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Apply universally accepted cinematic techniques to your Flash projects to improve the storytelling quotient in your entertainment, advertising (branding), and educational media. A defined focus on the concepts and techniques for production from story reels to the final project delivers valuable insights, time-saving practical tips, and hands-on techniques for great visual stories. Extensive illustration, step-by-step instruction, and practical exercises provide a hands-on perspective. Explore the concepts and principles of visual components used in stories so you are fluent in the use of space, line, color, and movement in communicating emotion and meaning. Apply traditional cinematography techniques into the Flash workspace with virtual camera movements, simulated 3d spaces, lighting techniques, and character animation. Add interactivity using ActionScript to enhance audience participation.
* The complete guide to mastering the technical challenges of lighting and flash * Explores locations, subjects and styles, and all the technical skills, tools and tips needed to master them * Written by multi award-winning photographer Richard Bradbury Aimed at the serious amateur, this is a practical guide to achieving professional results in digital photography. Light is at the very heart of photography and plays a fundamental role in creating successful images. Not only does light affect brightness, it also determines tone, mood, atmosphere, texture, colour and luminosity. Mastering Lighting & Flash Photography contains everything you need to know about controlling and manipulating light to capture the beauty of the world around you in your own signature style. Written and photographed by a multi award-winning photographer, the book describes and demonstrates all the key topics: from understanding light and how to use it; through choosing the best kit and mastering the essential techniques; to different forms of flash photography and studio lighting, tips from leading professionals, and elevating your prints in post-production. .
The best photographs start with proper attention behind the camera before you take them. Jon Tarrant shows you how to achieve this by fully explaining how digital cameras work so you too can achieve professional-looking results without having to resort to image manipulation on a computer. Jon explains all the basics of digital cameras: their anatomy; an outline of broad classes, indicated by price bands and features offered; a comparison with existing families of film cameras as a useful guide to newcomers. He also provides an invaluable buyer's guide pointing out features to look for on a digital camera before you make your purchase. Coverage includes detail on lenses, exposure basics, 'correct' exposure, using flash, the chip and the implications of this 'restriction', image quality and retaining this quality, as well as discussion of the difficulties of digital cameras and sections on specific types of photography with digital cameras. Complete coverage is ensured with information on printing, storage and filing, the Internet as a medium of images, picture software and digital enhancement, always keeping the emphasis on the fact that the most important consideration is how you take the photographs and the vision you had then and knowing when to stop tinkering with your image! This inspirational, full colour guide is what all digital camera owners have been waiting for. Jon Tarrant shows all keen digital photographers how to improve their photography and make the most of the latest technology.
This guide opens with in-camera flash basics, then moves to topics such asxposure flash readings, detachable units, flash guide numbers, bounce flash,nd fill flash, then covers advanced methods for using off-camera flash,lash brackets, power packs, remote triggering, and other techniques.
Photographers are always looking for perfect light. Unfortunately, the quality of available light, and the situations in which photos are created, are rarely perfect. This is especially true when photographing weddings or portraits on location. So while finding beautiful existing light is every photographer’s ideal, it isn’t always possible. This is the point at which photographers tend to reach for a portable, on-camera flash. Indeed, these intense light sources can prove invaluable, but only if you know how to use them effectively. In the hands of an inexperienced photographer, on-camera flash will produce images that look flat and lifeless—images with harsh shadows, washed-out skin tones, cavernous black backgrounds, and other unappealing visual characteristics. In this book, acclaimed wedding and portrait photographer Neil van Niekerk shows you how to avoid the pitfalls photographers new to speedlights often encounter so that you can produce professional images using on-camera flash. You’l learn to use simple accessories to manipulate the quality of light from your flash and how to improve a lighting scenario by enhancing rather than overwhelming the existing light. When the available light is too low and too uneven to be combined with flash, he shows you how to override it completely with flash and, with some thought and careful application of specialized techniques, still get results that look great. On-camera flash is one of the most challenging light sources to master, but with the techniques in this book you’ll learn to use it with confidence. For wedding and environmental portrait photographers who must work in ever-changing lighting scenarios, this can mean better images and better sales.
Some of the most important writers of the twentieth century, including Borges, Cortázar, Rulfo, and García Márquez, have explored ambiguous sites of a disquieting nature. Their characters face merging perspectives, deferral, darkness, or emptiness. Such a space is neither a site of projection (as utopia or dystopia) nor a neutral setting (as the topos). For the characters, it is real and active, at once elusive and transforming. Despite the challenges of visualizing such slippery spaces, filmic experimentations in Spanish American cinema since the 1960s have sought to adapt these texts to the screen. Ilka Kressner's Sites of Disquiet examines these representations of alternative dimensions in Spanish American short narratives and their transformations to the cinematic screen. The study is informed by contemporary critical approaches to spatiality, especially the concepts of atopos (non-space), spaces of mobility, sites of différance, of a self-effacing presence, and sonic spaces. Kressner's comparative study of textual and cinematic constructions of non-spaces highlights the potential and limits of inter-arts adaptation. Film not only portrays the sites in ways that are intrinsic to the medium, but during the cinematic translation, it further develops the textual presentations of space. Text and film illuminate each other in their renderings of echoes, gaps, absences, and radical openness. The shared focus of the two media on precarious spaces highlights their awareness of the physical and situational conditions in the works. Therefore, it vindicates the import of space and dwelling, and the often underestimated impact of surroundings on the human body and mind. Despite their heterogeneity, the artistic elaborations of these ambivalent atopoi all share a liberating impulse: they assert creative and open-ended interactions with space where volatility ceases to be a negative term.
Traditional criticism on German post-war cinema tends to define rubble films as simplistic texts of low artistic quality which serve to reaffirm the spectator's image of him or herself as »a good German« during »bad times«. Yet this study asserts that some rubble films are actually informed by a type of visual and narrative Romantic discourse which aims at provoking a »critical discussion« on German national identity and its reconstruction in the aftermath of the Third Reich. Considering the lack of previous analyses with regard to the key aspects of Romantic visual style, narration and literary motifs in rubble films, this study points to a major gap in research.
The flashback is a crucial moment in a film narrative, one that captures the cinematic expression of memory, and history. This author’s wide-ranging account of this single device reveals it to be an important way of creating cinematic meaning. Taking as her subject all of film history, the author traces out the history of the flashback, illuminating that history through structuralist narrative theory, psychoanalytic theories of subjectivity, and theories of ideology. From the American silent film era and the European and Japanese avant-garde of the twenties, from film noir and the psychological melodrama of the forties and fifties to 1980s art and Third World cinema, the flashback has interrogated time and memory, making it a nexus for ideology, representations of the psyche, and shifting cultural attitudes.
Invaluable Intermediate/Advanced guide to Photoshop Elements 7 for all photographers, writen by Elements guru and bestselling author Philip Andrews.
Think you've exhausted all of the possibilities in Adobe's awesome Photoshop Elements software? Think again. In this fully updated essential guide, Philip Andrews delves deeper into the software than ever before with advanced tips, tricks, and techniques to help the experienced Elements user take their skills to the next level. Move beyond the basics and learn how to work with raw files. Create stunning panoramas without breaking the bank on a pano camera using the Elements Photomerge technology. Create professional-quality multimedia projects in no time. Using easy-to-follow step-by-step instructions as well as full color, inspirational images to demonstrate techniques, Philip shows you how to do all this and more in Advanced Photoshop Elements 6 for Digital Photographers. Don't fall behind the learning curve - instead, let Philip show you how to get one step ahead!