BestGFX

Lighting instruments are the tools of our trade. Just as a mechanic must know what his tools are capable of, we must understand the capacity of our resources in order to use them to their potential. Here we will examine them classifi ed in their major groups: tungsten fresnels, HMIs, carbon arcs, open-faced units, PARs, softs, broads, and miscellaneous.

Joe McNally takes his amazing lighting techniques to the kinds of locations that clients ask for in sports, editorial, or commercial photography: outside on an unseasonably chilly Florida day, inside a cramped gym, and down in a mucky swamp. There, he creates some stunning athletic portraits that show you how to manipulate light and capture what can be asked of you in real-life working situations.

In this series of videotutorials examines in detail the various methods of working with tools 3ds max. In particular, Jeff Patton shows many techniques that will ensure quality results in the light of objects,interiors and exteriors. Also discussed in detail the mental Ray render settings to achieve maximum photo-realistic result.

In the film production requires ever-increasing effects applied. In this DVD Chris Stotsky shows how to achieve it. The lecture uses two examples, to show a comparison of simple and complex lighting in the flat frame, that changes the camera angle with osveschenie.Sochetaya 3D program, add camera movement in the medium composition. The lecture ends with the creation of beautiful short rolikov.Dopolnitelno to Adobe Photoshop, Chris uses Autodesk 3ds Max and Apple Shake, but these methods can be used with any other software.

What is a portrait? The simple answer to the question, at least as defined by most dictionaries, is that a portrait is a likeness of a person that features the face.

"As a photographer, how many times do you have a female client come in with a tight blouse, one that shows every ripple and bulge, and wonder why she’s so oblivious to the way she really looks? And it’s not just women—middle-age men are the kings of denial. They actually believe their
comb-over makes them look like they have a full head of hair or that everyone doesn’t know it’s really a wig. (And the woman on their arm who is half their age loves them for their classic good looks and not their money, right?)"

Let’s face it, there are aspects of the photographic process that seem to be a mystery and lighting is one of them. The question is, how do we make sense of it all? Joel believes that if all we do is approach lighting from a technical process, the best you will end up with is a bunch of lighting ratios, schematics and the ability to hold a flash meter. What we all want is to create killer images that have impact. This is why we must approach the photographic process from a creative artistic perspective. Yes, there are technical aspects to the process, but the foundation is built on something much greater, the ability to think like an artist and use the greatest tool of all, the creative mind.

Photographer David Hobby of Strobist.com follows up his Lighting Seminar DVD Set (May 2008) with Lighting in Layers, a series of real-world, behind-the-scenes assignments lit entirely with small flashes.

Learn to achieve the best possible images with minimal lighting equipment
Author Bob Davis is a photographer whose high-profile clients include Oprah Winfrey and Eva Longoria, and whose work has appeared in Time, O Magazine, and People. Along with his invaluable professional advice, this beautiful full-color book includes a DVD featuring portions of his workshop curriculum. He covers the elements of lighting and shares his two-strobe technique that will enable you to create studio-quality lighting anywhere with only minimal equipment.

Scott Kelby, author of the best-selling The Digital Photography Book, brings to life his “Photo Recipes” chapter—not just from this book, but from his smash best-selling follow-ups, volumes 2 and 3. In this two-hour video and companion booklet, Scott shows you exactly how it’s all done, from scratch, without holding anything back.