This is the first in a series of profiles of photographers from different parts of the spectrum imaging. In the future we will beam photographer, advertising photographers, nature photographers, and so on to help the digital photographer, some valuable information about the best pictures.
Geraldine Allen is our first subject in the center of attention of the artist. First in the history of graphic design and art in Britain formed; Geraldine valuable experiencein aesthetics and design principles. Later in life he began his studies in psychology and graduated with a Bachelor of Science Honours. However, Geraldine has long attracted the interest and passion for photography back. Excited by the possibilities of Adobe Photoshop in the early days of its development has led, was soon absorbed by experimenting with digital photo collage. It 'was then decided to return to Salisbury College in the UK to formalize their experiences andUpdate their knowledge of the visual media sector.
Geraldine studying Creative Digital Arts, to become familiar with standard software for multimedia, and still want to focus on imaging, they chose BA (Hons) in media photos (photo) completed. When handling the computers became more popular, they decided to try [and favors now] "in camera" effects.
When you have your moment "aha" come, the moment when you knew that your affinity for photographycould continue in relation to their creative and professional? "I opened my day a shot of a teenage son, when I happened to be a large increase, and the combination of height, the long lens, and the way he had brought with him his attitude in the context of an interesting result, and I thought then that there are so many variables and I would never get bored when I did have a life. I've always liked photography, but I did not really learn a lot, until digital came out.Suddenly I heard so quickly because the results were immediate and I could relate to errors that have been associated controls. "
They prefer full control over your photographic subjects to shoot or sometimes natural, non-studio? "I have no preference. I'm so passionate about photography and there are so many different aspects that I find it impossible to stop nepotism. I have to separate the genres in photography, and I have a different approach fromGenre. For example, the creative shots in the head of the photographer / artist preconceptions, asking the subject to be configured and controlled - to a certain extent. Even if my light-controlled study of the painted images dominate the portfolio, often leave people to position themselves as subjects. The image should be a small core of their natural character. I think that helps with ideas, but if they stick, usually by distracting her with conversation and said, "Here," ifI think a certain attitude, or manner of expression would be good for the image.
For natural images, which I rarely check anything, except maybe with a little flash fill or a reflector in combination with available light. I make a conscious effort, not a natural scene, as I want to bother to document the real and natural as possible. That said, I must confess, I can not move the sticks to throw stones from the frame or otherwise intrusive. "
Have you ever had a mentorThat have an impact on your style and art? "I have a lot of support from a wonderful teacher named Ian Smith, Salisbury College, UK. While he was endlessly encouraged to experiment with how I liked where I was taught everyone involved that the trial and give some decisive direction . I had to ask myself what my images have been trying to communicate and plan with specific goals. Last year when I arrived Salisbury Universitydreaded stage where he was forced to choose a subject. God forbid, I would like to make a choice, if I loved each and every one of the traditional and modern fully abstract? I remember really struggling to hold back the tears when you are at the point of my classes with a few drops. I was really an excuse, because I decided to take a stick with two fields, visual arts and nature, and then I put a unified approach for both in my final portfolio!
Iwas also the privilege of working with landscape photographer Charlie Waite in his studio for several months. Although the practical aspects of the work and world of work dominated our concerns, I watched his approach to his projects and, in fact, in its natural day-to-day practicality. If I were to choose a primary point that I always thought it would be, as it appears in the sky and look around when he was still out there. He immediately and instinctively study light and how itfell on topics in its immediate vicinity, no matter where he was or what he did. You could say I was obsessed with light! So he taught me the valuable lesson of all, the natural laws of light, as it affects obviously the world around them and how different it seemed after the various study conditions. "
Your best advice for budding digital photographers? "To use experience and then try some more '! Full manual controls, instead of attacking theAuto-safe mode. Not only refer to the manual, if you're on, as a fundamental control stick to run, but everything you read from top to bottom and then check each advanced control. To get to know the camera, and you can pass on some interesting effects. Try different levels of fill flash, use the white balance, and test the effects of / f-stop depth of field. Oh, and look at the possibility of error! I have known, from accidental useThe errors, as decided at a later time controlled effects. "
What kind of camera do you prefer? "Mostly I am a user of the Canon digital SLR range. I just look and performance as the Canon. A Canon feels right in my hand so what else can I say?
I'm currently using a Canon D60, I was very happy to own, when they were released for shooting. Unfortunately, six months down the line, the 10D was released, a distinct decrease in pricesstartup. Now there are, of course, the 20D too! This is the anguish of being a die-hard techie devil. I only slow because it "always-practical" for me in the lurch with a zoom slider on the long exposure times. With fixed focus, zoom "
Geraldine is currently with four lenses: a 15 mm f2.8 fisheye, a 35mm f / 2, 100 f/2.8 and a 200mm f/2.8 L - Canon EF everyone. Of course, with these lenses on a digital SLR means the focal length is longer than the one used on a film SLR because of the size of the sensor, thebecause it is not really 'fisheye' fisheye, but only very wide, and 35 mm objective standard used workhorse - equivalent to a 50mm. Shooting a lot of images of nature, its 100 mm macro lens has proved a wise investment, allowing them to acquire additional close range, both for macro shots and more distance.
Geraldine says: "I never much like to long distance shooting I tried a glass 300mm 'L' only once, but sold within two weeks, it was a monster, and ..associated with a maximum aperture of f5.6, it was not fast enough with the focal length and the weight of the thing. I could not get clear enough pictures. Instead they prefer to bring distant subjects close to me, I carry the little things in my eye level, so I can study every detail. Therefore, I have a natural affinity for macro-photography and photomicrography. I use a microscope with a zoom factor IMXZ x10 - x40 small for real fans, or if you want to show what theEye usually does not see, but with an aperture of f 0, I am necessarily unhappy with the lack of sharpness throughout. Often I'm just going to the "sweet spot" region and to collect later. I also have a fan for a goal FD, but I rarely got a satisfactory result because of the lack of mobility and adaptability. I really like the MP-E65 more mobile, but unfortunately it is not within the budget at present.
I missed the experience of medium format at all, but whata great discovery was to discover that he could afford a large scale! I ended up with a Toyo 4x5 view camera with a monorail extension, dark cloth, many double-blind slide, a Schneider Symmar-S 150 mm f5.6, and two boxes of Fuji Provia RDP II, all for £ 400! The film and processing costs were added there, and the results are still clearly 'noob LF "."
The only other tools of recovery that I have two flashes, a 1,000-watt halogen lamp, a Canon Speedlite 550EX, softbox,Stands and reflectors. These are not used very often, but they are in stand-by for studies strange request. In general, though I prefer natural light and natural environment.
Post shoot processing obviously requires a digital darkroom. I use a Dell PC with a fast processor, lots of RAM, a Mac Powerbook G4, an Olympus Camedia dye sub printer, a Canon S9000 inkjet, and Epson Perfection 4870 scanner for my 4x5 film. We must not forget that the king of kings piece of software - Adobe Photoshop. I justThe upgrade to CS and are not disappointed. Oops ... I forgot to mention my set of three trusted halogen light for painting .... nothing fancy or expensive, just normal household waste burners of various forces. "Said Mrs. Allen.
Geraldine was always found in the magical, unique qualities and supernatural in the work of photographers like Robert Damachy, Julia Margaret Cameron, Diane Arbus, Sarah Moon fascinates. Specific influences on their development with their photographic lightBerthold Steinhilber Painting, Jorg Gründler and Diana Thorneycroft have been.
If you visit their site, they recognized some of the wonderful Geraldine macro photography. Many of them are based on floral items. She says, "for macros of flowers, I want to use the extremely limited depth of field. [100 mm], the minimum distance you can focus and large aperture [often f2] means. The usual example, I use necessarily a longer focal length shutter speed is fast enoughbecause there are a lot of light into the lens. But that does not mean I do not need a tripod in a natural environment. I often like only the smallest element of fire, shooting handheld is a definite no, no, as the focal plane may have meaning to slip the slightest movement [in the camera or subject]. If the item to focus on the following areas is flat, then it is usually easier to reach the center, where I want. However, if curved or rounded, I try to make sure that the camera is positionedat an angle to allow for the item that is in parallel with the back of the camera, so that as far as possible, heading back to the same level as the sensor or film. "
Www.photo-art-gallery.com: You can see the portfolio of his art photography on its website
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