By Peter C. Bunnell
John Pfahl is a latest photographic artist whose physique of labor spans the previous thirty years. He makes use of nature as his material, yet introduces parts akin to string or aluminum foil, and arranges those fabrics with basic methods of viewpoint. This ebook covers a few of his earliest paintings, and indicates his knack for controlling standpoint to create pictures that appear flat, yet upon nearer inspection demonstrate themselves to be relatively mammoth.
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Extra resources for Altered Landscapes: The Photographs of John Pfahl
This is nearly infallible. So there are several techniques you can use to get to correct exposures. Let’s look at them in detail. exposure metering 37 Selective Exposure Metering With The Histogram The key to achieving good and consistent exposure is determining the actual subject in the scene that you’re photographing and then exposing for that subject. Just as you determine what you want to focus your camera on, you also need to decide what subject (or area of the subject) you want to expose correctly.
From a technical point of view, photographing a bride in her dress can be a challenge, depending on the lighting. When I was creating a bridal portrait of Jill, the background had darker areas toward 40 direction and quality of light underexposed. the bottom and brighter areas toward the top (including the very bright sky). The striking bride, of course, wore white. Plate 3-7 shows what happens with the camera set to aperture priority mode and left to calculate the exposure on its own. The bright areas in the frame fooled the camera’s meter into underexposing the subject.
Mimicking Window Light Plate 6-10 is a classic shot of a beautiful bride, Jennifer, lit by soft window light. But what you really see here is on-camera bounce flash, not window light. My flash was pointing directly to my left, and slightly toward the bride. The BFT prevented any direct light from falling on her. The wall that I bounced my light off became my light source. Because the bounce surface was a large area and positioned to the side, it gives the appearance of soft window light. A little sweetening of the image in Photoshop gave me the final photograph.
Altered Landscapes: The Photographs of John Pfahl by Peter C. Bunnell