At the end of each year, we commonly reflect on our past 12 months and look forward to the next dozen. So, how was your dog year, and what is the outlook for 2015?
- Did you have fun with your dog?
- Did your dog have fun with you?
- Do you have some particularly memorable photos?
- Are you learning new ways to photograph your dog?
- Did you learn anything from your dog about life?
Happy new year from Rowan! May 2015 be a banner year for you and your dogs. Nikon D800E. Sigma 24-105mm F4 DG OS HSM | Art Lens at 105mm. f/16, 1/250 sec., ISO 200. Dynalite RP1600 with two MH2015 heads, PocketWizard Plus III. Processed in Adobe Photoshop CS5, Nik plug-ins applied. Photo © 2014 David FitzSimmons. All rights reserved.
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Photography in winter can be a challenge. And when I say “winter”, I’m not talking of winter in the sense of majestic snowcapped peaks framed by freshly powdered pines with perfect golden light and fire-toned brushstroke clouds–I’m talking more of the winter of dirty refrozen slushpiles downtown three frigid days after a mid-January sleetstorm around 11:17 on a grey Tuesday morning when it seems there’s nothing magical left in the world worth getting out of warm car with a camera for.
A starling sits atop a weather vane, atop a three story building, captured through the Sigma 150-600mm F5-6.3 DG HSM OS | Sports paired with a Rebel T3i at 600mm, for an effective 960mm focal distance. Cropped to near square format for presentation.
Winter has its challenges, for sure, especially in the deciduous zones, where skeleton trees thrust bony fingers at the sky, and vistas and sweeping wild scenes are brushed widely with swaths of stingy browns and grays, instead of the festive pastels of spring, the lush greens of summer and the fall fireworks of foliage palette. But winter has it own charms and own rewards, and for photographers looking to challenge themselves and experiment, it can be a great time to get out and explore with a long lens, like the new 150-600mm F5-6.3 DG HSM OS | Sports lens.
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Posing is hard. It’s even harder to pose a boudoir client since she is usually not wearing much. No clothes, no where to hide! So how do you know a good pose when you see it? Let me show you some examples.
© 2014 Jen Rozenbaum | Lens: 50mm F1.4 DG HSM | Art | Shutter speed: 1/400 sec | Aperture: F2.8 | ISO: 200
In this first shot, my client looks larger than she looks in real life. The goal of a good pose is to make a client look as good as she looks in real life, if not better. Making her look larger than real life is a huge fail.
So how do we make her look more like she looks in person (if not better)? In this case, the first point I notice is that her arms are adding bulk to her body. Arms are a tricky part of the body to pose because of this. They can easily make a woman look large.
Since her arms are up we can also see a lot of her back. Again, it’s making her look larger than she really is so we need to rearrange the pose slightly to flatter her more.
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