WPC 1617 - People Portraits RESULTS
May 8, 2016 19:57:35 #
The winners of People Portraits with 59 entries and (309) votes are...
1st place = gotphotos with 10.54 points and (22) votes (1st) taken 2016:04:26
2nd place = fuminous with 6.83 points and (19) votes (1st) taken 2016:04:21
3rd place = jvcookies with 6.45 points and (16) votes (4th) taken 2016:04:23
4th place = Gryffon with 6.10 points and (18) votes (1st) taken 2016:04:27
Congratulations everyone - especially those who added a little more by telling us about their photos!!!
> http://www.uglyhedgehog.com/photo_contest.jsp?pcnum=219 <
- Click (ratings) to see all the entries at once
Running Totals - Underlined equals multiple time winners
1st = Golden Rule, NVRose, Zulu inc, DavidT, Blurryeyed, drdave1982, jvcookies, texaseve, jcjr8, pinkycat, JBCroke, Gary K, dluznicky, bob44044, Shaughnessy, Rob47, gotphotos
2nd = DavidT, CEAA, 2bmolar, Erik_H, recalcitrant1, cheeseyb, plessner, smithdar, DavidT, Coolcameragirl, Shaughnessy, jvcookies, Photos by Paula, DavidT, bob44044, jazz7, fuminous
3rd = chuckr, dzs1945, Cwilson341, CEAA, judy juul, BassmanBruce, PW4GDF, BigEasy, John Lawrence, jaysnave, Kimberlee, bob44044, Arlene777, jvcookies, laurieme0w, burgerboy, jvcookies
4th = Photos by Paula, jazz7, Jan_dalton, pdsdville, ciclista, ofwiah, judy juul, RGreenway, photobyal, BasqueLady, Starzee947, jaysnave, photobyal, Photos by Paula, pithydoug, wowbmw, Gryffon
1st place = gotphotos with 10.54 points and (22) votes (1st) taken 2016:04:26
2nd place = fuminous with 6.83 points and (19) votes (1st) taken 2016:04:21
3rd place = jvcookies with 6.45 points and (16) votes (4th) taken 2016:04:23
4th place = Gryffon with 6.10 points and (18) votes (1st) taken 2016:04:27
Congratulations everyone - especially those who added a little more by telling us about their photos!!!
> http://www.uglyhedgehog.com/photo_contest.jsp?pcnum=219 <
- Click (ratings) to see all the entries at once
Running Totals - Underlined equals multiple time winners
1st = Golden Rule, NVRose, Zulu inc, DavidT, Blurryeyed, drdave1982, jvcookies, texaseve, jcjr8, pinkycat, JBCroke, Gary K, dluznicky, bob44044, Shaughnessy, Rob47, gotphotos
2nd = DavidT, CEAA, 2bmolar, Erik_H, recalcitrant1, cheeseyb, plessner, smithdar, DavidT, Coolcameragirl, Shaughnessy, jvcookies, Photos by Paula, DavidT, bob44044, jazz7, fuminous
3rd = chuckr, dzs1945, Cwilson341, CEAA, judy juul, BassmanBruce, PW4GDF, BigEasy, John Lawrence, jaysnave, Kimberlee, bob44044, Arlene777, jvcookies, laurieme0w, burgerboy, jvcookies
4th = Photos by Paula, jazz7, Jan_dalton, pdsdville, ciclista, ofwiah, judy juul, RGreenway, photobyal, BasqueLady, Starzee947, jaysnave, photobyal, Photos by Paula, pithydoug, wowbmw, Gryffon
Mom, always the caretaker
Young man serving his country
Senior girl.....shallow depth of field.
The view from the train.
May 8, 2016 20:04:49 #
To help this week's Photo Critique Volunteer please visit http://www.uglyhedgehog.com/t-386910-1.html
May 8, 2016 21:11:39 #
An interview with gotphotos,
1) How long have you been into photography and what got you started?
I became very interested about five years ago. I decided I could take a lot of great photos of my grandchildren.
2) Do you have any formal training and what kind of photography do you do most?
No formal training, just classes at the local nature preserve and botanical garden.
3) In your opinion, what makes a good picture stand out from the rest?
Probably when the viewer feels emotion or a connection to the subject.
4) What equipment did you use and was there any special setup? Can you walk us through it?
Used a Pentax K-3 with Tamron 17-70 f/2.8 lens. The subject is a photo of my mother. I relied solely on filtered natural light. The mirror into which I placed the reflection was made by my father and I photoshopped a photo of my mother from her nursing days into the mirror.
5) Do you post process your final images, and if so can you describe your workflow?
Yes, I post process almost all of the photos I want to use for special purposes...at the very least, I usually bump up the exposure and color saturation and many times I crop the photo to the finished composition. I use Lightroom and Photoshop.
6) Who or what has influenced your photography and what inspired you to take your winning shot?
I think taking complimentary photos of older people is a challenge and I wanted a great photo of my mother in her later years.
7) Would you change anything if you could do it again, and if so what?
I would consider pulling the camera back a little so the viewer can see that it is a mirror in the photo and not just a framed photograph.
8) What is the one thing you wish you knew when you started taking photos?
I wish I could have figured out the aperture thing a little sooner.
9) What is your favorite photography accessory, other than your camera?
Manfrotto tripod with pistol grip ball head
10) If you had to choose one lens which one would it be and why?
Out of the lenses I currently own, I think I'd have to go with the Sigma 18-250 f/3.5...I do like a wider lens, but this is a great all-around, useful lens for me.
11) What lighting equipment, if any, do you take on a shoot?
I very seldom take any artificial light, but I do have a professional flash I use from time to time. I think a built in camera flash is not very useful for much of the photography I do. With the strobe, I can hand hold or connect it to a stand placed away from the camera which really works well.
12) If you couldn't do photography what else would you do?
Get more done around the garden!
13) Do you have any funny or interesting stories about your experiences?
I just took my 4 year old grandson to a birthday party this weekend where he hid behind a tree for most of the party because he was the only boy there.
14) Is there somewhere we can see more of your work?
You can visit me on Facebook...look for Nancy Kossmann-Union, MO
15) Do you have any advice for the rest of us?
Just keep shooting, eventually, you get a good one!
1) How long have you been into photography and what got you started?
I became very interested about five years ago. I decided I could take a lot of great photos of my grandchildren.
2) Do you have any formal training and what kind of photography do you do most?
No formal training, just classes at the local nature preserve and botanical garden.
3) In your opinion, what makes a good picture stand out from the rest?
Probably when the viewer feels emotion or a connection to the subject.
4) What equipment did you use and was there any special setup? Can you walk us through it?
Used a Pentax K-3 with Tamron 17-70 f/2.8 lens. The subject is a photo of my mother. I relied solely on filtered natural light. The mirror into which I placed the reflection was made by my father and I photoshopped a photo of my mother from her nursing days into the mirror.
5) Do you post process your final images, and if so can you describe your workflow?
Yes, I post process almost all of the photos I want to use for special purposes...at the very least, I usually bump up the exposure and color saturation and many times I crop the photo to the finished composition. I use Lightroom and Photoshop.
6) Who or what has influenced your photography and what inspired you to take your winning shot?
I think taking complimentary photos of older people is a challenge and I wanted a great photo of my mother in her later years.
7) Would you change anything if you could do it again, and if so what?
I would consider pulling the camera back a little so the viewer can see that it is a mirror in the photo and not just a framed photograph.
8) What is the one thing you wish you knew when you started taking photos?
I wish I could have figured out the aperture thing a little sooner.
9) What is your favorite photography accessory, other than your camera?
Manfrotto tripod with pistol grip ball head
10) If you had to choose one lens which one would it be and why?
Out of the lenses I currently own, I think I'd have to go with the Sigma 18-250 f/3.5...I do like a wider lens, but this is a great all-around, useful lens for me.
11) What lighting equipment, if any, do you take on a shoot?
I very seldom take any artificial light, but I do have a professional flash I use from time to time. I think a built in camera flash is not very useful for much of the photography I do. With the strobe, I can hand hold or connect it to a stand placed away from the camera which really works well.
12) If you couldn't do photography what else would you do?
Get more done around the garden!
13) Do you have any funny or interesting stories about your experiences?
I just took my 4 year old grandson to a birthday party this weekend where he hid behind a tree for most of the party because he was the only boy there.
14) Is there somewhere we can see more of your work?
You can visit me on Facebook...look for Nancy Kossmann-Union, MO
15) Do you have any advice for the rest of us?
Just keep shooting, eventually, you get a good one!
May 9, 2016 11:01:08 #
An interview with fuminous,
1) How long have you been into photography and what got you started?
a. Being lazy, I slouched my way through college as an art major but soon realized I had significant difficulty flowing the image in my head down my arm and onto paper or canvas. The fact I have no talent is irrelevant. Thats when the notion of photography as a vehicle of expression came to mind.
2) Do you have any formal training and what kind of photography do you do most?
a. Again, being lazy, I presumed the easiest and fastest way to learn anything is to associate with those who have already done the heavy work. So, I served an apprenticeship with two of the best photographers in Arkansas, the eldest, Sam Fawcett, a founding member of the Professional Photographers of America and an excellent portrait photographer. Fawcett, trained my second mentor and from whom I learned the importance of delivering an image irrespective of time, weather, location or bad light. Included in that education was the gotta make a living mindless repetition of grade schoolers with awkward clothes, missing teeth, hilarious and large smiles and too much enthusiasm. But that was kinda fun, too. I hated weddings. That is, I hated them until I arrived at the church and engaged with the couple and their families and from them coaxed expressions better suited to the occasion than that of fear and terror. Typically, I was enjoying myself by the second roll of 120 Vericolor, but was, nonetheless, always glad when the couple finally left the reception and things got again quiet and parents, proud, relieved and a little bit sad squeezed each other walked out holding hands there were many such poignant times- which were excellent for stuffing down a big slug of left over wedding cake.
b. What I really enjoyed was shooting high school seniors they were just fun, young adults with fearful confidence, lots of energy, uncertain direction and acne. Guys trusted me enough to do the silly things I asked them to do and young ladies, with lineless skin, healthy hair, clear eyes did too, but with a little suspicion but not for long. Yeah, I liked shooting teenagers.
3) In your opinion, what makes a good picture stand out from the rest?
a. Cohesion. That is, the image parts are held together in logical and orderly arrangement. Color and texture are parts to be included. Composition is a suitable adjective. Even a dull image is presentable if packaged properly.
4) What equipment did you use and was there any special setup? Can you walk us through it?
a. For this image, I was in a Seabee motor pool and noted several sailors working between a truck and the buildings wall. Skylight, large and soft, from the open bay door became directional once funneled between the truck and wall. An open double door at the back of the bay provided an accent or skim light to the subjects shadow side. There was no special setup- just watch the light and the subject and try to not get grease on me. I shot several sailors in that work area, including a female who was an excellent subject and my first choice but, shed been previously working outside, in the sun and it was a hot morning; she was sweating a bit and discoloring her tee shirt. Fine, great, perfect a serious shot, with sweat and sweetness but that wasnt possible with her getting razzed by her coworkers and nervous about the attention. OK then, a happy shot but soon discovered when she smiles, her eyes disappear. So, this sailor is a good representation.
b. My equipment was a Nikon D600 with an 85mm 1.8, aperture preferred setting and ISO 100.
5) Do you post process your final images, and if so can you describe your workflow?
a. Yup, I do PP on just about everything I shoot but not much in this instance. The subject has a good complexion and clear eyes. Generally, I load first into Lightroom for a good color balance, then black/white point determination and sometimes a weak vignette. Next, exported into Photoshop where background hot spots are toned down and in this image, the subjects hand was also darkened. Next I hit the eyes, with the dodge tool, on shadow and about 20%, I lighten up the iris overall with a couple of passes but double effort or so on the part of the iris directly opposite the catch-light. Then changing the dodge tool to mid tone or highlight I make one- no more than two- passes just along and outside the iris to lighten up the white part of the eye and add roundness. This makes the eye appear dynamic. With the burn tool, about 12% and on shadow I trace the iriss edge, defining it and adding contrast. For men, Ill hit a few eyelashes but not many, darken the pupil and also, that black part under the upper eyelid. One of my art instructors said if there is an absolute black anywhere on a portrait (oil, water color, pencil, etc.) it is the shadow made by that thin edge of eyelid across the iris. On females, I do the entire underlid and all the eyelashes- top and bottom. Next, I knocked down a couple of broad highlights on the subjects cheeks. It was a hot, moist morning and flat, damp surfaces get very bright very quickly. This image also got a short round of frequency separation retouching to blend in those cloned out hot surface reflections. Finally, the extended arm was gently burned/darkened for a believable transition.
6) Who or what has influenced your photography and what inspired you to take your winning shot?
a. Im an introvert and a people watcher. Just as those who take bird portraits hide themselves in a blind to get close to their subjects, I slap on a Nikon mask and stalk the unwary, getting in their face and examining them like bugs under a microscope. No, not that creepy, but I am curious as to their stories, strengths and fears,
b. As stated earlier, I like shooting young people. Also, I am incredibly proud of the hard work these soldiers, sailors and airmen do. Im not kidding: anything I do for them is the best I can manage and without charge.
7) Would you change anything if you could do it again, and if so what?
a. I wouldnt change any of my experiences but do wish I had taken more photographs- from my high school days, my years in Alaska, some of the best dogs ever, a few people, and thousands of characters I could have taken more, I should have taken more but, somehow, at the time I was simply too lazy. Big regrets there
8) What is the one thing you wish you knew when you started taking photos?
a. Dont waste money on cheap glass: it doesnt improve you or your images and reliance on such is spitting out half your dinner as youre chewing it. Another: learn how to hold steady and help yourself to sharper images. Last one: learn your camera- carry it, use it. Second last one: get a good grasp on exposure.
9) What is your favorite photography accessory, other than your camera?
a. A speedlight its not really an accessory its an extension of your camera and one needs to know both equally in order to use either.
10) If you had to choose one lens which one would it be and why?
a. My 28-300 is responsible for 75% (by volume) of the photos I take. With it, I can do portraits if necessary or reach in for detail shots. I wont say its my favorite lens but is the one I use and rely on the most.
11) What lighting equipment, if any, do you take on a shoot?
a. Ill take an SB-400 as a small, bounced fill-in but only if the venue is really dark or, as is in some meeting rooms, strong, straight down, recessed lighting that makes for black eye pockets strange nose shadows. Ive several SB-800s too that I can but rarely set up to work in tandem. I like using reflectors and scrims but, theres rarely opportunity for doing so. Otherwise, digital cameras and software can do a really good job with available light if you know something bout exposure and your camera.
12) If you couldn't do photography what else would you do?
a. Write about all the imaginings in my head thats the thing between imagining, and remembering is the image. Funny how imaginings create an unsettling itch for creation but, once imaged, become comfortable memories. What changed? Weird, huh?
13) Do you have any funny or interesting stories about your experiences?
a. Nothing comes to mind lots of funny, strange, weird, wonderful, interesting, hateful, normal and good people have come and gone through my lenses but the people are the stories, not the experience.
14) Is there somewhere we can see more of your work?
a. Ugly Hedgehog and, Ive a Facebook page Stephen southernfood but use it as a mechanism for getting work photos onto my Government computer- thank you Eric Snowden. On it, youll see all kinds of crap but photography isnt the purpose I generally delete off the page everything a couple of times a year- just to keep it from getting too cluttered except for my Africa stuff. As a volunteer at New Orleans Southern Food & Beverage Museum now the National Food & Beverage Museum they featured my work on their walls and in every publication and national story NPR, Architectural Digest, USA Today and dozens of regional magazines but theres no collection of such. My work there is now buried by the photographic volume of subsequent events and other photographers.
15) Do you have any advice for the rest of us?
a. Take lots of pictures If you wont shoot because you feel the lights not right, or composition is wrong; fine, shoot when its right for you but shoot it now, too. Shoot it wrong, shoot weird exposures and bad compositions but shoot then learn. See where highlights blew out, find the picture within the picture, see how far shadows can be pushed. LEARN. Mark Twain once said, The man who doesnt read, has no advantage over the man who cant. Thats true with photography, too. Take the picture and learn from the effort otherwise its the same as taking no picture at all.
1) How long have you been into photography and what got you started?
a. Being lazy, I slouched my way through college as an art major but soon realized I had significant difficulty flowing the image in my head down my arm and onto paper or canvas. The fact I have no talent is irrelevant. Thats when the notion of photography as a vehicle of expression came to mind.
2) Do you have any formal training and what kind of photography do you do most?
a. Again, being lazy, I presumed the easiest and fastest way to learn anything is to associate with those who have already done the heavy work. So, I served an apprenticeship with two of the best photographers in Arkansas, the eldest, Sam Fawcett, a founding member of the Professional Photographers of America and an excellent portrait photographer. Fawcett, trained my second mentor and from whom I learned the importance of delivering an image irrespective of time, weather, location or bad light. Included in that education was the gotta make a living mindless repetition of grade schoolers with awkward clothes, missing teeth, hilarious and large smiles and too much enthusiasm. But that was kinda fun, too. I hated weddings. That is, I hated them until I arrived at the church and engaged with the couple and their families and from them coaxed expressions better suited to the occasion than that of fear and terror. Typically, I was enjoying myself by the second roll of 120 Vericolor, but was, nonetheless, always glad when the couple finally left the reception and things got again quiet and parents, proud, relieved and a little bit sad squeezed each other walked out holding hands there were many such poignant times- which were excellent for stuffing down a big slug of left over wedding cake.
b. What I really enjoyed was shooting high school seniors they were just fun, young adults with fearful confidence, lots of energy, uncertain direction and acne. Guys trusted me enough to do the silly things I asked them to do and young ladies, with lineless skin, healthy hair, clear eyes did too, but with a little suspicion but not for long. Yeah, I liked shooting teenagers.
3) In your opinion, what makes a good picture stand out from the rest?
a. Cohesion. That is, the image parts are held together in logical and orderly arrangement. Color and texture are parts to be included. Composition is a suitable adjective. Even a dull image is presentable if packaged properly.
4) What equipment did you use and was there any special setup? Can you walk us through it?
a. For this image, I was in a Seabee motor pool and noted several sailors working between a truck and the buildings wall. Skylight, large and soft, from the open bay door became directional once funneled between the truck and wall. An open double door at the back of the bay provided an accent or skim light to the subjects shadow side. There was no special setup- just watch the light and the subject and try to not get grease on me. I shot several sailors in that work area, including a female who was an excellent subject and my first choice but, shed been previously working outside, in the sun and it was a hot morning; she was sweating a bit and discoloring her tee shirt. Fine, great, perfect a serious shot, with sweat and sweetness but that wasnt possible with her getting razzed by her coworkers and nervous about the attention. OK then, a happy shot but soon discovered when she smiles, her eyes disappear. So, this sailor is a good representation.
b. My equipment was a Nikon D600 with an 85mm 1.8, aperture preferred setting and ISO 100.
5) Do you post process your final images, and if so can you describe your workflow?
a. Yup, I do PP on just about everything I shoot but not much in this instance. The subject has a good complexion and clear eyes. Generally, I load first into Lightroom for a good color balance, then black/white point determination and sometimes a weak vignette. Next, exported into Photoshop where background hot spots are toned down and in this image, the subjects hand was also darkened. Next I hit the eyes, with the dodge tool, on shadow and about 20%, I lighten up the iris overall with a couple of passes but double effort or so on the part of the iris directly opposite the catch-light. Then changing the dodge tool to mid tone or highlight I make one- no more than two- passes just along and outside the iris to lighten up the white part of the eye and add roundness. This makes the eye appear dynamic. With the burn tool, about 12% and on shadow I trace the iriss edge, defining it and adding contrast. For men, Ill hit a few eyelashes but not many, darken the pupil and also, that black part under the upper eyelid. One of my art instructors said if there is an absolute black anywhere on a portrait (oil, water color, pencil, etc.) it is the shadow made by that thin edge of eyelid across the iris. On females, I do the entire underlid and all the eyelashes- top and bottom. Next, I knocked down a couple of broad highlights on the subjects cheeks. It was a hot, moist morning and flat, damp surfaces get very bright very quickly. This image also got a short round of frequency separation retouching to blend in those cloned out hot surface reflections. Finally, the extended arm was gently burned/darkened for a believable transition.
6) Who or what has influenced your photography and what inspired you to take your winning shot?
a. Im an introvert and a people watcher. Just as those who take bird portraits hide themselves in a blind to get close to their subjects, I slap on a Nikon mask and stalk the unwary, getting in their face and examining them like bugs under a microscope. No, not that creepy, but I am curious as to their stories, strengths and fears,
b. As stated earlier, I like shooting young people. Also, I am incredibly proud of the hard work these soldiers, sailors and airmen do. Im not kidding: anything I do for them is the best I can manage and without charge.
7) Would you change anything if you could do it again, and if so what?
a. I wouldnt change any of my experiences but do wish I had taken more photographs- from my high school days, my years in Alaska, some of the best dogs ever, a few people, and thousands of characters I could have taken more, I should have taken more but, somehow, at the time I was simply too lazy. Big regrets there
8) What is the one thing you wish you knew when you started taking photos?
a. Dont waste money on cheap glass: it doesnt improve you or your images and reliance on such is spitting out half your dinner as youre chewing it. Another: learn how to hold steady and help yourself to sharper images. Last one: learn your camera- carry it, use it. Second last one: get a good grasp on exposure.
9) What is your favorite photography accessory, other than your camera?
a. A speedlight its not really an accessory its an extension of your camera and one needs to know both equally in order to use either.
10) If you had to choose one lens which one would it be and why?
a. My 28-300 is responsible for 75% (by volume) of the photos I take. With it, I can do portraits if necessary or reach in for detail shots. I wont say its my favorite lens but is the one I use and rely on the most.
11) What lighting equipment, if any, do you take on a shoot?
a. Ill take an SB-400 as a small, bounced fill-in but only if the venue is really dark or, as is in some meeting rooms, strong, straight down, recessed lighting that makes for black eye pockets strange nose shadows. Ive several SB-800s too that I can but rarely set up to work in tandem. I like using reflectors and scrims but, theres rarely opportunity for doing so. Otherwise, digital cameras and software can do a really good job with available light if you know something bout exposure and your camera.
12) If you couldn't do photography what else would you do?
a. Write about all the imaginings in my head thats the thing between imagining, and remembering is the image. Funny how imaginings create an unsettling itch for creation but, once imaged, become comfortable memories. What changed? Weird, huh?
13) Do you have any funny or interesting stories about your experiences?
a. Nothing comes to mind lots of funny, strange, weird, wonderful, interesting, hateful, normal and good people have come and gone through my lenses but the people are the stories, not the experience.
14) Is there somewhere we can see more of your work?
a. Ugly Hedgehog and, Ive a Facebook page Stephen southernfood but use it as a mechanism for getting work photos onto my Government computer- thank you Eric Snowden. On it, youll see all kinds of crap but photography isnt the purpose I generally delete off the page everything a couple of times a year- just to keep it from getting too cluttered except for my Africa stuff. As a volunteer at New Orleans Southern Food & Beverage Museum now the National Food & Beverage Museum they featured my work on their walls and in every publication and national story NPR, Architectural Digest, USA Today and dozens of regional magazines but theres no collection of such. My work there is now buried by the photographic volume of subsequent events and other photographers.
15) Do you have any advice for the rest of us?
a. Take lots of pictures If you wont shoot because you feel the lights not right, or composition is wrong; fine, shoot when its right for you but shoot it now, too. Shoot it wrong, shoot weird exposures and bad compositions but shoot then learn. See where highlights blew out, find the picture within the picture, see how far shadows can be pushed. LEARN. Mark Twain once said, The man who doesnt read, has no advantage over the man who cant. Thats true with photography, too. Take the picture and learn from the effort otherwise its the same as taking no picture at all.
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