Special Photo Techniques

Summary:

Water, Fire, and now, Smoke. Today, photographer Herbert Wannhof demonstrates step-by-step in this latest instructional video, how FotoTV viewers can flawlessly photograph trails of smoke as depicted from a broken lightbulb.

There is no one correct way to photograph smoke, but it is clear Wannhof has developed his technique over a period of time. And as most photographers will agree it is a learning and discovery process every time they take photos.
As Wannhof begins his set-up run through, we learn the most important thing when photographing smoke is getting enough light to freeze the motion of the smoke in mid-air. Wannhof does this by using more than one flash and with a clean and simple background. Wannhof comprehensively details all technical requirements, safety considerations and the tools needed to complete the spectacular shot of the broken bulb with trails of smoke.

Although smoke is an interesting subject matter, in Wannhofs photos, the smoke itself isn’t actually the subject matter, it is simply the tool used to create spectacular photographs. Wannhof simply does not create pictures of smoke, he creates pictures by using smoke. A very solid approach to ensure complete creative control, and to manipulate the smoke as needed to get superb end result.

Wannhof’s primary points of interests, and therefore his specialties are; portrait and nudes and special effects photography, as well as devoting more time to further develop his interest in panoramic photography. He also works as a consultant for Artlight-Studios in Leichlingen, Germany, a fully equipped and easily accessible studio, which is very "photographer-friendly".

Summary:

In this follow-up video, Eberhard Schuy of Loft 2 is back perfecting his oversights, bringing a successful conclusion to “The Hot Ice Cube”.

After the many viewer responses that resulted from The Hot Ice Cube, Schuy decided to put those comments to good practical use and started right away working on the imperfections of the first video. Most viewers were not satisfied with the “authenticity” of the ice cube and felt it could go much further in an attempt to make it look realistic. Beginning with an evaluation of the previously produced ice shot, Schuy explains the errors that were made the first time around. No small feat for most photographers, but Schuy approaches this topic like a pro, very thankful for the viewer responses.

The first ice cube, when viewed in the finished shot, looks somewhat metal-like and is also missing the transparency so characteristic of ice. This is partially due to the fact that Schuy used an acrylic ice cube; filed down into the desired shape he was looking for. To remedy that solution for the reshoot, Schuy makes a form cast of the plastic ice cube, therefore guaranteeing him the exact shape he desires. Next to the simple materials that can be purchased in a hobby or hardware store all that is needed is time, three hours to be exact, and water to pour into the hardened form cast.

Moving along, Schuy notes that the same lighting set-up was used with the small exception of placing a candle underneath the ice form. And this makes all the difference, as he explains, “When I place a candle underneath the ice cube, it radiates light from within as opposed to being lit up from the exterior.” But Schuy does not stop there; he uses a small spotlight to simulate the effect of the candlelight, resulting in the same yellow nuance achieved with the candlelight.

Viewers will definitely not be disappointed this time around. Not only does Schuy offer a professional and technical guide relating to light and its affect on the different materials being used, but also he has perfected the art of photographing a real ice cube.

Summary:

In this film, photographer Adam Magyar shows us how interesting such a scientific, calculated process can result in something aesthetically appealing and curious to look at.

Magyar explains his unique technique used on his project, “Urban Flow” and even though the work of a loop or logarithm that reads pixels seems dispassionate and perhaps 'uncreative', Magyar’s images invoke a sense of intense desire to know and fascination.

Using split-scan technique, Magyar records a fraction of a moment through a wide slit several hundred times per second. After recording time and space, he aligns the slices respectively, side by side, resulting in the actual passing of time visually on a photograph, as viewed from right to left: photographs serving as time capsules for a series of events in time.

Masterfully, Magyar uses photography to explore the nature of space, time and perception. At one level, his images are uncomplicated, at another, deeper level, they compel the viewer to ponder such questions as "What is time?", "What is space?" and "What is real?", questions that initiate us to think visually.