                                                                            Gary George 11
                                                                                            John Van Veen 7
                                                                                            Don Litven 6
                                                                                            Maryann Peterson 5
                                                                                            Debbie Tetz 5
                                                                                            Doug Poon 1
               Photographer Corey Horchachka




                      Photographer Corey Johnson explains how the image behind him was created.




 Corey’s Painting By Light
  Many portrait photographers pho-       movement in their subjects is not         He hoped that by showing what
tograph their clients in a studio set-   paramount.                              this technique accomplished plus
ting, utilizing monolights with either     Edmonton-based photographer           giving a live demonstration of how
softboxes or umbrellas attached to       Corey Johnson expands on this           you “paint with light,” we would
diffuse their light sources.             latter technique by literally “paint-   come away with a new way of look-
  Digital shooters may opt for con-      ing” his subjects with a continuous     ing at portrait photography.
tinuous light sources, so long as        light source.                             When painting with light, Corey


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          PAGE 2
stated, you could take        does not consider himself
something relatively bor-     to be a wedding photogra-
ing and mundane and turn      pher.
it into a piece of art.         Most wedding photog-
   Corey has been around      raphers actually shoot all
technology his whole life,    of their images from about
first influenced by his       the same height, about
father who spent a career     5’8”.
working with computers.         Corey suggests to those
   He followed naturally      interested in photograph-
in his father’s footsteps,    ing weddings to try to
but then branched from        break from this pattern by
computers into the music      getting up high or down
recording business where      low, or possibly shooting
he now owns a recording       through objects in order to
studio.                       make your work unique.
   Multimedia presenta-         Today Corey shoots
tions with Macromedia         exclusively in digital,
followed which then led       relying on his Nikon cam-
to video and web develop-     eras and lenses to capture
ment.                         his images.
   Working in broad-            The Nikon D70/D80
cast as an audio operator     camera body has one defi-
and cameraman, he then        nite advantage over the
became interested in still    professional Nikon F5,
photography around 1999,      and the prosumer D200
first with film and now       and D300; the former uses
with digital.                 a remote shutter release
   He has since turned his    while the latter bodies use   etc., can all be tweaked       Mayhem website, who
photography passion into      a “real” cable release.       in post-processing when        will often pose for pho-
a business.                     When painting with          shooting in RAW.               tographers in exchange for
   Photographically speak-    light, not having a cable       When Corey conducts          prints or portfolio work.
ing, Corey described          release hard-wired to a       his studio sessions, which       The strongest single
himself the world’s most      camera body is a god-         last for about 1-hour, he is   influence on Corey’s pho-
unlikely photographer, for    send.                         really looking for about 10    tography is Emil Schildt
he admitted he is colour        Capturing images in         really good images from        from Denmark.
blind, cannot focus his       both NEF + JPEG lets him      his $100 sitting fee.            Emil was professionally
lens properly, and has no     change anything he wants        Many of his past clients     trained as a classical musi-
sense of composition!         in PhotoShop except           have been exotic dancers,      cian and while he was in a
   Even though he has pho-    focus.                        massage parlor girls, and      music academy, he met an
tographed weddings, he          ISO, colour temperature,    models from the Model          American who had used


      St. Albert              President            Treasurer
                                                  SECRETARY               Web Master             Club Contact
                                                                         PROGRAMME                     CLUB
     Photo Club              PRESIDENT                and
                                                   Mrs. Klaszus          DIRECTOR’S            DougCONTACT
                                                                                                   Poon
                             Derald Lobay        Allen                      Tracey
      Vol:8 Issue:1           Derald              TREASURER                Derald Lobay              Doug
                                                                                                 973-7035 Poon
  PUBLISHED MONTHLY          Lobay               Skoreyko                   Guzak
                                                                            Doug Poon              (780) 973-7035
    September - June                              Allen Skoreyko
                                                                                                dougpoon@shaw.ca
                                                           ance is set to “Daylight”       light?
                                                           and not to “Tungsten; if          Have them close their
                                                           his colour balance was set      eyes for about 15 seconds,
                                                           for Tungsten, he would          then have them open their
                                                           then get white light!           eyes for the shot at which
                                                             The Daylight setting in       time you start to light
                                                           combination with a tung-        (paint) their eyes.
                                                           sten light source gives his       This produces very large
                                                           subjects that warn, golden-     and colourful pupils.
                                                           yellow glow.                      Finally, try to maintain
                                                             You cannot white bal-         the same distance from
                                                           ance LED light. LED light       your subject as you paint
                                                           looks very cold in colour       them, as well as maintain-
                                                           and does not translate well     ing the same “speed” at
                                                           to black-and-white either.      which you paint them.
                                                             By shooting at Auto ISO         As you paint around
                                                           at f/8, his cameras will        your subject, a lot of nice
                                                           often default to ISO 400.       modeling will appear.
                                                             Basically, the idea is that     Make sure you don’t
                                                           you paint (or light) areas      overpaint/overlight your
                                                           that you want revealed and      photograph.
                                                           avoid areas you don’t.            You will just end up
                                                             Position your subject         with an overexposed and
                                                           in front of your camera,        shadowless image.
                                                           focus your lens, and set          If you adhere to the
                                                           the aperture.                   above recommendations
                                                             For those using auto-         and your final result has
                                                           focus lenses, first focus       too much/too little light,
too much of his money so      of all, one needs a light    on your subject but then        then change your lens
he could not pay for his      source.                      switch to manual focus          aperture -- nothing else!
fare back home.                  Where Corey uses a        once focus is achieved.           Be careful about the
  The American asked          Maglite flashlight with a      If you are photograph-        angle that you light your
Emil if he would buy his      tungsten bulb, Emil uses     ing a live model, tell them     model from; if you go too
old camera while he was       a small desk lamp with       to be very still.               much to the side of the
completing his studies at     a 25-watt light bulb and       Emil suggests having          model, the image will reg-
the academy.                  cardboard reflector to       them concentrate on relax-      ister light from your light
  Photography       slowly    wrap around the bulb.        ing, as this seems to work      source resulting in lens
took over. With his fellow       One also needs a sturdy   better than if they have        flare.
music students as his early   tripod, a camera with a      to concentrate on “not            With just a few inexpen-
models he began doing a       “bulb” or “time” setting,    moving”.                        sive items and perhaps one
lot of portraits but also     a cable release, and of        You then darken the           evening when the mercury
began       photographing     course, a completely dark-   room and “paint.”               dips into the minus double
nudes.                        ened room.                     Your subjects must            digits, try your hand at
  The actual technique           While Emil uses a         remain very still and they      light painting, whether it is
of light painting is pretty   medium format camera         cannot follow the move-         a still life or a live model.
straightforward, but it is    using tungsten colour        ment of light source with         You may be surprised at
a technique that requires     film or black-and-white      their eyes.                     your results.
plenty of practice to         film, Corey shoots with a      How do you keep                        Article-Derald Lobay
master.                       DSLR.                        your subject’s eyes from
  Supplies are few. First        His camera’s white bal-   moving and following the
THE LAST FRAME                                             SE
                                                         CO PTEMB
                                                        “Su MPETI ER
                                                           mm    T
                                                              er ION
                                                                   Ope
CLUB MEMBERS WINNING MONTHLY PICTURES                                   n”




            PRINTS




                                          2rd Place Print - Derald Lobay




           1st Place Print - Al Popil

                                           3rd Place Print - Tim Johnston

           DIGITAL




                                        Far left, 1st Place Digital - Al Popil

                                        Above, 2nd Place Digital - Sieg Koslowski

                                        Left, 3rd Place Digital - Al Popil

								
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