I love macro photography and i am just awestruck seeing the vibrant detailed macros of insects or flowers all over the internet. Here's another very useful link that explains the process in full image and text detail. Description : Green world in small transparent water dots 3D technique wonderful unique innovative photographs high definition free download.
Macro Photography Tips -- Things to Know before Photographing Insects How to Use Photoshop to Enhance Your Fashion Photograph?
In this article, I shall be covering one of the most powerful and important aspects of photography, the Aperture. Every nascent photographer must have been perplexed with the use of Aperture at some point.
Stop down, f-stops, 1 stop, 2 stops etc are photography jargon which refers to amount of light. When you use an extension tube it immediately does one thing to your lens: it gives your lens the ability to focus at extremely close distances. Even with a telephoto lens you will get an incredibly shallow depth of field. The background and foreground go completely out of focus. We are always looking for more interesting and insightful photography tips and techniques to share with our readers. When I walk through a quiet forest in the middle of the night full of fireflies, I have an experience of a magical forest. In this short movie, I tried to capture my feelings and experiences with fireflies in the woods near my house in Fairfield, Iowa. I have chosen not to do any digital manipulation to the video itself, so the footage came strait from the camera. All videos and photos of fireflies are copyrighted by Radim Schreiber, whose permission is required for any usage.
Photography by Radim Schreiber includes photos of fireflies (lightning bugs), photos of Photonius Pyralis, footage of fireflies (footage of lightning bugs); close-up photographs of fireflies.
Visual artist Aeron Alfrey has furnished illustrations for books about horror authors like HP Lovecraft, Stephen King, and Thomas Ligotti. Check out the CVLT Nation exclusive interview with Aeron Alfrey and more of his art after the jump below! Oliver: Aeron, if you don’t mind my asking, how old are you, where do you live, and how long have you been making art? Aeron: I am 34 years old, I live in a depressing little town in Indiana called Crawfordsville. Oliver: Who are your five favorite visual artists, and what are some of your favorite works of theirs? Zdzislaw Beksinski – He never titled his artworks so it would be difficult to point one out, but I adore all of it equally.
The idea is clearly to offer a sensible subset of the X-T1’s features in a camera that offers a similar handling experience, but at a lower price. What the X-T10 lacks in comparison to the X-T1 includes weatherproof construction, ISO and metering-mode dials, and some smaller refinements such as dial locks and a PC sync socket for studio flash. However, the X-T10 gains a few new features commensurate with its more entry-level target audience. Available in either a staid all-black, or a rather attractive silver-and-black design, the X-T10’s body-only price is ?499. The X-T10 offers an impressively broad feature set, with a specification that would have looked outlandishly advanced just a few years ago. Full HD movie recording is available, at up to 60fps and with full manual control over recording. With its boxy, high-shouldered design, the X-T10 can look a bit odd from some angles, but the advantage is that it gives more space for controls and more room for your right hand to grip.
In use, the X-T10 behaves rather like a simplified X-T1, which of course is the whole idea.
Aperture is normally set by a ring on the lens, but certain Fujinon lenses lack this control, including the XC 16-50mm, which is the cheaper of the two kit zoom options.
ISO sensitivity doesn’t have its own control, but can be assigned to a function button, or set via the onscreen Q menu that gives quick access to 16 user-selectable settings.
The screen itself is a 3in, 920,000-dot LCD that tilts upwards by 90° for waist-level shooting, and downwards by 45° for high-angle shots. The X-T10 comes with a new advanced autofocus system, which will also be available in a firmware update for the X-T1 (as Version 4).
Group mode uses sets of AF points positioned in a defined area of the frame, and is designed for when you wish to maintain a specific composition. With static subjects the X-T10 focuses quickly, silently and accurately, especially with the small 16-50mm kit zoom. We haven’t yet had time to test continuous focusing out fully, but initial impressions are quite positive. With the same sensor and processor as other X-system cameras going back to the 20-month-old X-E2, I wasn’t expecting any great surprises from the X-T10 with regard to image quality, and didn’t really see any either.
However, we’ve seen equally nice colour from the X-A2 which uses a conventional 16MP Bayer sensor, so we can’t help wonder what Fujifilm might be able to deliver using one of the latest 24MP Bayer sensors that give excellent results in cameras like the Nikon D7200. High ISO image quality has always been a Fujifilm strength, and the X-T10 accordingly delivers really nice results up to ISO 3,200 at least. Fujifilm’s X-system cameras have used the same 16MP X-Trans CMOS sensor and EXR Processor for a while now, which means that the X-T10 gives much the same image quality as other recent Fujifilm cameras, including the X-T1. High ISO images tend to look particularly good, with excellent noise suppression and colour retention. The unusual colour filter array also means that X-Trans image files tend to look different to those from conventional Bayer cameras, when viewed at the pixel level. Because of its X-Trans CMOS sensor, we’ve had to treat the X-T10 slightly differently to usual in our Applied Imaging tests, and as a result the numbers don’t necessarily compare directly to conventional Bayer-sensor cameras.
At ISO 100 (which is only available in JPEG) the X-T10 gives an essentially noise-free image, with good rendition of fine detail and attractive colour (although highlights visibly clip).
Noise only really starts to have an impact at ISO 1,600, with shadow detail starting to block up a bit. It may not display this or other websites correctly.You should upgrade or use an alternative browser. It has a 6-page article by none other than Dan Burkholder, detailing & explaining the method, technique, software required, plus a resources section.
I get variable results with Combine ZP ( a newer version of Combine ZM ) using all auto settings and will see if manual helps. Also, aperture (along with shutter speed) is among the two most crucial controls by which the photographer can control and portray his creativity.
You can see that light is cutting down when you choose a high f-number and more light getting in when you choose a small f-number.
Their reproduction, even in part, is forbidden without the explicit approval of the rightful owners.


Forget focusing at infinity with a long lens once you attach an extension tube to it. The catch is you have to move a step or two back when using a telephoto lens with an extension tube. You will need it when shooting with a heavy lens like the Nikkor 200-500mm that Peterson used. When I see fireflies being a mere reflection of stars under the Milky Way, I feel connected to everything in the universe.
For optimal viewing, watch this video at night, with all lights turned off, in full screen mode and with sound turned on.
I wanted to document not only their beauty and magical glow, but also behavior in their natural environment. Fireflies (also known as lightning bugs) were photographed in their natural environment and were illuminated by ambient or available light only. Alfrey’s meticulously detailed nightmare worlds are crammed with denizens of all varieties, densely peopled with black and white monsters like an unholy mash-up between the medieval apocalypses of Heironymus Bosch and the spooky imagery of Stephen Gammell (Scary Stories to Tell in the Dark). Perhaps it’s these layers of strangely shifting lights and darks that provoke a physicality to the art. He is a constant inspiration but his last few years are difficult to separate from thinking on his art. The vastness and detail, the bewildering creatures farting and carrying along weapons in carts, armored beasts flying about…. I explored a parade of sorts, terrible things creeping forward in a city of wild nightmares come alive. With its combination of excellent image quality, dial-based controls and a rugged, compact body design, it earned numerous awards – including our own Premium Compact System Camera of the Year and our Reader Product of the Year at the 2015 AP Awards. To this end, the X-T10 uses the same 16.3-million-pixel, X-Trans CMOS II sensor (which includes on-chip phase-detection pixels for autofocus), alongside Fujifilm’s EXR Processor II. There’s a pop-up flash that is cleverly hidden in the viewfinder housing and released by a switch on the top-plate. The sensitivity range covers ISO 100-51,200, although raw-format recording is frustratingly restricted to ISO 200-6,400. This allows remote control of the camera with a live view display on the smart device, which is perfect for shooting on a tripod with, say, the camera at odd angles.
The camera has built-in stereo microphones, along with a 2.5mm stereo socket for an external microphone.
Indeed, with a cleverly sculpted front grip, rear thumb hook and grippy rubberised coating, the X-T10 feels impressively secure in your hand for such a small camera. It is based around traditional analogue controls, with top-plate shutter speed, exposure compensation and drive-mode dials. In this case, aperture is set using the rear control dial, which works fine but doesn’t give quite such a satisfying handling experience. Alongside magnified live view, the X-T10 has a peaking display that highlights in-focus edges of the subject, along with Fujifilm’s unique digital split-image display.
I assigned ISO to the front control dial, meaning I could click the dial in to activate the setting, then rotate the dial to change it. It’s a really nice finder, being bright, clear and colour accurate, and it matches the optical finders on most APS-C DSLRs for size. However like all tilt-only screens, it becomes much less useful when shooting in portrait format.
For static subjects this employs Fujifilm’s familiar 49-point grid covering most of the frame, with the AF area size selectable in five steps to match the subject.
It also works well in low light, and I prefer to turn off the blindingly bright autofocus illuminator as it’s rarely needed.
On one level this is a good thing, as it means you get Fujifilm’s signature lovely colour rendition, via its ‘film simulation’ modes that are designed to mimic classic film emulsions. Crucially, the raw files would be rather easier to handle in third-party conversion software. Metering is usually well judged, and because the camera provides a live preview of the exposure it’s easy enough to apply any necessary compensation without resorting to guesswork. One real annoyance, though, is that raw recording is limited to the ISO 200-6,400 range, and you can’t access the extended sensitivity settings unless you have raw disabled (and have also turned off the electronic shutter option in the menu). This isn’t a bad thing, as these cameras are capable of giving very fine results, with particularly attractive JPEG colour output. But infuriatingly, Fujifilm limits raw format recording to ISO 200-6,400, so you’re stuck with the in-camera processing and can’t apply your preferred noise reduction at higher sensitivities.
Not all raw converters can handle raw files, either, although Adobe Camera Raw and Capture One can both produce good results. We measure 12.4EV range at ISO 200, which gives plenty of latitude in exposure and post-processing. Switch to ISO 200, the lowest setting available in raw, and the image quality is still excellent but there’s more detail retained in the highlights. From this point onwards it has increasing impact, but even ISO 6,400 gives quite acceptable results for less critical purposes. It is very similar to the iris of our eyes; It controls the amount of light that enters the camera. When we talk about a long lens we usually talk about wildlife and birding and those sort of things. Although Alfrey has primarily provided artwork for horror fiction, he’s had dozens of exhibitions over the globe in the past few years, and has recently started doing artwork for bands. It has been host to an assortment of abandoned factories over the years, many I’ve had the opportunity to explore.
I really like the style of that one and some others that seem to be done in a similar vein. I came to the digital medium reluctantly and actually discovered the potential of photoshop in the backroom of a traditional lithographic printing studio, in art school.
His wife died in the late nineties, then his son committed suicide a few years later, and a few years from then he was butchered in his home by some bastard teenagers wanting money. By the time you’re done looking at this thing in detail you feel like you just watched a feature length monster film made four hundred years ago. Stephen’s fluid painting style and eye for exacting deformities and ghostly shadowy things half-seen across the image are brilliant. I felt a vague similarity between this and Evil Dead 2 — basically a man alone dealing with ancient evil. And also how long does it take you to do a work like this, from the beginning stages of conceptualization until completion? Now Fujifilm is trying to build on this success with the launch of its simplified little brother in the shape of the X-T10.
It has a cosmetically very similar DSLR-style design, with a centrally mounted electronic viewfinder and tilting rear screen, and uses Fujifilm’s signature dial-led control layout, including top-plate shutter-speed and exposure-compensation dials (most lenses have their own aperture dials).
Another switch puts the camera into its beginner-friendly Auto mode, and allows access to subject-optimised scene modes. Continuous shooting is available at 8 frames per second, with continuous autofocus during shooting.


The electronic shutter is also completely silent, which is great in situations where the clack of a mechanical shutter would be intrusive.
A dedicated red record button on the top plate initiates recording at any time, but can be re-purposed to another function if you prefer. With die-cast magnesium-alloy top and base-plates and aluminium dials, build quality feels solid enough, if not quite as rugged as the weatherproof X-T1. Twin electronic control wheels are placed on the front and back of the body, both of which can be clicked inwards to function as buttons.
The drive-mode dial gives access to panorama, multiple exposure and bracketing modes, alongside the more usual single and continuous shooting. The XF 18-55mm zoom does have an aperture ring, along with a very useful stop-faster aperture, and would be our kit of choice for starters, although it does come at a ?200 premium. Clicking the front dial switches between AF area modes, but this can be changed to suit your preference. This works really well, and personally I much prefer it to the X-T1’s awkwardly placed, locking ISO dial. However, the window is unusually small, so you need to align your eye with it perfectly to see properly into the corners of the screen. However, it adds eye-detection AF for portraits, along with two new modes for continuous focusing on moving subjects. The subject’s expected starting point, where the camera will initially acquire AF, can be set anywhere in the frame. In 8fps CH mode the camera can only use phase detection for focusing, so you’re limited to 3?3 or 5?3 groupings in the centre of the frame. We’re aiming to produce a more in-depth article covering the real-world capabilities of the new focus system shortly, so keep an eye out for this in the next month or two. Auto white balance tends to work well, although it occasionally drifts towards an overly cool interpretation of the scene. This is pretty infuriating when shooting in low light when you have no option but to boost the ISO, and I’d really like to see Fujifilm make raw files available at any setting, like every other brand. This drops monotonously as the sensitivity is increased, but even at ISO 3,200 we see a quite respectable 8.2EV range. The top three settings – ISO 12,800 through to ISO 51,200 – are only available in JPEG, and give very marginal results. Larger the hole, the more light gets in and smaller the hole, lesser the light that gets in. Chasing fireflies and capturing them in a jar to photograph them is something I don't practice.
I recently asked Alfrey about the inspiration behind his morbid fantasies, the process he uses to create them, and what his plans are for the future. That said, the thing that drives me creatively is a distinct fantasy world of an afterlife that sort of cracked open in my mind many years ago during a weird fit of depression and, bizarrely, a real cloud of moths that were infesting a room I was sitting in. It’s a frustrating mixture of inspiration, sadness and anger at how his life was ended. I suppose that sort of intense detail of many nightmarish life forms seen at once is comparable to some of his paintings.
The X-T10 is also noticeably smaller and lighter than the X-T1, making it easier to carry around all day.
However it can potentially show distortion with moving subjects, and strangely it can’t be used with the extended ISO settings. Fujifilm hasn’t included an NFC chip for easy set-up, but its implementation of Wi-Fi makes connecting the camera to the phone extremely straightforward anyway, so this is no real loss. It is noticeably nicer than the recently launched and broadly similar Panasonic Lumix DMC-G7 – see here for an overview of the main differences between the X-T10 and the G7. Indeed, it’s just one of seven user-customisable controls, along with the top-plate video button, the four buttons of the D-pad, and an additional rear Fn button. The information display shows extensive exposure information, including an electronic level and live histogram, and usefully it all rotates when shooting in portrait format. Like the viewfinder, it’s great to use when shooting and gives a clear view of the subject. However if you shoot raw, you can always re-convert in-camera using your preferred settings without even having to touch a computer. Along with the ability to use your own preferred noise reduction at high ISOs, this would also allow more effective highlight recovery at ISO 100. Now, choose another f-stop on the same lens, say f16, and the diameter of the lens opening will be 18.75mm. Then rotate the wheel of the camera to change the f-number which changes the size of the aperture.
These are pictures of bugs and insect from Midwest, Iowa, Pensylvannia, USA and united states and whole world, in coming years also from Japan, Thailand, Malaisia, Asia. Included are samples of his artwork as well as links to check out more of his nightmarish creations. It’s been abandoned for going on twenty some years and remains in wretched decay, windows smashed in, walls collapsing, stairs filled with toxic debris.
I think, were I to put a name to it, the technique could be described as macro digital photographic collage manipulation. However, I also just have a mad desire to cram as many horrifically bizarre things into a single image. A menu setting allows you to choose whether to use the electronic or mechanical shutter, or allow the camera to switch between the two as required. I assigned the D-pad to move the AF area directly around the frame, as I find this gives a particularly fluid way of shooting when using the electronic viewfinder. Firefly Experience also features High Definition stock footage of fireflies in 1080p, 4k, 720p, uncompressed and other formats. I might use a sliver of skin here, a wrinkle of flesh there, compose it over a rotting fruit, lay in the dots from the skin texture of some strange animal, and build up random shapes that I stretch and push together, with translucent layers ever changing the shape and building up an ever stranger image. The directional keys themselves are noticeably easier to find and activate by touch compared to the X-T1’s notoriously recessed and spongy ones. This explain why a large f-number (say, f16) allows less light into the camera and a small f-number (say, f5.6) allows more light into the camera.
Online, you can see many examples from it in some of my earliest digital artworks that were all directly based on this grotesque fantasy.
Future projects will include synchronous fireflies, giant firefly in the grass of Thailand, firefly festivals, Firefly Symposium and gatherings.



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