Our _Newsletter_

Our Newsletter

LSP Newsletter #1

Welcome to #1 LSP Newsletter

FEBRUARY 2012

Welcome to #1 LSP Newsletter

We are very pleased to make this new resource available to our students and subscribers.

This newsletter will be sent out every month and will contain tips and news about photography and LSP. Each month we will publish a Photo Assignment, and by entering images inspired by them on our Flickr Gallery, our subscribers have the chance to win a £150 Discount Voucher towards any workshop with us*.

It’s almost March and 2012 is running fast. If taking better photographs was one of your new year resolutions, we hope you enjoy our content and get inspired by it.

Photo Assignment #1 – Silhouette The quality of light can dramatically change the look of photographs. Bright, sunny days give harsh, contrasting light; while cloudy days provide soft, diffuse light and very little contrast.

A high contrast photograph has very bright (highlights) and very dark (shadows) areas at the same time. A way of getting high contrast in your images is to photograph silhouettes, like the picture (left) of a saxophone player by the river Thames taken by photographer and LSP trainer Alex Mita (www.AlexMita.com) on a cold afternoon during the Photojournalism & Street Photography workshop last month.

Clear winter days, particularly at sunset and sunrise times, provide the perfect light pattern you need to create silhouette photographs. Going to your knees and photographing against the sky gives you an instant bright background. Any subject in the front of it will become a silhouette.

The most important thing to remember: EXPOSURE, Second: COMPOSITION.

A tip to get the right tones of light and shadow is to expose your camera to the brightest part of the scene you are framing. On Manual Mode of Exposure, you can do so by using spot metering and pointing the centre of your viewfinder to the brightest part of the scene (the sky), before composing and taking your Photograph.

Another technique is zooming in, to isolate the bright part for exposure on your viewfinder, and getting the right metering before zooming out, composing and pressing the shutter release button.

Another option, which works on Manual Mode as well as Priority Modes, is simply underexpose your pictures until the desired contrast is achieved. Underexpose one stop at a time and check the images on the back screen of your camera until you get what you want.

Upload your silhouette images on our Flickr Gallery: ASSIGNMENT #1 for a chance to win a £150 Discount Voucher towards Courses and Workshops at LSP* (http://www.flickr.com/groups/photoproject01)


 

360 Degrees Panoramic PhotographyA 60 sec. Interview with photographer Rubens Cardia (www.RubensCardia.com), who will be teaching Panoramic Photography and Virtual Tour at LSP next weekend:

Define 360 Degrees Panoramas and Virtual Tours.

360 degrees Panoramas are images with horizontal field of view (hFOV) of 360 degrees, showing the entire area, with or without 180 degrees of vertical field of view (vFOV). Virtual Tour is a combination of several animated views of fully spherical 360 degrees panorama (with 180 degrees of vertical FOV) to see in a computer and have a virtual reality experience. 

When did you specialise in 360 Degrees Photography?

During the Beijing Olympic Games a friend of mine sent to me a 360 degrees image from the “Bird’s Nest” and I said to myself: I must to do this”. After two years of self-studying, I was a specialist.

On average, how many images are needed to create a full 360 panorama?

The number of images varies a lot, depending on what kind of lenses you use. The minimum number of images is 3 when using a fish eye lens, up to 36 photos using a 17mm in a cropped size DSRL.

Give some examples of how 360 panorama images can be used, excluding landscapes.

Panoramas are used to capture images with large field of view when our lens does not “see”. It can be used mostly in indoor photography or when we do not have much space between us and the subject.

One of the most commom uses of Panoramas and virtual tour is in real estate photography; but I have applied this technique when photographing car interiors, weddings; hotels, resorts and museums.

What is the essential equipment kit to create 360 Panorama images?

The essential equipment is: a good and stable tripod, a bubble level, a remote control cable and the most important: a panoramic tripod head.

There are few places still available for the 360 Panoramic Photography and Virtual Tour workshop with Rubens Cardia next weekend, 18-19 February at LSP.


 

LSP Awards: Final weeks to submit images. Deadline 29/02/12 Hundreds of images have been submited and it is still time to enter your photos into the four different categories for a change to win Courses and Workshops with LSP. The central theme of LSP Awards is LONDON and its lively, multicultural diversity. The categories are: Street Life, Portrait, Landmark and Nature.

Visit the LSP Awards website for more information: www.LspAwards.com.

Entry to the competition is free. Photographs must be uploaded on LSP Awards Flickr’s Photo stream into the right Category

LSP AWARDS’ categories:

Street Life: www.flickr.com/groups/LspStreetLife

Portrait: www.flickr.com/groups/LspPortrait

Landmark: www.flickr.com/groups/LspLandmark

Nature: www.flickr.com/groups/LspNature

Deadline: 29/02/2012

Winners announced on: 12/03/2012


 

Featured Exhibition – Photography: New Documentary Forms Tate Modern, until 31st March 2012

Free Entry

This new five-room display explores the ways in which five contemporary artists have used the camera to explore, extend and question the power of photography as a documentary medium.

Consisting entirely of new acquisitions to Tate’s collection, it includes recent work by Luc Delahaye, Mitch Epstein, Guy Tillim and Akram Zaatari, as well as two important earlier works by Boris Mikhailov.

Between them they cover subjects as diverse as the conflicts in Iraq and Afghanistan, studio photography in Beirut, elections in the Congo, everyday life in pre- and post-Soviet Ukraine, and power production in the United States.

Each room concerns one discrete project, in which the artist calls into question the relationship between the documentary value of photography and the museum as its proper context.