AUG, 2022 | 05 INTERVIEWAMITDEY & SIMON BENI FEMALE IN FOCUS BARKHA PHOTOAGARWALFEATUREAARJAVJAINLEARNWITHFRAMEEXPLOREDIFFERENTSTYLESOFLIGHTINGREVIEWOLYMPUSOM-1 Cover story VINEET VOHRA “It’s better to fail in originality than to succeed in imitation.”
D O T H E I M P O S S I B L E . O M I S R E ( B O R N ) .
CONTENTS FRAME COVER STORY Vineet Vohra INTERVIEW Amit SimonDeyBeniOlympusOM - 1 REVIEW Barkha Agarwal FEMALE IN FOCUS Explore different styles of lighting LEARN WITH FRAME Aarjav Jain PHOTO FEATURE CREDITS EDITORIAL PUBLISHER & EDITOR Idris Ahmed PROOF READING Ujjayant Sinha Antasa Vairagya DESIGN & PRODUCTION DESIGN Amit Kumar Gangal PRODUCTION TEAM Amit Kumar Gangal Ujjayant Sinha Antasa Vairagya COVER STORY Photography - Idris Ahmed Retouching - Amit Kumar Gangal Equipment - Olympus OM- 1 Shot at Studio Photocommune and Yamuna Ghat Published by : Photocommune JE-5 Basement, Opposite Tikona Park, Khirki Extension, Malviya Nagar, New Delhi- 110017.
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The world seems to me like a child’s playground I watch its whirling display all day and night
Every photographer may have a different reason as to why they want to shoot. Yet, that irrepressible urge to create imagery is always an inspiring thing to see. The cover story for this issue with India’s leading street photographer Vineet Vohra will inspire you to pick up the camera and explore your city with a fresh perspective. The other highlights of this issue are the two celebrated photographers, Simon Beni from Israel and Amit Dey from India. Besides this, we have featured two young aspiring photographers, Aarjav Jain and Barkha Agarwal exploring documentary and new-born photography respectively. This issue also includes our pedagogical article in which we have covered simple but very effective lighting techniques for beginners to be able to set up like a pro! Furthermore, we have an unbiased and thorough camera review of Olympus OM-1 that might help you to overcome the myths of the restrictions which come with micro four thirds (MFT). This would help you to embrace the MFT without any prejudice! We hope you enjoy this issue. If you try out any of the mentioned lighting setups, we would love to see your results. So, make sure you e-mail those to our team at info.photocommune@gmail.com.
EDITOR’S NOTE
Assuming that you are also old school like me and love ‘India Post’, then do send your appreciation through snail mail atJE-5 Basement, Opposite Tikona Park, Khirki Extension, Malviya Nagar, Delhi - 110017 Happy shooting ! Idris Ahmed
Who would relate to this profound verse by Ghalib better than a photographer observing and trying quietly to freeze unadulterated and fleeting moments in a world that is constantly on the move.
COVER
STORY
Featuring VINEET VOHRA By Idris Ahmed Vineet is one of India’s most celebrated street photographers. His complex and playful juxtapositions have inspired and taught thousands of aspiring young photographers.
“IT’S BETTER TO FAIL IN ORIGINALITY THAN TO SUCCEED IN IMITATION”
The camera has always been a medium of expression of his emotions. “I can’t really put my finger on a date when I started shooting. But one thing that I clearly remember is that I always had a camera. I make pictures to feed my soul with moments which makes the familiar into something poetic and at times, mythical”, says Vineet.
To Vineet, photography is a festival that he celebrates everywhere, every day. Being a student of the art of street photography, he sees decisive moments and juxtapositions in the mundane, familiar sights around us. It embodies several factors such as proximity, similarity, intuition, direction and closure.
The photographer within him is never tired. When he is not behind the lens, he creates pictures with his eyes. Despite his busy schedule, he makes sure that he spends quality time with his family. “… that comforts me to the core, and makes me what I am today”, says Vineet
Photography - Idris Ahmed Retouching - Amit Kumar Gangal Equipment - Olympus OM-1 Shot at Studio Photocommune & Yamuna Ghat
Seeing how photography is evolving today, he feels that the most common mistake that some people make is that they have reference images or locations in mind even before they step outside and actually begin making pictures. Their sole focus is to imitate photographs that they like or those that get traction on social media. What he feels is that photographers should be true to themselves. “For the last twenty-five years, I have tried to seek my own personal voice, style, and path in street photography. On my way, I have learned so many valuable lessons in life, which have transformed me as a human being. Ultimately, you have to find your own personal vision and style in photography. You just need to know yourself as a street photographer”, he strongly advocates. The frames that a photographer sees and then brings to life shows who they are on the inside. Vineet often says that one does not have to shoot what they see. Rather, they should shoot what they are. “You’re every poet whom you’ve read, every movie you’ve seen, every emotion you’ve felt, every kid you’ve played with, every colour you’ve absorbed. Any image without an underlined emotion or connect is dead”, he Photographerssays. approaching their art in an overly analytical manner is something that bothers Vineet. To him, they show a tendency to be heavily biased towards a composition that they have already seen in a particular scenario. So, when a similar situation unfolds, they try to make a replica.
Talking about the spontaneity of street photography, Vineet firmly believes that it cannot be planned. This is the path that is self-chosen. So, they must respect these moments and stop looking for perfections because it is impossible to find it. “Always search for new paths because as humans, we are curious. Curiosity will lead us to discover ourselves. Enjoy the journey called street photography. The key is to stay original. Everybody else is taken”, he concludes.
“We forget that the most important ingredient of making an extraordinary image is to live in that moment and reflect your own self. Make a slice in time that has heart, soul and passion. Our fortitude is our vividness. Vividness of approach, introspection and intent for doing what we do. There is no one single intent for street photography, but diverse”, he states.
During his journey, Vineet has often stressed on the importance for a photographer to be in sync with their subconscious state of mind, what stimulates them individually and what they want to accomplish with their photographs. The more aware they are, the more they will discover about their penetration in this art form. “Street photography is a relatively new genre that is still exploring itself”, he says.
In Conversation SIMON BENI with Idris Ahmed INTERVIEW
I enjoy photography and it is like a game for me. When I take pictures of people, I play and dance with them. Being a man sometimes limits me in the realm of women, especially in conservative societies .
Simon Beni - I am a second-generation tour guide, and thanks to my father, I got the love for traveling, trivia and history. I have worked as a tour leader for many years and have worked mostly in Europe and Asian countries. The nature of my work enabled me to meet a lot of people and improve my skills for closer encounters. Like many beginners, I started with a manual film camera and mostly enjoyed taking pictures of sunsets and old people, something that I still enjoy. I am a self-taught photographer. One out of many steps that developed me as a photographer was during one of my visits to Jaipur, Rajasthan, in front of the Palace of Winds. I saw a local man operating a big, bulky camera obscura box on a wooden tripod – an old low tech apparatus for passport size Iphotos.wasenchanted by this like magic. On each session, a tourist was sitting on a bench with a black background being photographed with exposure times of up to 2-3 seconds. I stayed the entire day learning and observing the entire process: exposure, developing the paper negative, fixing in salt solutions and last, picturing the negative into a positive B&W paper photo. The final picture came out with tones like an old silver gelatin. The next thing I did was I bought the camera on the spot for $250 back in 1995 and the rest is history. Then, I became a high school teacher for 5 years teaching B&W darkroom, studio and outdoor photography and of course, the history of photography. Guess what! I carried the bulky camera to school and took the portraits of my students. What are your influences? How did you become an Simonartist?Beni - Since I was a young boy, I listened to music and enjoyed reading the information from the sleeves of the records. I remember vividly that I really liked the art designs of some of my favorite avant-garde bands. It took me a long time to become an active artist. But, in my heart, I was always a free spirit who liked traveling and enjoyed art with all my senses. I was especially attracted to the old masters of painting. I can proudly say that some of my pictures are homages to a few artists I admire.
Simon, you studied History and Archaeology. How did you develop an interest in photography?
You have often been shooting in Jerusalem, which is the religious and historical epicenter of the world. Your images are always well in sync with the sanctity of that place. So, is there a rulebook to shoot such places?
Simon Beni - A good picture does not need to be explained. It should evoke emotions into those who see/consume it.
I am not so good with words and sometimes, I read essays which describe the
Some photographers might say that they “shoot people” but I do not like that approach. For me, the goal does not sanctify the means. I prefer to take candid pictures with a positive approach, engaging in conversations and many a times, explaining the reasons for taking pictures.
The cliché “one picture is worth a 1000 words” is very true. The reason I take pictures is because one doesn’t need words to generate a mood and express an emotion. A good picture is the harmony between existing elements (color, pattern, lines etc.) which the photographer decided to “put in” on his canvas. Personally, I tend to put in less. I am a minimalist. I love Japanese art, especially their one aspect i.e., Wabi Sabi, a poetic moment which brings the viewer to sigh with nostalgia towards the moment captured in this transient world. Each picture is a testimony/memento mori, capturing the slices of life. Those pictures are part of a chain in human Honestly,history.
Another important thing is to do your best and reach back to the people and give them some pictures you took. Today, it is easier with the Everyinternet.photographer has their own attitude regarding how much involvement should be there between the subject and the camera person. There is a wide range on this scale, between being a fine art photographer to a photo reportage journalist who is bound by the journalistic ethics. You should set your own style. You are an artist and should decide your own limits and rules. According to you, what makes a picture stand out from others, making it a good one?
Simon Beni - Jerusalem is a Mecca for photographers. Within the old city there are a lot of religious and daily activities. But, the highlight of course, are the many faces from all parts of the world. It is a pilgrimage site for many, therefore, lots of different nationalities bring their traditions, making it culturally diverse. Regarding the rules, first thing is to be ethical and not do things that might hurt the sentiments of the people you take photos of. There should be a middle way, i.e., not being aggressive, yet being able to capture the stories in a respectable manner. I do not like taking pictures that might degrade or dishonor the people, for example, beggars or poor people.
Amongst your works, which one is your favorite and Simonwhy?Beni - My walls in my house are empty. I am still waiting for that one picture that would
I would love to go back to many places from the past as a better photographer, and one of those places of course, would be Varanasi.
words I am missing. Coming back to the first question, I recommend reading some essays regarding the philosophy behind photography and its connection to the field of history by Susan Sontag and Roland Barthes. Which is your favorite location to shoot outside Jerusalem and why is it your favorite?
Simon Beni - In the past 2 years, since COVID began, a lot of people have discovered beautiful places near their houses. Photography is the art of observing, because good pictures are everywhere. Lately, I have been taking more pictures in the fields, combining landscapes and people, like the Judean desert, the Bedouin tribes herding their sheep and goats, and the dead sea i.e., the lowest place on earth with its Biblical landscapes and amazing light due to the barometric pressure.
What according to you is the biggest challenge of being a photographer? Simon Beni - Time and money. The more I do it, I feel I need more time for creativity. Most photographers do not profit from creating only a few art works. I am happy and privileged that I could combine my workshops and guided tours with my life time hobby, and eventually turned my hobby into professional work. There is still a long way to go and I am enjoying the journey. A true artist will never stop trying at any time because the learning is endless. I am 100 percent sure that I will be a better photographer in next 5 years. What in your opinion is the most difficult part of being a photographer? Simon Beni - I enjoy photography and it is like a game for me. When I take pictures of people, I play and dance with them. Being a man sometimes limits me in the realm of women, especially in conservative societies. So, I have more portraits of men than women. I wish I could do some large-scale productions with the best gear and limitless time, and travel miles to explore new places, without any worries about expenses. My dream is to have a team and producers to fix me different settings.
Normally I use just these. Since I go back to the same spots all year round, I use different lenses during each visit to Jerusalem. So, is Simon a tour guide who also shoots, or a photographer who also takes up tours, or is he a photography teacher?
make me say “this is it”. I am still waiting for that one “Afghan girl” picture which will be an unforgettable one. What is in your camera bag when you go for one of your travel shoots?
What would be one piece of advice you would share with young photographers?
Simon Beni - A true artist will never aspire to reach a certain point where the learning ends. With an experience of 25 years, I am sure that I will be a better photographer in next 5 years. My advise would only be to click all the time until you get it right. I have done a million mistakes. Sometimes, our mistakes turn to be the best pictures. JUST DO IT! Patience, diligence and persistence.
Simon Beni - I am quite modest with my dreams. I would like to publish a big book about Jerusalem, and I am half way there.
What are your dreams/goals for the future?
A photo tour is very good under the guidance of a mentor. On a street workshop, I direct my students on how to use the available light, how to “turn on and off” the light, exposure compensation, creating high/low key pictures, rules of composition with lots of lines and patterns, how to put this information on a canvas, changing lenses in order get different angles, etc.
Simon Beni - I keep it simple. I do not use lots of gear – no tripod, no flash. I have a few cameras. One is the Leica Q, then Canon R5, and Fujifilm GFX50R.
Along with, what you must prefer to use when you are in a very contrasting light of the allies of the old city. And of course, street wisdom – how to stand and talk to the passersby as a street photographer. In just a few hours, people who joined my tours have told me that they felt rising one level up!
Simon Beni - You nailed it, you hit the spot! This is my number one dilemma, what should I be? As a tour guide, I am very skilled and knowledgeable, and that is my way of making a living. As a photographer, photography is my medium to create and “paint” from my heart.
Simon Beni - To begin with, I sometimes really regret that I couldn’t attend any workshop when I started photography, because that would have saved me from a lot of mistakes.
I always say that I wear 2 hats. Some days, I am more an artist and some days more a teacher. By the way I love hats! Please tell us a bit more about your photo tours?
INTERVIEW
In Conversation
Many a times, I get inspired by people I meet in general. Like sometimes when I meet a model, I know immediately that this is how I want to shoot them.
Amit Dey with Idris Ahmed
Having said that, I love Nick Knight’s work. Each one of his works is so different from his previous ones. He is always pushing the boundaries of photography, and I really admire him for that. Many a times, I get inspired by people I meet in
What was your career path? How did you go from being an aspiring photographer to actually doing it full time, for a living? Amit Dey - I had always been interested in photography. So, I asked my parents for an SLR during the first year of college and started shooting with it. I was pretty good at taking pictures, but it was just a hobby back then as there was absolutely no intention (or idea) of making it into a profession. I graduated in software and got a job with a prestigious firm. But after working for a year, I realized that I didn’t want to do that for the rest of my life and wanted to do photography instead. So, I quit my job one day and decided to be a full time photographer. I didn’t know how to earn from photography. But, I was sure that was what I wanted to do. It took me some time to figure it out, but I was lucky to meet the right people at the right time. I learnt photography formally to understand its technical and aesthetic aspects. Then, I assisted an advertising photographer to learn more about the industry. It was tough for the first 5 years, but then things worked out and I am still here. How do you get inspired? And what inspires you the Amitmost?Dey- I feel that inspiration can come from anywhere, be it a book, a movie, a piece of art or a person. I read a lot of books because I find them the most useful, as they do not limit my visual imagination. Books plant ideas and concepts, and then one has the freedom to bring those to life visually. With any kind of visual inspiration (say a movie, or a photograph), the problem I find is that these sometimes place a barrier on your imagination. So, I try to avoid getting inspired by visual art.
There was a Sony shoot (in 2014) where we shot everything in projected light. Since that happened first time in India, we got to experiment a lot during the whole campaign. Then, there was a campaign we did for Phive Rivers, in which again we had full freedom to execute the idea finalized with the client. We took 5 good looking men and shot them crafting beautiful ladies bags. Finding such men and working on their bodies before the shoot, and finding the right location, everything took a lot of time and effort, but it was worth it. That campaign won a lot of awards and was also published in the Luerzer’s Archive. Other than these I really liked, the Samsung A-series campaign and a big shoot that we did for Suzuki Gixxer. All these campaigns pushed me out of my comfort zone and gave me the thrill of producing the kind of images that I had not created before. When these kind of shoots work out, it feels like heaven!
general. Like sometimes when I meet a model, I know immediately that this is how I want to shoot him/her/them. Or while talking to a stylist or a makeup artist, some idea might pop up in my mind and I know that I would like to shoot with them. Most of my personal work has been shaped like this. You have been engaged in numerous commercial assignments. Amongst your fantastic works, which one is your favourite and the reason behind that?
Amit Dey - I love most of the personal work I do because I have complete control over it. However, with commercial assignments, many a times you can’t control how the client uses the images. So, I have learnt to become a little detached from them. I put in my 100% in a project. But, once the project is over, I try not to be heartbroken if the images are not used the way I visualized. However, there have been a few memorable campaigns I really liked, where things really worked out the way I wanted.
Amit Dey - On every shoot, I normally have long discussions with the creative director during the planning of the shoot. If we come up with something interesting, we put that across to the client. Sometimes, the client agrees, sometimes they want to see something shot in a similar
What according to you makes a picture stand out from the others, making it a good picture?
Amit Dey - Initially, the difficult part was convincing people that you could create good photos for them. Another difficulty was in getting decently paid. Then the next difficult part was finding the kind of work I wanted to do.
Now when all these are sorted, quite recently, a new problem has cropped up. With bigger multinationals, the chain of approvals is a task. Once the idea reaches a photographer, it is next to impossible to convince them to change because no one wants to open the Pandora’s box of Thoughapprovals.this has reduced the chances of going wrong, but it has also removed the chances of producing something extraordinarily good, something unexpected. How would you suggest a change in artistic direction when a client or art-director has explained his or her own ideas but you still think it can be explored further?
Amit Dey - There are a few basic things that go into making a good picture – composition, lighting, aesthetics, subject matter and human psychology. However, these are all technical skills that we photographers or visual artists analyze. I have a very basic method of figuring out if a picture is good – ask a child. Children are not biased, they tell you what appeals to their heart and I think that is the simplest method of figuring out if a picture is good. This might not apply to journalistic photography, which is eventbased or where the images are trying to bring human plight to light. But it works in most other cases, especially advertising and fashion. What is the most difficult part of being a professional photographer for you?
Amit Dey - Boredom motivates me. I get bored of shooting the same things again and again. I like variety. For me photography is about light, composition, aesthetics, etc. If you are good at those, you can create any kind of picture. So I shoot everything I can. Also, I have that fear that if I shoot something too much, I might become complacent as things become too easy. So I have to keep challenging myself with new ideas. I have shot landscapes, interiors, exteriors, food, still life, portraits, fashion, advertising, automobiles and everything that I came across. The only genre that I don’t intend to explore are social documentary and photojournalism. What were the challenges that you most commonly faced during the lockdown and how did you deal with them?
way. In that case, if it’s possible, I shoot a couple of experimental images and present it to them. Mostly it works out. When it doesn’t, we shoot the original idea the best we can. There have also been times when I have put in extra time and shot images the way I wanted to, and those were finally used. That makes the client trust my judgement more the next time. You are known for shooting automobiles, but you also do fashion & portraits. So how do you manage this versatility? What motivates you to continue taking pictures across genres?
Amit Dey - In the past year, the main problem was that we were restricted indoors. I spent that time shooting the plants and my kid growing up in the house. I read a lot of books, watched a lot of web series, and did some online courses on filmmaking. When the lockdown ended, most businesses has cut down on their budgets. So I decided to focus on learning new skills and spend more time in doing my personal shoots. The market has picked up a little during last 6 months, and I have done more campaigns than I normally do in a year. So it’s fine, I guess!
Second, practice. Practice makes sure that you don’t squander away any opportunity that comes your Third,way.create one good picture every day for one year, and you will find you have some images that are actually good enough to show to people. That will be your portfolio.
Fourth, meet as many people as you can and show your work. The more the number of people you meet, the more chances of you getting the work. And last, advice is overrated. Don’t just follow advices, instead make your own way.
What type of postprocessing software do you like to use for your commercial work, and what do you like about it?
AdobePhotoshop.AdobeIuseLightroom for cataloging whenever I need to. What would you say if you were to give advice to someone about how to become a Amitphotographer?DeyThe basic thing that is needed is a good knowledge of photography and how to create good images. My advice is based on assumptionthethat you have these skills. First, be sure you WANT to be photographer.a It’s not easy to survive in the field if you are not passionate enough. The first few years are going to be tough, and you should be ready to slog through them.
Amit Dey - I shoot tethered on Capture One software. I find it fast and very good in processing raw images. Color correction conversionandare done on it, and then the images are edited further in
PHOTO FEATURE
Aarjav Jain
When I was staying in Goa in 2016, I realised that every local market had at least one handmade bamboo craft shop. It seemed like every second shop was selling bamboo products. Most of the local households were using these products. This made me curious and on speaking to a local shopkeeper, near Mapusa bus stand market, I learnt that it is one of the oldest crafts practised in Goa. It was introduced by the Mahar community, who produced cane baskets for fishermen and farmers. When Goa became one of the major tourist hubs, this craft flourished like never Itbefore.wasnot very expensive and offered several decorative items like flower pots, pen stands, baskets, lightweight furniture and letter holders.
One of the items produced is ‘patlo’, a multipurpose basket, available in different sizes. There is another item called ‘dalli’, a mat, which is used to store dry grains and other food items. I was intrigued and wanted to learn more about it. So, I asked around, and after doing research, was finally able to locate the government bamboo craft production factory, which was located in South Goa’s industrial area.
The craft of bamboo making does not involve many tools. The main tool used is a hacksaw or ‘dao’, which is used to separate the bamboo plant from the root. The tool is inserted into the bamboo stem and then, split longitudinally into desired shapes and sizes by a bill hook (a tool with a long handle and a curved blade used for cutting off tree branches). Different knives are used for cutting the bamboo.
Most people have started using plastic containers these days because of their durability. This has led to a reduced demand for bamboo products in the markets. The use of bamboo products is not so popular with the new Ingeneration.ordertokeep this native craft alive, the government supports local craftsmen and encourages the use of bamboo products.
The process of making bamboo items appears simple, but it is no easy feat. Years of experience go into producing a single bamboo product. The first step is to get the long bamboo and cut it short and thin. This is followed by cutting it into required pieces, and then, into thin slices, depending on what it is going to be used in. The width depends on the item being made. For example, a basket requires a larger width compared to a container lid. After this, it is cleaned and shaved properly and then, dried in the sun.
I want to put India on the global stage of Maternity and NewBorn Photography. In every photo session, I try to push boundaries of creativity and style to create timeless portraits. Barkha Agarwal FEMALE IN FOCUS
I believe that there is only one way to greatness, only one way to break the shackles of mediocrity and unleash yourself to become the best in your field. That way is the hard way. You wake up everyday early and work till late. You do not rest until you have created something truly beautiful and that is what I try to do every day. I have been awarded the Canon Maestro title for Maternity and Newborn Photography. I only dreamt of such a title when I bought my Canon DSLR years ago. I recently won the prestigious Rise International award, WPE International award and AFNS International award for my maternity and newborn images. These awards are reputed European and Australian awards. I am also the only Indian photographer selected to teach at the ‘Belly Baby Summit’ USA, a prestigious platform to learn maternity and newborn photography. Having spent over 5 years in corporate life trying to find the inner spark, I was both fortunate and courageous enough to hear my true calling. I had been doing photography for over 15 years as a hobby and finally one day, I decided to take the plunge and pursue it full time. After experimenting with multiple photography
In our culture, traditionally, pregnancy was kept hidden. Women stepped out rarely or by covering their bump. The trend is changing.
genres, Maternity and Newborn really spoke to me. I could instantly connect with the emotions of an expecting mom and young parents and found that caring for your upcoming or newborn baby is one of the purest emotions. I love to capture these emotions for the expecting couple. To perfect my art, I took training under multiple international photographers and did countless hours of practice.
Now, women and young couples are more open to celebrate life and their happy memories. The trend of Maternity Photoshoots started in the West, with celebrities like Beyoncé, Serena Williams, Shakira etc., posting their maternity images online and these images went viral. This trend is being widely adopted in India now, with celebrities like Anushka Sharma, Kareena Kapoor Khan, Anita Hassanandani etc., posting about their maternity or newborn images frequently. Young and aspiring parents today want the best for themselves and their upcoming child. They spend on experiences and want to preserve the memories of their pregnancy. Couples often travel from nearby cities to my studio in Gurgaon. The culture is catching up fast and I am sure that it will soon become like a ritual for every couple to have a great maternity photoshoot done and celebrate their upcoming parenthood. In this fast paced digital life, we rarely take out moments for ourselves and I ensure that the maternity or newborn photoshoot is not just about the photographs. It is about the experience. I ensure that the young couple connects with each other and the upcoming baby. I look for inspiration all around, in nature, in different kinds of artworks, in the fashion industry etc. But the most inspiring stories always come from the expecting moms about how they are feeling about their upcoming baby. I feel blessed to have identified a field that I truly enjoy and I am all geared up to put India on the global map of this genre.
Light is a fundamental component of photography. In fact, the term ‘photo’ itself means light. Good lighting is the foundation of every successful picture. So, in this tutorial we will examine four very basic light setups using single light source on a full face. It is interesting to note that these same light setups will create completely different moods when used on profile or three fourth of the face. In this series, we will explore these setups, and create some interesting images.
LEARN WITH FRAME
Explore different styles of lighting for Full Face
The shape of the shadow gives this lighting technique its name. Paramount light, because of its popularity with Hollywood, and butterfly light because it creates a butterfly-like shadow beneath the nose of your subject. But, you do not thave to make that butterfly shape look too obvious in order to achieve this lighting effect. Softening up the shadow, in fact, is one of the keys to turning this studio lighting set up into something really flattering. It can be used to add a touch of glamour to our photographs. We can recreate a little of the magic of the retro Hollywood studio look into our especiallycompositions,whenshotin black & White. The high angle of the light can also highlight the cheekbones by sculpting the hollows beneath with a shadow. This has a slimming effect on the face. A deep shadow is naturally created beneath the chin, which can be flattering for those with double-chins, particularly if minimal fill light is used.
How to Create Paramount Lighting? The position of the light is very important. The best way is to put the main light source directly in front of the subject and make sure they are facing into the camera lens. (as shown in the SetIllustration)upasingle light source by placing it about three feet away in front and about one to two feet above them. This will reduce the amount of shadow produced. It is ideal to fix the light on a boom arm. If not, then use a regular stand without obstructing your subject. Turn the light so that it has a downward angle (approx. 45-degree angle to start with), pointing towards your subject, but not too steeply down on them, to achieve the perfect butterfly lighting pattern. TO PARAMOUNT/BUTTERFLY LIGHTING
GUIDE
The size and intensity of the loop varies from small and well defined to softer and larger, extending down toward the mouth. But, the nose’s shadow does not touch that of the cheek, as happens in Rembrandt lighting.(Refer below)
Loop lighting is named for the loop like shadow created on the subject’s face in the portrait. Done correctly, it creates an elliptical shaped shadow on the side of the face that is opposite to your light.
Loop lighting is flattering to just about any subject. It is less dramatic than other lighting patterns, like split or Rembrandt, but is edgier than flat lighting. It can give a portrait subtle depth and interest, while still maintaining a well lit and bright look.
GUIDE TO LOOP LIGHTING PARAMOUNT/BUTTERFLY LIGHTING LOOP LIGHTING
Set the li ght a little above the eye level of your subject. It should be angled down slightly to throw a shadow across and down on your subject. Move the light slightly from side to side or raise it up and down to alter the shadow’s shape. You might find that setting your light around 30 degrees is more pleasing to you than 45 degrees. You can also move it closer to or further away from your subject to vary its intensity. For soft, flattering light, use an umbrella or softbox.
How to Create Loop Lighting?
How to Create Rembrandt Lighting?
How to Create Split Lighting?
Your key light must be set at about 45 degrees relative to your subject, a little further ahead compared to a direct side-on position. For soft, flattering light, use an umbrella or softbox. Remember that you are looking for that triangle of light effect. This should be seen under the subject’s eye. It will be on the opposite side to where the key light is. If you cannot see the triangle, adjust your key light’s position and keep reviewing your images as you go along.
Split lighting is a technique in photography used to create an ultra-dramatic lighting pattern. The light source that illuminates the subject is perpendicular to the model. This setup lights up one half of the face while keeping the other in Althoughshadow.itisjust too dramatic to be used in wedding, pre-wedding and couple photoshoots, and it is not considered a flattering lighting pattern, it does have its place. It can be used for more cinematic-style images, glamour shots, and other creative portraits. When done right, it can give you some fantastic results!
For split lighting, you need a single light source. It is very easy to achieve. You place the light at a 90-degree angle from your subject (shown in the illustration). This can be either to the left or to the right of your model, depending on which side is perceived to be more flattering. Place your light at eye level and cross check relative to the camera angle. It should light up only one side of the face. For soft, flattering light, use an umbrella or softbox.
GUIDE TO SPLIT LIGHTING
lighting adds an element of drama and depth to the character of the subject
onwilltheplacedofnearlyInviewer’spicturesportraits,notphotographed.beingItiseffective,justtocreatedramaticbutalso,tocreatethatgrabtheattention.portraiture,theeyesarealwaysthemainpointfocus.Thetriangleoflight,justbelowtheeyeonshadowsideoftheface,increasetheemphasisitandtheviewerreallywill
GUIDE TO REMBRANDT LIGHTING
This lighting technique is name after Rembrandt, the master painter from 17th century. It refers to the way of lighting a face so that a light triangle appears under the eyes of the Rembrandtsubject.
be “drawn in” to your image.
SPLIT LIGHTINGREMBRANDT LIGHTING
The camera that makes for a truly compelling value for action, wildlife and creative photography.computational Review by IDRIS AHMED OLYMPUS OM-1 REVIEW
The layout of the memory card compartment on the right side panel has been redesigned with staggered card slots to make it easier to insert and remove memory cards. Both SD slots are compatible with the UHS-II interface to support high-speed recording. All camera settings can be changed and images can be viewed while datA is being written to memory.
On the rear side of the body, there is a two-position programmable Fn (function) lever which has a central AE-L button. Also, a new AF-ON button has been added to allow users to assist faster focusing. It can also be used to activate autofocusing during video recordings, even when manual focus has been selected.
The OM System OM-1 camera is a Micro Four Thirds (MFT) 20MP camera capable of capturing 4k 60p video and 1080 at 240 fps. It has a brilliantly compact and ergonomic form factor, and advanced functionality to suit users of every skill level.
If you are a camera connoisseur or a photographer from my era, you would remember the brilliant ‘OM-1, 35mm SLR’. The new OM System OM-1 is a tribute to that beauty! Though, I guess, the OM-1 will be the last camera to have the name ‘Olympus’ etched on its body.
Performance & handling OM-1 has 1093 cross-type focus points covering the entire sensor, up to 50 fps RAW with continuous AF/AE in blackout-free silent sequential mode and 120 fps RAW with AF/AE locked. One of my favourite upgrades is the new electronic viewfinder. Its 5.76-million dots makes the viewing experience quite pleasant. It also has a new TruePix X image processor, which is almost three times faster than the one used in the Olympus OM-D E-M1 Mark III. High-resolution shot processing is also now 2.5 times faster.
OM OlympusSystemOM-1
If you have enjoyed shooting with the Olympus MFT system, you will love this one as it is loaded with new upgrades in almost every section, be it image stabilisation, auto focus speed, frames per second, image quality, computational modes, dynamic range and video quality.
Design and Build Quality
The overall ergonomics of the OM System OM-1 camera are excellent. With an IP53 rating and considering its weatherproofing capability, the OM-1, without doubt, is a tough camera. With a PRO lens attached, it can handle extreme situations, be it the Indian monsoon, the Holi celebrations of Nandgaon or shooting in the extreme climates of Ladakh and Rajasthan.
I like the deep handgrip. It holds firm even in big hands. It is an attractive, robust camera with analogue dials that both stand out from the crowd and work incredibly efficiently. This means that it particularly appeals to those who love camera gear as much as taking pictures.
A new dual-purpose Movie/High Res Shot button, beside the exposure compensation button, on the top panel of the camera body provides instant access to these functions. Both will benefit from up to two stops better noise reduction performance.
50 megapixel handheld high-resolution image
A lens’s highest ƒ-stop is often insufficient to render everything in focus. Moreover, by using the smallest ƒ stop, there is a greater chance of losing sharpness due to diffraction. So, we use focus stacking, which is a transitional technique that makes it possible to create images that are sharp, Picturesedge-to-edge.areshot at different focus points and then stacked in post-production, which can be tedious. But with Olympus cameras (though not unique to Olympus), in-camera focus stacking is amazingly
The camera will then take a series of quick shots over the set period of time and blend them in-camera. You are still effectively capturing the progressive motion over that given period of time, but without the disadvantage of excessive light gathering.
Some of the new improved features are:
High-resolution mode
Live ND (neutral density) Although I feel that it is not a complete replacement for a physical ND filter, this certainly is a good alternative. If you want to shoot an image with motion blur effect in broad daylight, this comes in real handy. In your OM-1, you can go in the menu to choose
LIVE ND and then choose from 1 to 6 stops of exposure reduction to achieve this effect. Also, you must be in either shutter priority or fully manual.
Focus Stacking
The OM-1 also has a brand new battery, the BLX-1, which will allow you to get a solid 90 minutes of video and around 520 shots per charge, and that is with the rear screen on. However, the OM-1 does not ship with a battery charger as standard. Instead, it comes with a USB cable that you can use to charge the battery while it is still in the camera.
Carried over from the E-M1X and E-M1 Mark III is a 50-megapixel handheld high-resolution shot mode. Spec sheets promise 2.5 times the processing speed, as well as improved image quality. High-resolution works by consuming the power of the OM-1’s class-leading IBIS (in-body image stabilisation) to shift the sensor in concert with natural micro-movements of our hands. It is the same idea as the sensor-shift high-resolution offered by many other manufacturers, except without a tripod.
Withsimple.the OM-1, you can combine up to 15 photos in camera and set ‘Focus differential’ to choose the range from wide to narrow to increase the depth of field, something that would otherwise require a tilt-shift lens. This feature is very valuable to photographers who shoot product and macro.
50-megapixel handheld high-resolution image - crop at 100%
TheConclusionOM-1feelsreally
In the OM-1, the Live Composite function is limited to shutter speeds of ½ second to 60 seconds. So, it is best for low light conditions and can be used only in Manual mode. Some of the popular styles, which can be shot using this mode are light painting, night traffic streaks, fire works and lightning.
Studio performance So far, I have enjoyed using the OM-1, especially in the studio. I like the way it focuses even in low light situations, with face and eye detection AF that is a proven technology, reliably delivering sharp focus on the important features of subjects.
nice in hand. It is a weatherproof camera with the perfect grip and weight, that offers a fascinating mix of old and new for all kinds of photographers. Its new 20MP stacked sensor, improved AF accuracy, upgraded processing power has capabilities to produces great image quality, and it offers excellent battery life and solid video capture.
Live Composite Live Composite is an in-camera function that prevents images from turning too bright, when using long exposures. It also allows any number of images to be combined into one composite image. The camera does all the work to make the composite and allows it to be viewed on the LCD screen as it is constructed step by step. This feature allows any number of photos to be combined without any over-exposure to the first image. Once the initial photo is captured, the camera continues to take an unlimited number of pictures but only registers brighter light. The exposure can be stopped at any point when the composite image looks good on the LCD.
The OM-1, in some cases, exceeds the capabilities of its competitors and makes for a truly compelling value for action, wildlife and creative computational photography.
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