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The Moment It Clicks: Photography Secrets From One of the World's Top Shooters

The Moment It Clicks: Photography Secrets From One of the World's Top Shooters

Titel: The Moment It Clicks: Photography Secrets From One of the World's Top Shooters Kostenlos Bücher Online Lesen
Autoren: Joe Mcnally
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needed:

(a) a relatively astonished baby, and

(b) a moving object. In one frame.

    How to Get This Type of Shot

    For the colorful Nerf ball, I used a tungsten bulb for the trailing motion effect and the repeating flash mode (for stroboscopic effect) on small Nikon flashes. Those little guys were snooted in black tape to minimize light splashing about. The problem was the non-cooperative Nerf ball. Couldn’t control a real-time bounce.

    Solution? More black! The place had venetian blinds, so I grabbed one of the plastic controller wands off the window unit and wrapped it in black tape. Jammed it into the back of the foam ball. The off-camera assistant then held the wand and controlled the flight of the ball. Boink, boink! Perfect trajectory every time.
     
    Made the ball part of the picture, then shifted focus to the baby. Sat him down at the make shift plexiglass table. He leaned forward and immediately went to sleep.

    But he woke up a bit later and stared up into a small softbox with its edges draped in black to control light spill. I dangled a squeaky toy, and the next thing you know, one astonished baby!

     
    Bullseye!
     

    “Some rules are good ones, like the rule of thirds. It works. But, like all rules, ya gotta break it every once in a while.”

    I was shooting in Augusta, Georgia, for Golf Digest . While wandering in a pretty poor neighborhood, I noticed a group of churchgoers. I walked into church with them and immediately liked the simplicity and strength of the place. I asked to meet the minister.
     
    Pastor Grier and I sat and talked. I explained the story. He agreed to be photographed.

    The pastor is a kindly man, but formidable looking. (Check out the size of his hands. I would not want to be a sinner in this minister’s congregation!)

    How to Get This Type of Shot

    Simplicity is best here. I put the minister right in the middle of the frame, where he would radiate authority. I lit him with one softbox overhead, just out of frame. The key to the picture is his hands holding the cross. I took a hot shoe flash, a Nikon SB-800 speedlight, and popped it into a small gold reflector, hand-held by my assistant. It was just a tiny bit of warm light, but it made the cross glow.

    By the way, the halo-like fixture in the ceiling just over his head is not an accident.
    Zoom with Your Feet
     

    “You gotta be loose, like a boxer - you have to bob and weave and slip and slide. The world doesn’t stay still. We can’t either.”

    Technology is a wonderful thing and I love today’s zoom lenses. Can’t live without ‘em. But…the dark side of all this techie stuff is that we get lazy. Lots of photographers show up, stuff their tripod into the ground like they just struck oil, and work the zoom ring like it’s a knob on a freakin’ transistor radio. They have all the energy and mobility of a house plant.
     
    You gotta be loose, like a boxer—you have to bob and weave and slip and slide. The world doesn’t stay still. We can’t either.

    How to Get This Type of Shot

    When you’re using a zoom technique like the one shown here, zoom from telephoto to wide. You pick up depth and sharpness, and when you’re moving the lens elements during the exposure, you can use every bit of those two things you can find.

     
    Get Your Hands on Your Subjects
     

    Get your hands on your subjects. Alfred Eisenstaedt, famed Life shooter, had a brilliant, simple strategy. He would stop the shoot, ask permission, and approach the subject. Then he would fuss over them—straighten a lapel that didn’t need straightening, pick off imaginary lint, brush away a wayward hair or two the camera wasn’t gonna see anyway.

    He wasn’t doing anything practical. The subject would look the same after his primping session. But…he accomplished something very significant: he got his hands on them.

    He broke down their defenses. He got up close and personal. They allowed him to touch them, the beginnings of trust. And he got a very positive interior dialogue going in their head. “Oh, I see. He wants me to look good! He’s on my side! Okay, he’s not the enemy.”

    Try it. Then watch your subjects start liking the camera a whole lot more. Maybe not as much as Sophia Loren, one of Eisie’s favorite subjects, who has loved the camera her whole life (and the camera has returned the affection), but still, a whole lot more. And once your subject starts liking the camera, the camera likes them right back. Result? A good

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