Photography Magazine
Volume 1 | Issue 6 | Middle East
Black and White Photography; The World Without Color The Art of Black and White Photography
Depth of Focus
Mario Cardenas AED15
Progressive Tips on Black & White Imagery
FULLFRAME MAGAZINE
What’s Inside issue 5 cover.indd 1
Ethics of a Photographer
Camera Review
Tips Tutorials
Workshops
Photo Gallery
Group Profile 9/3/12 11:42 AM
Choose the range that’s right for you.
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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 6 FFM.indd 3
Email: inquiry@jayalonzophotoworkshop.com 9/3/12 5:05 PM
Photography Magazine
Photography Magazine
Photography Magazine
Issue 2 | December 2011 | Middle East
Issue 1 | November 2011 | Middle East
Volume 1 | Issue 3 | Middle East
15 AED
Cover Story
Meiji Sangalang
Behind the Lens PJ Tiongson
A Desert Surprise
World’s Top Selling Stock Photographer
Toy Photography
Behind The Lens
The Challenge Engr. Milo Torres
15 Quick Tips To Better Photos After Dark
Work Flow Exposed
The Challenge
Man with Simple Dreams
9 Ways To Beat The High Cost Of Photography
Yuri Arcurs
Osama Al Zubaidi
Do’s & Don’ts
of Photography in UAE
Discover Obscura
Find out how
Jay Morales
Donnell Gumiran
Mike Malate
Eugene Santos / Michael Cruz
Off Camera Lighting
Depth Of Focus
Edwin Allan Riguer
Jay Calaguian / Noel Garcia
Depth Of Focus
Jophel Botero Ybiosa
A Manny Librodo Exclusive
Beyond Passion
Edwin Loyola
Small Things Big Result Chris Calumberan
What’s Inside
Gadget Review
Post Processing Tutorials
Do It Yourself
Workshop Schedules
What’s Inside
Group Profile
Camera Guide
Extreme Post Processing Tutorials
Tips & Tricks
Get the Most Out of your Point and Shoot Camera
What’s Inside
Issue 2 “Point & shoot”
Issue 1 “Pilot”
Basic Tutorials
Workshops
Issue 3 “Outdoor” issue 3 final cover.indd 1
Photography Magazine
Photo Gallery
Group Profile 1/23/12 6:04 PM
Photography Magazine
Volume 1 | Issue 4 | Middle East
15 AED
Gadgets Review
Volume 1 | Issue 5 | Middle East
AED 15
Why Men Are Into Fashion Photography?!
Jhoel Valenzo
Portrait Photography Tips And Methods
Guidelines for Travel Photography
“Role Reversal”
10 Travel Photography Tips
Richard Schneider Rocky Gathercole
Camera Review
Focal Points
Depth of Focus
Jay Alonzo What’s Inside
Tips on How to Shoot on Low Light
Questions From The Readers
Depth of Focus
Mosh Lafuente Basic Tutorials
Issue 4 “Fashion”
Workshops
Photo Gallery
Group Profile
What’s Inside
Camera Review
Tutorials
Workshops
Issue 5 “Travel”
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Photo Gallery
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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 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 the photo enthusiasts to enhance their recreational enjoyment through photography and to satisfy the needs of amateur and professional photographers.
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Editor:
Paz Calaguian Photography Magazine
Art Director: Chris Lleses
Volume 1 | Issue 6 | Middle East
Writer / Photographer: Michael ZuĂąiga
Copywriter:
Arnold Pasillas II
Graphic Designer / Photographer: Jeff inocencio
Black and White Photography; The World Without Color
I.T. Manager:
Derick Venzon
Photographers:
Myk Reyes | Dennis Ong
Managing Partners: Chris Lleses / Derick Venzon / Paz Calaguian
Writer Contributors: Jay Alonzo | Sam Coram | Michael Cruz | Elja Trum Photographer Contributors: Sam Coran | Eduard Daling Special Thanks to: The organizers of the New Black is White Workshop headed by Ashley Adriatico, Funshoot Pinup Style by Xain Rox, Back to Back Make-Up Artists Joseph Tayco and Bobby Caparas Shoot For A Cause and Upclose Digital Post-Processing and Photography Workshop by Donnell Gumiran.
Depth of Focus
Mario Cardenas AED15
What’s Inside
Ethics of a Photographer Progressive Tips on Black & White Imagery
FULLFRAME MAGAZINE
PR & Events: Deo Macaraig
The Art of Black and White Photography
Camera Review
Tips Tutorials
Workshops
Photo Gallery
issue 5 cover.indd 1
Group Profile 9/3/12 11:42 AM
Today, in the era of digital technology, black and white often awake nostalgic feelings of the 20th century, many artists still use black and white photography for artistic purposes. Compared to colorful photography, where catchy colors help the photos to stand out, in black-and-white photography the ability to stand out depends only on its ability to communicate rather than on its appealing visual presentation. Indeed, beautiful black and white photography does not attract with its play of colors. Here, close attention to composition, lighting, perspective and the context it is shot in are important. This issue of FFM presents some truly excellent examples of beautiful black- and-white photography!! Hopefully, everybody will find something interesting in this issue.
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52 Depth Of Focus Mario Cardenas
Content Volume 1 Issue 6
10 Cover Story Art of Black & White 12 The Photography Artist 16 The Darwin “Japat” Guevarra Focus 22 On Photographers Profile On The Frame
26 Phil Page
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On the Frame
Tips on 30 Progressive Black & White Photography Imagery
31
OPPPS Digital Photography for Filipinos in UAE
Photographers 32 8Concepts 2 Black Competion 40 Back Julius Bumanglag & White Photography 44 Black The World Without Color Points 46 Focal Jay Alonzo
48 Funshoot The new White is Black
64
Hobbyist Corner
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50 News PHOTOKINA 2012
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Focal Points
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The Artist Darwin “Japat” Guevarra
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Role Reversal Rocky Gathercole
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32
Light Benders
Photographers Concept
52 Mario Cardenas
Depth of Focus
60 Shutters Light Benders Photography Group 62 Pinup Style Funshoot
63 What’s New 64 Hobbyist Corner 66 Review Phottix Odin for Nikon
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63
Back 2 Black
What’s New
70
Random Clicks
68 Funshoot Back to back Click 70 Random Photographers Gallery
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COVER STORY
www.fullframemag.com | Issue 6 | 2012
About the Cover: by Michael Cruz
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 post-processing.
I
used all manual settings from my camera up to the lighting gears. When it comes to lighting, I go to manual settings if I will be using flashes or strobes. This enables me to control the lighting better and I will get consistent exposures. For that reason, I don’t use TTL that often. When it comes to lighting, I tend to use grids a lot; this gives me a very directional light and at the same time, gives a very different quality of light to my subjects. Grids give you a tremendous amount of control. It will only light the parts I want to be lighted. Regarding the position of the lights; this is a 3 light setup; ideally I would prefer a mid-sized octabank with grid for my 3rd light. Which is placed above the subject. Since we didn’t have one during the shoot, I opted for a 60” reflective umbrella and collapsed it half-way to give a more directional light. Sometimes umbrellas can be notorious for spreading light all over the place; if you are shooting a beauty shot or a head shot, that’s not a problem but if you want to have an edgy portrait, they can be challenging to use. This will all depend on what kind of shoot you are doing. The purpose of 3rd light is to give a fill light to my subject’s hair, face and body. It also produces highlights on the the subject’s face and I always want highlights on my photos, I know that’s not common, but I find the highlights add more depth to the image. To complete the lighting setup, my main lights are placed on both sides of the subject, creating a rim light that wraps around them. You wont get this “wrapping-of-light” effect if you use a very small light source. The problem with a big light source is that they throw light every where and the only way to go around this problem is by deploying grids. Positioning the lights are key so you need to experiment regarding the angle and distance to your subject. When you have this kind of lighting, you won’t need a lot of post processing work to get that “3D feel” on the image. The lighting already does it for you. You can make it more dramatic on post.
Model: Hady Naoum
About the camera settings, as I mentioned before, if there’s strobes or flash involved, I use manual settings. I went for an F9.0 to get a good amount of depth of field and it also produces sharper images. Since I’m not doing a beauty shot, the sharper the shot, the better since it adds more character to the subject. I use the 1/160 shutter speed to kill some of the ambient light. Then I go with an ISO 400 because I want a fast recycling time for my flashes. If I use a lower ISO, I might be forced to use my flashes on 1/2 power or full power which produces long recycle time. Shooting in a higher ISO solves that problem. In this regard, I have no problem pushing the ISO with a 5D Mark III since it handles high-ISO quite good. Special acknowledgment to the following: Assistant Photographer: Eugene Santos Videographer: Roldan Narag
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Make-Up Artist: Ivy Kep Peralta
Costume Deigner: Angel De Jesus
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Model: Hady Naoum
Model: Hady Naoum
Gear used:
Lighting info:
Canon 5D Mark III
YN-560 II Flash on camera left + 60x90 soft box with grid at 1/4th power and zoomed at 24mm
EF 16-35mm f2.8 L II
Settings (for most of the shots): f9 | 1/160 | ISO 400
YN-560 II Flash on camera right + 60x90 soft box with grid at 1/4th power and zoomed at 24mm YN-560 II Flash on above (right or left) + 60� reflective umbrella (collapsed) at 1/8 power and zoomed at 105mm
Model: Hady Naoum
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The Art of Black and White Photography During the early days of photography, people were shooting black and white as there was no colour film available. Only until 1936 we had a choice of colour pictures with the introduction of Kodachrome. Even when most photographers shifted to this new media, the demand for black and white photos continued not as a documentation media, but as a form of art. Why do still people shoot in black and white or monochrome as we often times call it? Many say colour was a distracting element and it veers the viewer away from the actual message a photographer might portray. By taking away color, this pressures the photographer to really get into his roots and pulls out from a photo its texture, tonal contrast, shape, form and lighting.
What to see in monochrome To be successful in black and white photography means you have to see the world in monochrome. Since it is art, its difficult to quantify and explain. What we can deduce is that, not all subjects or situation is good for black and white. Colour sometimes is also crucial in a photo that a photographer must learn to decide when to use colour versus monochrome. A good guide to do this is to visualize a scene in black and white. Stop for a while and pause for a while. You may not have a camera with you when you do this. Simply stop and see your intended subject then imagine to see it in monochrome. Check the tones, the lights, the shadows, the form in your mind. Then ask yourself if this is good to be taken in black and white. If you are not the imaginative type of person, there is another way of doing this. Using a camera, you can shoot a subject by using a monochrome Picture Style or Picture Control. You may immediately see it and evaluate if you have a strong black and white subject. It helps if you shoot RAW so when you do decide to do post later, you can be assured you can bring out still the best in your photo.
Photo by: Jeffrey Inocencio
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Photo by: Eduard Daling
Photo by: Jeffrey Inocencio
Photo by: Jeffrey Inocencio
Photo by: Jeffrey Inocencio
Texture Tonal Contrast Colours turn to shades of grey when you shoot in monochrome. Bright colours turn to light grey and become the highlights or light tones, whereas the dark colours turn into dark grey forming your dark tones. The difference between the two is called tonal contrast. Great black and white photographers maximize this tonal contrast to make stunning monochrome images. The photo above of a doorway in Argentina uses tonal contrast to create drama. The light tones on the doorframe create a mood should you compare with the dark tones inside the room.
Shape and Form These two are very important visual elements. All objects have these and this creates an illusion that the subject is in two dimensions. A silhouette, like the one above, of tree branches, is an example. Photos are two-dimensional, so photographers or artists have the challenge of showing this is three-dimensional form.
In everything we see, we see texture, be it the side of an old building, rusty metal, or a smooth surface of a brand new car. In black and white, usually texture is best shown if we take subjects with rough surfaces. This is best taken, with lighting as rough surfaces creates more shadows than smooth surfaces. Quality of light also affects shadows, such as soft light taken with a light source which is diffused either by clouds in mid day, or using a soft box, photographer need to do post on these to increase tonal contrast. Having too much harsh light like a full direct sun mid day, creates very defined shadows, makes a photo dull. Photographers need to tone down this light so add more depth in the image. So the photographer also plays between the lights as to how to bring out the best textures in a photograph.
Lighting Photography is light and this determines the quality of a photo. The best light is still created by the sun when it’s setting or rising. Overcast days during the middle of the day also make also for an opportune moment. You being the photographer must decide how to use light to suit your subject. Harsh lighting during midday, might be ideal for architecture but not for portraiture.
Using shadows and flowing lines, black and white photos show a subject’s form. Proper use of lighting will make it look threedimensional. Side lighting cast shadows, front lighting hides it, backlighting shows shadows as a way of showing form.
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Subjects for Black and White Photography There are certain subjects that are ideal for black and white photography: Portraiture Without colour, attention is focused on the eyes and face, and the textures of the subject’s clothes. Sepia toned photos are very flattering and often used by commercial portrait studios. “Elderly people, with wrinkled and time worn skin, are wonderful subjects for black and white.
Landscapes
Monochrome images are a very good medium for landscapes. Drawing out colour from images draws the viewer to be attentive to the shapes and form of the components within the landscape. Quality of light if done right can add more to an already powerful image.
Architecture
Our towns and cities are full of modern architecture constructed from metal and glass. Look for the shapes and great subjects.
Travel and Street Photography
Photo by: Jeffrey Inocencio
Capturing the moment or emotion of a place you visited is best done in monochrome. Taking out color adds timelessness in a photo thus should you review again the photograph you’ve taken, you would feel the warmth when the it was taken. Time stood still.
Still Life
Monochrome also works well with still life as the photographer want to show the shapes and form of a subject. It is easier for him to show this as color is absent from the image. His lighting will draw out his message and create a visual impact on the viewer.
Boudoir
Shooting boudoir walks in a fine line between art and pornography, that’s why this is considered a challenge to master this craft. Make a wrong decision and you will not be called an artist. Choosing to take a photo in black and white helps the viewer veer away from the smutty and concentrate more on the art form of a human figure. Photo by: Eduard Daling
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Photo by: Eduard Daling
Photo by: Jeffrey Inocencio
Photo by: Jeffrey Inocencio
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“Elderly people, with wrinkled and time worn skin, are wonderful subjects for black and white.”
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The Artist
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Darwin “Japat” Guevarra
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B
eing a photographer is something that came in second after my being an artist. I was a painter for my school; it was a hobby I never ceased to deal with, but there was time when it all seemed to fade into the background. I was working as a salesman in one of the department stores in Manila, and obviously, painting was not a part of the requisite, until I took on part time jobs sketching and painting. It was through this medium that my talent was discovered by someone else and everything kicked on from there. I transferred to a classier mall where I was employed in the visual department doing decorations for seasons all throughout the year. Then in 2004, a local agency announced a requirement for a visual artist who would do window display, painting and Styrofoam works here in Dubai and I was the one approached to fill in the detail. At that time, I had second thoughts because I was already in a stable position and was already making a name for myself. I was a member of the Art Association of the Philippines and going out of my comfort zone to places unknown seemed like a step towards oblivion. My declination only had me
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looking for another person to fill in the job, and thinking twice, I accepted it myself. I thought it was much better to go work in another place, explore and not get locked around what is already too familiar. When I got here, it was back again to zero. It was a rather stagnant period when I first arrived here. I was groping in the dark not knowing this place and what art meant locally. I was employed as a product painter for an advertising company doing dĂŠcor in Ibn Battuta Mall, Mall of the Emirates and the Dubai Mall, until I took on the hobby of photography. Photography was not new to me though. In my earlier years, I used to keep a schematic camera as a reference to help me with the composition of my paintings and as a base for my artwork ideas, sketching, journal and models. After I took on photography, I started to separate painting from photography, using both as a matter of their own and not as a complement or supplement of each other. Creativity in photography has its fringe benefits, and the best thing about it is
Photography is the composition of life. This is what I believe entails the true essence of photography. the accolades a photographer derives from his work. Personally, it serves as a morale booster and as an energizer to strive to improve myself and top what I have already achieved. This really becomes my inspiration knowing that somebody out there appreciates what I am doing and it keeps me to continue. Industriousness pays a lot when I am shooting. Sometimes, there is not enough time or resources to fill in every gap of what I need, and I will just have to do without or improvise, and that is when ingenuity kicks in. For every photographer, especially those who would like to use this art as a means of living, resourcefulness is a must. Not every client is patient or time enhanced. There are some who expect you to do a tremendous and fabulous job with only scrappy means. That is why it is important to learn as much as you can from commendable workshops as well as books and the internet, be creative, think how you can improve yourself, and most importantly, to think out of the proverbial box. My greatest achievement not only lies in the laurels I may have achieved throughout my years as an artist or the awards I get from ceremonies; the fact that I am still here doing my art is my most desirable attainment. I always hope that I would be like the great masters of old like Leonardo da Vinci and Rembrandt, who, even after so many years are being collected and prized by collectors. It would definitely be an honor for my work to be prized by people, which is why I am an artist in the first place.
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HIGHLIGHTS THE ARTIST
www.fullframemag.com | Issue 6 | 2012
DARWIN GUEVARRA | by: Arnold Pasillas II
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Model: Tania Roma-nenia ISSUE 6 FFM.indd 19
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HIGHLIGHTS THE ARTIST
www.fullframemag.com | Issue 6 | 2012
DARWIN GUEVARRA | by: Arnold Pasillas II
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ON FOCUS
www.fullframemag.com | Issue 6 | 2012
Photographers Profile
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Au b rey Ti o n g s o n Photography started as a hobby for me when my wife enrolled me in a FPPF workshop in Manila as a surprise. Thus, I have been delving in photography for the past three years, doing wedding, fashion and family shoots. My wife has been my greatest support all this time and she is my inspiration as to why I am still continuing as a photographer. Being featured in different magazines has been my most ambitious achievement in photography, which also makes it worthwhile that I took up this hobby. This year, I have laid out plans for me to push forward with my skills, to learn more, specialize and be successful in more fields in photography.
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Joy Palma Millena While still in college, Ms Millena spent time mountaineering and enjoyed the breathtaking scenery which inspired her to pursue photography seriously, and thus joining the Federation of Philippine Photographers Foundation in Manila. Apparently, when she came to the U.A.E., being a nurse had its own demands and although she had already started shooting here in 2010, her hobbies needed to take a back turn, but hobbies die hard so she was back to photography once again in 2011, making up for time lost. As yet, she is still having fun producing portraits and scenic landscapes and hopes that as time progresses, so will her confidence and conceptual visualization in this field. She lists being the sole organizer for Al Ain’s photography workshops one of her biggest achievements and being featured in this issue’s ON FOCUS.
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ON FOCUS
www.fullframemag.com | Issue 6 | 2012
Photographers Profile
Marco Paulo Sugpatan Epino I started in photography when I acquired my SLR in 2008, which, at its beginning had only 5 megapixels. From then, I began street photography followed by landscaping, portraiture and fashion. Along this path that I guess is presently widely travelled, is the fact that I have arrived at this point by following my instincts. Photography has always made me yearn for it, and whether there may or may not be external stimuli, I would still be doing this… and shooting to my heart’s content. Being a photographer has its own fringe benefits, which I obviously enjoy. I get to visit luxury hotels, restaurants and all sorts of places, most of the time for free; I feel proud whenever I see my photos used by my clients for exhibitions, events and streamers; I get to be the personal photographer of VIPs, and I see my name on the end credits of films I helped shoot. My goal this 2012 is to be able to take pictures atop the observatory deck of the Burj Khalifa – and I still have 5 months to accomplish that.
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Simran Puri
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Having a dad shooting with medium format, it is of no surprise that this kid started shooting 35mm film at age 10, then he moved to digital in 2008. Previously shooting predominantly landscapes, then influenced by other photographers, he now shoots sports and would love to delve into beauty and fashion as well. Technically savvy on the equipment side, he now touches base with other photographers hoping to be inspired by others’ works. He feels that this process would influence his style of shooting in his pursuit of growth as a photographer.
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ON THE FRAME
www.fullframemag.com | Issue 6 | 2012
PHIL PAGE | by: Arnold Pasillas II
“A
photograph is an expression of a snapshot in time from a photographer’s viewpoint. Captured evocatively it can portray emotion and mood which can be interpreted in different ways by different viewers, which is why it is an art. Art is defined as the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power. Photography is therefore definitely an art form. Truly powerful photographical images are as well remembered as iconic paintings or sculptures from before or after the invention of photography. Any photograph that makes the viewer stop and think can be considered artistic.” When I was a child my father always had an Olympus SLR camera with him, and when I was old enough to be able to look after it I was allowed to use it too. That kicked off my interest, but it has only been recently that I have invested in a digital SLR and lenses for myself. Photography became a form of escapism for me as I wouldn’t be living in the Middle East for the rest of my life and I wanted to document the sights, scenery, places and the story of my transient stay here as a whole. Being here has also allowed me and my family to be able to travel to places that would normally be impossible or difficult for us to go to, if we were living in the United Kingdom. I wanted to be able to capture moments from our holidays as a family and feel nostalgic moments as what happens whenever I see all the black and white slides of family vacations during my childhood. In early 2009, I bought my first digital SLR camera and started off photographing architecture (real estate) in Dubai by day, and then with my first tripod this graduated to night cityscapes. The longer shutter speeds at night then got my interest in daytime long exposure photography, which generally requires nice seascapes and clouds, both of which are quite sparse in the U.A.E.! All this time, I was concentrating on the cityscape or landscape but trying to avoid any human elements in the scene by either avoiding them altogether or letting them blur out by using a 10 stop ND filter. From there I moved into real estate photography and 360 degree panoramas, and now I really getting into street photography, environmental portraiture, formal portraiture, sports and travel. I generally shoot images of anything that interests me, like the hustle-bustle of daily life, scenic holiday vacation spots, fast sports, cityscapes and black & white. In between all this, my training has mainly been a case of trial and error, but I’ve backed this up with learning as much as possible from Internet forums, blogs and attending several courses at Gulf Photo Plus over the last few years. This makes me a true jack of all trades and master of none!
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Shooting has its own fun moments and after some time, a photographer becomes attached to one particular photograph that he can claim is truly his. I have one and it’s called the “Three Wise Men”. Some of my street photography subjects posed, but a greater amount of it are not. This is one such shot, and capturing a moment like it might be impossible, which is a good thing, as it always drives you to attain the same level and even much better. I was shooting in the Fish Market in Deira and sat on a bench to change lenses. Opposite me were three Pakistani taxi drivers who were clearly friends and having a conversation. With the prime lens changed I brought my viewfinder up to my eye and the scene was composed perfectly with great early morning light. The expressions, clothing, positioning of the men and background scene worked naturally well and I loved the shot. Converting the image to black and white gave it a timeless feel. The icing on the cake was when I returned to the Fish Market with a print of the photograph for them – they were delighted! Candid shots in that location are now off the agenda for me as everyone wants a print of their photograph, although I have lots of willing subjects for portraits. Black and white has also been my special style, since the way I process my images set them apart and people on photography forums recognize my images from the look. This gives me a certain fulfillment that I’ve found a style that works for me and is appreciated by viewers, nonetheless, I still prefer to step out of my comfort zone and try something different. Capturing emotion and expression in a picture may require talent for some but luck for others, more so if both are present for one person. Mostly, it is luck that plays a big part for me! Being respectful to a subject in an environmental street portrait and quickly building rapport and a relationship of trust helps equally, this means consent, understanding, humor and lots of smiles. A good street photographer needs to have the understanding on how to capture an image quickly, inconspicuously and seamlessly with the equipment they have available at the time. This requires a good eye, a little bit of stealth, being able to look like a tourist with a camera with the pretense of not knowing know how to use the gadget properly, patience for when finding a scene and waiting for a human element to enter the scene to give context, and finally, luck! Personally, I think that the price of a camera matter in different ways and different settings. If a photographer is shooting in good light then prices matter not, but in low light there is no substitute for high ISO capability if you’re shooting on a handheld camera. A basic DSLR camera body with a good quality prime lens is hard to beat for learning street photography and composition. A Nikon D3100 with 35mm f1.8G Nikkor is relatively ideal and is not too punishing on your pockets. The much used phrase, “The best camera is the one that’s with you,” is
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ON THE FRAME
www.fullframemag.com | Issue 6 | 2012
PHIL PAGE | by: Arnold Pasillas II
“A photograph is an expression of a snapshot in time from a photographer’s viewpoint”
best motto for a photographer—a highly coveted camera still in the window display is of no use and no value at all unless it’s yours. Social networking and smart phones with cameras means that nowadays there is literally never a time when you are without a camera of some description, and images can be instantly shared with the world. In my street photography, I am trying to capture everyday scenes from where I live. Dubai is a wonderful place to shoot, and there is a lot of subject material beyond the foreseeable, glitzy cityscapes. Dubai’s social structure is such that there is a massive gap between the rich and poor, and the strata in between—the middle class—and I love to capture all levels of the living and working population in the city in their own environment, a subject matter that a lot of people do not see or pass by, and somehow show the world all the classes of the people that makes Dubai a better living place.
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Portrait by: Rashed Al Falasi Photo by: Chris Lleses
Progressive Tips on
Black & White Imagery
Contrast is the first imperative in a good mono shot. It plays a crucial part in B&W imaging because it has the power to set the mood of the scene or subject. A highly contrasted image can give a picture a hard and graphic quality, while soft tones of gray with a softly blurred background can convey a calm yet melancholic feeling.
Enhanced digital technology has allowed black and white imaging to make giant leaps and bounds and has made it comparatively easier to produce. History has seen photographers spending tedious days and weeks in a darkroom trying to produce the perfect shot and braving tormenting chemical fumes. But thankfully, this process is buried in the past. Now, the art of B&W imagery is available for everyone with the help of innovative digital cameras, softwares and computers. Among all other forms of photography, B&W challenges the human capability of seeing things or viewing scenes in color. But most of time, the simplicity of a B&W image can be more powerful than the colored version. A skillful B&W photographer has a different way of seeing scenes long before it is captured and that is essential in succeeding in this field.
light highlights the tones and textures. It is always worth waiting for the best type of light for a B&W shot that achieves maximum impact, and the type of light varies most often depending on the subject.
Thirdly, the abstract nature of B&W photography has something to do with shapes and patterns. A subject The second essential skill in that may look dull in color can producing a great B&W shot is become meaningful when shot in black and white. Sometimes the discerning the right light. Harsh light and direct sunlight accentuates absence of color can reveal a hidden shapes and contrast, while diffused form that is not readily obvious
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in color. One has to learn to look for some interesting patterns and shapes by filtering out distracting elements or colors. Lastly, texture and surface details can often go unnoticed in a colored shot. The technique is to lower the angle of the light which can help reveal a whole new world once the color spectrum is removed. Learning to shoot in B&W is only the first half of the whole learning process. Subsequently, one has to learn how to convert the original color photo into B&W with great impact using a slightly more
advanced approach. The good news is, some of the latest versions of image editing software incorporate some rather sophisticated but easy-to-use tools that can help make a really stunning mono print. The use of recommended paper and inks for your brand of printer can help you give the best printing result - producing a print that is neutral in tone and shows off the subtlety of your shot. Happy B&W shooting!
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Digital Photography for Filipinos in UAE Are you thinking of buying DSLR camera or you just have a new one? Fabulous! Taking good pictures with DSLR cameras can be amazing; however, learning how to use this little stuff can also be a bit intimidating. How about taking a crash course in Digital Photography, you may think it is expensive, right? Good news! The Overseas Pinoy Professional Photographers Society (OPPPS) is now launching its 26th batch of virtually-free 10-Friday Digital Photography Course, Post Processing (Digital Darkroom) and other advanced photography modules to be held at EMIRATES Aviation College starting on September 14, 2012 until Nov 16, 2012. The training program is in support to the Philippine government’s continuing efforts to educate our countrymen to enhance their skills which they can use personally as well as at work. It is open to all Filipinos in UAE aged 18 years old and above. The training modules provide the participants different skills level in various photography applications like: •Digital Photography: basic short course on photography. (5 sections available, 30 to 40 seats per section) •Digital Darkroom: techniques being applied to enhance the photo for added quality. (2 sections available) •Graphics Design: a powerful tool for aspiring graphics design artist enhancing artworks and photographs. •Studio Photography: (an advance short class for members) simple powerful techniques on portraiture, fashion and glamour using studio flashes and studio photo equipments. •Natural Lights Photography: (an advance short class for members) using available or ambient lights with reflectors and also flash guns for fashion and glamour photography. •Photojournalism: (an advance class for members) photo essays and street life photography. It includes a comprehensive lecture portion and numerous hands-on/homework activities and outdoor exercises which will help participants to apply and practice what they have learned from the lectures.
Enrollment proper (confirmation) shall be held on September 7, 2012 from 10am to 3pm at 2nd Floor, Bldg C, EMIRATES Aviation College, Garhoud (next to airplane shaped building). Classes will start on September 14, 2012.
The classes will be held every Friday from 10:00 a.m. to 4:00 p.m., two hours for each class. There will be assigned professional trainer/s in each subject who will conduct the training/lecture. The last day of training will be the recognition day and participants who will successfully complete the training will be given certificate of completion. Interested applicants may now book/register online at www.oppps.com. More details about the training program are also available at the website.
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Overseas Pinoy Professional Photographers Society
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PHOTOGRAPHERS CONCEPT
As an Architect-Interior Designer in Arenco Real Estate in Dubai, photography was a natural interest. “I’ve been shooting since 2009 as a hobbyist; I finished Basic and Advance Photography. After that, I found myself wanting to do more so I started attending workshops and seminars.” From being a hobbyist, Jon now refers to himself as a serious photography enthusiast. “I like shooting people and architecture, I’d like to capture the emotions of my subject to make it artistically interesting. Photographing people and architecture is my way of capturing memories and history.”
Jon de Guzman
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Model: Amina Radzhabova MUA: Bobby Caparas camera: Canon 5D
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Earl would love to see himself as a Destination Wedding Photographer in the future. Combined with his interest in portrait, fashion and wedding photography and a bit of photo manipulation he takes into consideration in transforming himself to becoming a professional photographer when the right time comes. Originally, Earl was into body painting (tattoo artist) he bought his first DSLR, a used Canon 400D from a colleague in 2007 to take photos of his work. But back then he had a hard time operating his camera so he decided instead to buy a digital camera and kept his DSLR inside his drawer for nearly 4 years. Upon coming across a friends landscape photo in Facebook using a DSLR, his interest again was re-live thus he enrolled in one of the Filipino Photography Schools in Dubai, which is more known as OPPPS (Overseas Pinoy Professional Photographers Society) in January 2011. Though an expensive hobby, he never ceases to attend workshop and seminars to help him improved his skills. It also help him developed his selfconfidence and awaken the other artistic part of him. At present, Earl spends his spare time photographing things that interest him
Earl Dominic Lerio
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Late in 2008, while picnicking with my family, my 8MP compact camera suddenly stopped responding – it was definitely time for a replacement. The next day, one of my friends informed me about his DSLR camera and how it delivered better results compared to other cameras. That same day I checked out that product in one of the camera stores, and I was in love with my first DSLR ever since, hence, my decision to start photography. My first gear was a Nikon D60 with kit lens, and I am now using Nikon D300 for aviary and wild life, D800 for portraiture and D3S for sports, action and street photography, along with a variety of lenses and lighting equipments. I have found photography to be a great tool for unlimited creation, expressing of feelings, and sharing the moment you captured with others in the way you want them to see it and how to transfer that in a simple way through my photography style. Participating with others by way of workshops has improved my knowledge and experience, more clicking; sharing thoughts and ideas through such has helped me develop my personal skills which are the best part of this hobby. Skills-wise, I prefer for people to rate me more than rating myself. I have received time and again the phrase, “Tarek, you are improving”, which makes me feel that I am really progressing. At the moment, I can consider myself in the advanced quarter of photography, but there is still a long way for me to go before taking a firm decision in being a pro and following it as a main profession.
Tarek Hassan
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When I was a kid I’d always grab my parents’ camera and just shoot anything and everything away, not necessarily thinking about the film I’d waste. I started photography while in high-school taking pictures for my school paper with my Sony Cybershot pocket camera. I’d always play with the settings, from color tones to macros, etc. I definitely abused that camera. I got my first DSLR on my first year of college and tried to venture beyond my usual shot of flowers, insects and my dogs, into fashion and portraits of me and my friends. From then on photography just took over. I love photography; it’s a part of who I am. Since I always carry my camera around, it is practically an extension of my arms. It definitely helps in my personal development. When I started photography, I was this shy girl hiding behind my camera, it was the reason I focused on nature and still objects, because they just stood there, there wasn’t any social interaction and that was my safe zone. Then, I started pushing myself to further my skills and that’s when I started approaching some models, meeting with HMUAs, stylists and creative people to conceptualize, it made me communicate better and learn how to better my social skills. I even joined a local group called Pinoygraphers, a group of young Filipino photographers, in my hometown and that’s where I took off in my career as a photographer. It has been a while since I last attended a proper workshop/seminar. Since I just graduated college a year ago, I haven’t been able to spend my savings on workshops. I found that the workshops I wanted to attend were very pricey and was not catered for young professionals who are just starting with their careers. I am not discouraged by this fact though, but instead I make use of what is available to me, the internet is full of valuable information, there are great books in photography that are not too expensive, with my spare time, I read and practice what I learn. Workshops/ Seminars are a great way to learn but if you can’t afford those, you have to work hard and practice, a lot!
Janine Khouri Elias
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Holding on to a refurbished Minolta, he started shooting film in 1990. Although since then, he was not bitten by the bug until digital came along. He bought a camera for his daughter and he tried it out and lo and behold, the bug finally caught up with the guy in 2007. It all started as a hobby and a reliever of stress from work, but this changed when he joined a photography group. His thirst for knowledge heightened and even the Internet could not quench his desire. He had to take lessons wherever they maybe. What started out as a hobby became a passion. He now teaches photography and shoots professionally.
Michael Zuniga Michael Zuniga
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Viewing the works of Jaydee Pan, Lee Viray Cahili, Parc Cruz, Joey Lawrence and Dave Hill got me going in the hectic world of photography. Since then, I have had this urge to go out there, shoot and do some post processing, and have helped me improve on my preferred photography style which is fine art photography, portraiture and street. Since I started out, I found photography to be a very expensive hobby, but at the same time very challenging. Back in 2008, when I was shooting with a genius p713 camera, I would take macro shots of flowers and stuff with it using a magnifying glass as my zooming tool and apply Photoshop to fake the DOF, scaling it to make it look like a shot from a DSLR. The lack of gear taught me how to improvise and to make the most with what I have. Personally, I have not been able to attend workshops and seminars on photography but I had made up for it by reading and doing a lot of research, with which I would like to share a tip I read some where: If you see a photograph and it draws you, ask yourself, “Why am I attracted to it?” “Why does it have impact on me?” “What is in it that has gotten my attention?” “Why is it beautiful?” And once you obtain the answers to these questions apply them to your work and see if you can answer positively to these same questions.
Jan Michael Vincent Vallejo Castillo
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Jay Morales
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Having taken Fine Arts in F.E.U., Photography was already a part of his curriculum. His earliest influence was his father, who was back in 1984 owned an Olympus Trip 35 which was also the first camera that he used. Dennis still considers himself a novice and still trying to master his own style of photography. Though it has already helped him gained confidence, meet interesting people and gained more friends. Amongst all forms of photography, he is more fascinated with Fashion Commercial Photography. Having apprenticed with famous Fashion Commercial Photographer, Xander Angeles in Dubai early this year he considers it as one of the best parts of his photography. Dennis dreams of becoming a famous fashion photographer and to have an exclusive section in a magazine. With his hectic schedule at work, he still tries to find time in honing his skills through workshops and seminars that he deemed helpful and one of them was “LightDesign Techniques� by Chris Calumberan.
Dennis Bello Ong
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HIGHLIGHTS
www.fullframemag.com | Issue 6 | 2012
Back 2 Black Competition
Back 2 Black Competition
Grand Prize Winner Julius Bumanglag
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hotography captured my attention only here in Dubai in 2010. I enrolled with the Light Bender Group thus gaining my formal training. Still being new to photography, I participated and attended several training sessions locally which have really helped me to gain more knowledge and skills in this field. Taking portraits here in UAE has somewhat posed as a challenge for me, due to the fact that this place is a melting pot for all sorts of cultures, beliefs and religions, and taking a picture of someone without their permission, may or may not be in accordance to their beliefs and might take an offence against me which might prove to be my downfall. This kind of situation has given me some limitations to shoot, but it has also served as a challenge for me to have a good photograph. I just had to take all the risks without breaking any rules. That is why when I captured this photograph, I got a quick focus and fortunately, I had my long lens by my side. In this winning piece, I wanted to bring forth the relationship of the mother and her child. At first glance, I noticed that the mother was fully covered but the child naked, which really caught my attention. Before I pointed my camera onto them, I suddenly had this feeling that the mother was not taking good care of her child even under the scorching blaze of the hot summer sun, but suddenly getting the afterthought that, obviously, life has dealt them a hard blow and poverty was a part of their daily existence. Albeit any reason, every mother would not want their child to be abandoned and spending quality time with them no matter what still matters. When FFM announced their Back to Black Photo Competition,
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I had the interest in joining, and I had been planning earnestly since day 1, but there were times when I was stuck on my bed thinking about how that elusive, winning idea would strike me until I had only a few heartbeats left to meet the deadline. I had to push myself to go out even though it was hot. I went to crowded places like the fish market and the creek side, but it was not exceeding my expectations – not even close to satisfactory. I was not getting what I wanted and decided to plan something else until my friends and I finally decided to go to Al Ain Paradise for a tour where I got this shot. This competition is my maiden voyage into the realm of photography which for me is really a big win since it was open to all photo enthusiasts especially for Filipinos in the UAE and being selected as one of the top 10 finalists amongst hundreds of participants was such an honor for me but I never could have imagined that my entry would go this far to win the GRAND PRIZE. Thus saying, I would like to thank the judges and all my family and friends who supported me throughout this competition and to FFM for advancing Filipino talent amongst others here in the UAE and excel in photography.
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Title: Mother & Child
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HIGHLIGHTS
2nd Place BACK TO BLACK COMPETITION Photographer: Jake Soneja
www.fullframemag.com | Issue 6 | 2012
Back 2 Black Competition
3rd Place BACK TO BLACK COMPETITION Photographer: Almer Frades
PEOPLES CHOICE AWARD BACK TO BLACK COMPETITION Photographer: Andy Ramos
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Back 2 Black Finalist BACK TO BLACK COMPETITION Photographer: Jay Lovete
FINALIST
Finalist BACK TO BLACK COMPETITION Photographer: Eriatlov
Finalist BACK TO BLACK COMPETITION Photographer: Celso Creer II
Finalist BACK TO BLACK COMPETITION Photographer: Jon Carlos
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Finalist BACK TO BLACK COMPETITION Photographer: Allan Atilano
Finalist BACK TO BLACK COMPETITION Photographer: Riden dela Torre
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HIGHLIGHTS
www.fullframemag.com | Issue 6 | 2012
Author | Elja Trum
Black and White Photography; The World Without Color
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efore color photography, there was black and white photography. The first photo was taken over a 180 years ago. Decades later the first color print was produced. Color photography remained expensive for a long time, so most photos where made in black and white. This changed in the seventies of the last century. By then color photography became more affordable and the use of black and white declined rapidly. For that time on, black and white photography was mainly used for artistic photos and for hobbyist with their own gear for developing black and white photos. It became harder to find and print black and white films. Most photographers printed their own black and white photos, so it became something that only the passionate photographers did. For over a decade, not many black and white photos where made. But then things changed; digital photography brought back the black and white photos. With digitale it became easy and cheap to produce black and white photos. A funny fact about modern day camera sensors is that these sensors only register black and white. It only measures differences in luminance. To obtain a color image three color filters are used. By using the filters, the luminance per color can me measured and a color image can be calculated. Monochrome
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Black and white photography is a bit of an odd way to describe this type of photography. A black and white photo often contains mainly grey tones. This is why black and white photos are often called monochrome photos too. Black and white photos give you their information by using luminance variations, not by showing variations in color. Your thoughts are not distracted by the colors and therefore the attention goes to subject, composition and lighting. Not every subject is suited for a black and white photo and it isn’t always easy to ‘see in black and white’. There are, however, things to can pay attention to when looking for good subjects for your black and white photos. Subjects with lots of contrast will be more suited by the large variations in luminance. The right light is important; light that’s coming from an angle will make textures stand out. Light coming for only one direction will produce big differences in light and shadow. Out of the ordinary shapes and patterns work well in black and white too. Color can become a distraction in these kinds of photos. In the color image the photo becomes to complex to really see the structure. Photos of buildings with recurring lines or shapes are an excellent example where color could make an image to complex. A good photo is most often easy to look at.
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Black and white lets you emphasize the lines and avoids distraction by colors In short, portrait, architecture and landscapes are most suited for black and white photography. In the real world any form of photography can be done in black and white. It can be the other way around also. Some photos won’t work in black and white and need the color. An image that contains red and green next to each other, for example. When using color the combination will jump out, in a standard black and white conversion you would hardly see the difference between the two. Of course there are subjects that lend themselves to black and white photography, like the bark of a tree, a piece of wood or a frayed rope. Adding color information to these kinds of images won’t make a lot of difference to the end result. There is hardly any color in them to start with, so by removing the color you’ll emphasise the strengths of the photo. Experienced black and white photographers are often able to think away the color in a scene. They imaging the scene in black and white. To do this, you’ll need a lot of practice, but it’s possible for anyone to learn. If you have a hard time trying to see in black and white you can always just take a black and white shot and view it the camera display. If you’re not using RAW, retake the shoot in color to be able to perform you’re own conversion instead of relying on the standard black and white conversion.
Shooting RAW for the best results The best black and white conversion can be done when you convert an image by hand. So don’t just put your camera in black and white mode and start shooting; you’ll lose the useful color information you want to have for the post-processing. Many photographers will prefer to see their photos in black and white while shooting. This will give you a better view on the possible end result.
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When you shoot in RAW format, you can get the best of both worlds. Use the black and white / monochrome preset and shoot in RAW. You’ll get a black and white image on the back of your camera, but when you import the RAW file on your computer, the color image will be there. Now you can decide in post if you want to use the standard conversion or rather use our own conversion techniques.
Fixing photos You can use a black and white conversion as a way to save a bad image from deletion. Can’t get the right white balance setting to fix a photo? This can happen when you shoot where there are different light sources with different color temperatures. Convert the problem image to black and white and your problem is gone! It should not really be a reason for choosing black and white, but it can be a great solution to your problem. The same goes for a photo with a busy background, especially if the background is cluttered with a lot of different colors. Converting to black and white will make the background less noticeable and returns the attention to the main subject.
Filters In the old days a photographer used a selection of filters to give the image something special. Nowadays all these filters are easily reproduced in Photoshop. - a yellow filter to bring out details on a sunny day; - a orange filter to add some extra contrast; - a red filter to get a night-look during the day; - a blue filter to influence the color temperature
Conclusion Not every photo works when converting to black and white. It pays off to think about which photo to convert and it’s useful to try multiple variations in conversion. Compare the end result with your original color image; is it really an improvement? A good black and white photograph will leave a bigger impression on the viewer. The absence of color puts more emphasis on subject and lighting. Perhaps you’ll have to search for the right photo, but showing your work in black and white is certainly worth trying!
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FOCAL POINTS
www.fullframemag.com | Issue 6 | 2012
by: Jay Alonzo
Photo by: Eduard Daling
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he number of people who wants to try their hands and eyes in photography continue to increase each day as more and more sophisticated DSLRs become affordable. Consequently, the number of hobbyists turning semi-pro or even pro kept on increasing as well. Regardless, much attention had always been invested on learning whether by self study or attending a workshop, from photography techniques to learning the ropes of photography as a business. However, not much has ever been devoted to the ethics side of picture taking, whether as profession or as a hobby. Unlike law, medicine or accountancy, at least in the Philippines, the photography industry doesn’t have a regulatory body that monitors and could penalize or even revoke the membership or license of being a photographer. For one, there is no license required in photography. Two, any body can just pick up a camera and call himself a photographer, without a need for a license to be able to practice it. Three, thou there are photography organizations that cater to the needs and protection of its members and therefore in a position to enforce codes of ethics if the organization has, amongst its populace, only photographers belonging to that body are subject to it and only if they
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want to, otherwise they can always leave the organization. Setting up an organization that could serve as a regulatory body for photographers is useless without licensure. But then, licensure will impede the artistic sensibilities of the practitioners as many might argue. And if it gets implemented, it will only be able to cover those who want to enter photography as a profession. But never can it subjugate the hobbyists without stepping on their right to free expression. Can you imagine getting a license just to use a camera? As a result, conflicts and unpleasant incidents arise in the practice of photography whether for personal or professional use. Thou this is not a definitive guide on photography ethics, I would like to share some of the common issues we usually see or experience again and again and again and to provide an insight on how things could be handled, to avoid stepping on the rights of others or offending them.
sweat and even at times tears. Some would even argue that the assistant should be the one to pay the photographer instead for this privilege. After all, the “volunteer assistant” is a future competitor. My take on this is that, if you are shooting a non-paying project, or personal work, then it is okay to have your assistant’s service for free. I do inform my assistant beforehand that he or she should not expect any payment in this case for I’m also doing it for free. Rather, just treat the shoot as just a genuine learning opportunity for him as well as a means for me to sharpen my skills. But if you are earning from it, and you are taking in volunteer assistants on a “regular basis” especially in lieu of a regular employee assistant, then I call that exploitation. At least give them something, a stipend or some sort of compensation.
Should you pay or not pay a volunteer assistant or an apprentice?
Indeed there is a thin line between exploitation and providing an opportunity to learn. Fact is, any aspiring hobbyist would almost easily say yes to zero pay as long as they are taken under the tutelage of the master.
There are pros who don’t pay their assistant for the simple reason that the assistant is there to learn. And in exchange for this coveted knowledge to be gained is their
This raises the question of how should “on the job trainings” be treated? I still stand by the same line of thought that the trainees should be compensated one way or another. Besides,
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companies involved with OJTs do not rely on the trainees in the critical operations of their business. With or without an OJT, the company will still continue to operate thru its regular employees. The trainees are accepted in the organization to give them a feel of how their chosen course goes in the real world. Whereas what I am talking about are photographers who solely rely on “volunteers” to get their projects done. So it is just proper that they be compensated in some way.
still subject it to my discretion. Remember that your model is a human being, a daughter to someone, a sister or a girlfriend or wife to someone. And may I remind you never to ogle at the model especially if you make the person wear skimpy suits nor hit on your model.
were able to secure a copy of his portfolio in CD and saw it themselves that he was indeed using my photos during his presentation. Upon getting the proofs I called him up and asked him to take down his site full of my photos as well as his misrepresentation; otherwise I would be forced to take legal action against him. And he did.
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Photography has evolved into a hobby that is intended for posting. Yes, photographs are meant to be shared. But do so with discretion. Is it okay for an assistant or second
Should you bump up your credentials?
shooter to deal with the client?
Should I post my photos made for a client? Be truthful to your clients, period.
Being a second or third photographer or being an apprentice or assistant has become I once had a student who wanted to fast track common place to learn from the pros. But I frequently see a lot of photos taken for a his photography training. When I said fast client posted in social networking sites. It is there are times, the second shooter or even just natural to be excited and thrilled to have track, I meant from absolute basic to studio the mere assistant have a better eye actually bagged the project especially if you are just a lighting in a month. Afterwards, he set up than the main photographer. Or, has better hobbyist, a part time pro or a pro who had the his own studio. He began to see his byline people skills. Or simply have lots of guts. opportunity to serve a really big client. My answer to this issue is as much as possible no. The reason is clear. Marketing campaigns, in which your photos play a significant part are always a confidential matter. The bigger the company, the more sensitive it is and the bigger the stakes. Even editorial matters should not be preempted prior to its publication. Client’s competition can react quickly even before the marketing campaign and could jeopardize it. Clients just don’t look for talent in a photographer. They need someone who can keep their mouth shut until they can announce to the world they have made the best mouse trap. After all, practically you are a part of the marketing effort. And in a competitive world of business, discretion is very important. It is always nice to have bragging rights. To show other photographers you have arrived. So if you cannot really refrain from posting your client pictures, do so after the campaign had been launched. Never post before the campaign starts. It would be even better if you could wait at least a month after. Make sure thou that your client knows and is okay with it. Some clients would appreciate it and would be even thrilled. Whenever I shoot for a new client, I always ask them if it’s okay to put their photos in my website. If you are wondering why, thou you are the creator of the image, you were commissioned to do the job, and therefore the ownership of the photos belong to the client not with you.
Are You Cool Or Uncool?
and works in several magazines in Manila at that time. For someone who just learned photography three or four months ago, it was surely a feat. A month or two after, I got to know someone who happened to have hired the services of the said photographer. And I was surprised to find out that she contracted him for his experience of three years! I was stunned for six months ago, he was still struggling to remember what SLR stands for.
It is okay to admit that you don’t have much experience. Clients always appreciate this honesty and some would even prefer to get you because you are flesh blood and have more potential of producing more novel ideas or a different way of looking at things and photographing them. Instead of selling years of experience, why not sell your style instead and why they should hire you. If you lose the account then so be it rather than putting your reputation on the line in the long run. You It is more than often we see photos of models can fool a client any time but you cannot fool them all the time. usually women, pro or not, being posted as well in Facebook. Even if you a the one who Six years ago, I was informed that my photos hired the model, you should express your intent that you would be displaying his or her were being used by another photographer in his website as his own. Upon confirmation, I photos in her wall or how are you going to use it. This is especially true if you are posting was able to set up a meeting with him using a different name and pretending to be a sexy or even nude shots even if you are in a liberal country. I personally do not post really potential client. Instead of me meeting this outright vulgar images. And even if the model poser, I had an assistant and a lawyer link up allowed me or encouraged me, I rarely do and instead pretending they were the client. They
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As an assistant or even a second shooter, it is expected that you report to the photographer, being the person who have hired you with or without pay. You report to him and him alone. You do not approach the client and offer suggestions or ideas especially behind the back of the photographer. If you have suggestions, direct it to your boss, the photographer, not to the customer. Do it discreetly, preferably not infront of the client. Never interrupt an on going shoot just to give your suggestion except for emergency and safety reasons. Never argue with the photographer especially in front of the client. Do not ever present your portfolio nor seek for an appointment to present it to the client at a later time. I am not saying that if you are an assistant or a second shooter you do not have the right to pursue the photographer’s client in the future. If you are really desperate to get that client, get the info of the client thru other means and do it at a later time but not during that day of pictorial. Preferably, before you do, inform the photographer that you are thinking to do so and ask if he is comfortable with it. If not, then it is your choice whether to stop or continue to pursue it. However, if you decide to continue, have the decency to stop assisting for the photographer. Otherwise it will appear that you are working on his back, even if that is not your intent.
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he new White is Black openshoot is about creating a quality wedding/ Bridal fashion types of images.
Lectures during the actual shoot to utilize lighting in creating a stunning images. The do’s and dont’s in shooting the Bride. A very hands-on approach is taken with both models (bride and groom.) They were instructed to create very deliberate poses, the types that all photographers want to see in their portfolio. Every Photographers have a memento of the wedding that is truly extraordinary and as beautiful like you are in the actual contemporary wedding scene. It was a successful open photo shoot attended by professionals and amateurs. We’ve got positive feedbacks from the participants as they were inspired with the unique concept . as a result they were happy with the output and it shows on the photos they’ve captured. our team are dedicated and truly inspires to do more quality and unique concepts that would be beneficial to all photographers in a way of producing images that portrayed a feeling in a real essence of the art of photography.... in its purest form, to create an end result WOW factor! Sir Bogart, u can add up or edit the red text , however overall that was the main idea or the concept of the bridal openshoot. Please emphasize also , that The new white is black is all about Daring to be Different!... (where as the BLACK WEDDING DRESS is dominant than the traditional white wedding gowns.) Even when choosing the models, we make sure that their persona will fit on the concept.
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NEWS
www.fullframemag.com | Issue 6 | 2012
PHOTOKINA 2012 | by: Mike Zuniga
Photokina 2012 C
ologne is the fourth largest city in Germany, next to Berlin, Hamburg and Munich. A home of the country’s bustling and vibrant art scene and amidst the 30 museums and hundreds of galleries, there lies a famous technology fair called Photokina. Photokina was started in 1950 to showcase advances in photography and imaging. Since then it has ballooned to such a ginormous proportion that it is now called the worlds largest trade fair for the mentioned industries. A biennial event, we have another one coming up this September 18-23, 2012. As always, this will be held in Cologne, Germany. To give you an idea how grand this fair is, lets see some facts of the Photokina 2010. Resultant figures showed that it had 1,251 exhibitors coming from 45 countries and participated by 180,000 visitors from 160 countries. All these figures happened in a span of 5 days only. For this year, hot ticket items that one could find in Photokina 2012 will be mobile imaging and filming with DSLRs. We know this for a fact as we watched in awe how most of the known camera brands have already launched their new products, focus on this. Even yet astonishing are the rumors that they have withheld still some new products just waiting to be launched here in Photokina 2012. With the right mix of excitement, knowledge, drama and suspense, we shall yet see another hit in the offing. Save the dates and be there in Photokina 2012.
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DEPTH OF FOCUS
www.fullframemag.com | Issue 6 | 2012
MARIO CARDENAS | by: Arnold Pasillas
Lens Protégé & Intrinsic Artiste on the Physics of Photography
Past and Present
I was born to a very modest family, raised in what we colloquially call, “home along-da-riles (the railroad tracks)” in Muntinlupa, an outlying suburb of Metro Manila, Philippines.
involved in various architectural projects locally, in Saudi Arabia, Philippines, Pakistan and Qatar, handling such projects as palaces, mosques, malls, hotels, hospitals, high rise, commercial, residential, government and office buildings, villas, schools, community, recreation and sports facilities, factories, and urban planning.
As a boy, my parents couldn’t afford the fancy toys I longed to have, so I created my “brand new toys” out of scraps, and even made sculptures out of putik or mud. The seemingly bountiful materials available everywhere were ready for the taking to my heart’s content.
Lifestyle
The kind of childhood I had encouraged me to be resourceful, creative and imaginative. I used to lie on the ground gazing at the sky, visualizing various images and letting my imagination roam freely with the clouds. I became a dreamer and a hard worker, with a burning passion for the arts. Subsequently, I became an editorial cartoonist in high school. I won various inter-school art competitions and founded the arts club in our school. I was awarded Artist of the Year in 1998 and my most cherished memory was, after I had won a major regional painting competition for my school, a huge banner greeted me at the school gate with “Congratulations, Mario Cardenas” written in big, bold letters. Through scholarship and with the help of generous benefactors,I was able to enroll myself to the University of Santo Thomas as a Fine Arts student, but later on decided to shift my major to Architecture. Presently, I am working at KEO International Consultants as an architect. I had been
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My weekdays are spent working as a professional architect, but during weekends, I make sure that I spend quality time with my family. We usually enjoy a big breakfast at McDonald’s in Corniche Abu Dhabi, or just stay at home and play with my little pal, Cedi. In my spare time, I usually conceptualize photography ideas and plan for my next outdoor photography adventure. I also take time to self study and learn more and widen my knowledge about photography. Sometimes I also do some paintings, 3D modeling, rendering and animation.
Beginnings
My modest living has never allowed me a camera until late 2009, when I became an OFW and bought my very first one in Abu Dhabi; it was an EOS Canon 50D with kit lens 18-200mm. I was so excited and spent that week shooting and learning the fancy gadget I just acquired. Eager to test my camera and challenge my newly learned photography skills, I joined the Yasalam Formula 1 Etihad Airways Abu Dhabi Grand Prix 2009, and stunningly got my first, unforgettable win! Lightform International Photographers Club provided me with my formal training and I am part of the first batch in Abu
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“Solemn Pledge of Fidelity” 1st Place (UAE at 40 Years organized by Emirates Heritage Club)
Mario Cardenas
Dhabi. However, my learning did not stop there. I became hugely interested and motivated to widen my knowledge and hone my skills in photography. Unique and compelling styles of recognized photographers inspired me; I tried to defy the conventional and reinvented myself; I trusted my artistic instincts and innermost emotions and only then was I able to create unique, imaging styles. Being an architect has helped me envision myself in this profession as I have considered photography as my second career. As yet, I dream to have my own professional photography studio and win various prestigious, local and international photography competitions. Presenting my work through exhibitions, galleries, books and various print media would also be on top of my list.
Progress
I started the same like everyone else; I learned the basics, did thousands of test shots, actual photo shoots and made tons of mistakes. I invested a lot of time, effort and money in studying and learning the techniques and skills needed to capture and produce what I wanted – doing, redoing, shooting, regretting and also enjoying. And I believe there are no short cuts for this. Through persistence, hard work and dedication, I started to turn out noteworthy photos that are, auspiciously, being recognized and appreciated by a lot of people. I learned new techniques and tricks by accepting the challenges presented during every shoot and not waste any second in trying to capture that elusive, winning shot.
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Holistic Photography Photography is an artistic expression that allows to create great masterpieces, but unlike other forms of art, capturing great photos would take you “out to the world” and “be in the moment” of the photo. To capture a photo, the photographer must immerse himself/herself to the experience and then capture the moment at its optimum. In doing so, the photographer encounters various real life adventures. Photography is an excellent means in bringing a creative idea to life and sometimes involves complex means in achieving a certain composition. A great photographer must know how to lead and utilize the available resources to achieve the goal of a well composed photo comparable to a film director or a conductor of an orchestra. Great photos rouse emotions that are very powerful in communicating a certain idea to people. A single shot can implore a thousand words. Photography Personally Possibilities in photography are endless. For my part, I would not want to limit myself in some scopes. But I found great interest in Black and White, Reflection, Grunge, Derelict and Surreal Photography. I tend to experiment, explore, widen and dare to go beyond the boundaries of what is popular photography. The painting-like style of my photographs make it stand out from the rest, furthermore, my personal style in photography involves capture of interesting subjects, usually portraiture in unique or gripping moments,
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“Parallel Reflection” 3rd Place (Al Dhafra Photography Competition-5th Session) moments. But what sets a great photographer above the rest, is the sincere interest or passion to the craft, a sense of timing, an “eye” for detail and the ability to capture – what others perceive as ordinary, a photographer sees as extraordinary. Another important aspect of photography is about working with people. A good photographer must be a people person, who knows how to deal well with his team and directing the subjects, like in fashion photography. One must be good not only technically but must have the right attitude towards other people as well.
Hooves and Wings 1st Place Winner (Treasures of Arabia Photography Competition by Kraft Original) then enhancement of dramatic details and making it “larger than life” through post processing techniques. I guess these ideas in my mind rooted from my painting background. My favorite thing about photography is the interface with people, culture, environments and habitats of all sorts. It has enabled me to broaden my reach and go to remote places that I would never have gone to if not for photography. I also love the moment of post processing as it challenges my creativity on how I will highlight the message I am trying to send across and make the photo more compelling, powerful and inspiring. Still, I would like to learn more about Photojournalism. I think it is one of the most challenging fields especially the ones captured from very exotic, remote places or dangerous moments. The message of the photos is typically imploring and never fails to touch the heart or change the perception of the person who sees it. Universally speaking, a good photographer achieves balance between creativity, technique, and a persistent search for unique opportunities to capture those rare
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Technically Speaking Night photography is partially difficult to do especially on moving objects with minimal light, the same goes for wildlife photography if the subjects are scarce, elusive or dangerous. I once had an experience shooting in a remote desert. I encountered a lizard that looked venomous amidst a sandstorm. I also had an accident by falling from a slippery rock in Kawasan Falls, Cebu. Derelict Photography also pushes me to dare myself to shoot in abandoned and demolished buildings with risk of falling debris. Although these kinds of extreme conditions make interesting photos, I still do not encourage this to anybody due to the risks involved. On the other hand, shooting in broad daylight and natural light makes it easy for me to capture even the minutest details of a subject. Facilitating workshops is something I take great joy in, especially if the participants are very eager and willing to learn. Filipino photographers in the UAE show great aptitude and desire to excel in photography and a lot of them are endowed with
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The Drama of the Great Mosque
The Majestic Reflection and Devotion (Treasures of Arabia Photography Competition by Kraft Original) inherent talent. My last workshop, Exquisite, was a success and I got rave reviews from participants and distinguished photographers alike, for which I am very thankful for.
Achievements
I had a photograph entitled “Solemn Pledge of Fidelity” that won 1st Place in one of the most prestigious photography local competitions, “UAE at 40 Years” organized by Emirates Heritage Club in Abu Dhabi. This single photo bagged the astounding grand prize of AED 50,000, plus a beautiful plaque and a certificate. Winning photography awards has never ceased to over joy me particularly with the recognitions that come with it, most importantly from other distinguished photographers and artists that I respect and admire. I also realized that I have inspired a lot of fellow Filipinos that it became my personal mission to
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use my talent and acquired skills to give honor and glory to my country and countrymen. These winnings that has had me featured in various media in the UAE: Illustrado Magazine, Gulf Today, 7 Days, Abu Dhabi TV, to name a few, nevertheless, I have learned never to rest on my laurels but continue to harness the craft that I love and doing my best and working extra hard to extend my reach to bigger and farther audience.
Conclusion
Millions of things go through my mind when shooting, but I never fail to ask the two most important questions, “Will it be good enough for the next photography competition?” or “Is it going to be a winning photo?” Sometimes I get lucky and capture a winning photo “accidentally”. But more often than not, a winning photo requires careful planning and preparation. If I am going to an event or festival, say Camel Festival, I do some research about the event and I would presume how the target audience would accept it, in this case, the locals. As they love the camels so dearly, I try to
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Grunge
“I want to be remembered as a person who tried to go out of the boundaries of mediocrity” capture the camels in a sort of majestic and grandiose way, so when a locals looks at the picture, they can relate to it, agree with it and feel for it. When I won my first major photography win in the UAE, I was called on stage as “Mario Cardenas from the Philippines!” I was swelling with pride and honor at that moment as I felt that I was doing it not only for myself but for my country and countrymen as well. This inspired me to become better and motivated me to strive to win in more photography competitions. I want to be remembered as a person who tried to go out of the boundaries of mediocrity. As a Filipino, in my own little way, I want to give pride and glory to my country and always be remembered as “Mario Cardenas from the Philippines”. Most of all I would like to leave a precious legacy to my children and their children’s children that they too, would be inspired to live their lives with mission and purpose, use and enhance
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The Unknown their God given talents to share, inspire and contribute something worthwhile and valuable to our country and humanity in general. But my greatest inspirations of course are my loved ones and especially my litle boy Cedi, all the people who believed, encouraged and supported me in my journey through photography, and to God with whom I can do nothing without.
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Old Woman of Mantalongon
Normal and Contrary
Old Woman Sampaguita
Travel by Truck
Mother and Child - Living in Poverty
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A Cheerful Farmer
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Natural Sculptures at Abu Dhabi, UAE
The Empty Quarter, Liwa Western Region, Abu Dhabi, UAE
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Sheikh Zayed Grand Mosque
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LIGHT BENDERS
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t is a hot humid Friday morning that a group of photography newbie’s decided to meet up for a photo shoot. Armed with only a reflector and handful of friend’s that help out for the model’s make up and cheap set up, they have move forwarded and formed a shooting team that have existed up till to date, professionally covering commissioned photo and video shoots like wedding’s, corporate events, seminars, forums, fashion editorials, among others. 7th of May, 2010, saw the formation of the group which is now known as “Light Bender Project”. It started out as a Friday outdoor shooting event for photography enthusiast, comprised mostly of Filipino’s having a full proof day jobs and are photographers by heart. During its early formation, the group considered the gathering as a venue to come and share new ideas, learn new photography techniques and hone the craft that they loved. The addiction to photography became evident with the members as it became frequent and habitual extending the meet up days not only during Fridays but weekdays as well. Members would come to venues following the announcements made on social media sites such as facebook and twitter. By contributing a minimum amount of 10 dirhams to cover the expenses and to provide gifts for the guest models, these photo hobbyists will then satisfy themselves of their cravings by the photos produced out of each meet-ups.
www.fullframemag.com | Issue 6 | 2012
www.lightbenders.me | by: Frai Camero
It was a classic tale of zero’s to heroes.
can’t afford it, they will surely need to make it. After a series of successful shoots and payments generated from event after event, they we’re able to finally raise money to fund professional equipments in which every member can use for their independent paid shoots.
Photography materials and equipments are scarce in Dubai during the 2nd quarter of 2010, having ample suppliers in the market; the group went into making their own equipment that they would require to cover an event. It was a hard start for the group as it has no funding and literally has nothing. Since the group officially started accepting commissioned photo and video event coverage’s, the group carried on by creating their own light modifiers such as beauty dish and video equipments like camera slider/gliders and jib cranes keeping in mind that if the group
By the end of 2010, El-bi’s have done a number of conceptual fashion photo shoots including a challenging production shoot under zero degree temperature which is quite chilling to the spine. Working elaborately with celebrated Filipino fashion designers in the UAE like Rocky Gathercole, Ushi Sato, Butz Fuentes, Jules Quirante and Nelson Buhain, the group has cemented the respect and recognition among people in the fashion industry. Aside from having fashion editorial shoots and commissioned event coverage’s, the group also
group’s convener and would later became it’s first president, Frai “PAPU” Camero, the idea of naming the group that pursue a mastery of photography’s first element, which is essentially the Light.
The group member’s would later have their moniker as EL-BI’s, named after the pronunciation of the first letter of its first two words. The name Light Bender Project was inspired and derived from the screen adaptation of the TV series “AVATAR: The Last Airbender”. The concept of “bending” the elementals such as fire, water, air and earth and have the mastery of it, gave the
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“When it is dark we appreciate the light”
solidifies their social commitment by launching charitable events that would benefit Filipino individuals and regional sectors. On June 2010, the group in collaboration with Mr. Cesar “Rocky” Parroco launch its first shoot for a cause titled “PITIK’ that was able to raise funds to provide grocery items for the marginalized residents of Bacolod. In the aftermath of typhoon “Sendong”, Light Bender Project, under the leadership of it’s current president, Noel Yambao, and in cooperation with Filipino designers and make-up artist that are based in Dubai, staged a fund raising photo shoot entitled “UNITE FOR HOPE”, that was able to raise around Php 150,000 (AED13,000) and was donated fully to the victim’s of the ill-fated provinces of Cagayan de Oro and Iligan. Individuals like Marvin “AYA” Gomez, who suffered a stage 4 colon cancer, also became a beneficiary when the group spearheaded a mock-up fashion show themed “Project Runaway” to generate financial assistance to the ailing make-up artist. Aya as most of his friend’s call him is now recuperating and still under-going treatment. Even members of Light Bender Project were not spared from the great recession in Dubai. A founding member who has lost his job was sent back to the Philippines with nothing but an airfare ticket and ample belongings, was helped and backed up by the group. Contributions were made for him so that he may start something back home. He is now managing his own photography and video studio in the Philippines.
What was before a breeding ground for photography and videography enthusiast is now a nesting hub for seasoned photographers and videographers. The prestige and affluence of Light Bender Project as a group is the result of the collective effort and its individual member’s dedication to their chosen craft. Having their own competent portfolio’s as the result of valued time and effort, the roster of achiever’s continues to rise. Conferred honorees includes Julius Bumanglag (Grand Prize Winner – Back to Black Competition-Full Frame Magazine), Michael Camarines (Best Photographer and Best Photo - OPPPS Back to Basics Fashion Class Season 2), Refy Dela Cruz (7th Placer, Manny Librodo Photo Competition), Noel Yambao and Michael Camarines (Finalist – Women of Substance 2012), Teddy Arago (UAE Photographer’s Society - GPP Photo Exhibit). Among other group members, Belle & Joel Foronda, Ben Carino, Carla Nacario, Darlyn Mappala, Ache Del Mundo,Mike Bolibol,Mark Peregrina and Frai Camero , have taken their own fare share of clients, having regular stints and gigs in the event’s coverage scene. Though El-bi’s restrained its members to a limited number and only expanded by the inclusion of Rhod Cortes and Kristine Perucho as admin staffs and conferement of Ms. Muzna Butt as its lone honorary member from UK, it continues to support other photography enthusiast by providing open shoots and discussion groups to individuals and groups. Today, as the group becomes one of Dubai’s respected ensemble of photography and videography notable figures, Light Bender Project remains to believe and continuosly in the process of learning that it’s not just about new gadgetry, it’s not just about technique, it’s not just about fame and money…photography and videography is all about life and capturing it’s stories.
For more information you may visit their site: www.lightbenders.me or follow them on blog: http://lightbenderproject.wordpress. com/ facebook: http://www.facebook.com/pages/Light-BenderProject/152470004810500
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FUNSHOOT
www.fullframemag.com | Issue 6 | 2012
PINUP | Reshu Malhotra and Ali Zain
INITIATED,CONCEPTUALISED & ORGANISED BY:Ali Zain and Reshu Malhotra SPONSOR:LIGHT HOUSE STUDIO MAKEUP BY:RESHU MALHOTRA After attending to quite a lot of events myself, We decided to do a bollywood bridal shoot.The response we got was exceptional,everybody wanted us to organise another concept and so after much brainstorming finally we decided to give something new, different to photgraphers to shoot and so this concept came alive. We decided to have 5 models with completely different looks with one being sailor, teacher, frenchmaid, pilot, candygirl and so we named this concept PINUP STLYE. This was a great event. thanks mainly to our models, photographers, the team. Everybody did a great job and really had fun on board. We would like to take this as an oppurtunity to thank everybody who was a part of the team from the bottom of our heart. And as we say this we are preparing ourselves for another hot concept. So Be ready guys, we are coming back.
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www.fullframemag.com | Issue 6 | 2012
| by: Mike Zuniga
WHAT’S NEW
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Put Your Creativity Into Motion With The New EOS M Digital Camera Finally canon has joined the mirrorless interchangeable camera sector with the EOS M launched late last month. Combining the perfect blend of advanced video features and excellent still image quality in a convenient size, Canon, a leader in digital imaging solutions, today announced the EOS M Digital Camera. Canon has made significant advancements in the realm of professional-quality HD video capture, from advanced CMOS sensor technology to smooth, quiet continuous autofocus. Inspired by EOS technology, the EOS M leverages these core technologies and distills them down to provide outstanding
video capture capabilities while retaining high-quality still image capture. When shooting still images, the EOS M camera’s 18-megapixel APS-C-sized CMOS image sensor provides a shallow depth of field, incredible low-light image quality and a wide dynamic range to capture rich gradation and detail. This new addition to the EOS family offers a great solution to videographers and photographers of all levels, with two new lenses designed specifically for Canon’s new camera format - the EF-M 22mm f/2 STM kit lens and the optional EF-M 18-55mm f/3.5-5.6 IS STM lens- and the ability to use the full line of Canon EF and EF-S lenses through the optional Mount Adapter EF-EOS M. Watch out for the in depth review as soon as we can get our hands on this baby.
New Lenses Launched last June, they have announced two new lenses added in their lineup. The new Nikkor 18-300 f/3.5-5.6G ED VR lens is Nikon’s longest focal range ever. Designed for the DX camera, this was in addition to the popularity and versatility of Nikon’s telephoto zoom area of lenses. This joins the popular Nikkor 18-200 f/3.5-5.6 and the 28-300 f/3.5-5.6 VR lenses. A compact and versatile lens, this is best for shooting stills while travelling and street photography. Constructed of 19 optical elements in 14 groups with 3 Extra Low Dispersion (ED) glass elements create less chromatic aberrations. Another lens that was launched was the Nikkor 24-85 f/3.5-4.5G ED VR lens for the FX camera. They introduced a follow up to their Nikkor 24-85 f/2.8-4.5D by introducing VR II technology in a compact and lightweight lens. Used for family or event photography, this lens is a superb and versatile lens as well. The new VR technology herein introduces the new Auto Tripod function, wherein it automatically detects if the camera is mounted on a Tripod. Even if used for HD video recording, it makes specialized VR corrections. Since this was released in the US sometime June of this year, lets surmise that these VR babies will arrive in UAE shores in the coming months.
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HOBBYIST
www.fullframemag.com | Issue 5 | 2012
PHOTOGRAPHER’S PROFILE | Hobbyist Corner
Yurinda van der Ent 7 years ago I took a keen interest in photography because I thought it was something fun and easy to learn, which is. I took joy in capturing moments that I would enjoy so many years later. My grandfather and some of my uncles have been doing business in photography, and even my sister and my brother also love photography. So I guess it is inherent in my blood. I bought my very first DSLR camera 4 years ago, and I have learned a lot from it. The best thing is I see where I have been, how places and people have changed, and have captured so many moments and diverse expressions of people and it makes me feel happy to take more & more pictures. I have observed things around me and the beauty of nature that would normally just fade into the background to less observant people. Apparently, photography is also a costly hobby to boot, because once a person becomes a hobbyist, then there is suddenly the desire to acquire all the gear and equipment related with it such as different kinds of lenses, speedlite, studio lighting, etc., and these things do not come cheap. In my opinion, a good photographer is made up of passion and creativity and the desire to never stop learning and be pliant to all incoming knowledge knowing that knowledge and imagination makes a better picture and an even better photographer.
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Mikko O. Ramos
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Mikko first caught my attention in one of the workshops conducted by an award winning Photographer in Dubai. I was amused to see him. He was anyway the only 13 year old in a group of working professionals. He was then sitting side by side with his mother listening to the facilitator. He first got into photography 2 years ago using her mom’s old camera, Nikon D40. From taking a snapshot of family members he is now an owner of Nikon D90 and his school official photographer. For him, Photography as a hobby is about finding those elusive opportunities, whether by luck or meticulous preparation, then adding your personal flair to make it different, and ultimately better, than the rest. The advantages are endless, from finding new ways to experiment with it, sharing (and competing) with others, and making someone’s day with photography, even if it’s your own. “The only disadvantage for me is probably the feeling from not having equipment that costs more than a small fortune to take great shots, which while true, does make shooting easier (or a whole lot harder)” Photography has helped him develop his personality, being the school photographer he has become more popular in school, more outgoing. Mikko is the youngest member of Tamberkz Group of Photographers, he consider his co-members as one of his influences in photography and they have helped him developed his skills by giving him some ideas. He likes to take macro photography and also finds portrait and travel photography interesting.
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REVIEW
www.fullframemag.com | Issue 6 | 2012
PHOTTIX ODIN FOR NIKON | by: Sam Coran
ODIN FOR NIKON “Sam Coran is an Editorial Portrait Photographer with published works in different international magazines from Singapore, Hong Kong, Philippines and the Middle East. Photography for me, is more than art and passion, it’s my life. I am nothing without it, he says.”
Photo accessories company Phottix has released Odin TTL Flash triggers for Nikon digital SLRs. The Phottix Odin first shipped for Canon cameras last year. Due to popular demand of Nikon photographers they have released this Nikon version. I’m one of the first photographers to try this unit here in the UAE. Phottix HQ in Hongkong was kind enough to send a transmitter and 3 receiver sample units to test and battle the Arabian sun. OVERVIEW The Odin is a 2.4GHz wireless system offering both TTL and manual flash triggering, and provides for four wireless channels and three flash control groups. Flash output can be controlled either with +/-3 EV of flash exposure compensation per group in 1/3 EV steps in TTL mode, or with manual power control in 1/3 EV steps. Other features include automatic or manual remote flash head zoom adjustment, high-speed sync up to 1/8,000 second. The Odin is also backwards compatible with Strato 4-in-1 and Strato II Multi 5-in-1 wireless triggers. Upgradeable via built-in USB ports. The Phottix Odin system will also trigger compatible non-TTL flashes and studio strobes. Hot Shoe Heaven The design of the receiver is a big plus because of the hotshoe for attaching Speedlight directly to the unit. This feature gives photographers the freedom to fire remote flashes without relying on cumbersome PC-sync cords. And the goodness doesn’t stop there…. Another huge advantage of the dedicated hotshoe is the ability of the Odin Receiver unit to trigger speedlights that lack a PC-sync terminal such as the Nikon sb-600 and the sb-700. What does the Odin offer? The Phottix Odin TTL Trigger consists of an on-camera transmitter and control unit (TCU) and receiver units for compatible hot shoe flashes. The Odin offers photographers four wireless channels and three flash control group designations. Flashes can be controlled in TTL or manual mode, or A:B ratio mode with EV +/- adjustments of three stops.
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What makes the Phottix Odin unique is the ability to designate groups in TTL/Mixed mode. Individual groups, A, B, C, can also be controlled in TTL mode with EV +/- adjustments. Groups can also be set to Manual mode, adjusting power levels remotely in 1/3-stop increments, or turned off. Range can be from 100-150 meters. As a portrait photographer, I don’t really care much on how far it can trigger as long as they wont misfire when I’m working. Photographers can wirelessly trigger TTL flashes, retaining full TTL functions, as well as remotely control power and flash zoom settings. Shooting with off-camera TTL flash has been made incredibly easy. One feature that I really like is the ability to remotely adjust the flash power from the Odin transmitter. Makes life very easy as a photographer. ZOOM ZOOM ZOOM Flash head zoom can be dynamically adjusted as photographers adjust their lenses. Flash zoom can also be easily adjusted manually and set statically from 24 to 105 mm. Ease of Use On Location Overall, the Odin is incredibly easy to use. Even without reading any of the manuals (SAMPLE units didn’t arrive with any manual), the entire system has an easy, plug ‘n play simplicity, from turning the power on to adjusting flash power values to control power levels. A big part of the ease of use is the simplicity of the system. It functions as it is advertised.
Conclusion: Pros: • Reliable & 100% clean TTL triggering even at 1/8,000th • Locking hotshoe for Nikon speedlights • uses common AAA batteries • Metal threaded socket on receivers • Easy four-position slider for channels • Standard mini-jack connections • PC, mini-jack, and 3.5mm connectors included! * Cheaper than other TTL capable triggers in the market. Cons: * Availability. Hard to find here in the UAE Market. The Phottix Odin is highly recommended for speedlight shooters because of its ability to shoot in both TTL mode and Manual mode. The feature of remotely adjusting flash power is a big help to photographers especially when shooting with multiple speedlights. The Phottix Odin has earned a place in my bag and will be my go to triggers for all of my photoshoots. Visit Phottix website at http://www.phottix.com/ for more of their product.
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BACK TO BACK
www.fullframemag.com | Issue 6 | 2012
BOBBY CAPARAS / JOSEPH TAYCO | Shoot for a cause
Back 2 Back shoot for a cause Bobby Caparas & Joseph Tayco
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RANDOM CLICK
www.fullframemag.com | Issue 6 | 2012
PHOTTIX ODIN FOR NIKON | by: Sam Coran
Gallery
PHOTOGRAPHER’S
Photo by: Dhruv Dhakan
Random clicks is a section of the magazine where you can share your photos. It intends to inspire other photographers who are new in the field of photography. Random Clicks is open to all pro and non-professional photographers. Submit your photos to info@fullframemag.com
Photo by: Jereco Maralit
Photo by: Hernani Canete
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Photo by: Sappho Valdez Rodriguez
Photo by: Milandro Acuzar
Photo by: Darryl Espiritu
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Photo by: Michael Mendoza
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Photo by: Muzna Butt
Photo by: Eduard Daling
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Photo by: Suzette Bayonito
Photo by: Roger Albao
Photo by: Benjamin Pascual
Photo by: Monte Corpuz
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Photo by: Paul Frederick Chiongson
Photo by: Jeffrey Gelano
Photo by: Marc Brian Queyquep
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Photo by: Kerwin Shinoi De Guzman
Photo by: Dennis dela Cruz
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www.fullframemag.com | Issue 5 | 2012
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"Photography is an art of observation. It comes from your heart. It's about finding something interesting in a ordinary place .... I have found it has little to do with the things you see and everything to do with the way you see them."
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