Photographing People in .NET

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lights minimum. I tend to be more of a fan of single-source light with a glow on the background, as you can see in gure 9.16. Figure 9.17 is lit by a similar large softbox, lighting both talent and background.
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Figure 9.18 is of Aja, whom the camera loves. She has great skin tone, eyes, form, and a fun personality. We worked our way up to this image, starting very quiet. using softlight and a background glow.
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9.16 Mike Yohay. ISO 200, 1/125 second at f/9, 50mm 1.2 L lens.
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168 Part III In the Field with Your Canon EOS-1Ds Mark III
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9.19 Aja and Mike share the frame. ISO 100, 1/200 second at f/8. 9.17 Boy band. ISO 125, 1/125 second at f/10, 24-70mm 2.8L zoom.
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Beauty and Fashion
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I really can t speak much about fashion, as I rarely shoot it, although I know fashion work that I love. For me, as a viewer, it s a combination of beauty and personality; I m not a fan of the drone look, whose aim is for the model to be out of the way of the clothes. But if you add a concept, elegance, a story I m in Heaven. Have you ever seen Richard Avedon s photo of a woman in a gorgeous gown standing next to an elephant Every time I see that image, it feels fresh to me.
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9.18 An Aja moment. ISO 100, 1/200 second at f/7.1.
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9 Photographing People
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I can say that fashion is as much about the clothes, makeup, hair, and set as it is about the lens choice and lighting. It s a team e ort to end up with an image that is simply elegant and powerful.
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There are a several areas of expertise in fashion. First, there s catalog work that can go from somewhat dull to exciting, sensual, and glorious. James Russell is of the latter group,
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9.20 The Decisive Moment, Russell Style. ISO 400, 1/1250 second at f/2.5, 50mm 1.4L lens. James Russell, 2009
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170 Part III In the Field with Your Canon EOS-1Ds Mark III
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whose work I nd glorious whether he s shooting catalogs, ads, fashion or sports for that matter. Although he might shoot 1,000 frames a day, each is a wonderful image in its own right, down to the makeup, hair, lighting, and models you name it. He works alongside his wife, Ann Rutherford. You can see their work at James photographs with several camera systems, including the 1Ds Mark III. Here s what James has to say: I own Leica, Phase, Nikons and Canons and all have speci c uses, all have allowed me to recover my investment, though in the end I m not judged by camera make, zip code, or the car that I drive. The de ning factor is the photograph and not the photograph I want to take, the photograph I have to get. There is a big di erence and with all the cameras all the equipment my studios own, as of today the Canons cover more territory than the other makes. They go to high iso reasonably well, have a very large and featured lens line and enough megapixels to allow for deep post processing. I travel the world and all four sets of cameras go with me wherever we work and I routinely shoot multiple camera makes on a day and when we sit down to do our nal edit, the majority of the images is Canon. A second area is photo shoots that are going for a small group of great images, such as an editorial fashion or beauty shoot, of a model or a celebrity. Or it could be an advertisement for a clothing line. The greats include Richard Avedon, Irving Penn, Helmut Newton, Herb Ritts, and many more. Each photographer brings a unique vision and approach to their work. A third area is runway photography, which, in my mind, is closer to shooting sports than anything else. The models walk down the runway, you re in a crowded space jostling with other photographers, and you ve got to get the shot. Here you re talking less about aesthetic skills than operational and technical
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