TUTORIAL // Flipping & Cloning an eye onto another by lyn mckellen

I was having trouble with a portrait today, specifically with a persons left eye which was half closed in an otherwise great portrait. So I did a quick Google and came across this simple fix using Photoshop by lyn mckellen for Lynda.com 

If you use Photoshop, I imagine you probably know all about the amazing healing brush, which lets you clone one area of an image (called the source) onto another area and seamlessly merge the results. (Or, at least, that's the idea. Some results are more seamless than others.) But do you know about the healing brush's partner in crime, the Clone Source panel? It lets you set the position of the source as well as scale it. Better yet, you can flip and rotate the source.

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Source (http://www.deke.com/) (image Simon P M Johnson)

INTERVIEW // Henri Cartier-Bresson ‘There Are No Maybes’

In 1971, Sheila Turner-Seed interviewed Henri Cartier-Bresson in his Paris studio for a film-strip series on photographers that she produced, with Cornell Capa, for Scholastic. After her death in 1979 at the age of 42, that interview, along with others she had conducted, sat like a time capsule in the archives of the International Center of Photography in New York.

That is, until 2011, when Ms. Turner-Seed’s daughter, Rachel Seed, learned of their existence and went to I.C.P. to study the tapes...

Q. Have you ever really been able to define for yourself when it is that you press the shutter?

A. It’s a question of concentration. Concentrate, think, watch, look and, ah, like this, you are ready. But you never know the culminative point of something. So you’re shooting. You say, “Yes. Yes. Maybe. Yes.” But you shouldn’t overshoot. It’s like overeating, overdrinking. You have to eat, you have to drink. But over is too much. Because by the time you press, you arm the shutter once more, and maybe the picture was in between.

Very often, you don’t have to see a photographer’s work. Just by watching him in the street, you can see what kind of photographer he is. Discreet, tiptoes, fast or machine gun. Well, you don’t shoot partridges with a machine gun. You choose one partridge, then the other partridge. Maybe the others are gone by then. But I see people wrrrr, like this with a motor. It’s incredible, because they always shoot in the wrong moment.

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Ms. Seed, herself a photographer, has been working on a personal documentary, “A Photographic Memory,” about a daughter’s search for the mother she never knew through their shared love of photography. She is raising money with a Kickstarter campaign.

Source (http://lens.blogs.nytimes.com/)

Auto This, Manual That by Nick Bedford

I've come to the conclusion that, after four years of taking pictures, I no longer care about how a picture was taken, only how it stands on the merits of its subject matter and composition. I think I did a while ago, really, and to a certain degree you should too.

f/4.0 © 2014 Nick Bedford

f/4.0 © 2014 Nick Bedford

When it comes to exposure, my eyes aren't an accurate light meter. With experience I can guess the exposure, but more often than not it's not accurate. Most of the time when I shoot manually I'm actually just setting the exposure settings to what my meter says anyway since that would yield an appropriate exposure the majority of times.

So with my personal photography, I shoot in aperture priority mode, focus with autofocus, recompose, and fire. I control the depth of field which in turn changes the range of shutter speeds I can use. I care far more about the actual image composition than constantly adjusting my exposure triangle.

I just want to tell the camera what I want in my frame, and where to focus the majority of the time. My camera is set up with a minimum of ISO 400 and max of 3200 and ISO 400 gives me half the shutter speed by default, which helps with the quick pace of street photography. So in a way, you still have a lot of control over your settings if you know how they are affected by your other choices.

f/5.6 © 2014 Nick Bedford

f/5.6 © 2014 Nick Bedford

I rarely take more than one or two pictures of the same subject. I see something, aim and fire and look at the result at a later time. I know my camera enough to know that if anything messed up the photo, it's likely my own execution, rather than the camera's automatic exposure decisions.

I should be good enough to know that, for example, at night the camera will slow down and use a high ISO, so I should be good enough to work around this when taking the picture and not get mad at it when it decides such settings.

I guess my point is that you really shouldn't worry about which "mode" of photography you're using and just use the one that allows you to take the picture successfully whether it's manual, semi-automatic or even fully automatic.

f/2.0 © 2014 Nick Bedford

f/2.0 © 2014 Nick Bedford

Nick Bedford is a Freelance Photographer &  Member of The West End Camera Club

Chernobyl by Gerd Ludwig as told to Meg Ryan Heery

In 2005 Oleg Shapiro, 54, and Dima Bogdanovich, 13, received thyroid cancer treatment in Minsk, Belarus, where surgery is performed daily. Shapiro was exposed to extreme levels of radiation while working as a liquidator. Dima’s mother blames Chernobyl’s nuclear fallout for her son’s illness.

In 2005 Oleg Shapiro, 54, and Dima Bogdanovich, 13, received thyroid cancer treatment in Minsk, Belarus, where surgery is performed daily. Shapiro was exposed to extreme levels of radiation while working as a liquidator. Dima’s mother blames Chernobyl’s nuclear fallout for her son’s illness.

Visiting an orphanage in Gomel, Belarus, in 2005, I made a request to photograph the children it housed. The director said, “OK, come tomorrow morning.”

The next day I was greeted by two officials, who told me, “Oh, children anywhere can be born with malformations. You won’t find Chernobyl victims here.”

I said, “Are you sure? Not even secondary problems, like those from the mother’s alcoholism or children who were given up by parents who couldn’t handle the stress of relocation and their own diseases?” They replied, “No, no, no, nothing here!”

I knew that many orphanages in Belarus receive funding from international foundations dedicated to helping Chernobyl victims. So I argued, “OK. If you give it to me in writing that none of your children here are in any way related to the Chernobyl accident, I’ll pick up my cameras and leave without taking a single picture. But of course then we will report in National Geographic that this kindergarten doesn’t need any help from the Chernobyl funds because you don’t have victims from Chernobyl here.” You should have seen how fast they changed their minds. From my first visit to the region, I learned that you can’t trust anything about Chernobyl.

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Source (http://www.americanphotomag.com)