Lenses For Fashion Photography

lenses for fashion photography

  • A piece of glass or other transparent substance with curved sides for concentrating or dispersing light rays, used singly (as in a magnifying glass) or with other lenses (as in a telescope)

  • (lens) genus of small erect or climbing herbs with pinnate leaves and small inconspicuous white flowers and small flattened pods: lentils

  • (lens) (metaphor) a channel through which something can be seen or understood; "the writer is the lens through which history can be seen"

  • The light-gathering device of a camera, typically containing a group of compound lenses

  • An object or device that focuses or otherwise modifies the direction of movement of light, sound, electrons, etc

  • (lens) biconvex transparent body situated behind the iris in the eye; its role (along with the cornea) is to focuses light on the retina

lenses for fashion photography - Cameron Hobo

Cameron Hobo DSLR Camera Bag/Case for Women- holds Digital SLR Camera, Lens, Gadgets and Electronics for Nikon, Canon and most digital SLR Cameras

Cameron Hobo DSLR Camera Bag/Case for Women- holds Digital SLR Camera, Lens, Gadgets and Electronics for Nikon, Canon and most digital SLR Cameras

Tired of the same old large, bulky camera bags? Dre Hartmann bags are constructed of heavy luggage quality canvas, real leather, and made to safely and fashionably carry your Digital SLR Camera and Gear. The bags resemble women's handbags, but conceal and protect your camera gear without looking like an obvious camera bag to strangers. All of the Dre Hartmann Bags can hold a camera body and 2-3 lenses, along with other smaller camera accessories, change, wallets, etc. Whether you're attending a party or traveling abroad, you'll love the stylish versatility and convenience of this bag!

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William Klein Tribute

William Klein Tribute

William Klein, as an artist using photography, set out to re-invent the photographic document.
His photos, often blurred or out of focus, his high-contrast prints (his negatives were often severely over-exposed), his use of high-grain film and wide angles shocked
the established order of the photography world and he earned a reputation as an anti-photographer's photographer.

With his shots of the fifties and sixties, William Klein created an uncompromising rejection of the then prevailing rules of photography. His artistic career began in 1948 in Paris, where he trained as a painter. He discovered his passion for photography in the early fifties. Initially Klein utilized it as an abstract tool of expression, but he soon became fascinated with its possibilities for dealing with the real world. In 1954 Alexander Liberman, then art director at Vogue, hired the young photographer for his fashion magazine. This launched Klein's career as a fashion photographer, a journey marked by his ambivalent and ironic approach to the world of fashion. He did not want to continue with mundane fashion poses, but wanted to take "at last real pictures, eliminating taboos and cliches". Klein worked with unconventional wide-angle and telephoto pictures, with unconventional lighting and flash effects and with intentional motion blurs. Although he worked for Vogue until 1966, he did not consider fashion photography to be his real calling but rather what he calls "serious photographs". By that he meant uncompromising, unadorned documentaries about large cities like New York, Rome, Moscow, and Tokyo. Books about these cities enabled him to enjoy great successes. Around 1961 Klein gave up still photography with the exception of a few jobs for newspapers and advertising - in favor of motion pictures. His politically committed and unconventionally produced motion-picture contributions put him in the position of a maverick. Only at the beginning of the eighties did Klein start to take pictures again. At this time his earlier shots were rediscovered and given recognition.

Klein returned to still photography in the 1980s due to a renewed interest in his early work. His photographs of this period are characterized by his use of close-ups
and wide angle lenses.

During the 90s he continued to create mixed media works using painting and photography. He received the hasselblad prize and various retrospectives of his films were organized in new york and japan. He was awarded the agfa-bayer/hugo erfurt prize and created in & out of fashion, a mixed media project including drawings, photographs and film, which was published simultaneously with shows in london, paris and new york. In 1997 he rephotographed new york and had shows in barcellona and paris. In 1999 he was awarded the 'medal of the century' by the royal
photographic society' in london.
Currently he lives and works in paris.

Curly Creek Falls

Curly Creek Falls

This was a fun waterfall to visit. I hiked out to this one for this shot about three years ago, and recently came across the slide while organizing my negatives. This is Curly Creek Falls somewhere in southern Washington, near Yale, Merwin and Swift reservoirs. I found this falls in a book on waterfalls in the Pacific Northwest, and was sufficiently convinced by the low-res black and white image in the book to make the drive out. When I got there, I found that the trail was easily hiked but led to a single vantage point that overlooked the falls from the top of a cliff. It was still impressive, but the single angle, distance and tree branches in the way made for less than ideal conditions for picture taking. Not one to be easily deterred I hiked back along the trail about a mile til the cliff became a very steep and muddy hillside and I managed to scramble down using tree branches and roots to keep myself from making the descent in a much quicker but less controlled fashion. Sounds like someplace you need to visit Ara. Anyway, I then hiked up the side of the stream, which really mostly was scrambling over wet and mossy boulders most of the way (very slow going) till I reached this spot directly across from the base of the falls. I think at that time I only had two lenses for my Nikon, my 50 and my 28mm. This shot was taken with my 28mm and Fuji Velvia 50, which I had not been shooting for long, but knew I loved. I had brought a rather cheap and flimsy tripod with me, thankfully because the slow film and lack of light in the canyon made for shutter speeds no faster than 1/15th or so. I made a number of exposures from down here before deciding that I really did not want to have to make the return trip in twilight. Plus I had seen a number of animal tracks along the few sandy portions of the bank, mostly deer but a few were certainly of the canine variety too, so did not want to stumble across anything in the dark. Hehe, as I was returning back downstream, hopping carefully from boulder to boulder, I reached one point where there was a nice smooth sandy stretch of earth between two boulders. Not really thinking much of it, I hopped down onto it, because sandy earth is almost always easier going than slick, mossy boulders, that is until I immediately sank up to my knees in the not-as-firm-as-it-looked sand. Lucky for me I still had plenty of forward momentum which carried me right up onto the next boulder. Not that the danger of the quicksand was too great, it could not have been terribly deep, but it was pretty cold. And I had my cameras to think about, of course. Nonetheless, it got my attention and gave me a good chuckle afterwards. Now I need to get back to this spot with pinhole. ;-)

lenses for fashion photography

lenses for fashion photography

Canon TS-E 90mm f/2.8 Tilt Shift Lens for Canon SLR Cameras

With a Canon EOS TS-E 90mm f/2.8 Tilt Shift Wide Angle Lens, you can control the angle of the plane of focus and the picture's perspective via its tilt-shift capabilities. The tilt and shift functions can be used independently or combined to adjust the shooting range, correct perspective distortions and control the zone of focus, enabling you to obtain special effects not possible with ordinary lenses.
This lens is a marvelous problem solver for architecture, landscapes, and many other applications calling for a wide-angle perspective. The floating optical system, with a ground and polished Aspherical front element, makes this lens sharp from infinity down to 1 foot (0.3m), and corrects distortion and other aberrations to assure high image quality. Like all TS-E series lenses, it has a fully automatic diaphragm, so there's never a risk of forgetting to stop the lens down.

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