Data Protection for Photographers: A Guide to Storing and by Patrick H. Corrigan PDF
By Patrick H. Corrigan
All photographers, either novice undefined, are confronted with the $64000 problems with facts safety and garage. with no wisdom of the choices, instruments, and methods for secure and powerful snapshot defense and garage, photographers run the intense threat of wasting their picture documents. This ebook deals severe information regarding the easiest undefined, software program, approaches, and practices for shooting, storing, and holding pictures and different data.
This publication explains present facts safeguard and garage applied sciences in daily phrases. It describes potent techniques for shielding information, from catch to backup and archiving. Descriptions of particular items acceptable to home windows, MacOS, and Linux structures are supplied.
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Additional resources for Data Protection for Photographers: A Guide to Storing and Protecting Your Valuable Digital Assets
A quick grabshot with my 24–70mm lens. 62 direction and quality of light on-camera bounce flash 63 idea when using the BFT to flag my flash is to block any flash from falling directly on my subject. Here, this let me create soft, indirect light that lit the couple from a nice angle—similar to using an off-camera softbox. Of course, in this case, I had to be at fairly extreme settings on my camera to make that work. Plate 6-10 (facing page). Bounce flash was used to simulate window light. 4 lens; bounce TTL flash with FEC at +1EV) Bouncing your flash entails a loss of power.
This way, they are effectively in open shade with the sunlight providing rim light. This does mean carefully positioning your subject in relation to the light, and positioning yourself in relation to your subject, the light, and the background. For my portrait of Nicholas, I knew I wanted some out-offocus color in the background, so I positioned myself to use a red shrub and defocused highlights behind my subject. I set up a 24x24-inch softbox on a light stand to my left. Because I knew that this little guy and his sister would be moving around, I decided to shoot in TTL mode.
Two Exposures The key to combining flash and available light is that you have to consider the flash exposure and the ambient exposure as flash essentials 43 two separate events. This is because the two kinds of light are inherently different. While ambient light is continuous, flash is nearly instantaneous—around 1/2000 second, depending on the design of the flash and how the flash pulse itself is controlled. This is very important because it means you can use different controls to approach the exposure of the two kinds of light.
Data Protection for Photographers: A Guide to Storing and Protecting Your Valuable Digital Assets by Patrick H. Corrigan