photographer of unesa

Announcement Of Champion Photo Model of Explore And Digital rally Competition

2009-05-09T19:32:00.000-07:00

The Winner of Digital rally Competition
Champion 1 Yudha A no. participant 051
Champion 2 Suryanto no. participant 105
Champion 3 Ecilia Dhaniar F. no. participant 055

The Winner of Photo Model of Explore Competition
Champion 1 Yudha A no. participant 051
Champion 2 Latief Nugraha no. participant 081
Champion 3 Aditya Wirabakti no. participant 025

Congratulation for All Champion

Intake of Present :

16 May 2009 at 19.00-21.00 WIB

in Secretariat of AFO ( Photography Activity) Unesa

NB : Winner can contact person contact which we provide

Zulfa : 085649257123

Udin : 085648761351

Anwar : 03160833654 / 085645050088.

The Big Seven Champion

2009-05-09T19:28:00.000-07:00

Announcement Of Champion Photo Model of Explore Competition.

2009-05-09T19:21:00.000-07:00

The answer of Digital Rally competition

2009-05-09T18:59:00.000-07:00

Digital Rally & Model Explore

2009-04-23T20:38:00.000-07:00

To view more information, please click image

Buyer's Guide 2009: D-SLRs Over $2,000

2009-01-11T19:20:00.000-08:00

The tools of the pros, these top-tier models offer the cutting edge of digital image capture

By Mike Stensvold

If you make your living with your camera or simply want the very best performance and latest technologies, pro models offer uncompromising feature sets and image quality. This also is the range where you'll find "full-frame," 35mm-size sensors, allowing you to use 35mm lenses with no magnification effect. Typically, these models are exceedingly fast, offer the most sophisticated focus and exposure systems, and are built to withstand heavy daily use. They're heavier and bulkier than consumer-level models, and the learning curve is steeper to take full advantage of their features, but if you want the ultimate digital photography experience, this is it.

Canon EOS 5D Mark II
The long-awaited successor to Canon's popularly priced full-frame D-SLR, the new EOS 5D Mark II increases the 5D's resolution to 21.1 megapixels (from 12.8), employs the new DIGIC 4 image processor and extends the ISO range to 50-25600. It also adds full HD movie-clip capability (1920 x 1080 resolution at 30 fps). A three-inch, 920,000-dot LCD monitor offers three Live-View modes. Designed for durability, the 5D Mark II incorporates the EOS Integrated Cleaning System to keep dust off that big sensor, improves weather sealing, ups the shutter life span to 150,000 cycles and lots more-at a price $600 less than the original EOS 5D when it came out

Specs

Image Sensor: 21.1-megapixel CMOS
Focal-Length Factor: 1x (full-frame)
A/D Converter: 14-bit
LCD: 3.0 inches with Live View
AF System: 9-point (plus 6 assist points)
ISO Settings: 100-6400, plus 50, 12800 and 25600
Continuous Firing Mode: 3.9 fps
Metering: 35-zone evaluative, 8% partial, center-weighted, 3.5% spot
Storage Media: CompactFlash
Power Source: LP-E6 rechargeable lithium-ion battery
Dimensions: 6.0x4.5x2.9 inches
Weight: 28.5 ounces
Estimated Street Price: $2,699

Also Consider
Canon EOS-1D Mark III Image Sensor: 10.1-megapixel CMOS Focal-Length Factor: 1.3x (APS-H) Estimated Street Price: $4,049
Canon EOS-1Ds Mark III Image Sensor: 21.1-megapixel CMOS Focal-Length Factor: 1x (full-frame) Estimated Street Price: $7,899

Golden Light Photography

2009-01-04T19:40:00.000-08:00

Use the warm light of the “magic hours” to your advantage
By Dave Willis, Photography By David Stoecklein

The magic hours—the hours immediately after sunrise and just before sunset—are times of amazing light for photography. The time is brief, but the great thing is that twice a day, every day, there's a generous helping of breathtaking ambient light that's complemented by the dramatic backgrounds and mood of the rising and setting sun. Colors and hues are especially beautiful at these times and, in the evening, there's a particularly warm cast to the ambient light. Western photographer David Stoecklein is a master of corralling this particular light, and he uses it to its full potential in his portraiture.

"I think, first of all, it has to do with the overall feeling of warmth," says Stoecklein of the appeal of magic-hour light in images. "It's kind of a sensual thing. Colors evoke a particular mood or feeling in the viewer, so if you're looking at cold, blue things, you get sort of a cold, blue feeling. And when you're looking at warmer tones, you get more of—excuse the expression—a fuzzy feeling."

HOW TO SHOOT
Stoecklein is a big fan of photographing his subjects in the warm light at the end of the day. Rarely does he use anything but natural lighting, so he has become an expert at harnessing the resources available to him. His number-one advice is to constantly switch through a variety of angles and lighting conditions.

His favorite is backlighting, which he finds works exceptionally well in golden light. By positioning the sun behind a subject and backlighting him or her, you avoid a lot of the strong shadows of direct lighting. Maybe even more importantly, the unique characteristics of backlighting masks and softens imperfections in the faces of subjects. Another favorite is rim lighting, using the light from the side, which falls along the edges of a subject and highlights him or her. This adds an extra visual impact to the subject and heightens the sense of separation of the subject from the background, creating depth.

Sharpness is just as important to Stoecklein, so he almost always shoots at a shutter speed of 1⁄500 sec. He uses large apertures to achieve such a fast shutter speed, usually shooting around ƒ/3.5 to ƒ/4.0 during the evening magic hour. Most importantly, he brackets his exposures as much as possible.

"You have a really cool tool in your camera," he says. "It's bracketing. You can bracket all the way from ƒ/2.8 to ƒ/11 at 500, and by doing so, you may get eight different pictures, all of which are beautiful or usable. You may get a complete silhouette, a real edgy picture, or you can get where you can see all the way into their blue eyes, depending on what you want."

He often utilizes the natural reflective surfaces in the area, too. Sand, snow and lightly shaded rocks can provide enough bounced light to fill the areas that have too much shadow, like profiles that are obscured by the rim of a cowboy hat. When there isn't enough natural fill, he always has a foldable reflector nearby. Many reflectors come as a fairly neutral silver light bounce or with a gold material for a warmer touch. Reversible reflectors provide both. Usually, though, Stoecklein finds that the light is just perfect during the golden hour.

"I usually don't worry about filling," he says. "I have a little reflector, one of those fold-up reflectors, and it pops open and it fits inside my Pelican case. If I really need to open it up, I'll use something like that. But most of the time, in the conditions that I work in, there's a lot of reflective light coming off the ground, or coming off buildings or whatever, and in that case, you get beautiful light. So if you expose for their face, you don't really need that much fill."

GEARING UP
It's just as important, if not more so, for Stoecklein to be able to block light as it is for him to be able to bounce it on the subject and on the lens. He uses black flags and cards to block light as necessary, even occasionally asking an assistant to hold up a cowboy hat to stop direct light rays from hitting his lens. It's often easier to place himself in shadow, but no matter what, he always has his lens shade.

"I see so many photographers walking around with a 70-200mm with no lens shade," he laments. "Lens shades are so important, and that's why I really work with trying to block that ambient light with a flag or a tree-or a porch, where you get a giant shadow. Then you shoot out at your subject, who's out there in the light, and you can't believe what it does. It's a whole different world."

Stoecklein has been using a primarily digital workflow for more than three years, but he also uses traditional photographic tools when he feels the need. "I still like to have as much as I can of my image finished in the camera," he says. "You can still do it in one shot in the camera, and for me it's easier, because I'm not a great Photoshop person."

He's a big fan of Lee resin filters and finds that the coral filters, in particular, work well to enhance the golden light of the evening hour. Stoecklein also uses graduated neutral-density filters for tailoring exposure as the light changes in a scene. Sometimes, the background light is great, but the subject isn't in good light. In those cases, he pulls out his tried-and-true Lowel quartz lights for a warm fill that matches the mood of the evening glow.

ON THE MOVE
In order to be able to adapt to the quickly changing light of the setting sun, Stoecklein learns all the details that might influence the way he approaches a scene beforehand. He knows the exact time and position of the sunset. Light levels also are lower at this time of day, of course, which makes fast shutter speeds hard to achieve. This makes a tripod your best friend. Stoecklein's cameras are top-notch, so he's also able to bump his ISO up for faster exposures when he's going handheld.

White balance is an important consideration during this time of dramatic color shift, too. Many modern digital cameras have excellent automatic white balance, but the low-light levels make things a little tricky, so pay attention to resetting white balance as needed. For the best results, shoot in the RAW format so you can easily change white balance at a later time if you want.

Stoecklein finds that the easiest thing to control in golden-light portraiture is the subject, as people are easy to reposition when the light isn't. He'll often position subjects with the light behind them for his favored backlighting, and he'll keep shooting at different angles, because the subtlest movements can change the whole picture. The main thing, though, is that he likes to keep fluid, especially because the light in the golden hour is changing constantly.

"A lot of times, I have a sort of preconceived idea of what I'm going to do," he says, "and that's a great starting point, but then things just happen. When the light starts to get good, things happen that you never dreamed of. There are always little pieces of light dancing around, and you may see this little shadow that happens over here, or if you're working with people who walk a certain way, and the light strikes them in a certain way, you may try to push them or direct them back into those kinds of things. You really have to keep moving around to keep from getting stuck, and look for all those other great angles-the front light and the backlight, and all that kind of stuff."

RIDING INTO THE SUNSET
When asked if he has ever worried that his images will look too similar when he shoots so much in the same kind of golden light, Stoecklein laughs and says no. He says that even though the light is always good, it's never the same.

"For instance," he says, "I just did a shoot for Western Horseman magazine. I have this project I'm working on for them—cowboys moving some cattle from one pasture to another—and I was at my ranch, and I saw the moon come up. It was a full moon, and I went, oh, perfect! Tomorrow night is going to be the perfect night, because the moon is going to come up, and there's still going to be nice light. There's a point in the full-moon cycle when the moon comes up at exactly the same time as the sunset. I really wanted that blue, blue moon, and the cowboys in that beautiful, golden, ambient light. So then I got over there at about 7:30 p.m., and we picked the spot, and figured out where the moon would be coming up, and we started moving the cattle in that direction. And then we were able to get the moon coming up over the hills and the cattle. And it was just gorgeous."

Human Interest

2008-12-26T00:17:00.000-08:00

Human Interest 2

2008-12-26T00:07:00.000-08:00

landscape

2008-12-25T23:54:00.000-08:00

OPPORTUNITY OF BUSINESS PHOTOGRAPHY

2008-12-17T18:12:00.000-08:00

1. Journalistic
In the world of journalistic, journalist divided to become two that is write
journalist and photo journalist. Press photographer give an occurence
through a portrait result (photo). Beyond the sea there are special agent
sell news photo, that is : Gamma, Sipam, Reuters and others.

2. Photo Studio
Service that given by photo studio, that is : Photograph by various style or
model, clean film, print by various measure, sell camera or film and need
of other photography. Room in studio have been arranged good in such a
manner background, lighting, and others so that do not require time old
ones for preparation to make a picture.

3. Art Photography
yielded photo a artistic fotographer is photo owning esthetics value
(beauty) and feel high art. artistic Photo price can very costly, reaching
billion rupiah. Artistic photo weared many for the calendars, utterance card
and others.

4. Documentation photo
Different with art photography, documentation photo more focus at
accuracy of intake of moment and intake all events. Result of
documentation photo can narrate all occurence start early to the last in an
event. ordinary event is documentation among other: Anniversary,
Nuptials, Opening, ceremony, graduation, and others.

5. Circle Photographer
Circle Photographer recognized by many countrified areas. Circle
Photographer to vend service photograph from one place to other place.
Photograph location conducted at home consumer or around him
according to request. Brought equipments very simple, usually only one
camera unit and one unit of blitz.

INVITATION

2008-12-11T20:46:00.000-08:00

To : AFO
From : Mz. Amir

Married Invitation from Mz. Amir
on Friday, December 12, 2008
at 19.00 pm
place : Jl. Manyar Sabrangan X/6 Surabaya

thank you

Making Pinhole Camera

2008-12-02T00:25:00.000-08:00

KLJ can be made by milk can, nevertheless materials of KLJ do not limited from
both materials. At this acquaintanceship phase, will be tried to make KLJ by
using can, because tortous effect / panorama distortion or super lens effect
enough width draw.

A. Materials and appliance

Materials
- Can
- Alumunium Foil
- Paint spray black colour
- black Linen paper
- Black Lakban
- Doubletape.

appliance
- Cutter
- Needle sew
- Scissors
- Emery Iron.

B. The Way of Making Pinhole Camera
1. Preparing camera tube

Make hole use to drill / cutter at can wall to put
down lens of KLJ. Than attenuate cutting
secondhand with emery.

Paint inside of can with black colour. Black colour
good for lessening undesirable light reflection.

2. Making lens of KLJ

- Light gap

Prepare cutting of alumunium foil packer of food.

Make hole middle shares of him. Its way put down
above foil alumunium of hard surface and flatten (
for example mica or glass), than depress and turn
around needle formed by hole equal to needle
(may not too wide).

- KLJ Lens
Prepare fairish black pasteboard of 5 x 5 cm2 than
made hole in the middle shares of fairish 3,5 x 3,5
cm2. Constructively doubletape paste up foil
alumunim (which have made hole) at black
pasteboard (holey) so that lens of KLJ (for a while)
have been formed.

Constructively doubletape paste up lens of KLJ0
at external wall of can. To assure light leak
inexistence, close around lens of KLJ with black
lakban.

- Shutter Release
Cut measure pasteboard paper 10 x 10 cm2 than make the cutting of door
leaf closing over hole of KLJ openable of photograph moment cover.

to be continue.....

Alone Vespa

2008-11-24T01:10:00.000-08:00

Photographer : Putra Uji D. S.
Location : Solo
Camera : Canon Power Shot A710
Res : 4,5 M

Becak in Solo

2008-11-24T01:03:00.001-08:00

Photographer : Putra Uji D. S.
Location : Solo
Camera : Canon Power Shot A710
Res : 4,5 M

Pinhole Camera

2008-11-19T23:58:00.000-08:00

By : Amir Faisol and Friends

Pinhole Camera is a camera used by human being before found a camera having lens. Along with epoch progress, Pinhole Camera experience of the growth as according to requirement. in the last created a sophisticated with a principal as according to Pinhole Camera. In Jon Grepstad articl, the Pinhole Camera (KLJ)used for science, artistic and happiness (hobby). This camera represent the base from photography, photography coming from photo (light) and graphein (draw). So the photography is make the paint, drawing by using light. Base theory weared in KLJ that every object incured by a light surely bounce the shadow which can be under arrest by media. This matter is equal to that happened at our eye, human being can see because any light bound from a object which step into our eye through cornea distribute to a eyepiece than fall precisely in retina.

This camera can be made by unused tin, food box (hardboard), or object owning space and is not translucent. By base of Pinhole Camera is made from impervious substance of light having puncture its pullin shadow and a media (photo paper/film) as shadow arrester. In the following is shares and function from Pinhole Camera :

Camera Body/ Film Room

Like explanation before all that Camera body at Pinhole camera is made from ex-can, box, etc. If the camera is made from milk-can hence the film room of is interior of milk can. Function of film room is place for the save of film, usually the film placed in most shares far from position interpose light.

KLJ Lens
Lens of KLJ is a object (usually black pasteboard which sticked on foil allumunium made hole with needle).

Light Gap
Light gap at KLJ in the form of puncture (needle rough poke hole) which cannot formating again. The Light gap is pullin of light from outside into film room. If undersize made light hole hence light which enter will a few so that illumination time will sufficiently long. As a result picture which the was yielding of even also will become smallly. On the contrary, if made hole too big will cause illumination time progressively shorten. At this condition will be yielded by big picture.

Sir Thomas Stamford Raffles

2008-11-19T00:34:00.000-08:00

Photographer : Vanny Agus D.
Location : Surabaya
Camera : Yasica
Res : 5.0 M

about us

2008-11-18T18:30:00.000-08:00

University State of Surabaya (UNESA) have a comunity of photographer. We can calling them AFO (Activities of Photograph). Anybody can join with us not only from University State of Surabaya unconditional, you only need desire for became photographer. In Activites of Photograph we can know more about Photography, we can sharing experience and any more.

Activities of Photography UKM born on 21 March 1992 in Surabaya, pioneered by Technological Student Majors of Education and assisting some Lecturers which teaching Photography lesson from Technological Majors of Education and Fine Arts of IKIP State of Surabaya. With new members amount which come from all faculties in University State of Surabaya which continue increased per annum him and have high interest with photography. Finally, AFO UKM can hold out till this time.

Vision and Mission
Mustering student which is interest about photography for have achievement.
To developing environmental photography world of Student /Campus and outside campus.
Printing skillful Student Plus [is] Photography area.

You can visit us in : Concerted UKM Complex University State of Surabaya (UNESA)