Wedding and Event Photography in .NET

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are many ways to judge the success of an assignment, and the principal judgment from the clients point of view is based on whether or not the images they were looking for (whether they were clear with you or not about this) are delivered. There are local customs and taboos to keep in mind with global corporations as well. I ve been told that some Asian cultures don t appreciate limbs being visually cut o , meaning if you re showing arms in the frame, you have to show hands as well. The California Casual look that s perfect for Silicon Valley might not impress clients in Germany. Similarly, smiles that communicate friendliness in some cultures signal lack of seriousness in others. These are all considerations worth taking into account.
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A nal note on photographing CEOs or other top management: It s your job to make the executive look good. Sometimes the assistants to the executive are afraid to speak up if something is wrong with the image for example, if a hair is standing up, or the tie isn t perfect. That s their choice; I consider it my job and responsibility to let the executive know I need to adjust something and do it. I m there to project and protect their image. However, at the same time, you need to know the di erence between a mistake and something that could be a touch better, and the patience and schedule of the executive involved. If it s the di erence between a sketch and an oil painting, rather than an acceptable or unacceptable image, sometimes it s best to leave the sketch as is, if the executive is pressed for time.
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Architectural Photography
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C H A P T E R
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rchitectural photography, photographing the exteriors and interiors of buildings and other structures as accurately and as creatively as you can, would appear to be a fairly simple craft that is, until you try to do it yourself. There is a range of requirements for this type of work that is fairly specialized unto itself, and it takes a huge amount of learning and practice to become technically pro cient at it. It s possibly the principal area in photography that demands the most optical precision and least distortion. Architectural work normally is about buildings, but also includes bridges, factory structures, and other exterior and interior spaces.
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In This
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Initial requirements of architectural photography Using the EOS-1Ds Mark III in architectural photography Architectural shooting techniques Architectural postprocessing techniques
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Initial Requirements of Architectural Photography
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Get wide. The huge physical size of large buildings,
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often without room to back up, as well as the physical limitations of small interiors with the same problem of not being able to get back far enough, often combine to demand a very wide-angle lens, yet come up with an image without the distortion that is typical of wide-angle lenses.
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Aim for optical perfection. Architectural images
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should be as optically perfect as possible. Some of these areas of perfection include the following:
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Straight and level. The goal is parallel lines and
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precise right angles, to keep verticals at 90 degrees and horizontal lines dead-level. You want to have as little impact on the designed lines of the space as possible.
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190 Part III In the Field with Your Canon EOS-1Ds Mark III
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No lens distortion. Various
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ways in which the lens can distort the image need to be corrected. These include barrel distortion (where the center of the image bulges out at you), pincushion distortion (where the center of the image is pulled away from you), chromatic aberrations (when color fringing occurs), and keystoning, which is when a building appears to be falling backwards. many ways, it s the beginning. As with any other photograph, you hope to elicit an emotional response from the viewer. Do you want the building to look majestic in scope Awe inspiring in its accuracy and detail Do you want to show how well the structure blends into the environment Is the goal to convey power Delicacy Tradition Mystery All these can be sought after, and hopefully accomplished, by how you take the photograph and then modify it in post production. Once you take in both the technical and creative skills necessary to produce top-notch architectural photography work, it gets a bit easier to understand how tricky it is and why few photographers are great at this type of work. In gure 11-1, you can see a great example of how the 1Ds Mark III can, in fact, produce strong architectural images. The 14mm 2.8L lens is super wide and optically quite good. The 1DsIII sensor does a good job of tight detail along with a big contrast range. I m happy that you ll be receiving a viewpoint of a very good architectural photographer in this chapter: Jon Roemer, who photographs architecture along with other types of assignments and works with the Canon EOS-1Ds Mark III for all his work.
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Obtain even sensor illumination. Using shifts and tilts (to be explained further on) can a ect how the light reaches the sensor, particularly with technical cameras that have larger shift capacity.
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