Photography

As an art form and a creative expression.Our brain starts to process pictures/images since the day we born.We see all kind of images around us such as faces,sceneries,animals,building,etc.
To record historical and important events and incidents.There is probably nothing the human brain is more sensitive to than the images we see but we cannot recollect the memories,hence we need photographs.We sometimes react and respond to what we see without realizing or analyzing the consequences.
To imprint into our mindset icons and logos as in commercial advertising.Pictures work like icons or a shortcut that access to our memory and trigger our feelings as if it is part of our auto reflexes.

There are a lot of moments and memories in our lives that we might forget if we didn’t have pictures,such as people and places in our past, friends and loved-ones that have passed on. Without pitures of them,we would not be able to look back on them with fond memories. People who have lost someone when they were very young, or even before they were born, would never get to see what they looked like. Pictures play a very important part of our lives! It’s a link for us to have a connection to our past.

Though we differ in the way we look and things we believe in, there’s something we all share: emotion. Human emotion is innate in all of us; it’s something we’re born with and something we die with. Happiness, sadness, love, hatred, worries, and indifference – these are things that constantly occur in our daily lives.

Today we share with you 40 powerful depictions of the human emotion. In these photos you’ll see celebrations, sadness in defeat, raw anger, and everything else in between that makes SEE MORE

Photography

Photography is the art, science and practice of creating durable images by recording light or other electromagnetic radiation, either electronically by means of an image sensor or chemically by means of a light-sensitive material such as photographic film.^[1] Typically, a lens is used to focus the light reflected or emitted from objects into a real image on the light-sensitive surface inside a camera during a timed exposure. The result in an electronic image sensor is an electrical charge at each pixel, which is electronically processed and stored in a digital image file for subsequent display or processing. The result in a photographic emulsion is an invisible latent image, which is later chemically developed into a visible image, either negative or positive depending on the purpose of the photographic material and the method of processing. A negative image on film is traditionally used to photographically create a positive image on a paper base, known as a print, either by using an enlarger or by contact printing.

Photography has many uses for business, science, manufacturing (e.g. photolithography), art, and recreational purposes.

Etymology

As far as can be ascertained, it was Sir John Herschel in a lecture before the Royal Society of London, on March 14, 1839 who made the word “photography” known to the world. But in an article published on February 25 of the same year in a German newspaper called the Vossische Zeitung, Johann von Maedler, a Berlin astronomer, had used the word photography already.^[2] The word photography derives from the Greek ????? (ph?tos), genitive of ??? (ph?s), “light”^[3] and ????? (graphé) “representation by means of lines” or “drawing”,^[4] together meaning “drawing with light”.^[5]

[edit]Function

The camera is the image-forming device, and photographic film or a silicon electronic image sensor is the sensing medium. The respective recording medium can be the film itself, or a digital electronic or magnetic memory.^[6]

Photographers control the camera and lens to “expose” the light recording material (such as film) to the required amount of light to form a “latent image” (on film) or “raw file” (in digital cameras) which, after appropriate processing, is converted to a usable image. Digital cameras use an electronic image sensor based on light-sensitive electronics such as charge-coupled device (CCD) or complementary metal-oxide-semiconductor (CMOS) technology. The resulting digital image is stored electronically, but can be reproduced on paper or film.

The camera (or ‘camera obscura’) is a dark room or chamber from which, as far as possible, all light is excluded except the light that forms the image. The subject being photographed, however, must be illuminated. Cameras can range from small to very large, a whole room that is kept dark while the object to be photographed is in another room where it is properly illuminated. This was common for reproduction photography of flat copy when large film negatives were used. A general principle known from the birth of photography is that the smaller the camera, the brighter the image. This meant that as soon as photographic materials became sensitive enough (fast enough) to take candid or what were called genre pictures, small detective cameras were used, some of them disguised as a tie pin that was really a lens, as a piece of luggage or even a pocket watch (the Ticka camera).

The discovery of the ‘camera obscura’ that provides an image of a scene is very old, dating back to ancient China. Leonardo da Vinci mentions natural camera obscuras that are formed by dark caves on the edge of a sunlit valley. A hole in the cave wall will act as a pinhole camera and project a laterally reversed, upside down image on a piece of paper. So the invention of photography was really concerned with finding a means to fix and retain the image in the camera obscura. This in fact occurred first using the reproduction of images without a camera when Josiah Wedgewood, from the famous family of potters, obtained copies of paintings on leather using silver salts. As he had no way of fixing them, that is to say to stabilize the image by washing out the non-exposed silver salts, they turned completely black in the light and had to be kept in a dark room for viewing.

Renaissance painters used the camera obscura which, in fact, gives the optical rendering in color that dominates Western Art. The camera obscura literally means “dark chamber” in Latin. It is a box with a hole in it which allows light to go through and create an image onto the piece of paper.

The movie camera is a type of photographic camera which takes a rapid sequence of photographs on strips of film. In contrast to a still camera, which captures a single snapshot at a time, the movie camera takes a series of images, each called a “frame”. This is accomplished through an intermittent mechanism. The frames are later played back in a movie projector at a specific speed, called the “frame rate” (number of frames per second). While viewing, a person’s eyes and brain merge the separate pictures together to create the illusion of motion.^[7]

In all but certain specialized cameras, the process of obtaining a usable exposure must involve the use, manually or automatically, of a few controls to ensure the photograph is clear, sharp and well illuminated. The controls usually include but are not limited to the following:

Many other elements of the imaging device itself may have a pronounced effect on the quality and/or aesthetic effect of a given photograph; among them are:

• Focal length and type of lens (normal, long focus, wide angle, telephoto, macro, fisheye, or zoom)
• Filters placed between the subject and the light recording material, either in front of or behind the lens
• Inherent sensitivity of the medium to light intensity and color/wavelengths.
• The nature of the light recording material, for example its resolution as measured in pixels or grains of silver halide.

[edit]Exposure and rendering

Camera controls are interrelated. The total amount of light reaching the film plane (the ‘exposure’) changes with the duration of exposure, aperture of the lens, and on the effective focal length of the lens (which in variable focal length lenses, can force a change in aperture as the lens is zoomed). Changing any of these controls can alter the exposure. Many cameras may be set to adjust most or all of these controls automatically. This automatic functionality is useful for occasional photographers in many situations.

The duration of an exposure is referred to as shutter speed, often even in cameras that do not have a physical shutter, and is typically measured in fractions of a second. It is quite possible to have exposures one of several seconds, usually for still-life subjects, and for night scenes exposure times can be several hours.

The effective aperture is expressed by an f-number or f-stop (derived from focal ratio), which is proportional to the ratio of the focal length to the diameter of the aperture. Longer lenses will pass less light even though the diameter of the aperture is the same due to the greater distance the light has to travel: shorter lenses (a shorter focal length) will be brighter with the same size of aperture.

The smaller the f/number, the larger the effective aperture. The present system of f/numbers to give the effective aperture of a lens was standardized by an international convention. There were earlier, different series of numbers in older cameras.

If the f-number is decreased by a factor of , the aperture diameter is increased by the same factor, and its area is increased by a factor of 2. The f-stops that might be found on a typical lens include 2.8, 4, 5.6, 8, 11, 16, 22, 32, where going up “one stop” (using lower f-stop numbers) doubles the amount of light reaching the film, and stopping down one stop halves the amount of light.

Image capture can be achieved through various combinations of shutter speed, aperture, and film or sensor speed. Different (but related) settings of aperture and shutter speed enable photographs to be taken under various conditions of film or sensor speed, lighting and motion of subjects and/or camera, and desired depth of field. A slower speed film will exhibit less “grain”, and a slower speed setting on an electronic sensor will exhibit less “noise”, while higher film and sensor speeds allow for a faster shutter speed, which reduces motion blur or allows the use of a smaller aperture to increase the depth of field. For example, a wider aperture is used for lower light and a lower aperture for more light. If a subject is in motion, then a high shutter speed may be needed. A tripod can also be helpful in that it enables a slower shutter speed to be used.

For example, f/8 at 8 ms (1/125 of a second) and f/5.6 at 4 ms (1/250 of a second) yield the same amount of light. The chosen combination has an impact on the final result. The aperture and focal length of the lens determine the depth of field, which refers to the range of distances from the lens that will be in focus. A longer lens or a wider aperture will result in “shallow” depth of field (i.e. only a small plane of the image will be in sharp focus). This is often useful for isolating subjects from backgrounds as in individual portraits or macro photography. Conversely, a shorter lens, or a smaller aperture, will result in more of the image being in focus. This is generally more desirable when photographing landscapes or groups of people. With very small apertures, such as pinholes, a wide range of distance can be brought into focus, but sharpness is severely degraded by diffraction with such small apertures. Generally, the highest degree of “sharpness” is achieved at an aperture near the middle of a lens’s range (for example, f/8 for a lens with available apertures of f/2.8 to f/16). However, as lens technology improves, lenses are becoming capable of making increasingly sharp images at wider apertures.

Image capture is only part of the image forming process. Regardless of material, some process must be employed to render the latent image captured by the camera into a viewable image. With slide film, the developed film is just mounted for projection. Print film requires the developed film negative to be printed onto photographic paper or transparency. Digital images may be uploaded to an image server (e.g., a photo-sharing web site), viewed on a television, or transferred to a computer or digital photo frame.

A photographer using a tripod for greater stability during long exposure.

Prior to the rendering of a viewable image, modifications can be made using several controls. Many of these controls are similar to controls during image capture, while some are exclusive to the rendering process. Most printing controls have equivalent digital concepts, but some create different effects. For example, dodging and burning controls are different between digital and film processes. Other printing modifications include:

• Chemicals and process used during film development
• Duration of print exposure – equivalent to shutter speed
• Printing aperture – equivalent to aperture, but has no effect on depth of field
• Contrast – changing the visual properties of objects in an image to make them distinguishable from other objects and the background
• Dodging – reduces exposure of certain print areas, resulting in lighter areas
• Burning in – increases exposure of certain areas, resulting in darker areas
• Paper texture – glossy, matte, etc.
• Paper type – resin-coated (RC) or fiber-based (FB)
• Paper size
• Toners – used to add warm or cold tones to black-and-white prints

[edit]Uses

Photography gained the interest of many scientists and artists from its inception. Scientists have used photography to record and study movements, such as Eadweard Muybridge’s study of human and animal locomotion in 1887. Artists are equally interested by these aspects but also try to explore avenues other than the photo-mechanical representation of reality, such as the pictorialist movement. Military, police, and security forces use photography for surveillance, recognition and data storage. Photography is used by amateurs to preserve memories of favorite times, to capture special moments, to tell stories, to send messages, and as a source of entertainment.

Dark Room

[edit]History

Earliest known surviving heliographic engraving, 1825, printed from a metal plate made by Joseph Nicéphore Niépce with his ”heliographic process”.^[9] The plate was exposed under an ordinary engraving and copied it by photographic means. This was a step towards the first permanent photograph from nature taken with a camera obscura, in 1826.

Photography is the result of combining several technical discoveries. Long before the first photographs were made, Chinese philosopher Mo Di and Greek mathematiciansAristotle and Euclid described a pinhole camera in the 5th and 4th centuries BC.^[10][11] In the 6th century AD, Byzantine mathematician Anthemius of Tralles used a type of camera obscura in his experiments,^[12] Ibn al-Haytham (Alhazen) (965–1040) studied the camera obscura and pinhole camera,^[11][13] Albertus Magnus (1193–1280) discovered silver nitrate,^[14] and Georges Fabricius (1516–71) discovered silver chloride.^[15] Daniele Barbaro described a diaphragm in 1568.^[16] Wilhelm Hombergdescribed how light darkened some chemicals (photochemical effect) in 1694.^[17] The fiction book Giphantie, published in 1760, by French author Tiphaigne de la Roche, described what can be interpreted as photography.^[16]

Invented in the first decades of the 19th century, photography (by way of the camera) seemed able to capture more detail and information than traditional mediums, such as painting and sculpting.^[18] Photography as a usable process goes back to the 1820s with the development of chemical photography. The first permanent photoetching was an image produced in 1822^[9] by the French inventor Nicéphore Niépce, but it was destroyed by a later attempt to duplicate it.^[9] Niépce was successful again in 1825. He made the first permanent photograph from nature (his View from the Window at Le Gras) with a camera obscura in 1826.^[19] However, because his photographs took so long toexpose (eight hours), he sought to find a new process. Working in conjunction with Louis Daguerre, they experimented with silver compounds based on a Johann Heinrich Schultz discovery in 1816 that a silver and chalk mixture darkens when exposed to light. Niépce died in 1833, but Daguerre continued the work, eventually culminating with the development of the daguerreotype in 1837. Daguerre took the first ever photo of a person in 1838 when, while taking a daguerreotype of a Paris street, a pedestrian stopped for a shoe shine, long enough to be captured by the long exposure (several minutes). Eventually, France agreed to pay Daguerre a pension for his formula, in exchange for his promise to announce his discovery to the world as the gift of France, which he did in 1839.

A latticed window in Lacock Abbey, England, photographed byWilliam Fox Talbot in 1835. Shown here in positive form, this is the oldest known extant photographic negative made in a camera.

Meanwhile, Hercules Florence had already created a very similar process in 1832, naming it Photographie, and English inventor William Fox Talbot had earlier discovered another means to fix a silver process image but had kept it secret. After reading about Daguerre’s invention, Talbot refined his process so that portraits were made readily available to the masses. By 1840, Talbot had invented the calotype process, which creates negative images.^[20] Talbot’s famous 1835 print of the Oriel window in Lacock Abbey is the oldest known negative in existence.^[21][22] John Herschel made many contributions to the new methods. He invented the cyanotype process, now familiar as the “blueprint”. He was the first to use the terms “photography“, “negative” and “positive”. He discovered sodium thiosulphate solution to be a solvent of silver halides in 1819, and informed Talbot and Daguerre of his discovery in 1839 that it could be used to “fix” pictures and make them permanent. He made the first glass negative in late 1839.

Mid-19th-century “Brady stand” photo model’s armrest table, meant to keep portrait models more still during long exposure times (studio equipment nicknamed after the famed US photographer, Mathew Brady).

In March 1851, Frederick Scott Archer published his findings in “The Chemist” on the wet plate collodion process. This became the most widely used process between 1852 and the late 1860s when the dry plate was introduced. There are three subsets to the collodion process; the Ambrotype (positive image on glass), the Ferrotype or Tintype (positive image on metal) and the negative which was printed on albumen or salt paper.

Many advances in photographic glass plates and printing were made in through the 19th century. In 1884, George Eastman developed the technology of film to replace photographic plates, leading to the technology used by film cameras today.

In 1908 Gabriel Lippmann won the Nobel Laureate in Physics for his method of reproducing colors photographically based on the phenomenon of interference, also known as the Lippmann plate.

[edit]Processes

[edit]Black-and-white

All photography was originally monochrome, or black-and-white. Even after color film was readily available, black-and-white photography continued to dominate for decades, due to its lower cost and its “classic” photographic look. It is important to note that some monochromatic pictures are not always pure blacks and whites, but also contain other hues depending on the process. The cyanotype process produces an image of blue and white for example. The albumen process, first used more than 150 years ago, produces brown tones.

Many photographers continue to produce some monochrome images, often because of the established archival permanence of well processed silver halide based materials.

Some full color digital images are processed using a variety of techniques to create black and whites, and some manufacturers produce digital cameras that exclusively shoot monochrome.

[edit]Color

Early color photograph taken by Prokudin-Gorskii (1915).

Color photography was explored beginning in the mid-19th century. Early experiments in color required extremely long exposures (hours or days for camera images) and could not “fix” the photograph to prevent the color from quickly fading when exposed to white light.

The first permanent color photograph was taken in 1861 using the three-color-separation principle first published by physicist James Clerk Maxwell in 1855. Maxwell’s idea was to take three separate black-and-white photographs through red, green and blue filters. This provides the photographer with the three basic channels required to recreate a color image. Transparent prints of the images could be projected through similar color filters and superimposed on the projection screen, an additive method of color reproduction. A color print on paper could be produced by superimposing carbon prints of the three images made in their complementary colors, a subtractive methodof color reproduction pioneered by Louis Ducos du Hauron in the late 1860s. Russian photographer Sergei Mikhailovich Prokudin-Gorskii made extensive use of this color separation technique, employing a special camera which successively exposed the three color-filtered images on different parts of an oblong plate. Because his exposures were not simultaneous, unsteady subjects exhibited color “fringes” or, if rapidly moving through the scene, appeared as brightly colored ghosts in the resulting projected or printed images.

The development of color photography was held back by the limited sensitivity of early photographic materials, which were mostly sensitive to blue, only slightly sensitive to green and virtually insensitive to red. The discovery of dye sensitization by photochemist Hermann Vogel in 1873 suddenly made it possible to add sensitivity to green, yellow and even red. Improved color sensitizers and ongoing improvements in the overall sensitivity of emulsions steadily reduced the once-prohibitive long exposure times required for color, bringing it ever closer to commercial viability.

Autochrome, the first commercially successful color process, was introduced by the Lumière brothers in 1907. Autochrome plates incorporated a mosaic color filter layer made of dyed grains of potato starch, which allowed the three color components to be recorded as adjacent microscopic image fragments. After an Autochrome plate was reversal processed to produce a positive transparency, the starch grains served to illuminate each fragment with the correct color and the tiny colored points blended together in the eye, synthesizing the color of the subject by the additive method. Autochrome plates were one of several varieties of additive color screen plates and films marketed between the 1890s and the 1950s.

Kodachrome, the first modern “integral tripack” (or “monopack”) color film, was introduced by Kodak in 1935. It captured the three color components in a multilayer emulsion. One layer was sensitized to record the red-dominated part of the spectrum, another layer recorded only the green part and a third recorded only the blue. Without special film processing, the result would simply be three superimposed black-and-white images, but complementary cyan, magenta, and yellow dye images were created in those layers by adding color couplers during a complex processing procedure. Agfa’s similarly structured Agfacolor Neu was introduced in 1936. Unlike Kodachrome, the color couplers in Agfacolor Neu were incorporated into the emulsion layers during manufacture, which greatly simplified the processing. Currently available color films still employ a multilayer emulsion and the same principles, most closely resembling Agfa’s product.

Instant color film, used in a special camera which yielded a unique finished color print only a minute or two after the exposure, was introduced by Polaroid in 1963.

Color photography may form images as positive transparencies, which can be used in a slide projector, or as color negatives intended for use in creating positive color enlargements on specially coated paper. The latter is now the most common form of film (non-digital) color photography owing to the READ MORE

Photo: Elizabeth Messina

Peonies are by far the most requested and beloved flower by brides. Sadly, they’re mainly available during the months of May and June, followed by a few brief windows in winter (pending Mother Nature). Various types of garden roses have a similar folded-petal look, and they smell great, too! In fact, the Yves Piaget is a dead ringer for the hot pink peony. Best of all, they can be imported from Ecuador all year round, and are also available from local growers during the peak summer months when true peonies are at a premium.

Ah, lilac – the best spring has to offer! This flower is challenging for wedding florists because everyone loves lilac, but it’s only available for a short time. An impressive substitute for the lilac look is “stock.” Stock doesn’t have the lacey texture of lilac, but it will enhance any spring arrangement just as beautifully. Purple Buddleia is another wonderful flower that can replace lilac. If the real thing is a must-have for your bridal bouquet, you can always consider having it imported during the off-season as a special touch – just be prepared for it not to look as lush and full as the local variety.

Hydrangea in a bunch or mixed within an arrangement is simply gorgeous, and a perfect addition to all wedding decor. Locally grown hydrangea, however, is not always available. The good news is that white, light blue, and antiqued green can be easily shipped in from Columbia all year long. If you have your heart set on hydrangea, yet the locally grown variety doesn’t fit into your color scheme, your florist can add a little “color” to the blooms artificially. (This is when it pays to use a professional.) Yes, a spray paint for flowers does exist, and it can save the day when certain colors are not available. While not recommended for a long-lasting arrangement, color enhancement is ideal for a one-day event. A great example is dusting white hydrangea – which is available just about every day of the year – in blush pink, light blue, lavender, or soft green.

Garden roses are loved by all, but can be difficult to find locally at times. The spectacular Ecuadorian rose, which can be easily shipped in for your big day, opens just like a traditional garden rose. The varieties are gorgeous, the choices are endless, and you’d be surprised and delighted by how each rose opens differently depending on the variety. Their scent is just as amazing as the locally grown variety.

Gardenias are readily available year round, but sometimes not in abundance. Also, their strong scent can prove to be too much for guests, and their blooms are susceptible to browning at the edges. When gardenias are not in their full glory, a great substitute is to have your florist “reflex” the petals of a white rose (Vendela or Tibet preferred) to look just like a gardenia bloom. If you can’t imagine your napkin treatments without the finishing touch of gardenias, but are concerned about the scent overwhelming the room, this an ideal and cost-effective alternative.

Branches that blossom are also a bridal favorite, with the most requested being cherry blossoms; SEE MORE

The shooting will take place in the Guelph Area.
Shooting must occur between January 20th and April 1st 2012.

info@glamourphotoshop.com

519-766-7303

In the digital age, all that has changed. The explosion of outlets for celebrity imagery (ads, music videos, television commercials and magazine covers) have created a much larger market for retouching, and the digital retouching program Photoshop has met this need (albeit with frequently calamitous results). The ever-increasing celebrity frenzy and fixation on looks READ MORE

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 Quality

First and foremost, you want quality and clarity. A professional photographer has better equipment to handle the challenges of picture quality. Most cameras on the open market do not have the pixel range of a professional grade camera. You will want to look at those pictures years from now and remember the day or event. They are a keepsake that HAS to be kept and saved for posterity.

Another aspect is lighting, positioning and shadow control. Professional photography is about much more than “point and shoot”. The proper lighting elements can add a lot to a photo, especially if the photography you need done is an important event in your life like a wedding, birthday or christening. Indoor and outdoor photography are entirely different.

Professional photographers will set the subjects of their photography in a position that accents the natural light of the surroundings. If the need for additional light is needed, it is right there. If the shadows are wrong, position adjustments can be made resulting in the best photography possible.

 Polishing

Photography does not stop with the snap of the shutter. Oh no, it doesn’t! After the photos are taken and developed, the professional photographer looks at the pictures and can use electronic means to polish the product. We’ve all heard of Photoshop and that is what I am talking about. Editing the photography to achieve the best results and make you proud of your pictures.

 Additional services

When it comes to photography, many things can go into that picture, as we have said earlier. Other added services like wardrobe assistance, makeup and hair styling can be done to ensure the proper look to your end photography. You will look your absolute best and everyone will see it!

 So overall, there are many reasons to use professional photography for ALL your pictures. Remember that the photos you receive will be yours forever, so you want them to look as great as possible. Taking the pics with a phone or store bought digital camera just will not do you justice, folks. You need professional photography services to make your memories – well, memorable.

 Before you get cousin George or your nephew to snap your photos for an important event of your live, take a look at professional photography services. Make your memories last and be beautifully preserved for all time.

www.glamourphotoshop.com

We service

Guelph Ontario, Kitchener Ontario, Kitchener Waterloo, Cambridge Ontario and Tricity Ontario

Now it’s your turn to have your wedding memories online!
Personalized Wedding Gallery

Glamour Wedding Photo

Glamour Wedding Photo

We service

Guelph Ontario, Kitchener Ontario, Kitchener Waterloo, Cambridge Ontario and Tricity Ontario

Wedding Photography

“Help me – I’m photographing my first Wedding!… Help me with some Wedding Photography Tips Please!”
It’s a question that’s been asked a few times in our forums over the last few months so while I’m not a Pro Wedding Photographer I thought it was time to share a few tips on the topic of Wedding Photography.
I’ll leave the technical tips of photographing a wedding to the pros – but as someone who has been asked to photograph numerous friends and family weddings – here are a few suggestions.

We service

Guelph Ontario, Kitchener Ontario, Kitchener Waterloo, Cambridge Ontario and Tricity Ontario