ကြ်န္ေတာ္ႏွင္႔ကုန္သည္ေလမ်ားအေၾကာင္း (၂)

ရီတာမရပ္လိုက္ပါနဲ႔။
IMM ကိုလြန္ခဲ႔တဲ႔ ၁ႏွစ္ေလာက္က သြားတုန္းက အျပင္ဘက္ ပိစိပစိ ေတြေရာင္းတဲ႔ဆိုင္ေလး တစ္ခုမွာေတြ႔လိုက္ရတဲ႔ ဆိုဒ္ပုဒ္ ေလးပါ။ သေဘာက်လို႔ ဖုန္းကင္မရာနဲ႔ ရိုက္ယူလာခဲ႔ပါတယ္။

သံေ၀ဂပဲ ရရမလား ၊ ဘယ္လိုေျပာမလဲ.. တစ္ခုခုေလးကြ်န္ေတာ္႔ က်န္ခဲ႔တယ္။

ကြ်န္ေတာ္ ႏွင္႔ ကုန္သည္ေလမ်ားအေၾကာင္း

ခုတေလာကဗ်ာေတြ လွိမ္႔ဖတ္ျဖစ္ေနခဲ႔တယ္။ Photo ေတြေတာင္မရိုက္ျဖစ္ခဲ႔ပဲ။ ဖတ္ေနတဲ႔ကဗ်ာေတြ ကလဲ ငယ္ငယ္က ကဗ်ာေလးေတြ တ်ာခ်င္း ေတြ အဲခ်င္းေတြ ရတုေတြ။ ဘာစိတ္ကူးရွိလု႔ိရယ္လို႔မဟုတ္ပါဘူး။ တစ္ေန႔ ေနဦး (ေရႊတိုးေအာင္) နဲ႔ ကဗ်ာေတြအေၾကာင္း စကားေျပာၾကရာကေန။ ေရွး ငယ္ငယ္က ကဗ်ာေတြအေၾကာင္း။ ငယ္ငယ္က သိပ္စိတ္ညစ္ခဲ႔ရတဲ႔ ျမန္မာစာကဗ်ာေတြရဲ႔ ရသကို အခုမွ ေလးေလးပင္ပင္ ခံစားတတ္လာတယ္။ ေျသာ္ အေတာ္ေကာင္းခဲ႔တဲ႔ ကဗ်ာေတြကို သင္ခဲ႔ၾကရတာပါပဲလို႔။ ဘာလို႔မ်ား ငယ္ငယ္တုန္းက သည္ကဗ်ာေတြကို သင္တဲ႔အခ်ိန္မွာ ခံစားခ်က္မပါရတာလဲ။ စကားလံုးတစ္လံုးခ်င္းစီရဲ႔ ဘာသာဘ၀ ေတြကို ဘာလို႔မ်ားခြဲျခားမထုတ္ခဲ႔ မိပါလိမ္႔လို႔ ကို႔ဘာသာကို မခ်င္႔မရဲ ျဖစ္မိပါတယ္။ ငယ္ငယ္ ေက်ာင္းသားဘ၀ ကသာ သည္လိုကဗ်ာေတြကို ငါခံစား နားလည္တတ္ခဲ႔မယ္ဆိုရင္။ စာက်က္ဖို႔ေတာင္ မလိုဘူး လို႔ ေတြးေနမိပါတယ္။
ဦးေလး သူငယ္ခ်င္းတစ္ေယာက္ အတြက္ စာလံုးေပါင္း တစ္ခု ရွာရာကေန မေမ(ေမဒါ၀ီ) ရဲ႔ ဘေလာထဲကို လက္လြတ္စပယ္ ၀င္သြားမိ လိုက္တယ္။ မေမ ထဲမွာ ေလွ်ာက္ေမႊျပီး သူ႔ကဗ်ာေတြသြားဖတ္လိုက္တာ ပထမ အရွိန္ရယ္။ ကဗ်ာ ဆာ ေနတဲ႔စိတ္ရယ္ ေၾကာင္႔ အလုပ္မွာေတာင္ အလုပ္ပ်က္ျပီး ေန႔တစ္ပိုင္းေလာက္ ကဗ်ာေတြ ထိုင္ဖတ္ျဖစ္ေနခဲ႔တယ္။ မေနႏိုင္မထုိင္ႏိုင္ ရဲေအာင္သူ ကိုကဗ်ာေတြေတာင္ျပလိုက္ေသး သူက ကဗ်ာေတြက သည္ေလာက္က်စ္လစ္ျပီး ထိမိေနလို႔ သာ ေခတ္အဆက္ဆက္ နာမည္ၾကီးကဗ်ာေတြ ျဖစ္ေနတာပါလားတဲ႔။ သူေျပာတာကိုကြ်န္ေတာ္လက္ခံမိလိုက္တယ္ သည္ေအာက္ကဗ်ာ တစ္ခ်ိဳ႔နဲ႔တင္.. (မေမေရ.. အမဆီကေန ကူးပစ္လိုက္မိျပီေနာ္)

လြမ္းမေျပ မန္းေျမက တ မိပါေတာ့၊
ကမ္းေျခမွာ စမ္းေရက်တယ္ႏွင့္၊
အိုကြယ္... ဖ်န္းေလက တသုန္သုန္။

တဲတစ္ဖက္ ဆြဲဖ်က္ကာ အလ်င္လုိေရာ့သထင့္၊
ကရင္အုိ ယာျပင္ႀကီးမွာကြယ္ ...
မီးထည့္လုိ႕လႈံ။

မပူေပါင္ ေနာက္ဆီက ခ်မ္းေရာ့သထင့္၊
အျဖဴေစာင္ ေခါက္ထည္ၾကမ္းကိုတ့ဲ
လွမ္းတယ္လုိ႕ လႊားကာၿခံဳ၊
ပါးမွာ ငံုပါတ့ဲ ႏုေရႊကြမ္း။ ။

ေဘးအိတ္မွာလွ်ိဳ၊
ေဆးလိပ္တုိ နားမွာ ထုိးပါလုိ႕၊
ေတာင္႐ုိးမွာ ဘာသာ သူတုိ႔၊
ကြင္းအငူ ႏွင္းျမဴကလဲ ကြဲခ်ိန္မို႔၊
အမုိးေခၚ ဖုိးေစာ္ကဲတုိ႕ရယ္၊
အုိကြယ္... တဲပ်က္စခန္း။ … ။

Medium Format Camera

ဘာတံုးဗ် Medium Format Camera ဆိုတာ။ ကြ်န္ေတာ္နည္းနည္းမွကိုမၾကားဘူးမိဘူး။ ကိုေက်ာ္ဇင္မ်ိဳးက ကိုျပည္႔ေရ သည္မွာၾကည္႔ဗ် Medium Format Camera ဆိုျပီးလာျပရာကေန အေတာ္စိတ္၀င္စားသြားတယ္။
ေနာက္ ကင္မရာစြဲေတြနည္းနည္းကင္းသြားတယ္။ ကြ်န္ေတာ္ျဖစ္ခ်င္ေနတဲ႔ ပံုေတြမရလို႔ စိတ္ညစ္ေနတာေတြ လဲ လံုး၀ေပ်ာက္သြားတယ္။ ေအာ္ ငါလိုခ်င္ေနတဲ႔ ပံုမ်ိဳးေတြက သည္လိုဟာနဲ႔ရိုက္မွရတာကိုး လို႔သိလိုက္ရပါတယ္။ ေစ်းက လဲ ၁၀ ဆ မ က ကြာတယ္ဗ်ာ DSLR ေတြနဲ႔။ DSLR ကိုအေကာင္းဆံုး လို႔ထင္မိတဲ႔ ကြ်န္ေတာ္စိတ္ကိုေတာင္ အားနာမိပါရဲ႔။ ၀န္ခံပါတယ္ ။ အဲ႔ဒါနဲ႔ တျခား ညီအကိုေမာင္ႏွမေတြလဲ ေလ႔လာခ်င္ေလ႔လာလို႔ရေအာင္ တင္လိုက္ရပါတယ္ ။ ဗဟုသုတအျဖစ္ပါ။


Medium Format Camera နဲ႔ရိုက္ထားတဲ႔ ပံုနမူနာတစ္ခ်ိဳ႔ပါ။


From Wikipedia, the free encyclopedia

Medium format has traditionally referred to a film format in still photography and the related cameras and equipment that use this film. Generally, the term applies to film and digital cameras that record images on media larger than the 24 by 36 mm of 135 film, but smaller than the 4 by 5 in (10 by 12.7 cm) size, which is considered to be large format.

In digital photography, medium format refers either to cameras adapted from medium format film photography uses, or to cameras making use of sensors larger than that of a 35 mm film frame. Often, medium format film cameras can be fitted with digital camera backs, converting them to digital cameras, but some of these digital backs, especially early models, use sensors smaller than a 35 mm film frame. As of 2006, medium format digital photography sensors were available in sizes of up to 36 by 48 mm, with 39 million pixels for use with commonly available professional medium format cameras. Sensors used in special applications such as spy satellites can be even larger, but are not necessarily described as medium format equipment.

In the film world, medium format has moved from being the most widely used film size (1890s through 1950s) to a niche used by many professionals and some amateur enthusiasts, but one which is still substantially more popular than large format. In digital, medium format is a very expensive option, with typical brand new all-digital medium format cameras retailing for $10,000 (Mamiya ZD) to $32,000 (Hasselblad H3D) in 2008, though, older and used equipment can be substantially cheaper.

While at one time or another a variety of medium format film sizes were produced, today the vast majority of medium format film is produced in the 6 cm 120 and 220 sizes. Other sizes are mainly produced for use in antique cameras, and many people assume 120/220 film when the term medium format is used.

The general rule with consumer cameras — as opposed to specialized industrial, scientific, and military equipment — is the more cameras sold, the more sophisticated the automation features available. Medium format cameras made since the 1950s are generally less automated than smaller cameras made at the same time, having high image quality as their primary advantage. For example, autofocus became available in consumer 35 mm cameras in 1977, but did not reach medium format until the late 1990s, and has never been available in a consumer large format camera.

Characteristics

The main benefit of medium format photography is that, because of the larger size of the film or digital sensor (two to six times larger than 35 mm), images of much higher resolution can be produced. This allows for bigger enlargements and smooth gradation without the grain or blur that would characterize similarly enlarged images produced from smaller film formats. The larger size of the film also allows for better control of the depth of field and therefore more photographic creativity.

Compared to 35 mm, the main drawbacks are accessibility and price. While 35-mm cameras, film, and photo finishing services are generally widely available and cheap, medium format is usually limited to professional photography shops and can be prohibitively expensive. Also, medium format cameras tend to be bulkier than their 35mm counterpart.

Film handling

Medium format film is usually roll film, typically allowing 8 to 32 exposures on one roll of film before reloading is needed. This is less convenient than 35 mm cartridges, which typically take 12 to 36 pictures on one roll. This is somewhat offset by the fact that most medium format systems used interchangeable film magazines, thereby allowing users to switch rolls quickly, allowing them larger numbers of exposures before needing to load new film, or to change film type. Some companies had bulk film backs that used 70mm double-perforated that allowed up to 75 feet of film to be loaded at one time. While rolls of large format film were produced at one time, their use was specialized, typically for aerial cameras installed in military aircraft or printing industry equipment.

Most large format film is sheet film, that is, film where each picture is on a separate piece of film, requiring that the camera be frequently reloaded, usually after every picture, sometimes using magazines of up to five pictures or reduction backs that allow multiple pictures on a single sheet of film. Medium format sheet film was produced for some cameras, but these cameras tend to be smaller, lighter, and easier to use than large format gear. Sheet film was never commonly used in cameras smaller than medium format.

Film cost per exposure is directly related to the amount of film used, thus, the larger the film size, the more expensive each picture will be. An 8"×10" large format negative is far more expensive than a 6×6 cm medium format picture, which is substantially more expensive than a frame of 35 mm film.

35 mm cartridges are generally easier to load and unload from a camera than medium format rolls. A 35 mm cartridge is placed inside a camera, and in most motorized cameras this is all that is needed; the camera loads the film, and rewinds it into the cartridge for removal. Far fewer medium format cameras are motorized, and medium format roll film does not have sprocket holes, so loading often requires that marking on the backing paper of the film be lined up with markings on the camera, and on unloading, the backing paper must be carefully secured to protect the film from light.

Digital medium format

Digital photography came to the medium format world with the development of digital camera backs, which can be fitted to many system cameras. Digital backs are a type of camera back that have electronic sensors in them, effectively converting a camera into a digital camera. These backs are used predominantly by professional photographers. As with film, due to the increased size of the imaging chip (up to twice that of a 35 mm film frame, and thus as much as 40 times the size of the chip in a typical pocket point-and-shoot camera) they deliver more pixels than consumer-grade cameras, and have lower noise. Features like fan cooling also improve the image quality of studio models.

This market began in 1992 when Leaf Systems Inc. released their first digital camera back, named, fittingly enough, the "DCB" (often described as 'a brick'). Initially mounted on Sinar Studio cameras, the camera backs were later moved to medium format units. By the late 1990s, a number of companies produced digital camera backs of various types.

In the 2000s, the number of vendors of both high-end medium format camera systems and digital backs began to decrease. The performance of digital SLRs cut into the sale of film-based medium format systems, while the tremendous development expenses for medium format digital systems meant that not all vendors could profitably compete. Contax and Bronica ceased production of cameras, Kodak stopped making their DCS series of backs, and camera and back manufacturers began to integrate.

Camera maker Hasselblad merged with digital imaging firm Imacon and partnered with Fuji to design and produce a new line of digital-friendly medium format cameras, the H-Series. Since the manufacturer plans to sell digital backs integrated with the camera, other makers of digital backs are far less likely to be able to sell backs for this camera. This partnership is the clear market leader.^{[citation needed]}

Camera maker Mamiya has developed the Mamiya ZD back, but also announced a partnership with back maker Phase One. Camera maker Sinar was taken over in stages by the digital camera back manufacturer and developer Jenoptik, and partnered with Rollei for the development of the Hy6 medium format camera systems.

The Leaf Aptus 75S digital back offers 33MP resolution, with a shooting speed of 50 frames a minute. In early 2006 Hasselblad (H2D and H3D) and Phase One (P45) released a 39 megapixel back. In 2008, Phase One announced the P65+, a 60 megapixel back, the highest resolution single-shot digital back to date. Phase One continues to dominate high end non-interpolated imaging with the largest market share. Sinar continues to provide its primary Digital View Camera system while still supporting the HY6 medium format with a new platform independent eSprit 65 LV digital camera back. On 20 September 2010, Leaf released a 80MP digital back, the Aptus-II 12. ^[1]

Available since December 2010, Pentax 645D is 40 megapixel medium format DSLR. The camera has 44x33mm image sensor and the raw file is in DNG format. It is the first digital version of the company's 645 medium format camera system and it is compatible with the existing 645 system lenses.^[2][3]

[edit] "Lomography" and other low-budget medium format cameras

While most professional medium format cameras are very expensive, some inexpensive plastic imports, such as the Chinese Diana and Holga, are gaining in popularity, particularly with toy camera enthusiasts. Many of these cameras are sold through the Austrian Lomographische AG. Due to the poor quality of the cameras, the exact image captured on the negative is somewhat random in nature. These cameras often have plastic lenses that offer poor or uneven focus, light leaks that oddly colorize an image, extreme vignetting, and a multitude of other "flaws" that are generally undesirable to photographers. While these elements certainly are "flaws" in camera design, they can produce interesting, artistic, or enjoyable results. Because of the popularity of lomography and toy camera culture, medium-format photography has seen a resurgence with amateur photographers. Lomography detractors point out that twin-lens reflex cameras (TLRs) and folders without the distortion and light leaks can be purchased on the used market in the same price range.

The Chinese Seagull TLR and medium-format cameras from the former Soviet Union such as the Russian Lubitel and somewhat better made Ukrainian Kiev-Arsenal 60 and 88 are also available at moderate prices. These cameras can deliver quality images, although the lenses and camera bodies are not at the level of those from Swedish, German, and Japanese manufacturers.

Used folding cameras, TLRs, and box cameras are also a cheap option to shoot medium format. Many U.S.-made folders, including most of the mass produced Kodak folders use the discontinued 620 film requiring the user to respool 120 film or modify the film spool to fit.

Studio Lighting for Headshots – Tutorial

by deborahwolfe

It’s amazing at all the different types of people and professions who need headshots; realtors, editors, authors, entertainers, models, CEOs, dancers, moguls, rock stars, travel agents, ministers, entrepreneurs, business owners, internet marketers and even the occasional porn star, just to name a few. Being able to shoot reliable, polished headshots can bring in infusions of cash, and hey, who doesn’t like a little infusion, from time to time?

For this tutorial, I will focus on the ‘classic’ headshot.

Beautiful headshots can be produced with three lights and a reflector.

You will need a key light, a background light and a hair light. The most important light, in my opinion, is the hair light. Hair, especially dark hair, soaks up an incredible amount of light and doesn’t bounce back much. This can leave the photograph looking dull and ‘dead’. The effects of a hair light can be subtle, but it can really bring life to an image, just like catch lights do in the eyes. Look at the difference it makes in these two images.

Just as the lack of a hair light leaves an image looking unfinished, a badly placed hair light can ruin an image. It is very important to make sure the light is placed well to the back of your subject’s forehead. Make sure the light is hitting from the midpoint of the head and falling off to the back. If you position the hair light too far forward, you risk racoon eyes and a glowing nose. Not pretty. You will have to play around with light settings and height, which will be different for brunettes and blonds. I usually find a height of about 3 feet above my subject is best and a setting of f/4.5 or f/5.6. If you’re not careful with blondes, you’ll blow out the top of their heads.

Place your background light as close to the background as possible, with the light aimed almost, but not quite, straight up. You’ll want to make sure it is somewhat lower than your subject. I usually put mine about 3 feet off the ground. I do not use a light modifier, instead I use a standard pan reflector to direct the light. I usually set my background light a stop under my key light and this gives a very nice gradient behind the subject. Background lights help separate the subject from the background and give dimensionality to the image.

Place you key light, preferably in a VERY large umbrella, almost directly in front of and well above your subject. You will bounce the light into the umbrella, NOT shoot through it.

Place a large white or silver reflector at a 45 degree angle directly under the subjects face, low enough not to be in the photo. This will bounce fill light under the subject’s chin and cure a myriad of ills, such as double chins and soft jawlines. It also adds an extra little ‘kick’ of liveliness to the image.

Place yourself slightly higher than the subject aiming down. Shoot with longer focal length lenses, in the 85-150mm range. I prefer to shoot against either a dark gray or black background. And there you have it – the basic headshot.

Source: http://www.studioonashoestring.com/854/studio-lighting-for-headshots-tutorial/

On location portrait lighting setup

Portrait of swedish actress Nina Zanjani. All the red household objects go well with the warm light from the lamp. The key light is from the strobe though.

Diagram for on location portrait lighting setup

Here is a great portrait lighting setup from New York based photographer Mattias Olsson. All you need is one strobe and a white wall to bounce the light.

Source : http://lightingforphoto.com/2010/12/06/on-location-portrait-lighting-setup/

White fashion photography on the beach (Reference)

White fashion photography on the beach

The reflector really gives a lot of light. Perfect for outdoor fashion photography.

Lighting diagram for outdoor fashion photography, using a single reflector.

Norwegian photographer Eivind Røhne tells us about about this fashion photography lighting:

As a fashion photographer shooting a lot of stuff outdoors, I often prefer to use the soft light in the shadows. And my clients as well. Then we shape and tweak the light to get it how we want it to look. We use reflectors, speedlights or mobile studio lighting kits. Or maybe all of them. But sometimes we want a different look and feel to the fashion photographs we make.

This fashion magazine client of mine often likes to have a white clothing series in their editorials every year. And this white stuff we like to do in direct sunlight. This time it was on a beach in Sardegna/Sardinia in Italy. We shot a complete editorial quite fast during what usually is considered lunch time; harsh sunlight with lots of shadows. Fortunately we didn’t have a clear blue sky, but we got some clouds that gave us a little bit of texture in the background.

I immediately saw that this could be a cool before and after picture because of the tremendous effect of the reflector. So I asked the editor of the magazine, Mary-Ann – also known as “The Grey Card Lady”, to just tilt the reflector away on one of the shots. She’s a wonderful lady, and did what I asked without asking why, and then we kept on shooting. She was holding a 1×2 meter California Sunbounce half silver/gold reflector a couple of meters away from the model, directing the harsh sunlight back towards the model. And as you can see, a reflector this size can literally light up the whole place. The light was so intense that even the professional model had a hard time looking in its direction for too long without short breaks.

I had taken a few test shots as well as a reading with my Sekonic handheld meter, to get the exposure right so that I would still have some texture in the sky, and a perfect exposure on the models skin and white clothes. Being careful not to lose those whites! Both of these shots here where shot at f/8 and 1/100 second and ISO 50 on a medium format digital Hasselblad with a 210mm lens.

Amazing what a single reflector can do to light up your life!

Cheers!

Source: http://lightingforphoto.com/page/2/

အစားအေသာက္လွလွေလးျဖစ္ေအာင္ ရိုက္ၾကရေအာင္ (၁)

Food Photography ဆိုတဲ႔ အစားအေသာက္အလွပံုေတြကို ဘယ္လိုလွေအာင္ရိုက္ၾကမလဲလို႔

ကြ်န္ေတာ္လိုက္ရွာျပီး စုစည္းမိလိုက္ပါတယ္။ လြယ္လဲလြယ္ကူမယ္ လူတိုင္းလဲ ကင္မရာအေသးေလး ေတြနဲ႔ ပါ ပံံုလွလွေလးေတြ ထြက္ေအာင္ ရိုက္ဖို႔အဆင္လဲ ေျပေစေအာင္ေပါ႔။ ဟိုစပ္စပ္ သည္စပ္စပ္ေလးေတြစုျပီး ေရးထား တာျဖစ္တဲ႔အျပင္ အလြယ္ျဖစ္ေအာင္ေရးထားလို႔ အေသးစိတ္ လိုအပ္တဲ႔အခ်က္ေတြ ရွိေနဦးမွာျဖစ္ပါတယ္။ Tips ေလးေတြ သေဘာအေနနဲ႔ပဲ ကြ်န္ေတာ္ေရးလိုက္ရပါတယ္။

အစားအေသာက္ ပံုေတြကိုရိုက္တဲ႔အခါမွာ အေကာင္းဆံုး အလင္းေရာင္ ေပးစနစ္ကေတာ႔ သဘာ၀ အလင္းေရာင္ျဖစ္ပါတယ္။ သဘာ၀အလင္းေရာင္ တိုက္ရိုက္က်ေနတဲ႔ ေနရာမွာ ရိုက္ရင္ ပံုထြက္ေတြဟာ ပိုျပီးသဘာ၀ဆန္တယ္လို႔ ေျပာၾကပါတယ္။ အထူးသျဖင္႔ ျပတင္းေပါက္ နဲ႔နီးတဲ႔ေနရာမွာ ရိုက္သင္႔ပါတယ္။ ျပတင္းေပါက္ကေန က်ေနတဲ႔အလင္း အထူးသျဖင္႔ မနက္ခင္းအလင္းေရာင္ဟာ စူးရွလို႔ မနက္ခင္း အလင္းေရာင္နဲ႔ဆို ပံုေလးေတြ ပိုလွေနတတ္ပါတယ္။ တျခားနည္းလမ္းတစ္ခုအရ Flash ေတြကို Bounced off လုပ္ျပီးရိုက္မယ္ဆိုလဲ ပံုထြက္ေကာင္းတယ္လိုဆိုုပါတယ္။ အစားအေသာက္အေပၚ ကိုက်ေနတဲ႔အလင္းဟာ ၄၅ ဒီဂရီေလာက္ ေစာင္းက်ေနတာမ်ိဳး ဆိုေကာင္းမယ္လို႔လဲ ေျပာထားတာေတြ႔ရပါတယ္။ အစားအေသာက္ပံုေတြ ကိုရိုက္တဲ႔အခါဆိုရင္ျဖင္႔ ေရျပင္ညီ နဲ႔အညီရိုက္တာရွိသလို ေနာက္တစ္မ်ိဳးက ေရျပင္ညီ ရဲ႔အထက္ အေပၚအနည္းငယ္ကေန ရိုက္သင္႔တယ္လို႔လဲ အၾကံေပးထားတာ ကြ်န္ေတာ္ဖတ္ရပါတယ္။ ဘာအတြက္လဲဆိုေတာ႔ ပံုထဲမွာ အစားအေသာက္အရိပ္ေလးလဲပါလာေတာ႔ အျမင္တစ္မ်ိဳးျဖစ္တာေပါ႔ခင္ဗ်ာ။

ကင္မရာ အေသးေလးေတြနဲ႔ Flash ထည္႔ရိုက္တဲ႔အခါမွာ ပံုေတြဟာ ျဖဴေဖြးထြက္လာတာေတြ။ အေသးစိတ္မျဖစ္တာေတြ ၀ါးေနတာေတြရွိတတ္ၾကပါတယ္။ ဖလက္ခ်္ကို ဒဲ႔ခ်ိန္ျပီးရိုက္လိုက္တဲ႔အတြက္ ျဖဴေဖြးထြက္သြားေကာ။ ကင္မရာမွာဖလက္ခ်္က တပ္ထားတာ ဒဲ႔မခ်ိန္လို႔ျဖစ္လိုလုပ္မလဲဆို .မဟုတ္ဘူးခင္ဗ် ကြ်န္ေတာ္ဆိုလိုခ်င္တာက တည္႔တည္႔ရိုက္တာပါပဲ ဒါေပမယ္႔ တစ္္ရွဴးအျဖဴစ ခပ္ပါးပါးေလးကို ဖလက္ခ်္ေရွ႔မွာ ခံျပီးေတာရိုက္ၾကည္႔ပါ အစားအေသာက္ေတြ အေပၚအလင္းေရာင ္ဖ်ာက်တာ ပိုလွလို႔ ပံုထြက္ေလးေတြ ေကာင္းလာမွာပါ။ ကြ်န္ေတာ္႔သူငယ္ခ်င္း တစ္ေယာက္ကေတာ႔ ဓာတ္မီးအျဖဴ ကိုတစ္ရွဴး စ ေလးခံျပီး မီးအေနနဲ႔ထပ္ေပးျပီး ရိုက္တယ္ခင္ဗ် ေန ည ခြဲျခားသတ္မွတ္ထားတာမရွိပါဘူး။ လိုအပ္တယ္လို႔ ခံစားမိလို႔ ေန႔လည္ ဘက္ရိုက္လဲျဖစ္တာပါပဲ။ တစ္ရွဴးရဲ႔ အနီးအေ၀းအကြာအေ၀း ေပၚမူတည္ျပီး အလင္းဖ်ာမွဳ႔ ဟာ ေျပာင္းလဲလာမွာပါ.။ စားပြဲတင္ စာၾကည္႔မီး ကိုအသံုးျပဳျပီးလဲရိုက္လို႔ရပါတယ္။ကြ်န္ေတာ္ စားပြဲတင္မီး ကိုအသံုျပဳျပီး ပံုေတြအမ်ားၾကီးရိုက္ၾကည္႔ခဲ႔ဘူးပါတယ္။ စိတ္ၾကိဳက္လဲျဖစ္ပါတယ္။ ကင္မရာနဲ႔ ညဘက္ေတြ ရိုက္တဲ႔အခါမွာ ပံုေတြ၀ါးေနတာေတြ ရွိတတ္ပါတယ္။ ေနာက္ လူျဖစ္ေစ ဘယ္အရာမဆို ႏွစ္ထပ္ျဖစ္ေနတာတို႔ မၾကည္လင္ မျပတ္သား တာတို႔ရွိၾကပါတယ္။ ဘာလို႔ အဲ႔လိုျဖစ္ရပါသလဲ ? ကြ်န္ေတာ္တုိ႔လက္ေတြက လွဳပ္ေနလို႔ပါ။ သည္ဟာကို လတ္တေလာ နည္းလမ္း၂ခုနဲ႔ ေျဖရွင္းလို႔ရပါတယ္။ ပထမတစ္နည္းက ထြိဳင္ေပါ႔ ဆိုတဲ႔ သံုးေခ်ာင္းေထာက္ ကိုသံုးတာပါပဲ။ သံုးေခ်ာင္းေထာက္ဟာ အေသးေလးေတြလဲရွိပါတယ္။ လက္ကိုင္ ဖုန္းအရြယ္သာသာေလးေတြပါ။ သယ္ရလြယ္ပါတယ္။ ေနာက္ဒုတိယနည္းက ကင္မရာအေတာ္မ်ားမ်ားမွာပါတဲ႔ ISO Setting ဆိုတာရွိပါတယ္။ အဲ႔သည္႔ ISO Setting ကို တင္ရိုက္ေပးပါ။ တင္ရိုက္တယ္ဆိုတာက 100 ကေန 200, 300, 400,800 ,1600 စသည္ျဖင္႔ပါ။ သည္ေနရရာမွာ သတိထားရမယ္႔ အခ်က္တစ္ခုက ISO တင္လာတာနဲ႔အမွ် Noise ဆိုတဲ႔ျဗဳပ္ေတြ ထလာတတ္ပါတယ္။ သတိျပဳရပါမယ္။ကြ်န္ေတာ္တို႔ လက္ေတြမွာ သတိမထားမိတဲ႔ လွဳပ္ခပ္မွဳ႔ေလးေတြရွိပါတယ္။ လက္ကိုဘယ္လိုပဲျငိမ္ေအာင္ကိုင္ထားထား ပံုထဲမွာ လွဳပ္သြားတယ္ လို႔ေျပာၾကပါတယ္။ အဲသည္ဟာက ေတာ႔ လက္ကိုဘယ္ေလာက္ ျငိမ္ေအာင္ထားထား ခလုပ္ ကိုႏွိပ္လိုက္တဲ႔ အခ်ိန္မွာ လွဳပ္သြားတာကိုး။ ဒါေၾကာင္႔မို႔ သံုးေခ်ာင္းေထာက္သံုးရင္ပဲျဖစ္ျဖစ္၊ သည္အတိုင္းလက္လြတ္ အစားအေသာက္ေတြကိုရိုက္ရင္ပဲျဖစ္ျဖစ္ Salf-timer 2 sec 5 sec စသည္ျဖင္႔ေပးျပီး ၇ိုက္ၾကည္႔ေပးပါ။ထူးျခားလာတာေတြ႔ရပါလိမ္႔မယ္။

NaingHL

Singapore က ကင္မရာဆရာေတြစိတ္၀င္စားတဲ႔ Forum

Club Snap (http://www.clubsnap.com/forums/) ဆိုရင္ Singapore မွာရွိတဲ႔ Photographer ေတြ အေတာ္မ်ားမ်ား သိၾကတဲ႔ ဆိုဒ္တစ္ခုျဖစ္ပါတယ္။ တစ္နည္းအရ ကင္မရာေစ်းကြက္လို႔လဲေျပာလို႔ရသလို Facebook ေတြမွာ တင္ၾကတဲ႔ စကၤာပူ ေမာ္ဒယ္မေလးမ်ားကို Photo ရိုက္ေပးလို႔ရေအာင္စုစည္းေပးတဲ႔ ၀ါသနာရွင္ဆိုဒ္ဆိုလဲမမွားပါဘူး။ Camera , Lens , Accessories ေတြ၀ယ္မလား၊ ေရာင္းမလား ။
နည္းပညာအသစ္ေတြ နဲ႔မိတ္ဆက္မလား။ သင္တန္းေတြပဲတက္ဦးမလား။ သူမ်ားေတြ ရိုက္ထားတဲ႔ ပံုေတြကိုပဲၾကည္႔ဦးမလား။ အမ်ိဳးမ်ိဳး ကြဲျပားတဲ႔ Photography ေတြအေၾကာင္းပဲေလ႔လာၾကမလား။ အေတာ္မ်ားမ်ားကို ရွာေဖြလို႔ရပါတယ္။



ကြ်န္ေတာ္အခ်ိန္ ရွိရင္ ၀င္၀င္ၾကည္႔ျဖစ္ေနတဲ႔ဆိုဒ္ပါ။ မသိတာေတြ နားမလည္တာေတြကိုလည္း ေခါင္းစဥ္ ထုတ္ျပီး ဖိုရမ္မွာ၀င္ေမးလို႔ရပါတယ္။ ဒါမွမဟုတ္ သူမ်ားေတြ အေမးအေျဖလုပ္ထားတာေတြကို ဖတ္ၾကည္႔ျပီး ေလ႔လာလို႔ရပါတယ္။ ကင္မရာကိုအလဲအထပ္ပဲလုပ္ဦးမလား ၊ လန္းအေဟာင္းေရာင္းျပီး ျမင္႔တဲ႔ လန္းကိုပဲ ယူခ်င္ေသးလား။ ကိုယ္၀ယ္မယ္႔ စိတ္၀င္စားတဲ႔ ကင္မရာ အမ်ိဳးအစားမွာ ဘာေကာင္းတဲ႔အခ်က္ေတြရွိတယ္
ဘယ္ဟာေတြကိုသတိထားရမယ္ဆိုတာေတြကိုပဲေလ႔လာဦးမလား။ အက်ိဳးရွိပါတယ္။
Photo ျပိဳင္ပြဲေတြ ရဲ Web Page အညႊန္းေတြ။ အၾကံဥာဏ္ေတြနဲ႔ ေလ႔လာခ်င္စရာမ်ားတဲ႔ဆိုဒ္တစ္ခုပါ။
အဆင္ေျပရင္ ေလ႔လာၾကည္႔လို႔ရပါတယ္။ အၾကိဳက္ေတြ႔ၾကမယ္လို႔ေမွ်ာ္လင္႔မိပါတယ္ခင္ဗ်ာ။

အထူးသျဖင္႔ ကင္မရာ၀ယ္မယ္႔သူမ်ားအေနနဲ႔ သည္ဆိုဒ္မွာေသျခာစြာ ေစ်းႏွဳန္းကအစ ေလ႔လာျပီးမွ နားလည္သူ တစ္ေယာက္နဲ႔ ေဆြးေႏြး၀ယ္ၾကဖို႔ အၾကံေပးပါရေစ။

Sony Soon Release New Model Alpha 77

ကြ်န္ေတာ္က Alpha နဲ႔ရုိက္ေနသူျဖစ္တာမို႔ Alpha နဲ႔ပက္သက္တာေလးေတြကို လိုက္လိုက္စုေနမိပါတယ္။
စိတ္ၾကိဳက္ေမာ္ဒယ္မထြက္တာ အေတာ္ၾကာေနျပီျဖစ္တဲ႔ Alpha က ၂၀၀၇ ခုနစ္က ထုတ္ထားတဲ႔ Alpha 700 အတြက္အစားထိုး A77 ဆုိတဲ႔ေမာ္ဒယ္ကို သည္ ၂၀၁၁ ထဲမွာထြက္လာမယ္လို႔ေၾကျငာလာပါတယ္။ A77 ဟာဆိုရင္24-MP crop frame sensor (Exmor APS HD CMOS Sensor ) နဲ႔ Bionz processor ကိုအသံုးျပဳထားမယ္လိုသိရပါတယ္။ AF points အေသးစိတ္ကအစ ခ်ိန္လို႔ရလာမယ္လို႔လဲေျပာထားပါတယ္။ ထူးျခားခ်က္ကေတာ႔ ဆိုနီ ဒီဗြီကင္မရာေတြ အတိုင္း Full HD Quality Movie ေတြရိုက္လို႔ရမယ္လိုဆိုထားျပီး။ 30fps (frames par second) ထြက္လာမယ္ လိုလဲေျပာျပထားပါတယ္။ Memory ပိုင္းမွာေတာ႔ CF cards, memory sticks နဲ႔ SD cards ေတြအကုန္လံုးကို သံုးလို႔ရမယ္လို႔ေျပာထားတဲ႔အျပင္ မတူတဲ႔ Memory Card ၂မ်ိဳးကိုလဲ တစ္ျပိဳင္ထဲ အသံုးျပဳႏိုင္ေအာင္ လုပ္ထားမယ္လို႔ေျပာထားပါတယ္။
ဆိုနီက သူတို႔ေမာ္ဒယ္အသစ္အတြက္ ေအာက္မွာျပထားတဲ႔အတိုင္းေျပာျပထားပါတယ္။
Shown for the first time in Europe, Sony exhibits a new advanced segment camera (prototype) that uses Translucent Mirror Technology. Aimed at photo enthusiasts and step-up amateurs, the new α model builds on the powerful creative possibilities of the first translucent mirror cameras from Sony, the α55 and α33, also on display. Unlike conventional DSLR cameras, this innovative design enables super-fast shooting responses with continuous AF during stills and HD video shooting in a compact body.

ပံုအရ Function Key ေတြက ေအာက္ပါအတိုင္းျဖစ္ပါတယ္။

We've heard Sony use the term "Advanced Model" when dealing with concepts before, and it seems that it's using said code once more to disguise what may end up being the A77. Rumors have been flaring over the past few weeks, noting that this particular Alpha DSLR would be showcased at Photokina before being officially unveiled at CES 2011. Few details were given, but we're able to tell that it'll shoot HD video in AVCHD and will be compatible with a vertical grip. Moreover, it'll ship with a translucent mirror (as found in the A55 and A33) and an Exmor APS HD CMOS sensor. At the company's Photokina press conference, an executive noted that the cam will be "far more powerful than the a55," and that it'll be aimed at "serious enthusiast photographers."

500 Women Poses

ကြ်န္ေတာ္တစ္ေယာက္ ဟိုသြားလိုက္သည္သြားလိုက္နဲ႔ ဟိုက ဟာေဒါင္းလိုက္ သည္က ဟာေဒါင္းလိုက္ အခုသည္ဟာကေတာ႔ အမ်ိဳးသမီးအလွပံု အတြက္ Poses ေတြျဖစ္ပါတယ္။ ေလ႔လာၾကည္႔ေပးပါ။ အထူးသျဖင္႔ ပခံုး လက္ျပင္ ခါး .. လက္ဖမိုး နဲ႔ ေျခေထာက္ အေနအထားေတြက ကြ်န္ေတာ္တို႔သတိျပဳရမယ္႔အရာေတြပါပဲ။
ေအာက္ကလင္႔ကေန စာအုပ္ကိုေဒါင္းလို႔ရပါတယ္။

http://www.mediafire.com/file/a3v4y6fqpz0whoz/500%20Poses%20for%20Photographing%20Women.pdf

ံHow to take Fireworks Pictures

ကြ်န္ေတာ္ ကိုလူသစ္နဲ႔ေတြေတာ႔ သူက ကြ်န္ေတာ္႔ကို ဟေကာင္မင္းဟာေတြက သိပ္ႏုေနတယ္ ။ ပံုအေၾကာင္းဆိုလဲပံုအေၾကာင္း အေထာက္အပံျဖစ္တာေလးေတြလဲေရးဦးလို႔ေျပာလာပါတယ္။
ကြ်န္ေတာ္ကိုယ္တိုင္ကလဲ ေလ႔လာဆဲအဆင္ျဖစ္ေလေတာ႔ အဲ႔လိုမ်ိဳးေတြမေရးရဲဘူး အကိုရယ္လို႔ ကြ်န္ေတာ္ကေျပာေတာ႔ ဘာျဖစ္လဲ သိသေလာက္ေရးေပါ႔တဲ႔။ သည္လိုနဲ႔ ကြ်န္ေတာ္နဲ႔သူနဲ႔ မီးပန္းေတြ ကိုဘယ္လိုရိုက္မလဲဆိုတဲ႔အေၾကာင္းေျပာျဖစ္ခဲ႔ပါတယ္။ ကြ်န္ေတာ္ဟာ တင္ျပသူ စုစည္းသူတစ္ေယာက္ အေနနဲ႔ လက္တေလာအခ်ိန္မွာလုပ္ခြင္႔ျပဳေစလိုပါတယ္။ သင္ျပသူ တစ္ေယာက္အဆင္႔ကိုမေရာက္ေသး လို႔ပါ။ ေအာက္မွာ မီးပန္းဘယ္လုိရိုက္ၾကမယ္ဆိုတာပါ ပါတယ္။ ေလ႔လာၾကည္႔ေပးပါ။

A favorite subject among amateurs is fireworks. While beautiful, they can be highly unpredictable, so again, prepare to shoot many frames with more bad pictures than good ones. The main problem is figuring out what exposure to use. If it's too long, the fireworks themselves overexpose, and if it's too short, all you get is fireworks, and no background (context). The only solution to this is shoot for the background—that is, expose as if it's a nite shot—and try to time your shutter releases so that the fireworks are either at the beginning, or the very end of the exposure. You'll have to shoot at least one picture of the scene without any fireworks, just to

20 seconds, 17mm, f2.8
(Whitefish, Montana, USA)

gauge what your base-line "nite" exposure is. Once you have that, you can time the fireworks accordingly. (That is, attempt to have the fireworks either be at the first or last 5 seconds of (say) a 30-second shot, for example.) This way, the basic scene will come out right, and the amount of light from the burst won't be over-exposed. You want at least a second of it (and up to about five seconds) to get the "motion" of the sparks, or the photo probably won't come out pleasing. Again, experiment to taste.

Clearly, it's a lottery game to determine when the operator is going to let off the next one, and it's not even worth shooting when he lets them off back to back (unless you like the abstract/artsie look). Except for those situations, I'll shoot every moment of a one-hour fireworks display and be lucky if I come up with five good shots. And if there's a strong wind—forget it. Similarly, the smoke can become a visual eyesore if there isn't enough circulation to cycle it out during the performance.

I always try to compose fireworks to have some sort of foreground (the people watching them, nearby buildings or landscape). As you know, fireworks involve bursts, flashes, and streaks, which are all over the map for making good exposures. Getting an "even" look involves timing. And that is governed by your noticing how the fireworks are spaced apart from one another.

Source: Dan Heller Photography

Low Key Portrait Lighting Tutorial

“But Deborah,” you say, “I don’t have four lights. Or three. Or really, even two. I just have the one.” No problem. You’re perfectly outfitted to do a beautiful, classic low-key lighting setup. Your camera’s dedicated flash unit could even be set up off-camera to achieve this result.

What is low key lighting? According to Wikipedia, it attempts to create a chiaroscuro effect. In traditional photographic lighting, three-point lighting uses a key light, a fill light, and a back light for even illumination. Low-key lighting requires only one key light, optionally controlled with a fill light or a simple reflector. This type of setup is usually shot against a dark background.

The image above of my oldest daughter was taken using a single light inside a very large soft box that was positioned directly to one side and approximately 2 feet away from her.

See diagram:

Generally speaking, this is a less ‘forgiving’ lighting setup than other options in two different ways.

• The lighting zone is much more narrow than high key lighting, meaning the subject has to be more carefully placed in relation to the light. This would NOT be the lighting setup of choice for a busy two-year old (unless you have a trick or two up your sleeve, like my super secret weapon MR. SMILEY FACE).

• Severe side lighting will highlight any natural flaws in the skin.

Therefore, this is lighting best reserved for the very young, those with flawless skin or ruggedly good looking men where you want to emphasize their facial ‘character’.

However, that last drawback can be overcome if:

• you simply back farther away from your subject, shooting full body, rather than tight facial close-ups and you
• angle the light more towards the front of the subject and use a reflector directly opposite it (see diagram below), which is not only more flattering, but allows light to spill onto the background, providing a level of separation between subject and background.

This image is a good example of the natural drama of this type of lighting and the unexpected scenarios you can use it in.

I used one light and a reflector for the shot above. The key light was placed to one side and slightly in front of the subjects. The reflector was positioned on the opposite side to bounce light back onto the subjects. Whereas the first photograph of my daughter was against seamless black paper, this one was shot against a dark cloth backdrop. The side lighting emphasizes the texture in the background to nice effect. If I had not used a reflector opposite the key light, the young man’s face would have been completely in dark shadow with no visible expression.

Best results with this lighting setup are achieved with the use of a soft box. The larger the soft box, the more ‘window-like’ the lighting will be. In another post I will illustrate this lighting technique using natural window lighting, which, while it requires NO lights, does require knowledge of how to get a properly exposed image.



by deborahwolfe

H & T ROM day

ထြန္းလင္းႏိုင္ နဲ႔ သဇင္တို႔မဂၤလာေဆာင္ ကို ကြ်န္ေတာ္နဲ႔သီဟန္ သြားရိုက္ျဖစ္ခဲ႔ၾကပါတယ္။
မဂၤလာေဆာင္ရိုက္တာေတြအတြက္ ဘယ္လန္းေတြနဲ႔ရိုက္ရင္ေကာင္းမလဲဆိုျပီးစဥ္းစားရင္း ေနာက္ဆံုး
သည္ Lens ေတြနဲ႔ ရိုက္ျဖစ္ခဲ႔ၾကပါတယ္။
Carl Zeiss Planar T* 85mm F1.4 ZA
Carl Zeiss Vario-Sonnar T* 24-70mm F2.8 ZA SSM
Tokina 11-16/2.8 ATX DX Lens
Flash ကေတာ႔ HVL-F58AM flagship flash ၂ လံုးကိုသံုးထားပါတယ္။
မ်ားေသာအားျဖင္႔ပံုေတြ Sharp ျဖစ္ေအာင္လို႔ဆိုျပီး ISO ကို ၄၀၀ အထိ အမ်ားဆံုးသံုခဲ႔ပါတယ္။

ကြ်န္ေတာ္က အဲ႔သည္႔ေန႔မနက္ အလုပ္ရွိေနေတာ႔ ROM လုပ္တဲ႔အခ်ိန္မမွီလို႔ သီဟန္က ကူညီျပီး ပံုေတြရိုက္ေပး
ခဲ႔ပါတယ္။ အေျခအေနက မိုးအံုအံု မိုးရြာေနေတာ႔ ကြ်န္ေတာ္တို႔ေတြမွာ အေတာ္ကို ရာသီဥတုနဲ႔ ပက္သက္ျပီး စိတ္အေႏွာက္အယွက္ျဖစ္ခဲ႔ရတယ္။ မိုးအံုးျပီး ေနေရာင္လံုး၀မရွိတာဟာ အေတာ္ကိုအခက္အခဲျဖစ္ပါတယ္။ အလင္းအေမွာင္ယူဖို႔ Reflector ကိုလဲသံုးလို႔မရ ။ ျမက္ခင္းျပင္ေပၚမွာ သဇင္႔ကို ရိုက္ခ်င္ေပမယ္႔ ေအာက္က ေရေတြက အရမ္းကိုစိုေနတာေၾကာင္႔ တစ္မ်ိဳး ။ ေန၀င္ခ်ိန္ ကမ္းေျခမွာ အလွပံုေလးေတြရိုက္ မယ္႔စိတ္ကူးကလဲ အကုန္ပ်က္။ ယူလာတဲ႔ Umbrella ေတြ Softbox ေတြကိုလဲ သံုးဖို႔ရာမလြယ္ကူနဲ႔ေပါ႔။ အေျခအေနေပးသေလာက္ထဲက မရရေအာင္ပံုေတြကိုဆြဲထုတ္ခဲ႔ရပါတယ္။
Carl Zeiss Planar T* 85mm F1.4 ZA Lens
CZ လဲျဖစ္ျပန္ 85mm Prime လဲျဖစ္ ေနာက္ F1.4 ဆိုေတာ႔ေျပာမေနပါနဲ႔ေတာ႔ဗ်ာ။ သိပ္ေကာင္တဲ႔လန္းတစ္လံုးဆိုပါေတာ႔ အဲ႔သည္႔ေန႔အတြက္ အေတာ္ကို ေကာင္းတဲ႔ပံုေတြရလာခဲ႔ပါတယ္။
ဒါေပမယ္႔ သတို႔သားနဲ႔သတို႔သမီးကုိ တစ္ေယာက္ကို၀ါးျပီး တစ္ေယာက္ကို ၾကည္႔ေအာင္ယူရိုက္တဲ႔ အခါမွာ ၀ါးထားတဲ႔ တစ္ေယာက္က အေတာ္႔ကို မျမင္ရေလာက္ေအာင္ကို ၀ါးသြားတယ္။ F 1.4 မို႔လို႔ေလ သတိထားျပီး ျပန္ Adjustment လုပ္လိုက္ရတယ္။ ဒါေလးက အဲ႔သည္႔ေန႔အတြက္ မွတ္မွတ္ရရေပါ႔။