Photography Magazine
Volume 1 | Issue 5 | Middle East
AED 15
Guidelines for Travel Photography 10 Travel Photography Tips Tips on How to Shoot on Low Light Focal Points
Depth of Focus
Mosh Lafuente What’s Inside issue 5 cover.indd 1
Camera Review
Tutorials
Workshops
Photo Gallery
Group Profile 5/22/12 12:19 AM
Choose the range that’s right for you.
issue 5 cover.indd 2
5/22/12 12:20 AM
ISSUE 5 FFM.indd 1
5/22/12 8:43 PM
ISSUE 5 FFM.indd 2
5/22/12 8:43 PM
Your vision our studio AfforDable studIo reNtal aT
For bookings and information call 04-380-8545 or email info@gulfphotoplus.com
InvenTive CamerA bags
brIng thiS And geT
10oFf %
Any tHink Tank ProducT At thE gpp store, al quoZ
Can not be redeemed online or used in conjunction June 30, 16, 2012 with any other offer. Valid until April
Visit www.gulfphotoplus.com, call us on 04-380-8545, or drop by the GPP space in Alserkal Avenue, Al Quoz, to find out more about our studio rental, workshops, gallery exhibitions, and browse our store ISSUE 5 FFM.indd 3
5/22/12 8:43 PM
Photography Magazine
Photography Magazine
Issue 1 | November 2011 | Middle East
Photography Magazine
Photography Magazine
Issue 2 | December 2011 | Middle East
Volume 1 | Issue 3 | Middle East
15 AED
Volume 1 | Issue 4 | Middle East
15 AED
Cover Story Meiji Sangalang
Why Men Are Into Fashion Photography?!
Behind the Lens PJ Tiongson
World’s Top Selling Stock Photographer
Toy Photography
Behind The Lens
Do’s & Don’ts
The Challenge
15 Quick Tips To Better Photos After Dark
“Role Reversal”
Engr. Milo Torres
Find out how
Work Flow Exposed
The Challenge
Questions From The Readers
Man with Simple Dreams
Jay Morales
Donnell Gumiran
Jophel Botero Ybiosa
Beyond Passion Chris Calumberan
Gadget Review
Post Processing Tutorials
Do It Yourself
Workshop Schedules
Group Profile
9 Ways To Beat The High Cost Of Photography
Depth Of Focus
A Manny Librodo Exclusive
Edwin Loyola
Small Things Big Result What’s Inside
Mike Malate
Eugene Santos / Michael Cruz
Off Camera Lighting
Depth Of Focus
What’s Inside
Camera Guide
Extreme Post Processing Tutorials
Tips & Tricks
Get the Most Out of your Point and Shoot Camera
Richard Schneider
Edwin Allan Riguer
Jay Calaguian / Noel Garcia
Discover Obscura
Portrait Photography Tips And Methods
Yuri Arcurs
Osama Al Zubaidi
of Photography in UAE
Jhoel Valenzo
A Desert Surprise
What’s Inside
Gadgets Review
Basic Tutorials
Workshops
issue 3 final cover.indd 1
Photo Gallery
Group Profile
Rocky Gathercole
Depth of Focus
Jay Alonzo What’s Inside
Camera Review
Basic Tutorials
Workshops
Photo Gallery
Group Profile
1/23/12 6:04 PM
Photography Magazine FullFrame, is a Photography magazine not just for photo enthusiasts but for those who have tastes for art, beauty and creativity. It is designed to look into photography’s modern photographic world, the team behind it is taking photography in a different ground. Indeed, an impact that also encourages society in looking unto the glamorous and not so famous side of photography – an irony that lure can the curious mind. Editorial is intended to demystify the use of modern equipment by emphasizing practical use of the camera in the field, highlighting the technique rather than the technical. It has been conceptualized to stimulate photo enthusiasts to enhance their recreational enjoyment through photography and to satisfy the needs of amateur and professional photographers.
ISSUE 5 FFM.indd 4
5/22/12 8:43 PM
Editor: Paz Calaguian Art Director: Chris Lleses Head Writer / Photographer: Michael Zu単iga Writer: Arnold Pasillas II Graphic Designer: Jeff Inocencio I.T. Manager: Derick Venzon PR & Events: Deo Macaraig Videographer: Ruel B. Fernandez Photographers: Emil Austria / Myk Reyes Writer Contributors: Jay Alonzo / Michael Cruz / Rad Basa / Rohit Singh / Sam Coran / Vineet Suthan / Wallei Bautista Trinidad Photographer Contributors: Eugene Santos / Mae Calimquim / Sam Coran Managing Partners: Chris Lleses / Paz Calaguian / Suzette Delos Santos
Koncepto Publishing FZ LLE Unit P12 Rimal, The Walk Jumeirah Beach Residence P.O. Box 53485 Dubai, UAE
For Advertising:
ads@fullframemag.com Mob: +971 50 2531057 Fax: +971 4 4486405 info@fullframemag.com www.koncepto-me.com
ISSUE 5 FFM.indd 5
5/22/12 8:43 PM
Photography Magazine
Volume 1 | Issue 5 | Middle East
15 AED
Guidelines for Travel Photography 10 Travel Photography Tips Tips on How to Shoot on Low Light Focal Points
Depth of Focus
Mosh Lafuente What’s Inside
Camera Review
Tutorials
Workshops
Photo Gallery
Group Profile
FROM THE FULLFRAME TEAM
We do it because we love it. This is also our motto here at FFM as we enter into our fifth month of production! If you comparing our first issue back in November with this one, you’ll see that we have grown rapidly. This wouldn’t have been possible without the commitment of our contributors, readers and organizations that supported and believed in us right from the very beginning. We are thrilled to feature the work of two incredibly creative people in this issue: ITP in-house photographer Mosh La Fuente and Dubai based travel photographer Kenneth Wong. We also welcome Rohit Singh as Photoshop and Lightroom guru, he will be contributing for our Tips and Tutorial Section. Inviting others to program that section of the magazine is something we hope to do more of in the future. And, lastly, based on your feedback you’ll see a few changes in the navigation and layout of the magazine during the coming issues. We hope that these forthcoming tweaks will enhance your experience of reading FFM. Once again, Be Inspired! Keep your eyes wide open!
FullFrame Team
ISSUE 5 FFM.indd 6
5/22/12 8:44 PM
ISSUE 5 FFM.indd 7
5/22/12 8:44 PM
50 Depth Of Focus Mosh Lafuente
Content Volume 1 Issue 5
Guidelines for 10 10Travelling Photographers
17
to bring 14 Things when you travel
On Focus
Focus 17 On Photogapher’s Profile as 20 Photography Status Quo With Pleasure 22 Business Kenneth Wong
28 GPP Photo Friday
you need it... 32 Where when you need it.... Sam Coran
Review 34 Camera X-PRO 1 Michael Cruz
38 EPyc Emirates Photography Club Points 40 Focal Jay Alonzo
68
Press Release FUJIFILM | Grand Store
ISSUE 5 FFM.indd 8
to Shoot 42 How On Low Light
46 Workshop Donnell Gumiran | Upclose
32
Where you need it... when you need it....
5/22/12 8:44 PM
22
Business With Pleasure – Kenneth Wong
40
10
48 Questions from the Readers
34
XPRO 1| Review
28
50 Depth of Focus Mosh Lafuente
GPP Photo Friday
60 Workshop Edwin Loyola | Beyond Passion the Light 62 Seeing Rohit Singh
64 Point of View Rad Basa
36
Focal Points Jay Alonzo
10 Guidelines for Travelling PhotographersRole Reversal Rocky Gathercole
40
Questions from the Readers
for a Cause 66 Shoot WFP D8 PHOTOGRAPHERS Release 68 Press FUJIFILM | Grand Stores Clicks 70 Random Photographers Gallery
ISSUE 5 FFM.indd 9
5/22/12 8:45 PM
HIGHLIGHTS
www.fullframemag.com | Issue 5 | 2012
photos by: Mae Calimquim
10
10
Guidelines for Travelling Photographers 2
A keen photographer gets the most out of his skill through travel and exploration and the basic necessity one must have are lenses. Fast zoom lenses such as an 18-200mm or a 28-300mm are sensible for those with a tight budget and space as these maintain focal points at readily adjustable lengths. Nonetheless, if extra room is available or an extensive variety is preferable, you can consider a wide angle lens (10-24mm), a portrait prime lens (50mm or 85mm) or a telephoto (70-200mm).
1 1
Travelling on its own is motivating and so much more when it is accompanied by photography. Then comes the lingering afterthought, “What should I bring?” Perfectionists would most likely play safe and bring everything along to the point of being impractical. Travel photography should be enjoyable and being burdened negates the whole point. Larger apparatus are better off hired on arrival to cut costs and since photographers wish to bring their own equipment, here’s what to carry: one body, a pocket sized compact, a flash unit, a stack of memory cards, a variety of lenses, a lightweight mini tripod or perhaps even the uber-flexible Gorillapod, a portable storage unit and a resilient camera bag that shelters gear against the harsh elements and keeps the weight on your shoulders in equilibrium.
ISSUE 5 FFM.indd 10
3
JPEG Fine and RAW shots requires large capacity memory cards as they present flexibility on your part. Before shooting bring twice the amount of MCs you’d expect to use after shooting immediately download the images onto your laptop so they can be free again for use.
5/22/12 8:46 PM
4 After every shooting session, spare some time to describe on a journal the day’s events as this will give you reference on the people and activities portrayed on the images. On the other hand, some cameras allow for short descriptions or audio clips to be saved onto each image.
5 Make a shot list, write down a list of things you want to attain from shooting beforehand as this keeps your mind in focus at the appointed time. Limit yourself to 10-15 “safe shots” of a subject to benefit from other subjects that may prove to be likewise interesting. Places with well-known landmarks shot at the same angles will not be too motivating so shoot from different angles, focus more on technique and composition. Don’t be too clingy with one subject rather be creative to widen an expanse of possibilities.
6
Choosing a destination to shoot can be relatively easy through the help of travel agencies. Check out an agency and ask which place can prove to be photographically worthwhile. Inquire at which dates your chosen places hold religious festivals, traditions, national holidays and carnivals as these events hold an immense wealth of photographic prospects. Browsing through postcards, holiday brochures and Google effectively helps your selection process as well.
ISSUE 5 FFM.indd 11
5/22/12 8:46 PM
HIGHLIGHTS
12
www.fullframemag.com | Issue 5 | 2012
photos by: Mae Calimquim
7
All of us would love to capture culture and character, but protocol entails that we ask for permission before shooting and we feel the fear of rejection that we are just inclined to shoot from a safe but imperfect distance. The truth is, most people will gladly agree to have their photos taken. Just be polite and ask. Show them their shots so they’ll feel comfortable with you and if possibile ask them how they want their shots to be taken. Be considerate and learn when to stop. Don’t forget to thank them afterwards.
8
Most tourist destinations are comparatively secure with locals, but oftentimes, it is always best to be on guard, especially in areas where this might be the opposite. Preventive measures should be taken ahead of time in order to gain the most out of a foreign environment. After you have booked for your trip take out a sufficient travel insurance policy that would fully cover you and your gear in preparation of the unforeseen. Foolproof bags and solid luggage bolts are a good investment since photographic equipment does not come cheap. Have local currency on hand but keep the rest of your cash at the hotel safe, and have a list of local emergency numbers with you at all times.
9
While shooting, be imaginative and resourceful. This might mean getting out of your way to get impressive shots of recognizable landmarks that otherwise might be considered overrated. Getting up at dawn or staying out at twilight may be the best times to get shots of scenery and places when they are most off guard. Mount your camera on a tripod and slow the shutter speed to capture attractions while integrating the indistinct activities of tourists and locals walking by or taking shots of people in the shadow of a familiar landmark.
ISSUE 5 FFM.indd 12
10
After the flurry of your vacation has come and gone, think about what to do with your shots. These can be used to intensely enhance a portfolio you might be building, or you can send a few to local newspapers who might feature a “picture of the day/week”, or if you have gotten some really fabulous shots, you can send them to a photography competition or better yet, you can approach travel agencies and hotels that cater to the place you’ve been to and even airlines who might be serving flights to the place you visited. Tourism magazines and websites may also have need of pictures of places they have never featured yet.
5/22/12 8:47 PM
E V O L U T I O N
O F
P H O T O G R A P H E R
w w w . k o n c e p t o - m e . c o m
Subscription also available
email: info@fullframemag.com Mobile: +97150 253 1057
ISSUE 5 FFM.indd 13
LIKE US!
facebook.com/fullframemagazine
FOLLOW US! @fullframemag
5/22/12 8:47 PM
HIGHLIGHTS
14
www.fullframemag.com | Issue 5 | 2012
Things to bring when you travel... Packing for a trip depends on the traveller and his preferences on what things to use for shooting, weight concerns and space allowances. But here’s a run through on what to have while travelling: charger: This is of no use if your batteries are disposable, and although more expensive, it is thriftier to buy rechargeable ones in the long run. Just don’t forget to charge used ones the night before.
Batteries and more extra batteries: This mostly depends on how many shots you will want to shoot in a day. Since most photographers cannot deviate from being “shutter happy”, more batteries will definitely be necessary. Fortunately, newer makes of digital cameras are not inclined to run out of batteries within a day of shooting, but let’s just say you forgot to charge the night before or you forgot to bring your charger…
Cleaning Gear: Get a basic cleaning set like a lens cloth, a cloth for cleaning the outside of your camera and a bulb blower. For the delicate parts, let a professional handle it, unless you are a professional yourself.
Camera bag Buy a bag that fits everything you may want to fit inside and with which you feel comfortable for your back. This may not be good for quick lens-changing but that is where the sling bag comes along. Although the sling bag may not be back-friendly, but what’s the trouble? You don’t always use that sling bag. It would be best to have both and use which one is preferable for your upcoming trip. Check if the bag you are buying will stand firm against the elements of whichever climate you might be in e.g. humidity, rain, sand, snow, etc.
ISSUE 5 FFM.indd 14
5/22/12 8:47 PM
Filters: Images are far superior when lenses have UV filters and/or polarizing filters; they cut out flare and produce a substantial impact when photographing glass, sky, water, luminescent, translucent and iridescent objects.
Flash: A dedicated flash unit with manual controls comes in very handy and extensively improves shots way better than a built in flash. The downside is that it adds more weight and more batteries.
Memory Cards: Your mood suddenly turns awry when you’ve realized you’re out of memory space and you don’t have a spare or a laptop to transfer everything. MC’s can be bought almost anywhere, and although it might be tempting to get one with the most memory capacity, it would be wiser to get several ones with smaller capacities since these things are so small they can easily get lost or dropped anywhere and everywhere. And one more thing, have a back up of all your files (external drives, iPods, iPads) because the moment an MC gets lost so do the images that are in it…and all the memories that come with it.
Tripod:
Point and Shoot Camera: Bringing a point-and-shoot camera may come in handy for times when you don’t want to bring all the gear that comes with your DSLR. It may sound rather indulgent to have different cameras for different occasions, but if budget permits, go ahead.
Mini tripods can be bought if carrying it everywhere is not object, but on the other hand you can be resourceful and mount your camera on stationary and level objects to support its weight, but these work better with lighter point-and-shoot cameras than with the weightier DSLRs.
Power Adapter: Before travelling, check out what kind of power sources the country you are going to has, and what kind of adapters you may need.
ISSUE 5 FFM.indd 15
5/22/12 8:48 PM
16
ISSUE 5 FFM.indd 16
5/22/12 8:48 PM
www.fullframemag.com | Issue 5 | 2012
PHOTOGRAPHER’S PROFILE
ON FOCUS
17
Lana Zibnitskaya Lana started shooting since age 10, when she was given a camera as a birthday gift. After which photography simply becames her. She worked as an assistant to various advertising photographers until she became confident and pursued it professionally. Although having been a paid photographer for 5 years and running, she still manages to make it fun and entertaining. She takes pride in her work knowing that she has captured a precious moment in her clients’ life and of how her images brings back memories for them. Although with an advertising heritage, she now adds wedding and family portraiture in her list of services.
ISSUE 5 FFM.indd 17
5/22/12 8:48 PM
18
ON FOCUS
www.fullframemag.com | Issue 5 | 2012
PHOTOGRAPHER’S PROFILE
Roy Francis Manalang Roy can be considered a travel and nature photographer. Shooting seriously since 2007, he has racked up a number of great images. One of his images was featured in the National Geographic Photomentaries Calendar for 2012 representing the month of April. Aside from travel and nature, he shoots portraits as well, his inspiration being Guy Tal, Monte Zucker and Steve McCurry. Like most great photographers, he still continues to learn and hopes to travel more during the year.
ISSUE 5 FFM.indd 18
5/22/12 8:48 PM
www.fullframemag.com | Issue 5 | 2012
PHOTOGRAPHER’S PROFILE
ON FOCUS
Shiji Ulleri As known to most of us Shiji , is a witty and funny guy. He is no boring photographer and there is no dull moment when you are with him. Shooting since he was 13, he formally studied photography in a school in Kerala. Now based in Dubai, he shoots weddings and using prevalently using ambient lighting. Believing that everybody is constantly learning, he continually tries out new things. In doing so, he has added corporate photography in his portfolio. Travel photography was just an offshoot of this travails and he liked it. Now he hopes he can pursue more of the same in the near future.
ISSUE 5 FFM.indd 19
5/22/12 8:49 PM
HIGHLIGHTS
www.fullframemag.com | Issue 5 | 2012
photos and article by: Wallei Bautista Trinidad
20
PHOTOGRAPHY as a
Status Quo N
ot too long ago, a photography workshop meant exclusively for individuals with DSLR cameras would draw just a few participants. That is no longer the case nowadays. According to Bloomberg news agency, 141 million camera units were sold globally in 2010 alone, a jump of 10% from the previous year . From this, it can be deduced that the number of camera owners throughout the world are growing by leaps and bounds. American author and cultural theorist Susan Sontag put it best when she wrote in her book “On Photography” that the period when this craft is limited only to the “clever, the wealthy, and the obsessed” because it required “a cumbersome and expensive contraption” (the words she used to describe a camera) is already history. Since digital single lens reflex (DSLR) cameras were first released commercially by Kodak in 1991 , this technology has become an essential tool not just for professional photographers but also for almost anyone else. Take a stroll inside a local university and do not be surprised to see college students taking snapshots of just about everything imaginable using their DSLR camera. The proliferation of DSLR cameras can be regarded as an open invitation for anyone to take pictures. A camera has a natural appeal to everyone, and this is understandable. We use cameras for us to have tangible memories of momentous life events, like first dates, graduations, award ceremonies, and vacations. Unlike our society which thrives in prohibitions (isn’t it that governments always come up with list of things we cannot do for one reason or another?), humans can use cameras unrestrictedly. A photographer has the absolute liberty to choose his/her subject, as long as it has the consent of the person/s concerned. The camera as a communicative technology can be used for just about any purpose its owner wants to achieve. No wonder there are instances when cameras are used to takes shots of moments we’d rather keep private. As Sontag elucidated in her above mentioned work, photographs give humans a
ISSUE 5 FFM.indd 20
feeling of being able “to hold the whole world in their hands.” DSLR cameras are accessible to those who wish to have it. As long as you have the means to buy one, you can do so, regardless of who you are, what you do, or where you are in the world. It is available not only to pros, but also to those who are relative novices to the craft. Aside from this, the Internet has made it very easy to share photos you took for the whole world to see. Now, we already have Facebook, Flickr, Multiply, and lots of blog sites where photos can be uploaded. One does not anymore have to organize a photo exhibit in a posh venue (with all the gigantic expenses that comes with this) just to get noticed. But, given all these facts, one question begs to be answered: what drives people to try photography in the first place? Some people engage in photography out of sincere passion for the craft. At times, these persons do not have the best cameras around and occasionally, they are not able to take outstanding pictures, but they remain steadfast in photography nevertheless. This reminds us of a young writer who remains committed in what he is doing even if his initial works are riddled with grammatical errors. They take pictures incessantly, never mind if the “perfect shot” remains unachieved. Photographers who are driven by passion love being embroiled in a neverending journey toward self-improvement. They look up for latest trends, attend workshops and meet-ups, and do their best to save money to have that particular camera type they’ve long desired (even if they are living on a shoestring monthly budget). It is not unsurprising for these people to remember for a long time not only the brand of DSLR camera that they bought, but also miniscule details such as how they saved up for it and
5/22/12 8:49 PM
21
help boost self-esteem, problem-solving and even encourage social interactions,” the report expounds. After all, recovery from a debilitating disease isn’t only about getting rid of the physical discomfort the former inflicts. It is also about getting one’s life back on track again. However, there are individuals who engage in photography for less notexactly noble reasons. Some of them try the craft just to go with the flow because it is the prevailing trend worldwide. For some, photography can be a shortcut to achieve popularity (something that is relatively easy to do nowadays because as mentioned earlier, photos taken even by amateurs can now be shared online).
the first shot they took with their latest prized possession. Some are driven into photography because they are already artistically inclined to begin with. These include architects, painters, and film makers. They treat photography like a cognate discipline to their main craft. Take journalists, for example. The nature of their work requires them to have a camera within reach just so they can easily take a picture of a particular scene that is worth publishing. A photography enthusiast is sometimes buoyed into the craft by his or her close relatives. It is not unusual to see a father patiently sharing to his son the basics of the discipline. To countless families, sharing the passion for photography can be considered a regular bonding activity. Expect each member of the family to flash a wide smile from posing for the pictures up to the time they get to see the “finished product.” Just imagine how fun that shared experience is! Some indulge in photography because they see it as a panacea of sorts for the myriad of problems they deal with everyday. There are times when a single heart-warming picture can drive away the worries accumulated throughout a stressful day, the same way watching a hilarious twominute clip in YouTube at night can make a person forget the harsh criticism he or she got from a stern supervisor earlier that day. Inspiring photos can uplift the spirits of people who are emotionally down.
There is nothing wrong with aspiring to be famous for what you are doing, but that should not be the whole point for doing what you are doing. It is important to be a photographer for the right reasons and not just for the sake of limelight. If seeking popularity is the only motivation of a photographer for pursuing the craft, then the quality of his or her work will definitely mirror this lack of true commitment. Of course, it is no longer possible for us to return to the era described by Sontag where only the “clever, the wealthy, and the obsessed” can engage in photography. Since photography equipment, especially DSLR cameras, have become relatively more affordable in recent years, the craft has in essence been democratized so much (the way blogging eased the once-sacred position of professional journalists). This essay does not intend to dissuade anyone from throwing their hats into the world of photography. Rather, it aims to push photography enthusiasts to do some self-introspection. Why not take some time off to ask yourself the real raison d’être behind your engagement in photography? Are you in it just to seek attention, or are you willing to get involved in this craft for the long run? Sometimes, being too engrossed in the technical aspects and the perks associated with photography makes us forget the more profound dimensions of what we are doing. A photograph can be a powerful means of connecting with people and telling their story. This should not be lost on all photographers, regardless of the fancy camera, lens type, or software they are using.
If we are to believe a 2006 report published in The Irish Times, photography can also help people recover from illnesses like schizophrenia. According to the article, engaging in the craft gives sick people “an outlet for their feelings.” This photographic creativity “can
ISSUE 5 FFM.indd 21
5/22/12 8:49 PM
ON THE FRAME
www.fullframemag.com | Issue 5 | 2012
KENNETH WONG |
Business With Pleasure – Kenneth Wong By Michael Zuniga
W
alking around in an airport, if you spot Kenneth Wong, you would surmise that he is a regular business traveler. Donning a suit, with a small trolley bag, which might hold his clothes, and a portfolio bag, presuming he carries his laptop in it. A picture of a business traveller in a busy airport but underneath that hard corporate look, all his bags carry his trusted Hasselblad H4D-40 and a set of lenses, along with his 17inch MacBook Pro. Not your typical business bloke, add photography to his to-do lists. Heading the Customer Experience Design for Du Telecommunications, his typical day includes meetings, trainings and travel. A passionate person towards his work, he still finds time to wind down and relax. Relaxation might be a misnomer for him since when he holds his camera during his break, he takes that same passion with him whenever he shoots with it. He started actively shooting with a Casio FX100 in 2010 during his travels and he craved for more when he finally bought his first DSLR camera, the Nikon D3100. Even with a Nikkor 35mm f/1.8, he was not satisfied with his images that he eventually upgraded to a D700 in a months time. Shooting with the D700 was heaven for him however he still upgraded to
ISSUE 5 FFM.indd 22
5/22/12 8:50 PM
“A passionate person towards his work, He still finds time to wind down and relax.”
ISSUE 5 FFM.indd 23
5/22/12 8:50 PM
24
ON THE FRAME
www.fullframemag.com | Issue 5 | 2012
KENNETH WONG | by: Michael Zuniga
the D3s soon thereafter. He later acquired a medium format camera the Hasselblad 500CM with an A12 film back and a Mamiya 645D within the same year 2011. I quizzed him about his passion for the medium format cameras and he simply replied with this, “remember your feeling when you had your first FX camera? Of how it surpassed your DX camera? Get that feeling and multiply it many times over, that’s how you’ll feel with the medium format.” Now he carries his H4D-40 with him always with a FujiFilm X-100 as his “fun camera” as he calls it. He tells me of one story about his flight in Switzerland when his plane was banking, he asked his fellow passenger if he could shoot a mountaintop village from his window. Using his Hasselblad handheld bent over and shot his image. He got a number of snaps and after, simply put back the camera in his bag. Only after downloading the photos in his laptop that he was taken aback. The images were so crisp that when he blew up the photos, he could see the houses clearly in between the mountains. Such is the power of the medium format that is why he fell in love with it. He fell in love so much that while in Switzerland, he went atop a mountaintop, hoping to capture an image from its peak when suddenly a snowstorm arose. He could not see a thing because of the storm. Frustrated he wanted to go down its slope and just return to his hotel. He was doing just that when he hit an epiphany. Instead of going straight down the mountain, whenever the train stopped at every village, he hopped out of the train and walked around to find his shot. He did so for so many stops and still no shot selected. Only upon stopping at the second town to the last that he finally got his shot. Treading knee-deep in snow, he saw a river with trees and small buildings, and the best part of the image is the snowstorm found above of the scene. The same snowstorm he experienced while atop the mountain. Even with the freezing temperatures, he got his shot. Not a waste of time going up a mountain. Aside from Switzerland, he travelled in a lot of places and what city struck him the most was Madrid, Spain. Not that he is into football, he chose it because of its people. He seemed connected with the people that he fell in love with Madrid. Its architecture blending the old and new worlds, streets filled with parades, and its culture rich and diverse. His Hassy was so professional in this setting that he used his Fujifilm X-100 in a lot of his photos in Madrid. He found that having this small camera was ideal for street
ISSUE 5 FFM.indd 24
5/22/12 8:50 PM
ISSUE 5 FFM.indd 25
5/22/12 8:51 PM
ISSUE 5 FFM.indd 26
5/22/12 8:51 PM
www.fullframemag.com | Issue 5 | 2012
KENNETH WONG | by: Michael Zuniga
ON THE FRAME
27
“This is what travel photography is all about, not only take the photos, but should be able to capture the story behind it as well”. photography. He got high-resolution snaps of Madrid with this camera and he loved the way it handled. Just look at the images herein taken with his X-100. Either a Hassy or a Fuji, he really finds time to shoot after his business is over. Summing it all up, this traveller has logged not only frequent flyer miles, but tons of photos as well during these trips. Sitting and interviewing him was a treat as each photo he took holds a story worth re-telling. This is what travel photography is all about, not only to take photos, but should be able to capture the story behind it as well. It’s still early in 2012, and we know there are a lot of travels in store for this man, we can only wait in anticipation, what images he will bring for us after his every trip. Bon voyage and welcome we say to you as you come and go, and finally thank you for sharing your images and experiences with us here in FFM. Godspeed Kenneth Wong.
ISSUE 5 FFM.indd 27
5/22/12 8:52 PM
A
round this time of the year, Dubai’s photography realm gets the major jolt by a company called Gulf Photo Plus (GPP); a company with so much enthusiasm for photography that it shares this same intensity with the photography community. For many years, GPP has sponsored world renowned photographers to teach here in this posh desert city. Events during the previous years was bested this time with GPP bringing in 13 photographers namely, Gregory Heisler, Joe McNally, David Hobby, Zack Arias, Bobbi Lane, David Nightingale, Steve Simon, David Tejada, Martin Prihoda, Louis Pang, Chris Hurtt, Claire Rosen and David Burnett. With this impressive lineup of educators, GPP has been touted as the driving force in photography culture in this part of the world. Reliving this year’s weeklong event held in Dubai Knowledge Village is truly momentous. Logistically, staging an event of this capacity is a crucial and extensive responsibility. Imagine 13 ongoing daily classes for 6 days aside from booking rooms, GPP had to get necessary shooting permits for location shoots on applied training. GPP goes through this length so students can shoot worry free. Moreover, GPP also handled transportations to shooting locations and back. This year’s event had a good variety of classes; for landscape, sites noted for great sunsets and sunrise were scouted for; for lighting classes high end hotels and contradicting run down factories were employed to portray contrasting effects. Additionally, there was no equipment lacking in the classes, as tons of it were hired to support students. GPP did not scrimp on wardrobe and hair and make up artists either. Assistants, who are also photographers in their own right, volunteered to help the instructors. The best in their fields of expertise were hired to ensure maximum learning. With this kind of hard work involved, and the right employment of hardware, software and lecturers, the students who enrolled were no greenhorns either. Professional photographers became students to Joe McNally and Gregory Heisler. Serious hobbyists went for Zack Arias and David Hobby. Fashion aficionados looked to Claire Rosen for guidance and weddings with Louis Pang. Street photography and landscapes were class favorites and students flocked towards David Nightingale and David Burnett. Those staid beginners went for Chris Hurtt as he is the one who lays down the right foundation, while Steve Simon is the molder of the young so they could be better photographers of the future. For portraiture lovers, David Tejada, Bobbi Lane and Martin Prihoda shared their expertise on lighting and subject pose directing.
ISSUE 5 FFM.indd 28
5/22/12 8:53 PM
ISSUE 5 FFM.indd 29
5/22/12 8:53 PM
ISSUE 5 FFM.indd 30
5/22/12 8:53 PM
Photos submitted by: Gulf Photo Plus Aside from world class teaching during those 5 days, GPP outdid itself by offering another extra day called PhotoFriday, wherein all 13 photographers offered an hour and half worth of lectures for just that day. Costing only AED150 for 4 seminars, one could just imagine how packed each session was. Amidst all the excitement, GPP Store who was also at hand to offer lower priced books, DVDs and accessories to students. GPP 2012 also became an exhibition of sorts for various photography suppliers as this was a popular event in Dubai. Discounts were prevalent in booths and enthusiasts went to buy fresh gear and stuff. These suppliers also saw the opportunity to showcase newer, top-of-the-line products as we saw additional events like the official launch of the FujiFilm X-Pro 1 wherein preselling was first made during GPP2012. An additional lecture on the use of the IPAD2 for photographers was held to coincide with the launch of the New IPad in the US. Capping the weeklong event, a shootout among the instructors was arranged for the benefit of the participants. It was a competition not to see who was the best, but a friendly exercise of creativity that delighted fans in seeing how their idols worked out a shoot with time constraints, because not only did they have to attend to the theme and time, they had to ward off banters and distractions from their co-instructors like Joe McNally, David Burnett and Zack Arias. For this year’s shoot out, it was a play between David Hobby, Martin Prihoda and Gregory Heisler but after the smoke had cleared, Gregory Heisler walked off as the winner. Conclusively, GPP 2012 was a huge success as students, participants and instructors themselves promised to come back for GPP 2013. GPP has certainly brought good education for the discerning photographer’s passion and all the best for next year. For those who cannot wait for GPP 2013, GPP will offer another event in November called the FotoWeekend. So watch out for it. by: Arnold Pasillas II Gulf Photo Plus P.O. Box 62111, Dubai United Arab Emirates Tel No. +971 4 380 8545 Fax: =971 4 380 8565 info@gulfphotoplus.com www.gpp.com
ISSUE 5 FFM.indd 31
5/22/12 8:54 PM
32
ON THE FRAME
www.fullframemag.com | Issue 5 | 2012
photos and article by: Sam Coran |
Where you need it... when you need it.... by:
Sam Coran
Travel Photography The foundation of travelling with photo gear varies from person to person. It also depends upon where you plan to travel and what you plan to photograph once you get there. Your level of expertise, coupled with your camera system and your unique blend of creativity, equates on what you want to bring on your travel. As for gear, it’s nice to keep What are your photography What you already have vs. things simple and only goals? what you might need or might using what you have The first thing to do when planning a photography trip not need. and not be dreaming is to figure out your goals. Will you just be a casual For those starting out, I’m sure you already have a DSLR coupled with a Kit Lens at around 18-55mm range + a or do you have any concrete ideas on what of gears that are a fad shooter 70-300mm that comes with the bundle you just bought. you plan to shoot? Do you have all the necessary right now. equipment in order to fulfill your goals? Have you So you probably are covered for most of the range. From a encountered problems the last time you headed out the door to take pictures? And if you did, what will you do to workaround that problem?
focal-range perspective, you’re pretty well set for almost any photo opportunity that comes along, as long as the sun is above our heads. I consider the Kit lenses as fair-weathered friends. Yes they have a range of focal length from wide to Tele BUT when the clouds start rolling in and the sun sets, the limitations of kit lenses become apparent.
ISSUE 5 FFM.indd 32
5/22/12 8:54 PM
Fast Primes VS Kit lens (standard zoom)
33
When using prime lenses you are now guaranteed with sharper images under less-than-desirable lighting conditions. Wider-aperture prime lenses also allow you the option of playing with selective focus—far more effectively than you ever could with slower kit lenses. I always use prime lenses for most of my images. Zooms make one lazy after a while and a good set of fixed primes forces you to think and move around more before pressing the shutter button. And because moving around is somewhat the only exercise most photographers get, fixed focal-length optics theoretically extend your life expectancy. (HAH! This is just my theory.) Also note that the faster the lens, the less light you need to get a good picture. This means that if you purchase a WA lens, it should be f/2.8 or faster, so that you can get enough light to be able to hand hold the shot (so leave the tripod at home unless you’ve included night photography as part of your goals).
Have FUN!!!
Bags Please! Base your decision on buying camera bags on the rules and regulations of your airlines. Some local airlines might not permit a roller bag because of its size. NEVER EVER LEAVE your camera gear/bag unattended wherever you go. The last thing you want to do when you’re travelling is to attract attention. Using hard cases is a NO NO for me. Just by looking at hard cases it already attracts attention as it gets eyes fixated on what expensive treasure your hard cases might contain.
ISSUE 5 FFM.indd 33
The best photos I’ve ever taken are when I’m relaxed and having a good time. Not when I’m worrying how the photo is going to turn out or when will be the right time to press the shutter. If you’re stressed on how your photos are going to turn out, it’s not doing you or your photography any good. Especially when you’re travelling with your loved ones. They just hate it when someone in the group is grumpy. Let’s not ruin our vacation shall we? The more fun you have always translates into the best photos. Life’s too short not to have fun.
I travel with: Nikon D700 + extra battery lens 20 2.8D 35 f2D 50 f1.8G Backup Camera: Canon g12 and the iphone 4s - Sam Coran
5/22/12 8:55 PM
34
CAMERA REVIEW
www.fullframemag.com | Issue 5 | 2012
by: Michael Cruz | www.michaelcruz.com
FUJIFILM
X-Pro1 Introduction I have previously reviewed the Fujifilm X100 and when I had the chance to get a hold of the Fujifilm X-Pro1, I couldn’t let that opportunity slide by. Fujifilm Middle East in conjucntion with FullFrame Magazine let me use the X-Pro1 for around four days and I had a great time shooting with it. Like the X100, the X-Pro1 is one of the most anticipated camera releases of 2012. As a X100 user myself, I am quite excited how it fairs up with X100 and the likes of NEX-7 and other mirrorless cameras. It promises better pictures than the X100 because of the new sensor design, which is pretty much the highlight of this camera. This is Fuji’s follow up with the success of X100, with its stunning retro design and fantastic image quality straight out of the camera. But the X100 had a rough time with criticisms about its AF performance and other quirks like its menu and so on. I didn’t have a lot of complaints with my X100; my main goal is to get quality pictures and that is what my X100 is giving me. But for those who criticized the X100, did Fuji finally get it right with the X-Pro1? Let’s see and find out… **Please note that I will be approaching this review in comparison with the X100, giving you an overview on which camera best suits your photographic needs.
Fuji X-Pro1 Handling, Looks and Build Quality The X-Pro1 carries the retro design from the X100, but this time they made the camera all black and bigger in size. The handling of the X100 is really good; I have no complaints shooting with it. That being said, I think the handling of the X-Pro1 is superior to the X100. The weight is a little heavier compared to the X100 but it makes it a more balanced camera. The grip made a lot of difference in shooting as well. I found that the button layout of the X-Pro1 is better designed and well thought of compared to the X100. I find it much easier to press the buttons and the layout makes a lot of sense. The Q menu makes a big difference, it gives you a quick access to the most important settings of the camera; I really wish they had put one on the X100. The buttons are also well recessed and cannot be easily pressed while operating it. The shutter speed dial now has a locking mechanism, which prevents you from accidentally knocking it to other settings. The Exposure Compensation button is now well recessed and requires more pressure to turn; I myself accidentally turned the compensation dial on my X100 countless of times until I got used to it. The X-Pro1 got that one right. Other features like the EVF/OVF lever are still there and very intuitive to use. I heard other people saying the build quality of the X-Pro1 is not that great and it feels ‘plasticky’ and light. I personally feel that it is solidly built and I don’t think it’s too light; I think the weight-to-size ratio is quite great. I wouldn’t lug around a camera every day if it’s heavier than the X-Pro1, I’ll rather have my DSLR then. For me, the X-Pro1’s build quality is superb. Although, this I would say, I like the looks of the Fuji X100 better. It just looks sleeker and sexier compared to an all-black body of the X-Pro1, but that is just a matter of personal taste. But in terms of handling, there’s a big difference and the X-Pro1 handles rather well compared to its smaller sibling. In summary, in the looks department, the X100 wins. For build quality, I think it’s a draw, they are just both solidly built cameras. In terms of handling, the X-Pro1 knocks it right out of the park, winning against the X100 with no contest.
ISSUE 5 FFM.indd 34
5/22/12 8:55 PM
The Auto-Focus (AF) Speed This is one of the most sought out questions about this camera, since the X100 didn’t impress a lot of people with its AF speed. The AF speed depends on the lens mounted on the X-Pro1. But let me clarify this one, the AF speed in good light is not an issue, it focuses fast and accurate, the problem is when shooting in low light. And this is not something new with other cameras, even high-end DSLRs have problems focusing in low light.
Fuji X-Pro1 Features and Menu Structure What makes the X100 and X-Pro1 stand out is the Hybrid Viewfinder. There are so many mirrorless cameras out there but nothing beats the hybrid viewfinder on these cameras. Up to this writing there are no cameras out there that offers this kind of advantage, pleasing both the OVF (Optical View Finder) fans and the EVF (Electronic View Finder) fans. And the best part is that you can switch it in a flick of a finger and it does it almost instantaneously; very nice! One of the highlights of the X-Pro1 is the fact that you can change your lenses and Fuji created 3 fast prime lenses that go with it, 18mm f2.0, 35mm f1.4 and 60mm f2.4 macro. Those are good selections of focal length and they give wide-open aperture-loving goodness. It gives you a thin depth-of-field creating creamy and luscious bokehs on your images. I won’t list all the features of the X-Pro1 here with all its geeky glory but I’ll tell you some of my favorites. The Automatic Panorama, should fit with my shooting needs since I am shooting a lot of landscapes and this provides a lot of customization about the size and the orientation of the sweep and all that. I feel that the X-Pro1’s panorama algorithm is much better than the one of the X100. I also like the Film Simulation Bracketing, which gives you three choices in case you can’t decide which Film mode effect you want. I set mine on Velvia for colorful and ‘contrasty’ effect, Astia for a more soft effect, which I use for portraits. Monochrome for black and white effect, and I’ll be honest, I am not a fan of black and white but this mode changed my mind, the way it processes black and white is just superb. The X100 also has this feature but you can’t customize it, it is already pre-determined, unlike the X-Pro1 you can manually choose the Film Simulation you want.
The Sensor
A few days ago Fujifilm made a lot of X100 users very happy when they released a firmware upgrade version 1.21 that fixes bugs, has added new features and improves the Auto-Focus speed dramatically. My X100 feels like a new camera; it is a big leap of improvement from the initial firmware when it first came out. That being said, comparing the AF speed, I feel that the X100 with firmware 1.21 is slightly faster than the X-Pro1. The fastest lens to use with the X-Pro1 is the 18mm f2.0, which is almost the same speed as the newly upgraded X100. The 35mm performs similarly like the X100 when it first came out, maybe just slightly faster. The 35mm is my favorite lens among the three, it gives lovely bokeh effects and is very sharp wide open. If I’ll buy the X-Pro1, this is the first lens I’m going to get. The 60mm is the slowest to focus, I am not a macro-kind-of-guy but I have used macro lenses and this one is quite slow compared to industry standards. It may be slow but the 60mm f2.4 is quite sharp, especially on f4.0 onwards.
The Lenses Fujifilm developed an all-new mount lense exclusively for the X-Pro1 and for the future XF mount body. The three prime lenses are: 18mm F2, 35mm F1.4 and 60mm F2.4 Macro (which offers 0.5x magnification). The 18mm f2.0 is the smallest among the lot and it is the fastest focusing one in my experience. The 35mm is the fastest lens (in terms of Aperture) giving you a maximum of f1.4, while the biggest lens is a 60mm f2.4 macro lens. I found the lenses well-built and not very heavy. Although, they are not the best construction I’ve seen compared to the likes of Zeiss and Canon L series lenses. They can look a little fiddly sometimes, especially the 18mm f2.0 which is very light but all of them are solid with metal mounts. My only complaint about these lenses is that they are not the quietest ones, and every time I switch the X-Pro1 on, they give a buzzing and clicking sound for at least a second or two.
The X-Pro1 sports an all new APS-C 16MP X-Trans CMOS sensor. This is Fujifilm’s latest design which doesn’t use the conventional Bayer pattern color filter arrays; while it uses a conventional square-grid pixel layout, the color filter array over the pixels has been completely redesigned giving it a good resistance to color moiré which then allows Fuji to remove the anti-aliasing filter that’s been in almost all cameras which in turn resolves more details than any camera with the same sensor and pixel count. According to Fuji, the performance of this newly developed sensor can match the performance of a full frame sensor. All geekineAss aside, in plain English: This sensor is an all-new design which should give sharper details than any conventional Bayer-designed sensor found in most cameras including DSLRs.
ISSUE 5 FFM.indd 35
5/22/12 8:55 PM
36
CAMERA REVIEW
www.fullframemag.com | Issue 5 | 2012
by: Michael Cruz | www.michaelrcruz.com
Performance and Image Quality This is where the X-Pro1 shines and as a photography enthusiast myself, this is what I care the most about. The menu of the X-Pro1 is user-friendlier compared to the X100, the buttons are positioned logically and they are very intuitive. When I first received the camera, I just powered it on and shot right away.
35mm | f1.4 | 1/70 | ISO 200
The first thing I noticed is that the X-Pro1 overexposes by 1/3 to 2/3 of a stop in 80% of my shots. Although it can be easily solved by turning the exposure dial, I hope Fuji will correct this in the next firmware release. I am a RAW shooter, but the X100 is an exception, the out-of-thecamera JPEGs that come out of it are just great, and the X-Pro1 is no exception, in fact I find it even better than my X100, making the X-Pro1 in my opinion the best out-of-the-camera JPEG processing, I have ever seen. I tried checking the raw shots but as of this writing, the latest Adobe Camera Raw 6.7 doesn’t support the X-Pro1 files yet. So, I can’t comment on the raw files. The High ISO performance is quite great, I think it is better than the one of the X100, and the X100 is no slouch in that department. Images from 3200 – 6400 are very usable.
60mm | f2.4 | 1/90 | ISO 1250
When it comes to image quality, I couldn’t be happier with the X-Pro1. I really love the fact that JPEGs produced by this camera are top-class and don’t require any Photoshop work; I mean probably some cropping if the image needs it. As I said before and I’ll say it again, this is the best JPEG processing I have seen in any camera I have ever used. That includes the X100, which comes second. The write speed is also improved compared to the X100. I am using Sandisk Extreme Pro SD cards and I didn’t feel any lag whatsoever during the writing process. The shutter sound is very subtle and it sounds great. The black color of the camera makes it a little stealthy when shooting on the streets and crowded places like malls; nobody gives you that ‘look’, you know what I mean, the look from people you get when you have your ginormous DSLR pointed at something or someone. It gives me a similar feeling when I’m shooting with my X100 -- I feel invisible; and in a place full of security guards, that’s a big deal! Photo hobbyists and photographers should know right?!
Fi
I ha adva qua stre
35mm | f1.4 | 1/500 | ISO 800
I pe with you mirr a lo this Olym
All the images shown here are non-edited; These pictures are JPEGs straight out of the camera.
The cam sha is th my upd still Fuji
35mm | f1.4 | 1/70 | ISO 400
ISSUE 5 FFM.indd 36
5/22/12 8:55 PM
little quirks should be fixed. The X-Pro1 is a great system, producing top-class image quality and the only thing that I feel why most people are holding back is its price. It can be quite of an investment; as a photographer, it is up to you to decide if this investment is worth it for you and your shooting needs. I suggest, picking one up in the stores and trying it out for yourself; you can bring your own SD card so you can check the image quality in a computer and decide if the system is for you or not. At this point, you should have established two things, first is that I am very impressed with the Fuji X-Pro1 and second is that I am in love with my Fuji X100; that begs the question if I’m going to upgrade from X100 to the X-Pro1… After using the X-Pro1 for a few days, I have to admit, I’m wishing that I had a Fuji X-Pro1 in my bag. Suffice to say, in case I’ll surrender my X100, the X-Pro1 is definitely one of the cameras I would go for. 35mm | f1.4 | 1/210 | ISO 800
Final Verdict I have to applaud Fujifilm for building cameras like this; Cameras that are not just technologically advanced but cameras with soul—with character. The X-Pro1 is for those who demand image quality with the versatility of changing lenses. It is for those who want to travel light and for the street photographers who want a small but very capable system. I personally believe that mirrorless cameras are the future and soon we won’t need to lug around with kilos of DSLR equipment to go with serious photo shoots. I am not saying you should sell your DSLR right now and get a mirrorless camera, my point is, at some point in time, that primitive mirror, slapping back and forth inside all our DSLR should evolve into something more advanced and a lot more portable. There are some issues like the AF speed with mirrorless ASP-C cameras, but this is similar with the micro four thirds cameras when they first came out; it took Panasonic and Olympus to perfect the focusing only on their third generation m4/3 cameras. The handling and overall performance in the field of the Fuji X-Pro1 are just simply superb. This camera will make you go out and shoot, with its outstanding images and best-in-class colors and sharpness, you will never be disappointed using it. The only thing I can see that can be improved is the AF speed in low light and a much-improved MF (Manual Focus) implementation. And with my experience with my X100, I am sure that Fuji will solve these issues with the future firmware updates; if not all at least most of them. The X100 is almost one year old and the fact that Fuji is still pushing updates with this camera is just extraordinary and gives you the sense of dedication Fuji has for its customers. And for the Fujifilm X-Pro1, I have no worries that in time, all those
ISSUE 5 FFM.indd 37
Michael R. Cruz Is a Photographer / Photo-Enthusiast / Digital Artist / Gadget Geek based in Dubai, UAE. His photographs have been published in newspapers, magazines including Conde Nast Traveler London and other architectural and travel books. Michael also conducts workshops that teach photography and postprocessing. To view Michaels’ photography, you can visit his blog: www.michaelrcruz.com and photo stream in: www. cruzm.com.
5/22/12 8:55 PM
38
Photo by: Michael Zuniga
O
n its inception on the 27th of September, 2011, Dubai’s newest social photography site, the Emirates Photography Club or EPyC, was formed. Its foremost objective is to set up various categorical photoshoots and having photographers from beginners to professionals, of different races, genders, backgrounds and regions to get to know each other, share ideas, techniques, photos and network at the same time, all within Dubai’s environs.
Emirates Photography Club ISSUE 5 FFM.indd 38
The acronym, unusual as it may seem proves to be catchy. Naturally, since its origin is Dubai, “Emirates” would seem to be the right word as this site is not exclusive to photographers residing within Dubai, but still incorporating the nation where it came from. Furthermore, EPyC can also be pronounced as “epic” and “A pic”. EPyC’s pioneers were a group of photography enthusiasts who used to hang out, somewhat like a clique. They were all a part of another club were the organizer was a rather latent figure. Forming another group that could be dedicated entirely to photography and its pursuits was the
best decision. Beginner/intermediate/advanced trainings, photo-walks, camps, overseas trips, photo-meetings and specific subject trainings with the help of other professional communities at a discounted rate for members were then conducted to keep photographic interest and energies active which also differentiated EPyC from other founded groups. Meanwhile, most of EPyC’s professional members offer free training and guidelines to fellow members. Meetings every other Tuesdays are held at the Pavilion Dubai for events. In conjunction, a theme is published where members can submit related pictures which are judged and a winner is announced. Travelling across emirates to shoot for landscapes, historic monuments, culture, etc., is also an activity that EPyC members take part in. Members are encouraged to take part in photography competitions happening within the region. Social events happening in this emirate are covered and members have rights to host events they find interesting, and the organization supports by moderating it. The group also attends events hosted by Gulf Photo Plus and other photography art galleries
5/22/12 8:55 PM
EPyC has 344 members so far and expansion is ongoing. But superiority over numbers takes precedence in this case. Although anybody into photography can join there are a few good ol’ roles that must be heeded to maintain membership: 1) Identify Yourself: Upload at least one image of yourself as part of your profile. A first or last name can be used if you so wish, but it has to be your real name. EPyC has to know who you are! 2) Show Your Work: New members are required to upload several images onto the general albums so an idea of your work can be realized. After events, a minimum of 5 images should be uploaded into the album. Only the best should be presented. Excess images should be deleted or they’ll be deleted for you. Being shy about your work is not a prerequisite, else, how can you be discovered? 3) Be Present: EPyC has to know you are still alive and proof that
ISSUE 5 FFM.indd 39
you are still with us and active within the group is a must. The admin prunes the membership list of accounts that are inactive for 2 months. That means attending events and workshops and uploading pictures is evidence that a member did so…and yes, monitoring is done seriously. 4) No Loafers Allowed: There are people who prove to be worthwhile, but there are some who do not show up on any events. EPyC contacts these people and urges involvement. If a grace period and all else fails membership is eliminated. 5) RTFM Rule: Check information posted and succeeding comments for updates on each event regularly. If a member hosts an event, the details should be clearly posted in the event description and following comments. On top of these set rules EPyC also adheres to guidelines set by the Photographic Society of America (PSA) where EPyC is a member.
With this I mind, a profile can then be created at http://www.meetup.com and joining the group can be done at http://www.meetup.com/ EmiratesPhotoClub. Here are upcoming events that are of significance and of beneficial interest to members and photographers who would like to be a part of EPyC:
1.Art In The City: Focus On Photography - Gallery Visit 2.Bi-Weekly Photography Meet: Theme: “Texture” 3.Long Weekend Photo Tour 4.Breakfast Brainstorm 5.Dragon Boat Race 6.Landscape & Portrait Photography- RAK Ghost Town 7.PhotoWorld – Dubai 8.Pre-wedding Ceremony- Rituals, Dance and Music! With 82 events and counting within 6 months, EPyC is still going strong and although the newest photography club in Dubai, it certainly is the coolest! by: Arnold Pasillas II
5/22/12 8:56 PM
FOCAL POINTS
www.fullframemag.com | Issue 5 | 2012
photos and article by: Jay Alonzo | www.jayalonzophotoworkshop.com
The Point Of Travel Y
ou need not fly to Europe to capture travel photos. What constitute as travel photos will depend on why it was taken, in the usual case arising from your trips, as well as its use and the audience. Your pictures of a small grocery (assuming you ever shot one) may be a documentation of the ubiquitous Filipino convenience corner store. But to the West it can be a travel photo. If you happen to be privileged enough to live in Burj Khalifa, for you the photos of the highest structure in the world are mere snaps of your home in Dubai. Not for your relatives and friends back in the Philippines. For them it is a travel photograph from the Arabian peninsula. In short, travel pictures can be taken right in your city without ever leaving it! Being an area of specialty ironically of different sorts, travel photography requires know how of the different disciplines of portraiture, still life, architectural, events, documentary, low light and night and even food photography. Don’t force yourself to take pictures of things or people you’re not really interested about. Instead, know what captures your fancy in that place. Does the local food amaze you? By all means, go concentrate and make a photo essay of the local cuisine even if your tour guide has been incessantly bugging you to take a shot of their famous landmark. If you want that oomph in your travel images, instead of photographing the usual icon, like the Eiffel Tower, why not focus on the Parisians and show a different aspect of life around the iconic tower that you saw that we might never know about. Walk the extra meters around or climb a few more storeys to find a unique vantage point that hasn’t been popularized in the postcards yet. Shooting from a fresh point of view makes your photo more arresting, more interesting and possibly more enduring. When I travel I bring a bare amount of gear, either an Olympus E3 or E5 being water resistant and sandstorm proof. For my lens, I just pack an ultra wide and a short telephoto. Two memory cards and an extra battery complement
ISSUE 5 FFM.indd 40
the set for an entire day of travelling. I don’t want to look like a marine in full battle gear about to invade a quaint island resort. Displaying off gear to say you are a serious photographer “may” command respect but usually accompanies intimidation to the locals. In a more gregarious populace, the denizens will be milling around incessantly bothering you wanting to have their pictures taken. You lose the spontaneity because you’re always in their radar. And worse, it is like shouting “hola! Amigos! Come and get me!”, asking to be robbed especially in next tier but third world destinations. With minimal gear, I blend in seamlessly and easily make my subjects at ease. I strike a conversation at times if they are shy and withdrawn. In time they will get used to my presence that I become invisible to them, thus continuing with their routine without being unnatural. I become a close spectator of how life really goes on with a front row seat to boot no tourist guide could ever show me. Shooting what kindles my interest, by listening to my inner voice and being faithful to my emotions, I end up shooting travel photos that really matter personally like my penchant for photographing Asian people and their primal mode of transport, the bicycle. These biking scenarios were not recreational rather essential to go from point A to B. That gives an abstract testimony of the lifestyle setting and economic situation, if not of the country but of the locality’s. It is my statement about the popular tourist spot’s condition in the mud, not what they want to sell to me in the travel agency brochures. I do not visit a place thinking I could get tens of gigabytes from that destination. Instead, I just enjoy the experience and savor what the place has to offer. And as I become one with the place, with the culture, with the people, my mind’s eye can see more that is not only worth catching with my camera but also images worth keeping over time. Travel photographs are not the means to, rather a result of having a wonderful time in that ephemeral paradise of yours.
5/22/12 8:56 PM
“Don’t force yourself to take pictures of things or people you’re not really interested about”.
Jay Alonzo is a commercial photographer from Manila, now based in Abu Dhabi and runs Keylite Studio. He has been conducting photo workshops for novices and pros alike for 16 years. For more info visit www.jayalonzophotoworkshop.com
ISSUE 5 FFM.indd 41
5/22/12 8:56 PM
How to Shoot at Low Light
P
eople would commonly think that Low-light photography is synonymous to nighttime photography. But as the term dictates low light does not necessarily mean twilight or nighttime, rather, any time of the day or any place where average sunlight is hitting earth is below normal. This could mean indoors where ambient light is lacking, or monsoon seasons where the sun’s rays are blocked by storm walls and clouds. Differing amounts of light from various sources that is less than normal daytime light is considered low-light. This article presents tips on how to take pictures in various lowlight environments, whether indoors or outdoors.
Three levels of low-light
There are three identified levels of lowlight, and although there are no specific light categories owing to the fact that there is a vast range between sun bright and pitch black, these three levels will make things easier to clarify and refer to along the way: 1. Shaded: This happens in daylight but along shadowed areas of trees or infrastructures. 2. Dim: Normally at dusk, when shrouding begins, indoors or during unclear weather. 3. Dark: At night, when vivid objects are the only things perceptible. Any photographer has undeniably experienced circumstances of any of these 3 levels, and they will attest that they may have found it exigent and annoying to produce excellent images with this given conditions. This article will delineate these 3 levels and recommendations on how to make the most out of lowlight surroundings.
Photo by: Jeff Inocencio
ISSUE 5 FFM.indd 42
5/22/12 8:57 PM
www.fullframemag.com | Issue 5 | 2012
HOW TO SHOOT AT LOW LIGHT | by: Arnold Pasillas II
TIPS
43
1 Shaded Conditions Low Light Photography:
Shadows projected by larger objects often hinder superior imagery. Pictures taken would either look downright blurry or they may seem to be ok until they are scrutinized on the computer screen and the images suddenly become indistinct, or “noisy”, when after all our optical senses stated that there was enough light to produce a good image. As a matter of fact, opticians say that our eyes perceive a broader range of light than any camera, also known as “dynamic range” in photography. Consequently, thinking that there is adequate light in a shady area may mean insufficiency for our cameras.
decreasing the aperture of a fast lens with a maximum aperture of f/1.4 or f/1.8 also diminishes depth of field, so acquiring a correct focus before shooting is recommended.
A. Shoot at higher shutter speeds to avoid blurred images
D. Employ lenses with VR/IS technology
B. Lessen aperture to the lowest number (f/stop)
E. Increase your camera ISO
Apparently, when the shutter speed is too slow, “camera shakes” and/ or motion blurs are emitted by moving objects. Fast shutter speed depends on the focal length of your lens: an object being photographed with a wide-angle lens between 10-24mm is possible with shutter speeds under 1/50th of a second depending on your camera handholding technique; however, if a telephoto lens longer than 100mm is employed, the hand-holding rule should be applied to calculate optimal shutter speed. Shutter speeds of 1/200th-1/250th of a second should be rapid enough to yield sharp results and block out motion blur for most day-to-day photography.
Decreasing lens aperture to the lowest number means more light passes through the lens into the camera body which enables shooting at faster shutter speeds. Either switch to ‘Aperture Priority’ mode or manually override aperture in whatever mode being used. Then start decreasing aperture until the lowest number the camera allows is reached.
C. Utilize a faster lens
Generally, consumer lenses are limited to f/3.5 for maximum aperture and professional zoom lenses have an aperture of f/2.8, while some prime lenses can go all the way to f/1.2. Decreasing these apertures increases shutter speeds. If, for example, a photographer is shooting at f/8.0 aperture and 1/125th shutter speed, lessening the aperture to f/5.6 will double his shutter speed to 1/250th of a second, while going down to f/4.0 will quadruple the shutter speed to 1/500th of a second, which is saying much in terms of “freezing motion”. Note also that
ISSUE 5 FFM.indd 43
Suggested Nikon prime lenses are Nikon 50mm f/1.4G, Nikon 50mm f/1.8D and Nikon 35mm f/1.8G (DX only). Similarly, Canon offers Canon EF 50mm f/1.4USM, Canon EF 50mm f/1.8II and Canon EF 28mm f/1.8 USM.
VR stands for Vibration Reduction and IS for Image Stabilization. VR II technology by Nikon is the latest and allows users to shoot up to 4x slower when it comes to shutter speed but without blurring the image. Example, in order to produce a sharp picture a regular lens of 1/250th is needed. With a VR/IS system, the shutter speed can be lowered to 1/30th of a second but still get the same clear image. Many consumer zoom lenses such as Nikon 18-55mm f/3.5-5.6G VR and Nikon 18-200mm f/3.5-5.6G VR II come with VR technology, and though it may be nice to have VR in such versatile lenses, they are also slower and not as sharp as prime lenses such as the Nikon 50mm f/1.4G. Zoom lenses with a fixed aperture and VR/IS technology are professional and expensive lenses such as the Nikon 70-200mm f/2.8G VR II are also great alternatives for low-light photography.
There may be instances when there are still slow shutter speeds despite decreased aperture. The solution is to increase the camera’s ISO or sensor sensitivity, to allow the sensor to collect light faster. Although, technically, shutter speeds in different cameras vary, but basically, doubling ISO doubles shutter speed, and tripling ISO, triples shutter speed. So, if you are shooting at ISO 100 and your camera informs you that the shutter speed is 1/25th of a second, doubling ISO to 200 will double your shutter speed to 1/50th of a second, and so on. Nonetheless, while most modern cameras can handle noise levels up to ISO 800 pretty well and top-of-the-line full frame professional cameras can produce very little noise at ISO 3200 and above, care should be taken as increasing ISO to a higher number causes more grain/noise to appear on images taken.
5/22/12 8:57 PM
TIPS
www.fullframemag.com | Issue 5 | 2012
SHOOTING AT LOW LIGHT | by: Arnold Pasillas II
2Dim Conditions Low Light Photography:
A somewhat tricky situation arises when dusk approaches and sunset diminishes or when shooting has to be done indoors and the lighting is too poor to produce an exceptional image. Evidently, aperture reduction and ISO increment is to be made, but what if you have reached the lowest aperture and the highest ISO levels and still not able to generate sharp snapshots?
A. Stand closer to the light source
From wherever the light is being emitted, that is where shots should be taken. Windows and doors are sources of light, hence, curtains and/or draperies should be tied, blinds pushed up and doors opened to allow for more light.
B. Stabilize yourself
Yes, hold your camera better. Support your camera by putting it with your palm facing up in between the camera lens and the camera body. Draw your elbows closer to your body. Kneel with one leg and use the other leg as support for the arm that holds the camera. Press the shutter button and check if you can produce a sharper image. Apply this and other stabilizing techniques so you can be able to shoot at very low shutter speeds without bringing in camera shakes.
C. Set your ISO to a higher number
Setting your ISO to a higher number causes more “noise”, but this is preferable over a blurred image. There are plenty of noise-removal programs such as the Noise Ninja that helps clean a ‘noisy’ image. Try this out and see if the final result after post processing is sufficient. Pushing your ISO up to the highest possible limit once in a while may be necessary.
D. Shoot in RAW mode and faintly underexpose
Shooting in RAW mode may always be preferable over JPEG as recovery is easy if details of a picture are overexposed or underexposed, while JPEG allows for image recovery options. In a few cases, try intentionally underexposing an image by using the exposure compensation button which increases shutter speed. Allow for a 1-1.5 stop of negative exposure compensation.
ISSUE 5 FFM.indd 44
Photo by: Jeff Inocencio
E. Monitor your autofocus
A camera loses its autofocus capabilities and cannot differentiate between objects in low light environments, much like pointing it at a plain white wall. But there are DSLR cameras that are equipped with an “AF assist” light in front of the camera that light up like a flashlight when light is sparse enough to illuminate an object. This function should be turned on in dim environments. When you focus on a subject, make sure that it looks sharp in the viewfinder. If it is blurry, try to re-acquire focus by half-pressing the shutter/autofocus button. In most cases, you won’t be able to tell if the camera was able to focus correctly on the subject until the picture has been taken. Therefore, make sure to zoom in and check for sharpness of the image on the rear LCD of the camera.
F. Use a full-frame camera
Though expensive, a full-frame sensor is very useful in low-light situations.
G. Acquire a sturdy monopod or a tripod
Finally, using a monopod or tripod helps in keeping your gear still. Although a monopod is useful in some circumstances, using a tripod is most efficient, because ISO can be set to the lowest number to diminish noise and shoot at very slow shutter speeds. Slower shutter speeds create more blur into the images this is the main focus why the camera should be steady.
5/22/12 8:57 PM
Photo by: Jeff Inocencio
3Dark Conditions Low Light Photography:
C. Use manual focus
In dark places, most all the above steps are useless, because there is no light to begin with. Autofocus loses its functionality in dark conditions. “AF assist” light can be used if the subject is closer, but a flashlight to illuminate is more probable should your subject be further away. But in the absence of a flashlight and the disparity of the subject, manually Hand held photography is essentially worthless, because the situation deals with very slow shutter speeds and every kind of vibration matters. focus on it. Setting your lens to ‘infinity’ oftentimes work fine, but sometimes, you will have to take a shot first and then adjust on the It is advisable to use a remote control or a cable release system in focus as needed. Once focus is acquired, turn off the autofocus so these instances, but if these are not available, your camera’s timer is the camera does not attempt to focus again. And once this has been the other option. Though not as superior to a remote control, at least achieved your tripod should not be moved. you do not have to press the shutter button which creates momentary
A. Use a tripod
vibration. Just set the timer for a longer period.
B. Flashlight forms light paintings
Flash lighting adds wanted light to a very dark subject. If used with different colors, light painting created by the flashlight generates excellent images.
ISSUE 5 FFM.indd 45
D. Practice makes perfect!!!
Low-light photography is enjoyable as it turns out the creativity in you. Experiment with your camera in different lighting conditions. Practicing taking shots in low light opens opportunities to get pictures that are normally difficult to acquire.
5/22/12 8:57 PM
46
WORKSHOP
ISSUE 5 FFM.indd 46
www.fullframemag.com | Issue 5 | 2012
photos provided by: Donnell Gumiran | UPCLOSE
5/22/12 8:58 PM
47
ISSUE 5 FFM.indd 47
5/22/12 8:59 PM
HIGHLIGHTS
www.fullframemag.com | Issue 5 | 2012
QUESTIONS FROM THE READERS |
48
Im planning to shoot outdoors, what kind of filters should i bring and why? You may bring the following filters with you. A. Circular Polarizing Filter or CPL These are optical filters that let in light and reduce glare primarily but turning the CPL counterclockwise. It reduces glare in shop windows, and shows the subject clearly within. It does what it does in two stages. First stage is letting in light (glare) via linear polarization. Then before this reaches the camera sensor, it passes through the second stage wherein it circulates it thus reducing or eliminating unwanted glare from being captured in the image. B. Graduated Neutral Density Filter or GND GND are filters show one part darkened while the other shows a clear transparent glass. Best used for sunrise and sunset shooting situations wherein it balances the exposure and composition. The clear transparent portion is placed to cover below the horizon whereby the darkened portion is placed over the horizon, thereby stopping down or reducing the light coming from the rising or setting sun giving you a balanced exposure. C. Neutral Density Filter or ND. A neutral density filter stops or reduces the intensity of light for creating effects in your photos. Best used outside during sunny days, it reduces the sun’s light to create drama in your photos. Usually sold in different grades, from ND2 (cuts down light by 1 stop) to ND8192 (cuts down light by 13 stops). What is usually sold in stores are from ND2 to ND8.
ISSUE 5 FFM.indd 48
When is the best time to use the Aperture or Shutter Priority mode? Aperture Priority is a setting wherein the user has control of Aperture only, and the shutter speed is automatically set by the camera. This is best when the photographer would like to show a blurred background on the model. Shutter Priority works the same way, however shutter priority controls only the speed of the camera therefore the the aperture value is calculated automatically.
Photo by: Myk Reyes
How do I get the Background Sharp? For landscapes, focusing on infinity can make backgrounds sharp. Setting your camera to F/8 and above (relatively make your shutter lag for sometime) will make your background as sharp as your subject as well.
5/22/12 8:59 PM
Whenever I use my flash, the resulting pictures are harsh, how do I solve this?
What is a good setting or mode to shoot at sporting events like rugby? Some of my shots are blurry. Shoot manual, use speeds more than 1/500 to freeze the rugby action. You may use 1/1000 to capture even faster subjects. Another trick is to use also shutter priority function of your cameras. You set the shutter to your desired speed and let the camera automatically set for the aperture, giving you clear photos. If still faced with blurred photos, it would be best to bump up the ISO to a higher value, so as the camera can use faster shutter speeds even with larger aperture values.
ISSUE 5 FFM.indd 49
I’m planning on taking a trip to Europe and want to know what would be best lenses to take. I’m shooting canon D50. Iíd like to take just a couple if possible.
Harsh lighting is a result of using a small light source on a subject. An example would be is the use of your pop up flash. Being so small, it creates harsh lighted images. To soften the light falling on your subject, you must make this small light bigger. Putting a diffuser on it will spread the light a little bit more, thus making it bigger, creater softer light. This is why you see softboxes in studios being used to create soft lighted portraits.
Bringing along an 18-200 will solve most of your touristy photo opportunities. No need to change or swap lenses if you have the 18-105mm or 18-55mm and the 70-300mm. since this is not a fast lens, you may want to invest for a little more and buy a speedlight instead just to handle low light situations.
5/22/12 8:59 PM
DEPTH OF FOCUS
www.fullframemag.com | Issue 5 | 2012
MOSH LAFUENTE | by: Arnold Pasillas II
50
Commencement of a Photographer “P
hotography, like other arts, requires talent, knowledge and confidence, and is a product of an artist’s vision. Although one can only study enough, knowledge can only do so much that aptitude cannot overpass. Talent is needed to capture emotion and I do believe that although creativity is inherent within everyone, talent remains unsurpassed. A person does not need to be a professional photographer to inscribe a moment of feeling into a rectangular piece of glossy paper; nevertheless, it is vital to acquire a basic acquaintance of the technical aspects of photography in order to communicate your own vision. Inventiveness and trying things that are uncommon sharpens your skills and forms new branches of photography and is the reason why new styles are created because someone dared to go beyond the boundaries of universal camera work.” “I believe that photography is a photographer’s orchestra and his portfolio is his symphony. It’s like a maestro composing a masterpiece, but he is appealing to the ocular senses. Like a painter or musician, their every composition creates a sentiment, and each viewer or hearer construes it differently.” Like any other photographer on the block, I am multi-faceted. The hard, strict side of me belongs to the workplace and being a photographer who strives and maintains to get the best of his surroundings. The softer side fits in my home place where I am a husband and a hands-on father to my 3-month old baby boy. Some days may get really hectic and overbearing but nothing deters me from me from what I do, but as a treat for myself, I spend about an hour on weekends for quiet relaxation with a cup of coffee and a good book or newspaper. My 7th birthday was the first time I encountered that clicking and flashing thing we call a camera. I was fascinated by how it could freeze moments and memories. Then on, I wanted to play with it, but of course, during those times, film was an extravagance my family could not afford to buy each and every time. As I remember, my parents used up 1 36 frame roll of film per year, and it had to be spent wisely for birthdays of a family of five and occasions that happened throughout that year. My interest was ignited once again when I came across my uncle’s slide collection of the Statue of Liberty which he took as a US Merchant Marine. I was excited and absolutely mesmerized every time I gazed at those images, but unfortunately, none of those survived when Mt. Pinatubo erupted in 1991. While at college, I worked ferrying people from my hometown to any place in Luzon. I became heavily involved in extracurricular activities, like being secretary of the student body organization and becoming president of the Subic Youth Tourism Council. These activities allowed me to travel and see beautiful places but just wishing that I owned a camera so I could look back and remember everything I saw. One month before I graduated, my brother bought a Nikon FT SLR 1962 model camera for Php 1000. It had 3 fixed lenses, 28mm F2.8, 50mm F1.4, and 135mm F3.5mm. I wanted it so I asked him for it, but since I did not have money to pay for it, he refused and sold it at Gray Market instead. Desperate, I secured money within a week and bought it back for Php 1500. Ever since, I started teaching myself photography and spending almost 3 rolls of 36 frame negatives daily.
ISSUE 5 FFM.indd 50
5/22/12 8:59 PM
ISSUE 5 FFM.indd 51
5/22/12 8:59 PM
DEPTH OF FOCUS
www.fullframemag.com | Issue 5 | 2012
MOSH LAFUENTE | by: Arnold Pasillas II
52
In 2004, after 2 determined months of self studying, I joined and became secretary of Zoom Photo Club. During that time, my club mates asked me to request an accreditation to cover the Asian Formula 3 race in SBMA. As providence would have it, the group photographer was not able to attend the qualifying schedule so the group commissioned me to cover the race. The following day, I saw my pictures printed in major daily sports pages, and although these were not credited to me, I felt that my photography would go somewhere someday. This was the kick off of my career and the rest is history. I was one who was never meant to be bogged down by only one type of photography. My perspective was to being master-of-all-trades; photojournalism, travel, fashion, portraiture, products, etc. I wanted to experience it all and am still doing it. I enjoy working as a press photographer as it allows me to meet interesting people, visit different places and capture diverse subjects. Personally, there are things that must be weighed before being a photographer: • • • • • • • • • • • • • • • • •
A photo can make you famous or flat out ruin a career you hope to build even before you have started. A photo can make a person love you or they can just plain hate you. Amazing photos do not come at a cheap price; time and money are ways to prepare. No matter how hard you work to produce a good shot, there will always be someone who will find it flawed. You may think that you have prepared well, but sometimes it turns out you have just overdone yourself and carried gear 1 too much. You’ve worked hard to learn the trade and then someone comes along and says, “You just had a better camera that’s why your shots were good”. You risk hazardous positions and perform acrobatic stunts to get that evasive shot and you set yourself up for a bigger accident from being too adventurous. Most people fly through airport security without a hassle, but you get security check double than that of anyone for carrying something that looks like a cannon. Experiencing luxury may be a benefit, but you live in fear that the benefactor might not be happy on how his/her pictures turn out to be. And you watch helplessly as comfort evolves into calamity. You think that every last frame you shot was better, only to come home and remember how you forgot to do this or that and kick yourself in the shins for not doing better. Attention to detail is the key, but others were not looking the same way you were looking at it. You go for the weird, exotic and unusual things, thereby forgetting the simpler things just lying around. You are your own boss and possess your own photographic style, but oftentimes have to listen to someone to earn a living. People think you look satisfied with how shooting is progressing, but in reality, you are deathly famished. You carry expensive and more delicate equipment; you carry more responsibility. You get to see beautiful places, but never enjoying it because you are busy taking pictures. You create and capture different moods and reactions, but mostly, they are all fake. Photography is my number one passion. I am blessed to be employed doing something that I love to do, and though I admit that I may not be the most successful photographer past, present and future, I know that images I produce inspire people. Throughout my years being a photographer, attitude is the focal element in succeeding. This involves showing respect to fellow photographers and your subjects alike and a willingness to learn and listen to another’s ideas, but obviously not to the point of following and replicating someone like a headless chicken. Procedural knowledge and preparedness come in second, and finally, being able to present more than 90% of the original frame without the help of post production software. Some days, I’d just lie and gaze at photos of my son, Tatum, taken by my wife, and think about how they inspire me and remind me of how much I love the profession I’m in and why I fell in love with photography in the first place.
ISSUE 5 FFM.indd 52
5/22/12 8:59 PM
I enjoy working as a press photographer as it allows me to meet interesting people, visit different places and capture diverse subjects. ISSUE 5 FFM.indd 53
5/22/12 9:00 PM
SHUTTER
ISSUE 5 FFM.indd 54
www.fullframemag.com | Issue 4 | 2012
GROUP PROFILE | Spectrum
5/22/12 9:00 PM
ISSUE 5 FFM.indd 55
5/22/12 9:00 PM
DEPTH OF FOCUS
ISSUE 5 FFM.indd 56
www.fullframemag.com | Issue 5 | 2012
MOSH LAFUENTE | by: Arnold Pasillas II
5/22/12 9:00 PM
ISSUE 5 FFM.indd 57
5/22/12 9:00 PM
ISSUE 5 FFM.indd 58
5/22/12 9:00 PM
ISSUE 5 FFM.indd 59
5/22/12 9:01 PM
60
WORKSHOP
www.fullframemag.com | Issue 5 | 2012
EDWIN LOYOLA | photos and article by: Wallei Bautista Trinidad
B
eyond Passion is an extra-ordinary workshop experience with Mr. Edwin S. Loyola himself who is based in Los Angeles, California USA. A workshop where the hobbyists, professionals and artist gather together to acquire unique skills in photographic composition making images as pieces of art. Proceeds will go to the charity MISSION: Save Kids With Cancer which was established by Mr. Loyola to help the poor children with cancer. The Passion Images that we create through our photographic journey are not just frozen visual
ISSUE 5 FFM.indd 60
arts; they can be panacea of sorts for the myriads of problem we deal with everyday. There are times when a single heartwarming picture can drive away the worries accumulated throughout a stressful day. We take photographs because this is our powerful means of connecting with people and telling their story. Our photographic creativity boosts sense of worth, problem-solving and encourages social interactions. It works like a charm by allowing ourselves to gently push beyond boundaries. In this manner, we do not capture photographs that we love but we actually energized
ourselves by the whole experience. Being fully present with our camera in hand, clicking away, acknowledging, honoring, seeing; our images make a real shift in our hearts and inspire us to do things we never dreamed of. Photography holds a power to move us in great and mysterious ways. As we continue to savor the moments, we are all encouraged to pay attention through our lens and we will be surprised that as we go on with our photographic journey and as we sink in it, most spectacular stories will rise.
5/22/12 9:01 PM
61
ISSUE 5 FFM.indd 61
5/22/12 9:02 PM
TIPS
www.fullframemag.com | Issue 5 | 2012
by: ROHIT SINGH |
Seeing the Light
P
hotography is the art of manipulating light, so that it conveys a feeling or tells a story. Literally the word photography comes from Greek language, which means painting with light. In its most simplistic explanation, photography cannot exist without light. So in order for us to manipulate light, we need to understand it first. It can be classified into two flavors as you might call them, hard and soft. The former is created by a small light source. It produces hard edged shadows and with high contrasts and creates unflattering portraits on women. Cloudless sunny days at noontime creates this kind of effect. Soft light on the other hand is produced by a big light source. Creates softer highlights and have gradual shadow transition. This is best for portraits as it produces soft shadows thereby masking any skin imperfections and creates a softer and smoother look. Overcast skies or using a large studio softbox can create this kind of effect. Furthermore we can classify different qualities of light into two parts; Comparative & Subjective. Comparative qualities of light are brightness, contrast & color. These are exact and can be measured. They can be fixed in post processing hence they are forgiving incase you did not get them right in camera. Where as the formative qualities of light are size, distance & direction of light. These are manipulated each time you shoot as they are your vision as a photographer and cannot be fixed in post processing hence they are not forgiving because you have to get them right in the camera. Before you take a photograph, always ask yourself these three questions: 1. Which Light sources are in the scene? 2. What is the quality of light? 3. What is the direction of light? When you start noticing the light, I guarantee that your photographs will convey the same feeling that you felt while taking the photograph. Until the next time, you keep shooting.
ISSUE 5 FFM.indd 62
5/22/12 9:02 PM
ISSUE 5 FFM.indd 63
5/22/12 9:02 PM
POINT OF VIEW
www.fullframemag.com | Issue 5 | 2012
by: RAD BASA |
Master
M
ore and more photographs are being taken today than ever before. This also means, increasingly, more photographs are being postprocessed, much too often, improperly. This is a trend, in my opinion, that is detrimental to photography. Some have remarked that because I shoot film, and my being a “purist”, I am inclined not to post-process my photos. That can’t be any further from the truth. Nearly a decade ago, I taught Photoshop. We’ve come a long way since then. There are a lot of tasks that Photoshop can do by itself now that I had to do manually back then. But the fundamentals of photo-editing haven’t changed. Most important of all is basic color theory, which I emphasized in my class and spent more time on over any actual photo-editing. However, the “digital revolution” has proven much too strong and has just about succeeded in overwhelming photographers’ mindshare, leaving the fundamentals and history of photography, both behind the camera and in the darkroom, by the wayside. The Internet contributes to this decay by giving us access to step-by-step guides for just about anything. This “results”-oriented disposition develops people who know the how to but don’t understand the why. Everyone wants to be “good” without investing the time and effort. Hence the typical post-processed images we see online are amateurish. Unfortunately, the “Nice photo!” comments on every photo posted online is perpetuating this.
ISSUE 5 FFM.indd 64
Test
I find that beginners, all too often, are casualties of this. They want their photos to be on par with the photos from more experienced photographers they see on the Internet. They want to learn in a few days, even hours, what takes years to learn and master. But it takes more to improve your photography skills than just following step-bystep instructions. Thus their reliance on post-processing to compensate for their photography skills. It is not enough that one learns the skills, it is more important to know when to use these skills. This is the main cause of too much postprocessing in the photography world today. I am not espousing that we should shun post-processing. Even, the master of post-processing, Ansel Adams spent a lot of time in the darkroom. But he knew what he was doing. Properly. He was Ansel Adams after all. His prints did not venture too far from the original captured on the negative. And I’m sure he can come up with more beautiful prints in the wet darkroom than we can achieve with the computer. But, even though he spent a lot of time in the dark room, he spent even more time on location shooting. Quite the opposite of the typical photographer nowadays, despite the computer speeding up post-processing many fold. So, how much is enough, and how much is too much? That’s actually difficult to answer categorically. It is not a simple measure of number
5/22/12 9:03 PM
On PostProcessing Master
Test
Master
Test 2
of steps or variance of the slider controls from zero. But definitely, the final image should still look like a photograph, not a painted-on photograph. There is a difference. As photographers, we follow the footsteps of Nadar, CartierBresson, Winogrand, et al, not the footsteps of Renoir, Rembrandt, Michelangelo, et al. The current state of High-Dynamic Range (HDR) processing is a very good Test 3 example of this. It, inherently, already entails a lot of post-processing to execute. And yet, the typical HDR image brandished about still have too much post-processing and look more like illustrations. HDR, the technique, wasn’t invented in this century. The technique of combining different exposures was first done in 1850s, and was well-used since then. But, you would be hardpressed to identify which prints went through a wet darkroom HDR process. Nowadays, HDR is equal to super-saturated candy colors and extreme contrasts. Furthermore, every single object in the frame (including clouds) covers Zones 0 applies to your camera, digital or otherwise, and your photos while to X. HDR was not supposed to mean artificial-looking photos. It was meant to editing. extend the exposure range of an image, as its name implies. As a photographer, wouldn’t you feel more fulfilled being praised for your skills behind the camera rather than in front of the computer? Even if your viewers don’t know how much work you put into editing the photo, you do.
In the end, you will spend less time post-processing and you have more time shooting, which is what photography is all about in the first place anyway.
Do most of the work behind the camera. In other words, spend more time with your camera than with your mouse. Learn the fundamentals of color theory. Study it again, until it becomes natural to you. Understand how color theory
ISSUE 5 FFM.indd 65
5/22/12 9:03 PM
SHOOT FOR A CAUSE
ISSUE 5 FFM.indd 66
www.fullframemag.com | Issue 5 | 2012
WFP D8 PHOTOGRAPHERS | Shoot for a cause | photos provided by: WFP
5/22/12 9:03 PM
ISSUE 5 FFM.indd 67
5/22/12 9:03 PM
68
PRESS RELEASE
www.fullframemag.com | Issue 5 | 2012
FUJIFILM | Grand Store | photos by: Eugene Santos
Fujifilm Unveils 20 New Ideas to Improve Photo Imaging Business in the UAE Ultimate Dry Inkjet Mini-lab System, Printing Solutions and Tailor-made Service Care Options on Equipments introduced.
D
P
H
O
T
O
T
W
E
N
T
Y
A New Beginning
FUJIFILM introduces new avenues in imaging business
ISSUE 5 FFM.indd 68
ubai, 28th March, 2012: Fujifilm and Grand Stores unveiled 20 new ideas A toNew Beginning improve photo imaging business FUJIFILM introduces new avenues in imaging business in the UAE. Attended by renowned studio owners, professional photographers and experts in the imaging industry, the Fujifilm ‘Photo 20’ Event held at Park Hyatt Hotel in Dubai opened-up new horizons of business opportunities in the imaging market.
Print System was yet another breakthrough achievement unveiled during the event. It not only prints photos taken by the 3D digital camera, FinePix REAL 3D W3, FinePix REAL 3D W1, but also offers other 3D print services at tourist spots, theme parks, event venues, and leisure facilities. This system helps you develop new business areas by offering high value-added services.
Introducing Fujifilm superior digital technology & the latest range of Finepix digital cameras at the event, Fujifilm and Grand Stores officials said that the new products and techniques offers a versatile choice of imaging technology to professional photographers and studio businesses in the UAE and the region. Successfully transferring the rich heritage & quality of film to digital technology, Fujifilm has proved again to be the pioneers in Imaging industry. Ensuring speed of first print, user-friendliness, quality of print and simplicity of use Fujifilm’s Instant Stand-Alone Kiosk Solutions attracted too much attention. The most innovative and much awaited 3D Studio Solutions was also exposed. Enabling direct printing of high quality 3D images on lenticular sheets Fujifilm 3D
Re-emphasizing the need of customer care in business development, Grand Stores in association with Fujifilm announced their extended Service Support adding value to the clientele. Addressing the media and industry delegates Dr. Omar Ghanayem, technology Division Director of Grand Stores said “Keeping up with the technology race enables the photo-studios and entrepreneurs to extend their services in this revolutionary world of imaging techniques thereby including and exceeding the demands of deserving customers.” From low cost Technical Support (Bronze) to competitive (Gold) Service Care of Fujifilm Digital Minilabs, there was room for every ambitious project that falls within different budgets to embark on a progressive business plan.
5/22/12 9:04 PM
About Fujifilm
Since its founding in 1934 as a photographic film manufacturer, Fujifilm has expanded to become an innovative leader in a variety of business fields. Celebrating 75th anniversary in 2009, Fujifilm is known as the world’s largest photographic and imaging company that introduce futuristic ground-breaking technologies in digital imaging. Fujifilm is also innovating in medicine, highly functional materials, and many other high-techs areas. From microscopy to outer space, Fujifilm keeps seeking better solutions. Through research and development, Fujifilm refine the core technologies, which is applied to products that improve the quality of our lives. Operating more than 223 subsidiary companies for research, manufacture and distribution of products with manufacturing facilities in Asia, Europe, and the United States of America, Fujifilm products are sold in over 200 countries internationally.
ISSUE 5 FFM.indd 69
About Grand Stores
A leading luxury brand retailer based in the UAE for past three decades, Grand Stores is the national distributor of several world renowned brands in the photography, luggage, linen & dinnerware, perfumes & cosmetics industry. Headquartered in Dubai with investments across the region, Grand Stores currently operates 33 showrooms in the UAE alone. In recognition of the high standards maintained over the years and the excellent services provided to its customers, Grand Stores was accredited with the ISO 2000-9001 Quality Certification in 2002 and the Dubai Service Excellence Scheme Membership in 2003. The year 2004 saw the company acquiring a further three awards, the Dubai Quality Appreciation Programme Award, the Sheikh Khalifa Excellence Award and the Sharjah Economic Excellence Award. Grand Stores offers
its customers the world’s best brands – Nikon, Fujifilm, Lexar, MSI, Epson, Samsonite, American Touristerm Chanel, Gevenchy, Nina Ricci, Paco Rabanne, Azzaro, Thomaston, Centa Star, Greggio, Bohema and many more.
For more information, please contact: Mr. Gopal Sudhakaran PR & Events Manager | Grand Stores LLC Phone: 04-2170-00 / 050-7840-735 Fax: +971 4 2828382 Email: gopal@grandstores.ae
5/22/12 9:04 PM
RANDOM CLICKS
www.fullframemag.com | Issue 5 | 2012
PHOTOGRAPHERS GALLERY |
Photo by: Jhoven Magat
Photo by: Ron Margallo
ISSUE 5 FFM.indd 70
5/22/12 9:04 PM
Photo by: CJ Cantos
Photo by: Jerry Fer Damian
ISSUE 5 FFM.indd 71
5/22/12 9:05 PM
Photo by: Mae Calimquim
Photo by: Romy Israel
ISSUE 5 FFM.indd 72
5/22/12 9:06 PM
Photo by: Noel Yambao
Photo by: Arnel Villavicencio
ISSUE 5 FFM.indd 73
5/22/12 9:06 PM
Photo by: Ahmad Al Hussaini
Photo by:Walid Saeed
ISSUE 5 FFM.indd 74
Photo by: Royce Aldrich G. Centeno
5/22/12 9:06 PM
Photo by: Erwin Rommel Ohena
Photo by: Sheila Ohena
ISSUE 5 FFM.indd 75
5/22/12 9:07 PM
S
ince I bought my Think Tank Take Off bag, I’m loving it more everytime I use it. Like so many of you, I had my share of experiences with camera bags. What troubles me the most is the way each one has its own limitations. If it was a backpack, then carrying heavy equipment would be a chore. If it was a trolley, there was an issue of airline restrictions while travelling. I did some research and found out there was a bag that meets most of photographers’ requirements, the Think Tank Security V2.0. Although ta clear favorite, I didn’t want this bag.
THINK TANK AIRPORT TAKEOFF | REVIEW
I was about to order one overseas when suddenly my internet search led me to Gulf Photo Plus. They were selling the Think Tank bags and immediately went to check out the next bag in my list, the Think Tank Airport International. While in there, I was shown the Think Tank Airport Take Off. A trolley bag with backpack straps built in. Comparing the two made me realize the following; (1) the latter had an expandable front pocket with latch while the International v2.0 there was just a pocket, which you cant fit a laptop, with all gears are inside, (2) the International was much bulkier than the Take Off, which makes this ideal to fit overhead bins in airplane cabins as I could personally attest. I used the Take Off in my flights with Jet Airways, FlyDubai and Kingfisher and they let me bring the bag inside the cabin; (3) there were backpack straps on the Take Off so taking this bag offroad would not be a problem and lastly, (4) a monopod or a tripod can be carried on its side using the supplied straps. There are other features that the bag is known for, but what I mentioned herein was enough for me to make my decision. by: Vineet Suthan
Gulf Photo Plus P.O. Box 62111, Dubai United Arab Emirates Tel No. +971 4 380 8545 Fax: =971 4 380 8565 info@gulfphotoplus.com www.gpp.com
ISSUE 5 FFM.indd 76
5/22/12 9:07 PM
Perfect your photography from shoot to finish Get everything you need beyond the camera with Adobe Photoshop and Adobe Photoshop Lightroom software training with Gulf Photo Plus, Dubai. ®
®
®
®
®
Organize, perfect, and share - Lightroom combines all your digital photography tools in one fast, efficient application. Photoshop redefines digital imaging with breakthrough tools for photography editing, superior image selections, realistic painting, and more.
Join photographer and trainer Alex Jeffries as he shows you how turn your snapshots into great shots, whilst improving your workflow along the way, go to www.gulfphotoplus.com for details and how to register, 10% discount for Full Frame magazine readers!* *Please bring a copy of the advert.
ISSUE 5 FFM.indd 77
5/22/12 9:07 PM
CLASSIFIEDS
www.fullframemag.com | Issue 5 | 2012
COMMUNITY SERVICE |
Services Gabriel John Rimando
Brian Haw Cotaoco
Janine Khouri Elias
Meiji Sangalang
Alvin Mark Buen
Muhammad Ali Nawaz Adil
Eugene “Soy� Caasi
Myk Reyes
Eduard Daling
Eugene Santos
Royce Aldrich G. Centeno
Ruel B. Fernandez
Jay Morales
Sam Coran
Wedding / Portraits / Fashion Contact: 056-1130989 gabby.juan@gmail.com
Portrait Photographer Contact: 055-1855847 meijsangalang@gmail.com Photographer Contact: 050-8647584 abzmed@yahoo.com
Event Photographer Contact: 050-6529931 eugenesantos3@gmail.com
Portrait, Portfolio, Wedding, Product, Interior, and Event Contact: 055-5703641 jjmorales1978@gmail.com
ISSUE 5 FFM.indd 78
Sport / Event Photographer Contact: 055-5570345 brian.h.cotaoco@gmail.com
Wedding Photographer Contact: 050-9057408 alvinmarkbuen@yahoo.com Portrait Photographer Contact: 050-3986165 myk_0312@yahoo.com
Portrait Photographer Contact: 055-2819329 mr_stageactor24@yahoo.com
Portraits and Lifestyle Photographer Contact: 055-5813001 scoran@gmail.com www.samcoran.com
Wedding, Portraits & Lifestyle Photographer Contact: 056-7258083
Website Designer Contact: 050-1561980 info@alinawaz.net
Wedding and Events Photographer Contact: 056-7350546 majormiles@gmail.com www.eduarddaling.com Wedding, Product, Events Videographer, Photographer Contact: 055-8279550 rb.fernandez@yahoo.com
FREE
Line Ads for yo ur photograph y related busine ss or service. Simply email your AD details to info@fullframe mag.com
5/22/12 9:08 PM
Choose your workshop
www.jayalonzophotoworkshop.com Photography instructor Jay Alonzo has removed the complexities in photo workshops, making it more fun as well as being a simple matter for everyone without sacriicing content and know how. Coming from the lm age, he aims to instill the discipline of “visualization” that has been lost among the new crop of hobbyists in the digital era. His personal objective is to make real photographers out of his students, not just Photoshop junkies. Classes are conducted at Jay Alonzo’s studio in Abu Dhabi called the Keylite Studio. Quality instruction is ensured as most workshops have a limit of only 12 per class, and half of that for studio equipment-based courses. Limiting his class size is a way to ensure that there will be an excellent student-teacher interaction as well as more time and exposure in studio equipment handling and set up for each trainee. All workshops offered were designed by Jay Alonzo. Tried and tested during his more than one and a half decade of mentoring culled from his almost two decades of experience as commercial and editorial photographer. His teachings simply work.
Mezzanine One Professionals Building, Najda Street, Abu Dhabi, UAE
ISSUE 5 FFM.indd 79
Email: inquiry@jayalonzophotoworkshop.com
5/22/12 9:08 PM
UPCLOSE IN MOTION WITH JASON CURTIS & DONNELL GUMIRAN VIDEOGRAPHY PHOTOGRAPHY AND POST-PROCESS WORKSHOP JUNE 01 - 02, 2012 SHERATON HOTEL, DUBAI MARINA, UAE
FOR INQUIRIES DREAMCAMSHOP@GMAIL.COM 050 4640030 NASEEM.ABDI@MSN.COM 0501653239
ISSUE 5 FFM.indd 80
HTTP://WWW.ILYASCURTIS.COM/ HTTP://DONNELLGUMIRAN.500PX.COM/
5/22/12 9:08 PM
issue 5 cover.indd 3
5/22/12 12:20 AM
GS NIKON AD FullFrame 21x27.5cm FP.ai
1
4/11/12
10:55 AM
C
M
Y
CM
MY
CY
CMY
K
issue 5 cover.indd 4
5/22/12 12:20 AM