[Funland] Tư vấn cách chụp ảnh, dành cho dân Pro cũng như người Amateur

[GiaoThongTài khoản đã xác minh]

Fixing underexposed shots

Mấy bài sửa ảnh này dùng Photoshop:

Fixing underexposed shots

The two most important tools for correcting exposure problems in digital images are the Levels dialog and the Curves dialog. We’ve already looked at these in the Master Black & White book, but they’re so important that it’s worth examining them again. But what’s the difference between the two? Broadly, Levels are used for maximising the image’s tonal range, and rough brightness adjustments. Curves are used for fine-tuning the image’s tonal balance and contrast. Elements does not include Curves adjustments, so we’ll stick to describing the effects of the Levels dialog, and these are the same in both Photoshop and Elements.

[URL="http://www.dcmag.co.uk/fx/db3938cd/foto5.img?iwidth=645"][/URL]
BEFORE-This shot has been underexposed because the intensity of the bright white sand on the beach fooled the camera’s multi-segment exposure meter. We need to lighten the image, and the Levels dialog will tell us the best way to go about it.

[URL="http://www.dcmag.co.uk/fx/db3938cd/level2.img?iwidth=500"][/URL]
The Levels dialog does indeed show us what the problem is. As you can see the tones in this image are shifted towards the left-hand (shadow) end of the scale, and the histogram tails off long before the right-hand (highlight) end.

‘Clipped’ shadows

Digital cameras can’t record an infinite range of tones. If the darkest areas of a scene fall below the sensor’s detection threshold, they’re going to record as a solid black tone with no discernible image detail. This is what’s called ‘clipped’ shadow detail, and it’s more common – obviously – with underexposed images. The histogram in the Levels dialog demonstrates this visually – the ‘toe’ of the histogram is chopped off abruptly. No amount of adjustment can restore this clipped shadow detail – it’s gone for good. What’s more, you need to be careful, when making Levels adjustments, that you don’t clip even more detail.

[URL="http://www.dcmag.co.uk/fx/db3938cd/foto1.img?iwidth=320"][/URL]
AUTO LEVELS-The Auto Levels command can often fix an image instantly. You’ll find it on Photoshop’s Image > Adjustments menu, but it also has a button in the Levels dialog. Our shot looks much better after we’ve applied this command.

[URL="http://www.dcmag.co.uk/fx/db3938cd/foto4.img?iwidth=320"][/URL]
LEVELS-The Auto Levels command can be effective, but like all automatic tools, it’s not foolproof. What’s more, because it adjusts each colour channel individually, it can cause colour shifts. Manual Levels adjustments will yield more controlled results.

[URL="http://www.dcmag.co.uk/fx/db3938cd/level3.img?iwidth=320"][/URL]
The Auto Levels command has stretched out the histogram so that it now reaches the right-hand (highlight) end of the scale. The image’s tonal range now stretches from dense blacks to brilliant white highlights.

[URL="http://www.dcmag.co.uk/fx/db3938cd/level1.img?iwidth=320"]
[/URL]You adjust the Levels manually by dragging the sliders under the histogram. Here, we’ve brought the highlight slider back to just the point where the histogram ends. We’ve also moved the mid-point slider to the left to slightly lighten the image overall.

http://www.dcmag.co.uk/Fixing_underexposed_shots.Yc04Odto39cnPg.html

 

[nozaTài khoản đã xác minh]

Mấy hôm trước rảnh lôi quả ống Fix 50mm với quả 18 - 70 ra test.

2 cái ảnh dưới đây được chụp với cùng 1 chế độ: 2s , f4.5 Manual, sử dụng tripod, ống 18 - 70 được zoom vào 50 mm vừa đúng bằng tiêu cự của ống Fix 50mm
Đây là 2 cái ảnh:

Đây là ảnh chụp bằng 18 - 70, ống này được coi là rất tốt so với các dòng normal zoom

Đây là ảnh được chụp bằng Fix 50, lưu ý thấy ảnh sáng hơn, màu tươi mà sắc nét hơn

Ảnh trên là 18 - 70, ảnh dưới là Fix 50 so sánh thấy ảnh dưới nét hơn và cho độ tương phản tốt hơn.

Ảnh trên là 18 - 70, ảnh dưới là Fix 50. Ống fix 50 cho ảnh nét hơn nhiều, màu tươi hơn và ảnh sáng hơn với cùng độ mở, ngoài ra thì hình của 18 -70 hơi méo

Ảnh trên là 18 - 70, ảnh dưới là Fix 50. Ống 18 - 70 cho ảnh tối hơn 1 chút tuy nhiên nét hơn, ở các góc ống Fix 50 không nét bằng ống 18 - 70.

Kết luận, chất lượng quang học của ống Fix 50 rất tốt chính vì vậy dân chuyên nghiệp rất hay sử dụng để test máy tương đương cùng dòng. Hay sử dụng nhất ở trên Dpreview.com là Fix 50 1.4D và Fix 50 1.8D. Ống 1.4D thường đắt gấp gần 3 lần ống 1.8D nên nếu với nhu cầu chơi thì không cần thiết phải sắm 1.4D.

Tuy nhiên khi chụp trời tối hoặc nắng gắt, thì ống Fix 50 hay bị viền tím, rất hay gặp khi chụp chùm lá cây trong trời nắng. Ống 18 - 70 có thấu kính ED vì vậy loại bỏ hoàn toàn hiện tượng này, tuy nhiên lại gây ra màu ảnh ngả hơi vàng.

Nên mua ống Fix 50 để chụp chơi, chân dung và test máy. Ngoài những nhu cầu trên thì sử dụng ống này cực kỳ bất tiện , hôm đi đám cưới cô bạn lắp quả này vào chẳng chụp được cái gì ra hồn cả, ống lúc nào cũng fix ở zoom 75, đứng cách 3 mét mà chỉ lấy được cái mặt

 

[Chuoiday]

CHen ngang tí bác noza nhé, màu mè này em thích lém

 

[chakuchak]

Ống Fix 50 chỉ để chụp mẫu thôi bác noza ạ, bác đi chụp đám cưới mà mang ống ấy thì toi rồi. Mà chú ý là chụp mẫu cũng phải không gian rộng, chụp trong chỗ hẹp cũng lại vứt nốt cái ống trăm đồng bạc mà công dụng ít, amatuer có khi thôi vậy

 

[quangdzung]

fix 50 ngon nhất là chụp chân dung, Còn không thì cứ 24-70/2.8 là lành nhất

 

[baby_driver]

Bác Noza ơi...Up cho em cái book của ông gì bác up ở trang 3 ấy...
Em down cái sever này chậm lắm...Không down được..Thanks bác n`

 

[GiaoThongTài khoản đã xác minh]

Create Memorable Flower Photos by Mary McGrath

Ok, so you’re on this great trip, and there’s an expansive field of flowers in front of you. Ecstatic, you begin shooting away, only to find, upon return, that your floral pictures leave much to be desired. What happened?
Most of us like to take pictures of flowers, but most are pretty boring, and seem to only appeal to those who have taken them. How can we make flower photos more memorable, so that we’ll rejoice in our capture and gather the accolades of our friends and family?

Simply put, you have to try harder. Many people stand right in front of a floral image, press the button, and hope for a miracle. To get good flower pictures, you have to get out of your comfort zone.

Have you ever tried using a macro lens? I have several Canon lenses that are compatible with my Canon Elan when I use film-based cameras, and also work great with my Canon Digital Rebel XT. The macro lens is a great tool for floral images. This lens will isolate certain parts of your image and really make the details stand out. Move your camera around and try focusing on certain areas of the flower to see what appeals to you, and shoot away. You can experiment with depth of field so that varying areas are in focus.

Hibiscus

This was shot early morning in Bora Bora right after an early morning rain. By focusing on the details, I was able to make this portion of the flower the pivotal point in the picture.

© 2007 Mary McGrath​

If you’re using film-based cameras, you can also experiment with various types of film. I’ve found that Fujifilm Velvia slide film is great for color saturation. Here’s one example.

Yellow Hibiscus

I found this image in the Bahamas, right outside my hotel. Macro lenses can make all the difference in creating images with a dreamy quality that are often abstract in nature.

© 2007 Mary McGrath​

Simplifying the background of your image will also help in your photo efforts. See if you can isolate your image to avoid distractions.

Flower in Black

At the time, I wasn’t aware that the background behind this image was black, but it really helped make the flower stand out.

© 2007 Mary McGrath​

You can also look for unusual patterns to help make an image come to life. Photography, like many forms of investigation, requires you to sleuth out the extraordinary. Patterns are in abundance in nature, if you know where to look for them. Again, Fujifilm Velvia was used, resulting in some extraordinary color saturation.

Wet Leaf

I found this leaf while walking in the early morning to my cabana in Bora Bora.

© 2007 Mary McGrath​

Sometimes you really need to get into nature to come up with great images. See that flowerbed over there? Go ahead, get right into it and start shooting. You’ll be amazed at what you can find if you immerse yourself in your surroundings. Stoop, get on your back, shoot upwards, bend, and get out of your comfort zone. Great photos often are the result of taking chances.

Tulips

While touring the Huntington Library in Los Angeles, I was fascinated with all the tulips on the premises. I got down on my stomach on the periphery of the tulip bed and started my photographic journey.

© 2007 Mary McGrath​

You can also look for textures that are eye popping. Bark is not just bark, but a symphony of color if you have a keen eye.

Bark

Look what the humidity did to this tree trunk. Use your saturation and sharpening tools to bring out the details.

© 2007 Mary McGrath​

The employment of light is always essential in photography. Early morning and late afternoon are great times to take images, as the play of light can really augment a photo.

Cactus

While in Phoenix, I was amazed at the detail of this cactus, accentuated by the early morning light in the garden.

© 2007 Mary McGrath​

Crop your images to make them more interesting. Don’t just center the flower in the middle of the shot. Employ the rule of thirds or other compositional techniques to make your images more appealing.

Juicy Flower

I moved my camera a bit to position this image differently.

© 2007 Mary McGrath​

By shifting your floral images to black and white, a whole new spectrum of possibilities can open up. Without the crutch of color, your images take on a new dimension.

Palm Trees

While in Palm Springs, I decided to see what would happen if I used black and white film.

© 2007 Mary McGrath​

Even if it’s midday, you don’t have to abandon your camera. Look for the light source, and sometimes you can find some unusual patterns, textures, and shapes to help illuminate your images.

Temecula Grape Leaf

This image was initially shot in color, but I converted it to black and white, and increased the contrast to bring out the details.

© 2007 Mary McGrath​

Afraid of the dark? Don’t be. Shooting at night can be very exciting, if you open yourself up to new possibilities.

Floral Moon

I was planning on taking a telephoto shot of the moon, when this floral pattern presented itself. With long exposures, you can obtain interesting images. Make sure you use a tripod strong enough to steady your camera. Long lenses can be heavy, and can throw the tripod off balance if your tripod is too light. My Bogen is very sturdy and even survived my hike to Vernal Falls in Yosemite when I traveled with it years ago. Make sure you bracket, so that you have several images from which to choose.

© 2007 Mary McGrath​

In summary, good floral images can be obtained, simply by getting outside your comfort zone. Don’t just stand there. Get into some clothing that enables you to move. Then see what happens!

Mary McGrath is a freelance writer and photographer who has been published in many publications including Rangefinder, WPPI, Shutterbug, and Photographer’s Forum. She can be reached at grathy@aol.com or through her web site at:

www.marymcgrathphotography.com

http://www.takegreatpictures.com/Articles/Details/memorable_flower_photos.fci

 

[quangdzung]

[QUOTE

Wet Leaf

I found this leaf while walking in the early morning to my cabana in Bora Bora.

© 2007 Mary McGrath​

[/QUOTE]
Quá nể. Em ước có 1 ngày em có thể chụp được như vậy

 

[GiaoThongTài khoản đã xác minh]

Snow Moods by Russ Burden

Now that winter is firmly upon us and in many parts of the country there’s abundant snow to be found, it’s time to charge up the batteries, dress warmly, grab the camera and head out into the cold to capture some great snow mood shots. Snow provides a great advantage to photographers who seize the opportunity to go out and photograph it. Snow transforms the landscape into a winter wonderland covering up much of what could be considered debris or a distraction in a photo. Leafless bushes become snow encrusted points of interest, rock and pebble clutter become snow covered pillows of shape and form, and the grand landscape takes on tranquility and peacefulness at unlike any other season of the year.

© 2007 Russ Burden​

Magical Colors: Snow reflects the color of the sky, so get out early and stay out late to impart its warm tone to it. If there are colorful sunrise or sunset clouds, be sure to include them in the image. If the sky is void of them and its simply clear blue, crop most of it out as a plain blue sky lacks impact. Get to your destination well before the sun rises to capture the magical glow of dawn on the horizon. With regards to sunset, stay out after the sun goes down to capture the glow at dusk. A bonus is the sun rises much later and sets earlier in the day allowing you to sleep in or return from your shoot to eat dinner at a normal time. If you need to shoot during late morning or early afternoon, make sure to add a warming filter or set the white balance to cloudy as the snow will reflect the deep blue color of a clear winter’s day and the image will be cool in tone. By setting the white balance to cloudy or by adding a warming filter if you’re shooting film, the slight yellow cast offsets the cool blue tones of the reflected sky resulting in a photograph with more warmth.

© 2007 Russ Burden​

The Light: Winter sun is beneficial as it never gets high in the sky. Even though the tones during mid day get cool in color, the angle of the light is conducive to good photography. Low angle light creates shadows and highlights, textures, shapes and forms are more dramatic, and is simply more dynamic. Low angle backlit snow makes it sparkle giving the effect of tiny glistening diamonds. Sidelight brings out three dimensionality in your subjects. The only angle of light I encourage you stay away from is front light as it makes everything look flat and very plain. When the sun is strong, use the contrast to your advantage by looking for images with strong shadows and highlights but keep in mind that too much will not allow the image sensor or film to record detail in all areas. If you’re shooting digitally, you have the benefit of capturing exposures for just the highlights, shadows, and midtones and blending the best parts of each in Photoshop.

© 2007 Russ Burden​

In the three images that accompany this article, study the color of the light in each. The first image was made about two hours before sunset. The tones are cool in color although shadowing still appears in that the sun is relatively low to the horizon. In image number two, which was made about one half hour before sunset, the rock formations take on a much warmer tone. In the final photo which was made as soon as the sun rose over the horizon, even though the angle of light is from the front, the time at which it was shot gives the photo a very warm tone.

To learn more about this topic, join me on one of my Photographic Nature Tours. Visit www.russburdenphotography.com and click on the NATURE TOURS button for more information. Also, pick up a copy of my new book, Amphoto’s Complete Book of Photography. You can purchase a signed copy directly from me or visit your local book store or Amazon. Contact me at rburden@ecentral.com to order your signed copy.

http://www.takegreatpictures.com/Articles/Details/snow_moods.fci

 

[hamzui]

Em hổng hỉu gì hết bác Giao Thông ui !!!!!!8o| Khổ quá :'(

 

[GiaoThongTài khoản đã xác minh]

Em hổng hỉu gì hết bác Giao Thông ui !!!!!!8o| Khổ quá :'(

Thì em cũng có hiểu gì đâu bác ơi!!! Đơn thuần là Ctrl C + V thôi mà :'( :'( :'(

Phục vụ mấy bác thích đao tài liệu tiếng Anh về đọc bác ạ.

 

[GiaoThongTài khoản đã xác minh]

Bài dưới đây về DOF (Depth of Field):

Tóm tắt: Thỉnh thoảng chúng ta muốn chụp những bức ảnh mà khi nhìn vào người xem sẽ tập trung ngay vào đối tượng được chụp. Muốn vậy thì đối tượng được chụp sẽ rất rõ nét còn phần nền phía đằng sau sẽ nhòe bớt đi để giúp đối tượng được chụp rõ nét hơn. Thông thuờng chụp ảnh phong cảnh người ta muốn cả bức ảnh đều rõ nét, tuy nhiên với chụp chân dung thì lại ngược lại - người rõ nét còn cảnh mờ - và điều này được thực hiện theo bài dưới đây để thể hiện độ sâu của bức ảnh.

Depth of Field Basics by Russ Burden

When it comes right down to it, depth of field is synonymous with range of focus. It only seems natural that a photographer would want to produce a picture with a wide range of focus, but this is not always the case. If everything in the image is tack sharp, it tells the viewer to look at every detail and that every detail is important. Conversely, if only certain subjects in the image are sharp, the viewer is drawn to those areas and the rest of the elements become secondary. In the case of landscapes, images work better when everything is sharp from the foreground to the background. But for portraits, and many other subjects, the image is more successful if just the main subject is sharp and the remaining elements fade into softness. So how does a photographer create specific ranges of focus?

Depth of field is controlled by a combination of the following: the f stop used to make the picture, the focal length of the lens, subject distance from the camera, and subject distance from the background. With regards to f stop, higher the number of the f stop, the greater the depth of field. In other words, with all other factors being equal, f22 will create much more depth of field than f4. This translates to a more sharply rendered foreground and background. With this in mind, as a guideline, for landscapes use f stops closer to f22 and for portraits, use those close to f4.

[URL="http://www.takegreatpictures.com/content/images/depth_of_field_1_original.jpg"][URL="http://www.takegreatpictures.com/content/images/depth_of_field_1_original.jpg"][/URL][/URL][URL="http://www.takegreatpictures.com/content/images/depth_of_field_1_good.jpg"][URL="http://www.takegreatpictures.com/content/images/depth_of_field_1_good.jpg"][/URL][/URL]
© 2006 Russ Burden​

With regards to focal length, the wider the angle of the lens, the more inherent depth of field it will produce. If the goal is to create images with lots of depth of field, stick with wider lenses. Conversely, as one progresses from medium to long telephotos, the depth of field becomes more and more narrow. This is why many landscapes are made with wide angle lenses and portraits are made with medium telephotos. Once you get to 300mm and greater, depth of field becomes very narrow and careful placement of the focusing sensor over the area of the subject that is most important is critical.

The last two factors that impact the range of sharpness both deal with distance. The closer you get to your subject, the more the background and foreground fall out of focus. This happens because the lens has to focus closer to its closest focus point which translates to distant elements falling out of the range of focus. The same principal holds true given the relationship of the distance of the subject from the background. If the subject and background are close to each other, then the proximity of all elements isn’t that far and the lens will see everything in fairly sharp detail. Conversely, if the subject is moved far away from the background, the lens isn’t able to sharply render both the subject and the background which is far away. Both of these effects are enhanced using a telephoto lens with a low number f stop and both are reduced using a wide angle lens at a large number opening.

[URL="http://www.takegreatpictures.com/content/images/depth_of_field_2_original.jpg"][URL="http://www.takegreatpictures.com/content/images/depth_of_field_2_original.jpg"][/URL][URL="http://www.takegreatpictures.com/content/images/depth_of_field_2_good.jpg"][/URL][/URL]
© 2006 Russ Burden​

To learn more about this topic, join me on one of my Photographic Nature Tours. Visit www.russburdenphotography.com and click on the NATURE TOURS button for more information. Also, pick up a copy of my new book, Amphoto’s Complete Book of Photography. You can purchase a signed copy directly from me or visit your local book store or Amazon. Contact me at rburden@ecentral.com to order your signed copy.

http://www.takegreatpictures.com/HOME/Columns/Photo_Tips_-_Techniques/Details/depth_of_field_basics.fci

 

[amater]

Bác Vu Nhat oi, cho iem hỏi chút, bác cho iem biết về giá rổ phụ kiện của PANASONIC-NV-GS27 PAL. VD như PIN dung lượng cao, REMOTE, CARD IE 1394,... Iem mua con lày 4chai đó, được không zậy, secondhand thui nhưng còn đầy đủ đồ lém, còn mới nữa chư.

 

[GiaoThongTài khoản đã xác minh]

Bác Vu Nhat oi, cho iem hỏi chút, bác cho iem biết về giá rổ phụ kiện của PANASONIC-NV-GS27 PAL. VD như PIN dung lượng cao, REMOTE, CARD IE 1394,... Iem mua con lày 4chai đó, được không zậy, secondhand thui nhưng còn đầy đủ đồ lém, còn mới nữa chư.

Bác amater sang Tư vấn máy ảnh, máy quay kỹ thuật số (Phần 2) mà hỏi về giá rổ, bên này liên quan tới cách chụp ảnh thôi.

 

[lengkeng]

Máy bay hạ cánh bằng lưng

Máy bay mô hình hạ cánh bằng lưng hôm 04/02/2007 tại SB Hòa Lạc (h)
Cái này là thằng em nó bay ngửa tốc độ cao ngang qua để em tập chụp panning gì đó giống bác Noze, nhưng nó bay thấp quá nên hạ luôn xuống đất Thiệt hại ko đáng kể

 

[xentoc]

Bác nào có Catalog D200 hoặc hướng dẫn sử dụng rút gọn cho em xin với. Nếu có Tiếng Việt roài thì càng tốt vì khả năng suy luận ngại nghĩ của em nó quá cao, hehehe.
Cám ơn các bác trước ạ

 

[nozaTài khoản đã xác minh]

Có cái User Manual ở đây bác này

ftp://raOnAvV_:jvDwiCSW@ftp.nikon-euro.com/Manuals/rXjyGTcnC_/

Bấm thẳng vào đây để download luôn

ftp://raOnAvV_:jvDwiCSW@ftp.nikon-euro.com/Manuals/rXjyGTcnC_/D200-En_01.pdf

 

[pickup4wdTài khoản đã xác minh]

@NOZA : Bác có cái hướng dẫn sử dụng D70S không cho em với , Tiếng Việt thì tốt quá.

 

[nozaTài khoản đã xác minh]

@NOZA : Bác có cái hướng dẫn sử dụng D70S không cho em với , Tiếng Việt thì tốt quá.

Đây bác ạ, tiếng Việt thì em chịu. Cái này em cũng chưa có thời gian để đọc hết

http://www.nikonusa.com/pdf/manuals/noprint/D70S_en_noprint.pdf

 

[quangdzung]

Bác có lấy cái tiếng việt của D70 không. Em nghĩ nó cũng giống nhau cả.
Bác PM cho em cái mail em gửi cho