Learn Digital Photography Now
The built-in SLR-sized 14-megaplxel image-sensor is 7 to 12 times bigger than that of an ordinary compact digital camera. The Foveon direct image sensor captures all the RGB data on every pixel. The 16.6mm F4 lens uses large-diameter(14.Smm) aspherical glass molds for superior high-resolution and high-contrast performance. And the brand-new TRUE Image-processing engine delivers new Insight. Measuring just W 113.3mm x H'.59.5mm x D 50.3mm and weighing just 250g, the SIGMA DPI is the world's first and only Integral-lens high-performance compact digital camera with SLR specifications. It's designed to deliver pure creative control and Ignite your creativity. exhibition Women of Our Time Twentieth-Century Photographs features 90 iconic portraits of America's Irailblazing women. At the Smithsonian's National Portrait Gallery in Washington, D.C., from October 10, 2008, to February 1, 2009, the show includes works by Berenice Abbott, Lisette Model, Robert Mapplethorpe, Irving Penn, and...
Fundamentally, all you want is an attractive and interesting image. You don't have to know what's in with clothing at the moment. You just need to know what photographs well and what will communicate the goals of your image. If you are uncomfortable with styling, you can start off simple just don't leave the decisions up to chance. You can accomplish a great deal on your own. Many images in this book were accomplished solely through collaboration between my client and me. Some of my most successful images, however, were the result of working with a creative team.
I have been happy to perpetuate a project beloved by both Colin Naylor (1944-92) and Richard Martin (1947-99), and believe each would be pleased with Contemporary Fashion, 2nd Edition. Unique to the second volume is an advisory board of industry professionals, who helped select the new designers and companies added to the previous edition's international mix. Additionally, the number of photographs is more than double the original, so readers and researchers may experience both a written and visual record of this evolving field.
Until the October 1908 publication of Les Robes de Paul Poiret, Poiret was merely an up-and-coming couturier, likely to assume a place in the hierarchy as secure as that of Doucet or Worth. However, the limited edition deluxe album of Poiret designs as envisioned and exquisitely rendered by new artist Paul Iribe would have far-reaching impact, placing Poiret in a new uncharted position, that of daringly inventive designer and arbiter of taste. Fashion presentation up to then had been quite straightforward magazines showed clothes in a variety of media, based on what was possible technically black-and-white sketches, hand-colored woodblock prints, or colored lithographs, and, in the case of the French magazine Les Modes, black-and-white photographs or pastel-tinted black-and-white photographs. The poses were typical photographer's studio ones, carefully posed models against a muted ground, vaguely landscape or interior in feeling.
The 'glamour of Hollywood' was precisely an image that was constructed through a variety of media the films themselves, still photographs and portraits, publicity material and press and radio coverage of the lives and loves of the stars. In reflecting on this image, two elements deserve particular attention. Sex appeal on the one hand and luxury on the other constituted the cornerstone of Hollywood's strategy to capture and hold mass interest. Perhaps the most extraordinary and enduring examples of Hollywood glamour are provided by the stills of great studio photographers like George Hurrell and Clarence Sinclair Bull. These portraits, for which the stars often posed reluctantly at the end of a day on the set, are today gathered in numerous volumes. Moreover, when an occasion presents itself, contemporary actors are more than willing to allow themselves to be photographed in the studio manner of the 1940s because they know that the allure of those images is unrivalled.19 In the sultry...
Here we will examine the notion that good paintings can be made by simply copying photographs. To do this we shall return to the latter half of the last century when photography was all the rage and the great debate of the time was whether photography should confine itself to science or also develop as an art form. The perceived danger to painter's incomes was what spawned the impressionsists who believed representational art was doomed. Meanwhile it gave the academy painters something to think about -rather like the late 1980's when the champions of computer technology predicted the demise of newspapers and books. It seems they too were a little premature as trees seem in more danger now than then. There is little doubt that Monet,Van Gough, Renoir, Cezanne and others were artists of innovation and that the 'academy' painters such as Bouguereau and Gerome, after Ingre departed this mortal coil, were the next masters of the classic western art technique. I call such painters as...
Look at photographs of fashion models and notice that the models appear well rounded but heavy set. Compare the photographs with good fashion drawings made from them and observe the trim-ness of the figures due to elongation which gives an air of elegance. This is important in presenting fashions.
Wash drawings, tike photographs, consist ol graded tones ol black. They have on advantage over a photograph because the artist may use his Own style and still produce a photographic effect whereas the camera is limited to the absolute tar simile of the subject. When making wash drawings for reproduction, it is bet' 'o use about two values of gray, with block and white, in order to produce the greatest contrast. You start in the usuol manner by making a careful guide drawing on tissue which is alto used to trace through onto a good sheet of wash board. It pays to use the best boord you can get. This will insure good reproduction (rom a half-tone plate.
After assembling all my sketches, color notes and photographs of the subjects I set about thinking of how exactly I was going to fit both into the one painting. I finally decided on an arrangement that would combine them by their similar facial expressions that leave no doubt as to their closeness. They are posed to look out of the picture as if challenging the world to view them in their space as they would view the world.
Interested in detailed studies of the intricacies of mainland Southeast Asian production technology. Because textile production is a process, these studies must include numerous still photographs or, even better, detailed, focused video. Fortunately, this work is underway and important studies are now appearing.
The Cunningtons' famous handbooks mapped the development of styles of male and female dress. Each volume was illustrated with quotes from novels and newspapers of the period in question, and was illustrated by small line drawings as well as photographs of paintings. This approach paralleled and extended the work of German and French dress historians of the period as Oskar Fischel, Max von Boehn, and Maurice Leloir.
The Land and People of Afghanistan. New York J. B. Lippincott, 1989. Several black-and-white photos text on women discusses the chadri. Klass, Rosanne. Land of the High Flags. New York Random House, 1964. Black-and-white photos and text regarding the psychology of living under the chadri. Michaud, Roland, and Sabrina Michaud. Afghanistan Paradise Lost. London Thames & Hudson, 1980. Several fine color photographs show details of the burqa and chadri.
Another influential study on textile classification is Irene Emery's The Primary Structures of Fabrics, first published in 1966. Although she covers more than woven cloth, most of the book is focused on the structural classification of weaves (not on the process of making). Weaving falls under the heading of constructions using two or more elements, composed of the interlacement of vertical (warp) elements and horizontal (weft) elements. With concise language, clarified by magnified photographs of the structures, Emery details plain weave, float weaves, compound weaves, crossed-warp structures (gauze), twining, and weft wrapping.
In his article The Return of Guy Bourdin, Anthony Hayden-Guest explained how Bourdin, when he died of cancer at age sixty-two, left his estate in disarray, compounding a horrendous tax situation and further paralyzing his legacy (p. 137). He had deeded his pictures to Martine Victoire, his common-law wife of seven years, in a signed and witnessed (but not notarized) contract Samuel Bourdin, the photographer's estranged only child, contested the action. The legal decision gave Victoire possession of the archives but allowed Samuel to exercise his discretion in their use. Without his consent, Victoire could not publish, sell, or exhibit the photographs she owned. Subsequently, the reproduction rights were contested in court.
Besides his important work for Vogue at mid-twentieth-century, Penn began pointing his camera in new directions. In 1949, while on a fashion story for Vogue in Peru, he found a nineteenth-century daylight studio in the town of Cuzco. There, over three days, he photographed the town's residents (wearing their exotic clothing) and visitors against a painted cloth backdrop, thereby initiating a regular series of portraits documenting different cultures. This pursuit led him far afield in later years, to such locales as Dahomey, Nepal, Cameroon, New Guinea, and Morocco. He brought the same spirit of wonderment to chronicling these exotic dresses as he brought to his photographs of ethnic types and his celebrated series of tradespeople in Paris, London, and New York, which he also initiated in 1950.
I took the photos of this painting-in-progress with my digital camera in daylight. Due to natural light fluctuations, each photo differs slightly. Also, your monitor might distort the color further. If what you see looks pretty punk, kindly cut me some slack. The color and values in the original painting look very good to our team of experts* here at William Whitaker, Inc.
Proficiency in skiing started Pucci's fashion career. He had been a member of the Italian Olympic skiing team in 1934 and had gone to Reed College on a skiing scholarship in 1937. In 1947 the photographer Toni Frissell took photographs of Pucci and his female companions in Zermatt, Switzerland, wearing form-fitting, colorful, but practical ski clothes that Pucci had designed. These photographs were shown to the head buyer for Lord and Taylor, Marjorie Griswold, and the fashion editor of Harper's Bazaar, the legendary Diana Vreeland. The pictures were published in the December 1948 issue of Bazaar, while several Pucci models were ordered for Lord and Taylor's New York store. This order was Pucci's first retail success in the United States.
Dahl-Wolfe returned to San Francisco in 1928 and began taking commercial black-and-white photographs. Two years later, she and her husband spent a summer in a rented log cabin in the Great Smoky Mountains of Tennessee, where she began photographing still-life subjects and the local mountain people. She developed her film with a darkroom light powered by the battery of a Model A Ford. After moving with her husband to New York, Dahl-Wolfe was introduced to Frank Crowninshield, then editor of Vanity Fair, who decided to publish her work. The documentary pictures of her Tennessee subjects were a sensation when they first appeared in the November 1933 issue of Vanity Fair. This success led to the publication of her first black-and-white fashion work in Harper's Bazaar in 1936 and her first color work a year later.
Fashion photographs he collaborated with the model Lisa Fonssagrives (1911-1992), whom he married shortly after their completion. His most famous cover for Vogue, a monochromatic study of the model Jean Patchett in fashion by Larry Aldrich, dates from 1950 and marks the first occasion Vogue ran a black-and-white photographic cover.
Fashion Artist - Drawing Techniques to Portfolio Presentation has been designed as a self-teaching book both for the novice and those who wish to enhance their drawing and design skills, and communicate their designs ideas on paper as part of the design process. Fashion Artist progressively guides you through a comprehensive set of fashion drawing and presentation techniques, an integral part of this is the development of several popular fashion poses which become your fashion templates. Starting with very basic shapes and figure drawings, you will quickly progress along the learning curve to produce visually exciting illustrations and a professional fashion design portfolio - the passport to your career. The text is supported with explanatory drawings and photographs to clearly demonstrate the drawing techniques, together with plenty of drawing exercises and examples from designers and illustrators around the world. DTP Writing this book was one challenge, but setting it up on...
Many fashion photographers utilize a medium-format camera with a digital back. This provides them the same high-end quality they are used to with traditional medium-format cameras and extremely large digital files to provide to their clients. You may have heard of Leaf backs for digital cameras. Some digital backs currently offer 60 megapixels per frame. Although this option is arguably the best quality, it is extremely expensive and somewhat more bulky. Because 35mm digital cameras regularly have megapixels in the high teens and twenties (some even up to 40 ), many fashion photographers opt for this lighter and more versatile format. The file sizes are sufficiently large for most projects, and the optical quality is beautiful. When shooting your fashion-influenced portraits, any 35mm DSLR camera will work. In general, your camera should have no fewer than 10 megapixels, because your high-end clients may want to purchase large prints or canvases. My clients often purchase 2ft X 3ft...
If you select photographs from a magazine that give a clear indication of body shapes and proportions, your tracings can be used as the basis for a fashion-figure template. A figure template is a tool used by fashion designers to help them speed up the design process. It is placed under semi-transparent layout paper upon which the designer draws the garments, moving the template along the page to repeat the process. The template is used as a guide only. When the clothes are sketched in, the template is removed and the artwork completed. Depending too heavily on templates can inhibit a fashion designer's creativity, a common mistake being to design only clothes that fit the templates. Likewise, the illustrator must bear in mind that the template is a useful tool but not a means of creating a unique piece of artwork. The constant use of a template to initiate an illustration tends to lead to stilted results.
Awareness for luxury brands is a carefully managed process that applies the most effective communications channels. For example, British luxury accessories brand Jimmy Choo attained rapid global awareness through celebrity connections, notably in Hollywood. The brand features celebrities in its print advertisements and associates itself with major 'Red Carpet' events like the famous American Oscar awards. The brand was also frequently featured in episodes of the world-famous American TV series, Sex and the City. An additional celebrity-linked promotional tactic by Jimmy Choo is the production of the book titled Four Inches, in 2005, which features photographs of Hollywood stars wearing nothing but Jimmy Choo shoes. Proceeds of the book sales were donated towards cancer research but the publicity generated from this venture was enormous. Similarly, shoe designer Manolo Blahnik attained a global consumer following through celebrity connections despite having only two stores. By adopting...
Some locations are set in the studio using specialized backgrounds or elaborate set design. Rather than building sets or sticking with plain backgrounds, I often prefer to venture outside the studio to find an interesting location. Adding compelling locations to your portrait and wedding shoots is a great (and relatively easy) way to add interest to your photography. In fashion photography, shooting outside the studio is referred to as shooting on location, and it's used for a specific purpose. Sometimes locations help to further a story, sometimes they match a particular theme, sometimes they are bizarre, and sometimes they simply complement the clothing on the model.
Find interesting textures that might look good on your image. You can take photographs of textures or search for texture packs online. You will find hundreds of free images or packs for sale. Check stock photo agencies for hundreds of inexpensive textures. For this example, I have chosen the texture shown in Figure 12.17.
Research for the theme Hot Metal was collated and mounted into a sketchbook for easy reference, and to provide inspiration for future designs and illustrations. The black pages act as a strong background for magazine cut-outs, textile sampling, fabric manipulations, sketches, photographs, rough designs and personal reflections,
The scarf as a modern fashion accessory was defined in the early decades of the twentieth century. Flowing lengths of silk worn draped about the body had been made fashionable, in part, by dancers such as Isadora Duncan. That Duncan's death was caused by a long scarf wound around her neck becoming caught in the wheels of a Bugatti is one of the scarf's morbid associations. Throughout the 1920s and 1930s, the scarf was incorporated into the sleek, elongated fashions of these decades. As seen in numerous fashion illustrations and photographs of this period, the scarf served as both a sensuous wrap and a geometric design element.
One must understand that by describing Bouguereau's work as Photo-Idealism one risks classing him amongst those who merely copied photgraphs. Most critics probably do not realize that Bouguereau, like many of the great academic painters, did not rely very heavily on photographs at all -- Bouguereau, like Pietro Annigoni half a century later, preferred to work from life. The fact that his paintings are so extraordinarily verisimilutudinous is due to his enormous technical ability, and not to a slavish attitude towards representing reality photgraphically .
To Speak with Cloth Studies in Indonesian Textiles. Los Angeles Museum of Cultural History, University of California, 1989. Excellent articles on various Indonesian textile processes in their cultural context. Larsen, Jack Lenor, with Alfred Buhler, Bronwen Solyom, and Garrett Solyom. The Dyer's Art Ikat, Batik, Plangi. New York Van Nostrand Reinhold, 1976. The classic authoritative source on worldwide resist-dyed textiles superb visuals. Picton, John, and John Mack. African Textiles Looms, Weaving and Design. London British Museum Publications, Ltd., 1979. Thorough discussion of resist-dyed textiles excellent photographs. Schoeser, Mary. World Textiles A Concise History. World of Art Series. London Thames and Hudson, Inc., 2003. Concise overview of textile processes, cultural interrelationships, and historical evolution.
What inspires you I can be inspired by many things-observing people and places around me, or discussing things with my friends and family can be really stimulating. I look at art, graphic design, fashion and illustration, but also children's books and interior design. Sometimes, even a small detail can be the starting point for a piece of work and trying a new technique, or some new paper, can give me the idea for a project. A frequent source of inspiration for me is nature, and especially the animal world. I am fascinated by the endless variety of their colours, skin and eyes. I am interested in detail. I also like to go through objects, books and photographs from my past, things that I loved as a child and I still hang onto. I like to incorporate personal reference in my illustrations and I believe this helps me relate to the work, even if I am the only one to understand it.
Mostly I'm inspired by people-watching. Later, when I'm sketching, I might use a hairdo, or an overbite, or a stance that I have seen. When I can't watch people, I'll draw from magazines or my own photographs. I draw my friends a lot. I also enjoy redrawing existing artwork, such as early advertising cuts or clip art, but recreating the image in my own style. Draw all the time. Draw every day if you can. I highly recommend a lot of nude figure drawing. It's so much easier to draw a clothed figure when you know what it looks like underneath. If you can't get nude models, draw your clothed friends. It's always best to draw from life rather than a photograph, but photographs are good when you can't get someone to sit for you.
Lensbaby manufactures lenses and attachments that allow your camera to create a similar effect to view camera, bellows camera, or tilt shift lenses. You can adjust the plane of focus so it is no longer parallel to the film plane (or digital censor) of your camera. In other words, you can vary your plane of focus so
Hang up the garments or lay them out on the floor. Take photographs and doodle some figures on sketch paper to come up with ideas for poses. Try out paints and crayons to create a color palette that, with some artistic license, represents the actual color of the garments.
Cloth from the bark of trees was used to make practical items of clothing such as loincloths or G-strings for men and narrow hip wraps for women. Scarves would have protected the head from sun or rain. To produce bark cloth, the inner layer of certain kinds of trees was removed, then beaten to produce a soft, flexible material that could be worn next to the skin without chafing it. Clothing that was cut and sewn together and pieces that were elaborately decorated were probably reserved for individuals of high status and wealth or for communal ceremonies. Old photographs and early museum pieces stand as records of early examples of bark cloth from Southeast Asian peoples.
If you are serious about utilizing social networking for marketing (which I highly recommend ), check out my book The Linked Photographers' Guide to Online Marketing and Social Media. This book aids photographers in getting online quickly and efficiently to build their reputation, find potential clients, and network with colleagues. Particularly if you are new to social networking, this book provides the ins and outs of what you need to know for your photography business.
Adobe Photoshop is a bitmap (or raster) picture-making application. It is ideal For creating soft, painterly effects and allows you the freedom to create fashion illustrations from many starting points. Imagery can be gathered and imported from various sources, such as scanners, drawing applications, digital cameras, photo CDs and video capture. A Photoshop file is a digital picture made up of a monolayer of picture elements, or pixels for short (tiny square dots of colour). A typical file is built up in layers, so you can work on specific areas independently,
Fashion-illustration titles line the shelves of bookshops, magazines often illustrate features rather than use photographs, and illustration is a popular medium for fashion advertising. The art of fashion illustration is once again in vogue, but will this trend continue The answer must be yes. In an age of increasing standardization and automation, we yearn for the individuality expressed by the new trend-setting image-makers. Fashion illustrators who experiment skilfully with unusual media and innovative design are warmly welcomed. While fash ion illustration continues to develop and offer fresh interpretations, its place in the future commercial world is assured,
Interdisciplinary exchanges should be carefully situated. Anthropologists' photographs, designed to participate in anthropological discourses, might fare badly under the scathing gaze of art critics. Similarly, photographers do not become anthropologists by virtue of informing their photography with anthropological methods and concepts their work will not necessarily participate in anthropological debates. 208
Bourdin's concern for the final effect of his work, including the exact placement on the printed page, is evidence of his commitment to fashion photography. With respect to the photograph itself as a compositional element, he created some of the most unusual and visually exciting layouts ever published in fashion periodicals. Particularly effective was his frequent grouping of photographs in multiples or sequences, repeating sections of the picture or making unexpected juxtapositions to heighten interest.
Penn studied at the Philadelphia Museum School of Industrial Art (1934-1938). Alexey Brodovitch, art director of Harper's Bazaar, whose design seminars Penn attended, introduced him to fashion magazines moreover, he hired Penn to be his assistant during two summers. Brodovitch published some of Penn's illustrations in 1937. In the same year, Penn undertook a series of street photographs of the shop signs and facades of New York, where he was laying the groundwork for a career in the fashion world by working as a freelance graphic designer and consultant art director for Saks Fifth Avenue.
Many artists specialize in creating unique items as art or as props. I have found prop makers through Craigslist and by searching online. Also, if you have a friend who is an artist (particularly one who likes 3D art and sculpture), you may be able to hire him to create the perfect prop. I regularly had one of my photo assistants, who was an artist, create props for me, from wreaths of flowers to unusual headpieces. Another place to find artists is on deviantART.com. deviantART is a social network for artists, whether painters, photographers, sculptors, or computer artists. I have borrowed or commissioned props from artists who have created incredible surreal and eye-catching pieces.
I'd been shooting on the street and I found that the photographs I kept going back and looking at were stylish older guys who were really cool and tailored and old school, Schuman says. I thought they looked inspirational, but I never saw that kind of look in magazines. So I was shooting things that I thought other creative people and designers would be interested in seeing and perhaps referencing.
Are fashion photographs honest That depends on what you mean by honesty. Beauty and allure will always seduce and inspire us and in the hands of a master fashion photographer, the idealized image can make us remember where we came from and why we're here. Truly great fashion photographs help us mitigate the pitiful rituals of modern life and celebrate the goddesses that walk among us.
You might consider ways to include more audience involvement in the competition, including a listener's voting phase. Contestants will urge their friends and family to vote for them, thus making them aware of your photography and services. The exposure is great, and you'll get positive responses associated with your work. Not only that, with the first contest being successful, it is easy to turn this into an annual competition that grows bigger each year. Locals will begin to anticipate the competition. Word of mouth spreads, along with the reputation about your business. If you want a lot of extra interest, be sure to conduct video interviews of the top 10 contestants during one of their fashion shoots. Interview them about themselves, their interests, and their aspirations, and overlay this with video of them during the shoot. If you have access to an HDSLR camera with video capabilities, that is a great way to drive more traffic to the site and make the project look high end. If...
In 1964 Penn began to experiment with printing in precious metals, most notably platinum, palladium, and iridium. He continued refining these processes for exhibition pieces, which have included fashion masterworks such as Lisa in Harlequin Dress by Jerry Parnis (1950) and Sunny Harnett in Ben Reig Silk-Chiffon Blouse (1951). Penn became increasingly disenchanted with fashion photography in the 1960s and from then on his photographs in Vogue's fashion pages became something of a rarity. Nowadays, he told one commentator, all that is required is a banal photograph of a girl in a dress. From the mid-1970s Penn regarded original work for exhibitions and books as more creatively fulfilling than editorial commissions. However, his beauty and still life compositions, and occasionally fashion pictures, continue to be published by Vogue almost on a monthly basis thus, with more than sixty years contributing to the magazine, Penn, Irving. Moments Preserved Eight Essays in Photographs and...
escriptions from early explorers and early photographs show that most of the peoples of Oceania went barefoot. No information about the development of traditional footwear in Oceania is known. Although many people in the island countries now wear Western-style sandals and shoes, especially in the urban areas, those living in the most remote areas continue to go barefoot.
Chris Seydou was born Seydou Nourou Doumbia on 18 May 1949 in Kati, a small town centered around a military base forty kilometers north of Bamako, the capital of Mali. Because Seydou's mother worked as an embroiderer, he was familiar with the tools of the clothing trade from an early age. His mother had copies of European fashion magazines that greatly impressed Seydou he was fascinated by the photographs of elegant women in beautiful clothes (Seydou 1993). He left school to pursue his interest in fashion at fifteen. In 1965, his family apprenticed him to a local tailor. In 1968 Seydou relocated to Ouagadougou in Burkina Faso (then called Upper Volta), and the following year he moved to the cosmopolitan city of Abidjan in Cote d'lvoire. He changed his name when he embarked on his professional career, adopting the name Chris as a tribute to Christian Dior, whose work had been a great influence on his early development. He kept the name Seydou in order to preserve part of the name his...
After all, why should we declare Bouguereau to be photographic Is it true that the only *real* reality is to be found in photographs - that is obviously utter nonsense The only reality to be found is in reality itself. Bouguereau did not set out to imitate photos, although it is possible he may have spurred himself ever onwards out of the sheer delight of pushing his skills to the limit nevertheless, he wasn't a parasite or a mediocrity -- he painted from REALITY and not from a faded recreation of reality. After all can not the eye capture more of the world's beauty than the photo Can we not perceive the beauty of movement, the subtleties of colour, and so forth, whereas our cameras struggle to be able to even take adequate photos in poorly lit conditions We humans don't need to spend hours in the developing room just to see what is out there -- Bouguereau did not need to seek the Truth through photos -- the Truth was already out there.
Collage has always been an extremely effective way of using Hat colour, either by creating crisp cut lines or exploring abstract torn edges. Collage is an excellent technique for creating impact. In its simplest form, papers can be collaged by cutting, tearing and glueing. However, new technology has allowed for more complicated experimentation by collaging scanned original images on the computer. With the advent of the digital camera, the possibilities for collage as an expressive medium have widened greatly and photomontage is increasingly popular.
|Learn Digital Photography Now|
Champion Flash Photography
Here Is How You Can Use Flash Wisely! A Hands-on Guide On Flash Photography For Camera Friendly People!. Learn Flash Photography Essentials By Following Simple Tips.