In the previous issue of our magazine was published the first part of the article by Georgy Rozov
Rozov’s lessons: look and see. Part 1
, dedicated to how knowledge of the properties and peculiarities of photographic equipment helps a photographer not to miss an opportunity to make a good shot. More precisely, to see the opportunity to shoot it. “To look” and “to see” are not synonymous. In this issue is given the second – the final part.
Knowledge of technical specifications, or to be more precise, the functions hidden in the body of a modern camera body allows the photographer to dream almost without any limitations. The main thing is not to be afraid to experiment. I, for example, like to observe clouds. They constantly change shape, resembling a crocodile, then a bird, then the profile of Santa Claus. This time, the sun, breaking through the cloud, found two holes that suddenly lit up the eyes of the attacking eagle. I must say I could have skipped this shot and not taken it if I hadn’t been able to see the future of the shot after the final processing.
The sun was still fairly high above the horizon line, shining hard and vigorously, and it was painful to even look at it. But I knew what I had to do at home. I will, of course, gradient the sky to equalize the brightness of the sky and water. That’s when the hitherto hidden shape of a cloud like an eagle or an owl will reveal itself, not only to me.
Must be sure to explain why the contrast of the sky and the contrast of the water are different. The sky was showing up in the converter with an emphasis on working out the highlights. That is, I was extinguishing the light tones. And the water, with the same gradient, I adjusted so that the shadows read the waves and there were no gaps in the light. In the original, the sun track was so bright that I involuntarily recalled the days of analog photography.
On the slide, any shot of this kind always came out with blown out highlights and almost sagging shadows in the waves. We tried not to include the high sun in the frame: we were waiting for the sun to fall to the horizon. Only at this point did the contrast of the subject drop so much that all the tones could be squeezed into the range of photographic latitude of the film.
Olympus E-M5 Camera, Zuiko 12-40/2.8 Lens, Aperture f/14, Shutter Speed 1/640s
Exposure compensation -1 EV, Sensitivity 200 ISO, Focal length 50 mm of film standard
Read more – on fotosky the online version of Consumer magazine.Photo & Technique
What specific topics will be covered in Part 2 of Rozov’s lessons?
What specific lessons does Rozov offer? Is there any particular reason to watch this series?