shutterpass magazine english

maGAzine

may 2016

photo: Dimitar Ganchev

photo: Paulo Silva

Dimitar [email protected]

Pavel [email protected]

Elena Bakarlievaco-founderelena.bakа[email protected]

Authors:Anton NachevAntonya SimeonovaAngelika DgibrovaStefka RaichevaDimitar MahnevEmil Stefanov

Translators:Milen MalchevTanya NakovaGjoko MialchevAlexey Zaharinov

Photojournalists:Toshka BalabanovaAtanas Velikov

DISCLIMER & COPYRIGHT it's not responsible for texts, photos and illustrationspublished within, as owned by the authors.All rights are reserved, reproduction is expressly prohibited under the rules governing copyrights.

ADVERTISING & [email protected]

MAGazine

Maybe we should explain who we are, what we do and why we do it.We hope you will stay with us for a long time and you to find out on your own.But just in case let’s make an attempt: SHUTTERPASS is a magazine for photography. Since we do not like unnecessary comments and praise, every little piece of text, image or product on the pages of the magazine, is there because we be-lieve in it. And it is entirely authentic.Moreover, we like beautiful things. That’s why we make our best to make SHUTTERPASS beautiful from beginning to the end. Beautiful of course for us, because beauty is subjective. And if SHUTTERPASS is beautiful for you too - then we are “on the same page.”We do not like to be limited. Therefore SHUTTERPASS is entirely on-line edition - Internet is a great place to reach your full potential without being suffocated with printing and logistics. And though sometimes we lack that sense of smell of paper and freshly printed issue, we believe that the digital format can deliver a lot more and different sensory pleasures, and we plan to use the full potential of the technology. But everything in its time.SHUTTERPASS is a monthly magazine, in the best practises of the media. But since at least half of the members of our team are peers of the Internet, we know about the dynamics of the network. Therefore, while waiting for the next issue, you can find your daily dose SHUTTERPASS in our website.

We are pleased to meet you.

Special thanks for all the inspiration, time, help and love to my beautiful fiancee Tiffany.

photo: Marya Dimitrova

CONTENT

photo: Maya Stancheva

1 - 10 11 - 20 21 - 2223 - 2829 - 3435 - 4243 - 5051 - 6667 - 74

Interview with Michal PiotrowskiInterview with Lubo SergeevLandscapes from Paulo SilvaInterview with Lauri Lohi academY - Lights at dusk RetouchingacademY - Tinting with PhotoshopInterview with Stefan StefanovPhotocontest - WinnersTower Bridge - Beauty of London

photo: Lubo Sergeev

Hello Michal, glad to have you with us this month. Tell us a little bit about yourself?Hello Shutterpass! I am glad that my photo shoots became interesting for You! You might be surprised but I am not a professional photogra-pher, but a Master of Science in telecommunicati ons and I am working in IT industry. However a photography was my passion since few years and it is what I am doing in a free time.

For how long have you been a photographer?It is hard to say when I became a photographer. I have been taking photos since I was 15 years old, what was 10 years ago. I started with photo shoots of polish mountains and landscapes. It was about three years ago when I started to publish my photography in an internet and I made first steps in portraits.

When did you realized that you want to be a photographer?It might sounds funny, but it was when I started receiving very positive feedback under photos which I published on the site deviantart.com Then I realized that it gives me a lot of pleasure if other people really like my artworks. I decide then to start taking photos more seriously and I bought my first DSLR camera and prime lens.

Did you study photography at to school?You can call me a self-taught man as a photographer. As a teenager I was interested in a digital graphic. I was preparing graphic materials for my school, as the posters, flyers and the elements of the websites. In this way I got an experience in graphics editing what was very useful knowledge when I started to retouch my photos. The knowledge about photography I got mainly from the books. I started with books concern-ing photography fundamentals written by the Bryan Petterson. From his books I taught the essentials of the composition and the exposure.

How would you describe your style?I felt in love in making portraits of beautiful polish woman. Nevertheless, classic, fashion looking portraits are little boring for me. I always want to create unique, dark or fairy-tale atmosphere in my photos. I think it is re-lated to the thing that I am lover of the fantasy books. I love the most colorful, fairy-tale looking photos. However, for the contrast I also trying sometimes to add dark, cold vibe to the photos when the my models are clothed in a Gothic style.

What it feels like being a Gothic photographer/artist?Personally, I consider this as something exceptional. There is a lot pho-tographers and models around the world who create portraits which looks very similar. Photos in a Gothic style are always stands out from the crowd. Mainly because You rather not see very often ladies in Gothic clothes when you are walking along the streets. Nevertheless, it is not easy to find a perfect model for a photo session in a Gothic style. The main thing is about the stabilization. Most of girls do not have own cor-sets and Gothic clothes. It costs a lot and only few shops are selling this kind of clothes. Another thing is about the post production. I personally consider that editing photos in a Gothic style demands some additional skills and a creativity. I must admit that I am not as good photographer to create such atmosphere in the time of taking s photo, so I need to create the atmosphere later.

Is there a movie, a book or an image that you remember for the first time truly influencing you?I think the most influencing for me a the screen adaptation of the Tolk-ien’s novel Lord of the Rings. I am really in love with the New Zealand’s landscapes enhanced by the special effects. I love the fairy-tale looking scenarios of the Rivendell and Lothlorien forest and also more scaring places, like a dark forests/mountains. Moreover, in one of my last photo session I used an artificial spider’s web to create an atmosphere of the girl imprisoned by the giant spider. Beside Tolkien’s novel I recently got inspired by the landscapes from Vikings TV series.

What inspires you before a shoot and from where do you get your inspi-ration?Usually my initial inspiration came from my models and their stabilization. On the current level I do not own a great wardrobe with the extraordi-nary clothes so I have to rely on my models.

When the styling is ready then I am looking for the place which will match to the model’s stabilization. Fortunately, around city where I am living, which is Wrocław I can easily find a lot of places with the historical architecture or places filled by the trees and flowers.

What is the last project you’ve finished?The last big project was the lingerie session in the Gothic Lolita style with two beautiful models: Revena and Silver Wolfie which was taken in the old-fashioned looking room. It was a first time when I took indoor session in this atmosphere, but I am very glad from the final effect.

Are you currently working on any project? Could you describe it?I have plans for a few Gothic and pagan style sessions with the well-known polish alternative models. However, currently I am working on the photos from the session which I called “In the secret garden”. There are photos of redhead girl stylized for the princess which was exciting the blooming flowers in the abandoned and wild looking garden. I think the photos will be thrilling because I got an excellent match of beautiful model, her expression , interesting place and the sunset light.

Do you work alone?Photography is the passion which I am sharing with my girlfriend. I can say that She is my muse and without her I would not be able to go so far. She was the first girl I was portraying. She turned out very talented mod-el and she is now known in the internet as the Revena, polish alternative model and stylist. I have to admit that her fan page is 4 time more pop-ular than mine and during last two years she worked with several high class polish photographers! She is helping me during preparations to the photos session. She is finding interesting places for photos and helps less experienced models in preparing styles. Many people who knows both of us consider us as the great team and I can’t disagree with them.

What type of cameras do you shoot with?I am a Nikon user. I started with the amateur DSLR camera Nikon d5100 but few months ago I changed it for full frame model: Nikon d750 and I loved it.

What is your favorite photographic accessory, other than your camera?First of all I love my prime lenses. It is most powerful thing in portraying. Most of my photos I took with 85mm prime but I am also using 35mm prime indoor or for photos, where I need more space on photo. Recent-ly I started using external Nikon’s speedlight mounted on the tripod with the reflecting umbrella. It is used to allow more exposure on the models face, also outdoor. However I am beginner in use artificial light, but I see a great potential in it.

What else is in your photographer`s backpack?I think it will be surprising for You but it is a vacuum bottle with hot tea or coffee. It is essential for the outdoor photo session during the low tem-perature. My models could not pose longer than fifteen minutes when the temperature outside is low without a cup of tea. It is always impor-tant to warm the fingers that freezes during taking photos, because I usually forget to take glovers with me. I take a vacuum bottle also when the temperature is higher because I am coffee addicted man. I love to make a break during the photo session, watch the photos on the cam-era with the model and refresh myself with the cup of coffee.

Which programs do you use to process and edit your images?I am using Adobe CC plan for photographers – Photoshop and Light-room.

Any words of wisdom and advice for our readers?If you are portraying other people You should remember that photo session should be a good time for both sides, the photographer and the model. I always try to put a special attention to create good at-mosphere during the photo session. It is an excellent way to make new friends from the models as the addition to the excellent photos you can get with them.

MICHAL PIOTROWSKI – THE MASTER OF GOTHIC

01 SHUTTERPASS

photo: Adam KozinskiSHUTTERPASS 02

photo: Michal Piotrowski03 SHUTTERPASS

SHUTTERPASS 04

photo: Michal PiotrowskiSHUTTERPASS 06

SHUTTERPASS 08

photo: Michal PiotrowskiSHUTTERPASS 10

photo: Lubo Sergeev11 SHUTTERPASS

Would you please tell us something more about yourself?I was born in Targovishte in 1978. When I was 3 my parents moved to Varna. Since I was little I’m keen about arts as I’ve been involved in ab-solutely all kinds of arts and I’ve been devoted to each one giving all my passion and desire. My longest involvement has been in theater as since 5 I’m playing Santa Claus. That’s why I had an extremely happy childhood that later grew into very intensive teenage period that I spent rapidly with joy and intensity. I finished doing folly “things” early when I was 19 and started my own company working what I still love. On way through life I went through Sofia, Koln, Vienna, and at the moment I live in New York.

How did you start making pictures? What made you give yourself to photography?My first aspirations in photography were along the theatre. There is one incredible magic in watching how people become different people. How although for short time they live another life with all joy and pain how make the character and follow it with all its purposes and drama. All this put in specially made environment, costumes, lights, music. I’m still very much impressed by this. I used to like to observe the emotions on people’s faces, their movement on the stage, that turning into and out of character, everything. Over time some people from various fields wanted from me to make pictures of different things for them and that just became serious and turned into profession for me.

How did you find your own photography style?I am a desperate perfectionist and restless pedant, and this is very help-ful in photography, especially when you should perform something that is intended in advance as it is in the commercial photography. As I have a very tempting desire to observe and create beautiful things, I’m non-stop trying to add something from me in what I do and that’s why I par-ticipate actively in the making process of the commercials that I do. That’s how I made of myself “conceptual commercial photographer”.

What is Photography about You?I am not sure I can easily answer this question. The feeling is just too strong in order to be able to express it. However I could very well keep quiet to this particular question.

What inspires you?Many simple things that are actually the most complexed ones. Human faith for example. The faith in good inspires me extremely much. Also in-spires me walk in the mountain, nice book or movie, also Hans Cimer. What is important for you when you shoot portraits?Shooting people is extremely difficult. You should see beyond their out-look no matter how clichéd this may sound. Though to be able to spot some prosaic things as geometry, tonality and other physical features in order to decide how to cope with them in the most effective way. You should not forget that what is inside is spot outside and the photogra-pher should learn himself to read and use it properly.

How do you make the model feel comfortable in order to get really good final result?Every time I see a human in front of me. With their peculiarities, delights and pains. Before being a model, dancer, athlete or whatever he is just human. And it is just today, not tomorrow, not in general, but today. With their today’s problems and delights. I try never to forget this and no mat-ter how busy the producing is I spend some time to help the model feel human. This is just priceless and extremely important to the very results and the producing. We are first humans and then professionals.

Which is your favorite picture?I have a shot that I made many years ago for a calendar of Radio Atlan-tic Hit Mix. The story is quite long to be told but shortly in the making of this shot took part so many people and so many moving elements had to be fit that it was almost impossible the shot to be made. However the shot that I used was the very first shot of this session. You can see it here.

What is necessary in your opinion for shot to be perfect?As I mentioned earlier: Faith :)

Is there a picture that You’ve always wanted to make but still haven’t made it?Well I think no. For sure it’s not a separate shot. I’m not keen for separate shots for a long time already. I’m rather interested in researches and sur-veys, whole projects, productions. I have several personal projects that consist series of shots, which I still postpone because of work but I be-lieve their time will come. There are clients for whom I would like to shoot, Cirque Cu Soleil for example.

Who is your idol worldwide?My favourite photographer of all times is Richard Avedon. Favourite vis-ualists for me are Erwin Olaf, Bruno Aveillan, Guy Ritchie.

What kind of technics you like to work with and what exactly you like about it?If you mean technical equipment I don’t think I have a favourite one. Depending on the specific task the right kind of equipment is being used. Nowadays we have access to whatever equipment that we could think about. There is no such thing any more that we cannot make real and the only thing important is human and their characteristics. So I can conclude that I like working with certain people more than with others, however regarding equipment- whatever the certain case requires.If you mean technique of expression I prefer movement, the expressive utterance, everything to be in range and in properly interacting to each other colours. A little piece of surrealism is also not common for me. I love the mild lighting and talking about this I would say I am more classic.

What sort of awards you’ve received through the years so far and with which on you are mostly?I’ve received many awards through the last years actually. I was select-ed to be in the top 200 digital artists in the world, I became a photogra-pher of the year by Oneeyeland.com, I won several golden medals on some world competitions, however my biggest achievement is Grand Prix 2014 on the world largest photo salon- Trierenberg Super Circuit.

What would be your advice to the young photographers that are just about to start with photography?If I haven’t mentioned it above: to have faith! :)Really whenever I am asked this question based on my experience I al-ways say the following three things: First comes the faith- one should believe that there is no way to be wrong if doing the right things. Your photography is the best and your way of seeing things is the most proper one. Second: Devotion- one must be ready to sacrifice one thing in the name of another, and photography as any other thing requires sacrifice in order to reach the level that you want to reach. And last: One must not be afraid to try, just let him make a huge quantity of bad shots, just to learn from them till he starts shooting masterpieces.

What is your photo-mission?I don’t think I have a photo mission. If there is anything that is closer to this, this is the fact, that I have a need to look nonstop at beautiful things and that’s why I create them myself periodically. So perhaps this is the aim of my photography, as far as it refers to myself.What would you like to wish to our readers?To be always ravenous and eager and to be always on focus, as from time to time make shots that are totally out of focus. This helps in seeing the other objects.

LUBO SERGEEV

SHUTTERPASS 12

SHUTTERPASS 14

photo: Lubo SergeevSHUTTERPASS 16

SHUTTERPASS 18

SHUTTERPASS 20

Hello Paulo, glad to have you with us this month. Tell us a little bit about yourself? I´m a Portuguese Landscaper who loves Nature and calm places.I leave on the North of Portugal near Oporto.I have passion by Nature, Painting, Mu-sic and Mystic places.

For how long have you been a photographer?Did you study photography at to school? Four years, and no not at all.

When did you realize that you want to be a photographer?Since i bought my first camera to shoot my Family.

How would you describe your style? Well, i think i´m a comtemplative, meditative Landscaper, and purist.What inspires you before a shoot and from where do you get your inspiration? Th beauty of light and is color.I get inspiration from simple things of life.Nature, music and painting.

Are you currently working on any project? Could you describe it? Now i start to make workshops and i´m working in a project for my homeland who is a Photoalbum of the most important topics of the city.

What type of cameras do you shoot with? Now i have a Canon EOS 6D.

What is your favourite photographic accessory, other than your camera? What else is in your photographer`s backpack?The filters and Tripod .LEE Filters 100mm system, ND Grads, ND Fulls, warm filters, 105mm LEE Landscape Polariser, shutter realease, Canon EF 17-40 f/4 L USM and Canon EF 24-105 f/4 L USM.

Can you give some advice to our readers?To have success in photography we need a big passion, work hard and photograph alone.Find our style, develop our technic and the results will come, and belive...just believe

PAULO SILVAAMAZING LANDSCAPES

photo: Paulo Silva21 SHUTTERPASS

photo: Paulo SilvaSHUTTERPASS 22

Hello Lauri, glad to have you with us this month. Tell us a little bit about yourself?Hello! I am 26 years old, self-taught amateur fineart nature and land-scape photographer based in Hämeenlinna, Southern Finland. I passion-ately love nature. I live in a domestic partnership and I’m a father of 14 months old daughter and 3 years old step son.

I am passionate nature lover, I enjoy the little things on my everyday life. For profession I am a Carpenter, but at the moment I am unemployed and staying home with my lovely daughter and spending days with her. I do photography always when I got the time and the weather permits. Mostly late at night and early in the morning when the rest of the family is sleeping.

For how long have you been a photographer? Well, I’ve photographed less and more for couple of years now, first touch to camera and photography was when I was a little kid, about 11-years-old and practiced with my parents 3,2 MP digital camera. But in year 2015 I was taking photography more seriously and really started to practice and develop my photography and post processing skills, tech-nics and began to take the challenges etc.

When did you realize that you want to be a photographer?I’ve always been artistic person, loved the nature, beautiful colors on na-ture and loved being on there. When I first noticed how addicted and intoxicating it is to capture and present those beautiful moments like the way I see them, it was really obvious the photography (especially nature and landscapes) is my thing.

Did you go to school to study photography?I am self-taught photographer and I have never studied photography at school nor, no one has never taught me personally. Internet and You-Tube has been my biggest source for studies and inspiration. Internet is full of helpful and unhelpful information, you just have to know what to search and pick up the right stuff.

How would you describe your style?I always try to include some kind of message and strong emotions to my images and try to make the image to reflect my respectfulness for the beauty of nature as good as i can. My style is unique, moody, atmos-pheric, sometimes mysterious, dreamy strong and colorful.I also like to make composite images which represent my own dreamy visions.

What inspires you before a shoot and where from you get your inspiration?Nature itself has always been my biggest inspiration with its phenomes.Also a good emotional and relaxing music let my mind flow and gives me certain kind of inspiration.

What is the last project you’ve finished?I have never had really any specific projects, but the season has just change, so if I can call the winter photography as project so it is my last project. Are you currently working on any project? Can you describe it?Referring to the previous, I’ve never had any projects, but summer is coming and I’m full of new inspiration. I have already some plans to go and explore a new places in Finland for me to photograph.

Do you work alone?Yes. I always work alone and I love it. When I work alone there is no one disturbing my work, visions or thoughts so I can focus on what I’m doing.

What type of cameras do you shoot with?I shoot with the Canon EOS 6D Full frame DSLR camera body.

What is your favorite photography accessory, other than your camera?If I don’t count the camera and lenses, I think my tripod is my favorite photography accessory.

What else is in your photographer’s backpack?Canon EF 17-40mm f/4L USM and Canon EF 100mm f/2,8L Macro IS USM lenses, NiSi V5 Filter Holder + ND, CPL and GND filters, FotoPro Tripod, Ex-tra memory cards, Extra lenscups, Close-up lenses, Cleaning kit, Remote triggers, Extra batteries. I also carry always my iPhone 5S with me, which I have some useful apps and maps for photography installed.

Which programs do you use to process and edit your images?I use only Adobe Lightroom and Adobe Photoshop to edit my images.

LAURI LOHI

снимка: Лаури Лохи photo: Lauri Lohi23 SHUTTERPASS

photo: Lauri Lohi

photo: Lauri Lohi photo: Lauri Lohi

photo: Lauri Lohi

Any words of wisdom and advices for our readers?Think outside of the box. There is always another perspectives to look at things. Never stop learning, always challenge yourself and never be too satisfied of yourself if you want to improve.

SHUTTERPASS 24

photo: Lauri Lohi25 SHUTTERPASS

SHUTTERPASS 26

photo: Lauri Lohi27 SHUTTERPASS

SHUTTERPASS 28

Such kind of photos is not some kind of innovation but it’s not a com-mon “phenomenon” as well, though I like very much the idea and the vision and that’s why I will share with you my experience in the follow-ing article.The main idea is to combine the long exposure of the car headlights with the sunset during the so called golden hour (that’s a period of one hour before sunset and after sunrise).Generally the photo can be made with one shot only with ND filters that should be adjusted of at least 6 stops as I have also tried with 2 and 4 stops but everything depends on the composition- do you take the photo against the sun; what area of the road we cover; what oth-er objects there are in the composition and most important what you want to get from the shot as a final result. What am I talking about? Well upon my own experience I know that depending on the perime-ter of the road that we cover in the shot the shutter speed should be at least 15 seconds in order the light lines to be absolutely continu-ous as this is even not enough and in most cases shutter speed of 25-30 seconds appears to be a very proper decision when shooting the lights.So far so good, but… we have a cloudy sunset and a slightly windy weather thus no doubt with the ND filter and shutter speed 20 sec-onds we could catch the lines and smear the clouds- after all they are not going to pose 20-30 seconds (here is the moment to men-tion that there could be a case when there will be no wind and the clouds will be very slightly smeared, as this could be visible on 100% magnifying only. It’s another issue if we wish the movement to be observed in the en-tire photo- the car headlights and the smeared clouds but my own preference is not to rely on the ND filter and to make one photo with very good exposure of the whole scene while there is no movement on the road and after that to make from 2 to 6 shots for the light lines and after that to “put together” everything in Photoshop. Before to begin with the processing of the photo let me tell you what is crucially important

for such a photo journey- a tripod (you can skip it if you have some-thing to which to attach your camera but believe me you just need a tripod), shutter release cable(of course you can use the self-timer function of your camera (10 or 2 seconds), but in this way there is a risk for the camera to be moved while pressing shutter button (this is valid even when the camera is on tripod!)) and lots of patience- don’t forget that we are talking for a long period of time here : 15-20 minutes before Sun to hide behind the horizon and at least 30-40 min-utes after that when the Blue hour slowly turns into night. Please mind that I am talking here for a place that I have explored in advance and have prepared my schedule several days before that…I’m giv-ing you this info because many times I’ve arrived at a certain place an hour before sunset and for a similar shot I’ve been sitting there at about two hours and a half. The first stage is very clear- I go to the chosen place, attach the cam-era to a tripod, make the composition, set the exposure, shoot and wait. The second stage is at about half an hour after sunset, it’s get-ting dark and I can freely try to make a photo of a passing car using exposure of 15 seconds. There is no need here to worry about the ex-posure (The only important thing here is to be careful not to burn the sky….it could be too light but not burnt- later in the processing sec-tion you’ll find explanation) because the only thing that interests me in these shots is the lights of the cars which we’ll merge with the shot that I made earlier. As I mentioned earlier I prefer to shoot with not less exposure than 20 seconds in order to be able to catch all the lines on the whole perspective of the road that is in the shot. However in case my camera shows me that in 15 seconds my shot would be with still too light exposure I can make 3-4 shots of passing cars the lights of which put together in Photoshop to cover the whole perimeter of the road. Of course you may “trick” your camera with Exposure Com-pensation but I’ve never tried this so I don’t plan to pay attention to it now…and after 45 minutes-1 hour of staying I’m ready to get home where on warmer place to start working with Photoshop.

RETOUCHINGLIGHTS AT DUSK

29 SHUTTERPASS

Here how looks the photo that we are going to upgrade. It is shot with Nikon D5100 + 18-105 mm f/3.5-5.6 , ISO 100 , f/11 , 1/15 s. As you can see from the photo there are many adjustments that are used so to reach the final result, however I will pay attention to the more important mo-ments as blend modes that play the most significant role here. The correct use of them changes the effect of a particular adjustment/layer and very often leaving them on Normal Blend Mode doesn’t bring the desired effect than you can bring with Color or Luminosity Blend Mode...One little piece of advise- always improvise with Blend Mode.

Now is the moment to add the lights to the photo. This shot is made at about 40 minutes later when my camera indicated me that I can freely make a 20 seconds exposure without everything else to be too light apart from the lights of the passing car. As you can see in order to use the lights of the car only I have put this layer on blend mode Lighten (which advises Photoshop that of that particular layer I need only the lights as in this way it will automatically stands out only them on the down layer). Usually there is no need of mask to be used but even in this shot there are lights that may effect on the original photo that we upgrade. It is recommended to be used masks for an accurate and precise blend.

AcademY

SHUTTERPASS 30

Here it is already seen the result of the basic picture plus the lights as I have put a copy of the picture with the lights up (i.e. CTRL+J). The copy doesn’t change anything as far as it is on blend mode Lighten however I changed it on blend mode Screen that increased the brightness of the lights in order they to stand out a bit more against the sunset.

I have started the “colouring” and I would like to drag your attention to one little option of selecting the colours that we’d like to change that is namely Colour Range. I recommend to be made an empty layer first (CTRL+ALT+SHIFT+N or use the button New Layer in the right down corner) and just then to choose Select and Colour Range from the menu bar up on your screen. Then you can just choose which colour to change ex-actly by clicking somewhere on the picture where this particular colour is mostly saturated and Photoshop will calculate by its own where this colour is on the picture and where not (with the option Fuzziness you can define how many and which places with the tints of that colour to be selected). After confirming with OK you’ll see how the program has already stood out the chosen by you colour in the shape of “marching ants” selection.

AcademY

31 SHUTTERPASS


n that particular case I want to change the colour of the grass with the help of Hue/Saturation adjustment and as you can see the mask is set and the effect will be only on the white of it.

Here I present to you a very good example of how the change of the Blend Mode may effect sig-nificantly the picture. Here it is shown before the Black&White Adjustment corrections that have been made and the effect of exchanging the ad-justment from Blend Mode Normal to Luminosity that effects the saturation of the colours on the picture while if I change it to Blend Mode Colour it would enrich the colours by saturation. As you can see I have not allowed the adjustment to be visible on 100% and that’s why I have decreased the opacity. I would like also to mention here that quite often it’s good to change the effect of the adjustment with a change in the proper opacity and in this way to get a different and more appro-priate result.

SHUTTERPASS 32

Now is the time to mention that it may look weird but putting so much Vibrance in many cases seems to be a very good choice. As we all know Vibrance is not Saturation and enhances the colours in a more adjusted way that very often makes the colours of a certain picture to look “alive”. Of course you can skip that in case you are not fans of the much “particolor-ed”, but if you are- then you must rely on this adjustment to change the “mood” of the picture.

Perhaps the most underestimated adjustment is Color Lookup as for me I haven’t processed a single picture without using it. In these two pictures you can see how this adjustment is used with different kinds of factors- Drop Blues and Fall Colours, as one and same in their use is the Blend Mode and the proper Opacity- they both are on Color Blend Mode( that makes the pro-gram to accept the colours without affecting the light/dark parts of the picture) they both have 40% effect on the picture. Drop Blues eliminates blue colours as in this particular case we have made the program to dim the blue in order the other col-ours to stand out as well and there not be a dominating colour on the picture. Fall Colour on the other hand puts a very warm feeling upon the whole picture. However it’s very important to mention here that Color Lookup is a very delicate adjustment and cannot always bring the desired result but on the same time it can surprise you as well.


AcademY

33 SHUTTERPASS

After the whole ceremony with colouring the only thing left is to reduce the noise and to sharpen the picture. Reducing the noise I do with external plug in- Topaz Labs DeNoise that is extremely efficient for that particular job. I recommend to do the sharpening with High Pass as adjusting it on between 1 and 1,5 (no matter of the size of the picture) and choose Blend Mode Linear Light, you’ll immediately mention how the micro contrast will stand out.

All retoushing has been presented by Pavel Ivanov for the readers of SHUTTERPASS Magazine.Show is your try in FACEBOOK: SHUTTERPASS Academy

More courses and retoushing you can find at www.academy.shutterpass.com

SHUTTERPASS 34

https://www.facebook.com/groups/BGonlinePhotographySchool/

http://www.academy.shutterpass.com

In this article we’ll have a look at how to turn a dry sunset with a dry field into a luxuriant grass meadow against a fire sunset. We’ll talk mainly about col-ouring as I must mention that acquiring colouring is a very important aspect of the processing of a picture as well as making of a photo manipulation. The basic of the photo manipulation is placing of different objects with the idea of making a whole picture, as after putting on their places, the only thing left to be done is colouring correctly, that’s why working with colours is really important to be learned.

The things that we are going to have a look through are the “vital” ad-justments, masks and the choice of a blend mode.

RETOUCHINGmastering the colours (tinting)

before after

The first thing that needs to be done is to outline the sky by darkening with Curves as this will affect the whole picture …..

35 SHUTTERPASS

...but exactly here we are starting with masking, by adding Luminosity mask(in other words- the picture in black and white), that will let in the filter only in the light parts and will not effect the dark sectors of the mask. To put this kind of mask you choose Image(circled in red) and from drop down menu choose option Apply Image. Don’t change anything on the window that appeared on your screen (on the picture) and just click on OK.

On this picture you can see how exactly the adjustment affects our pic-ture, as the applied mask almost removed its effect from the grass.

After we have darkened the sky now it’s time to find the shadows on the field. We choose Curves again, as this time we take the line from the mid-dle and pull up so to lighten. We face the same problem here as the ef-fect of the filter is on the whole picture, that’s why we’ll apply Luminosity mask again, to restrict its effect.

We repeat the well known Image → Apply Image, however this time we want the grass not to be affected, that’s why we choose the button In-vert(circled in red), that will inverse the shades of the mask, in other words black will become white and vice versa. We don’t change anything else apart from Invert.

After we have darkened the sky and lightened the field now it’s time to turn the bare field into a green meadow. By using the adjustment Hue/Satu-ration we can change each colour by changing the Hue. In that particular case, the field is a nuance of the yellow, that’s why from the drop down menu(circled in red) we choose the yellow colour and slide the slider of the Hue till we find the colour we want to use.

SHUTTERPASS 36

Two things are important for this component- as each filter and this one will affect the whole picture, that’s why we need a mask. Here with a simple brush it’s enough to use mask on the sky and not to allow the yellow in it to turn into green (nobody has seen green sunset after all…) Second one is the blend mode. While using whichever filter that changes the colour, it is a good idea to try how it reflects on the picture, if it’s on Colour blend mode. This simply means would tell us that you let the adjustment to affect only on the colours, but not in lightening and darkening. The other nice thing about this blend mode is that unlike Normal of Colour the saturation is not so intensive.

Here I saturated the green colour, I got from the previous adjustment, by choosing again Hue/Saturation and from the drop down menu I chose green colour, and then I just increased the saturation. The blend mode here is Colour again.

In order to fortify the green fields, I used Curves as I darkened a little and Luminosity mask with Invert. In this way I let the adjustment to affect more the grass than the sky or the whole picture.

Here I filled in the lack of contrast by using Curves. I slightly pulled down the shadows (left from the red square) and slightly pulled up the lights (right of the square) and made the all known S-Curve. Here is the mo-ment to mention that the blend mode is Luminosity because I wish the contrast to be only on the light and the dark without affecting the col-ours. Otherwise this endeavour will add more than the necessary satura-tion.

37 SHUTTERPASS


This just depends on your personal preferences but as I am a fan of the vibrance I just cannot mention this adjustment wanting a regulated or moder-ate fortifying of the colours that cannot be made with Saturation. Attention, the blend mode here is Colour again.

The aim with this adjustment is to catch mainly the upper part of the picture where is the sky (circled in red). Why I chose Cyan? Well in many cas-es what we see as blue, Photoshop sees it as Pigeon blue and that’s the reason why to start with it when changing the blue colour. However why the blend mode is Normal (with reduced opacity (in the small red square))? It’s because we want the filter to affect the colour and the contrast of the blue as well, and in this way to slightly close the picture from the top.The opacity is reduced, to avoid the unnecessary spotting of the purple colour of the sky.

AcademY

SHUTTERPASS 38

The only thing left is to make the red to stand out as from Hue/Saturation menu choose red and add saturation. It is important to mention that although not so visible the red colour is almost in the entire picture, that’s why it is good to use mask with black brush where we do not wish the red to be with such saturation.

Before making last corrections of the colours it’s good to make first vignette with the help of curves. We slightly darken and after that with black brush we use mask on the places where is the light or the source of light. In this way our eyes would stop first on the more lightened place than just moving around through the picture. Here it is good to make the black colour in the mask gradient. While the mask is active you select Filter → Blur → Gaussian Blur and every radius above 200 will blur the black as it’s shown in the red square.

39 SHUTTERPASS


It may sound weird to some but did you know the Black & White adjustment is able to control the colours in the best way? Here how it works- blend mode Luminosity! Choose this filter and before doing whatever just change the blend mode on Luminosity and then correct the colours according to your preferences. I feel obliged to mention that on 100% opacity, the effect could be crucial…in the bad sense…

Just to darken a little bit the picture I will replace the well-known Curves with another adjustment- Levels, as the only necessary thing here is to pull the middle slider (responsible for the mid tones) to the right, with which to advise Photoshop that I wish to darken these tones. Again the filter is not on opacity 100% as I strongly recommend always to try to see how it would look like a certain adjustment on 100%, on 60%, on 40% or on 20% opacity.

We’ll slightly increase the saturation of the colours (I’ve selected adjust-ment Vibrance here, but the same effect you could get with Hue/Satu-ration as well). Once again (you have no words I know) blend mode Col-our and low opacity. Why we did all this?

It’s because now we’ll retouch all the colours with which we’ll balance the colours and in this way we’ll avoid their excessive saturation. With the help of adjustment Colour Lookup (it’s available on CS6 version versions after this one) and the implemented in it “preset” Futuristic Bleak that will automatically turn the colours almost to black and white, however it will be possible to dis-tinguish some tones. That is the reason why it must be used with extremely low opacity (on the picture it is barely 10%). Thus we dulled the colours but due to the saturation of the previous filter we balanced the tonality.

SHUTTERPASS 40

The only thing left is to guide the eyes to the light part of the sunset by darkening the up and down part of the picture. On a new empty layer with black brush we pass once and after that we turn the blend mode on Soft Light and reduce the opacity to 15% (in many cases it may go up to 50% it’s just a matter of taste and depends on the picture that is being processed).

As an end it’s good to stand out a little more the light part of the sunset. For this with a brush with Opacity 15%(please be careful, it’s very important to emphasize on how strong the brush will be as the point is just to lighten a bit and not to change colour) we choose colour around the darker part of the sunset (the selection we make by holding button ALT and clicking on the chosen colour). We pass once maximum twice on the place that we’ve cho-sen (in this case the red circle has marked our selection). We change the blend mode on Soft Light and reduce its “strength” to 70%. In this way we cre-ated a nice and pleasant light, imitating a light from the sunset over the grass.

All retoushing has been presented by Pavel Ivanov for the readers of SHUTTERPASS Magazine.Show is your try in FACEBOOK: SHUTTERPASS Academy

More courses and retoushing you can find at www.academy.shutterpass.com41 SHUTTERPASS


http://www.academy.shutterpass.com

SHUTTERPASS 42

Hello! Thank you for accepting our invitation! Would you introduceyourself to those ones who don’t know you?Hello, my name is Stefan Stoyanovitch and I’m into photography for 15 years. I work mainly in the photo studio and I shoot weddings.

How did you start being a photographer?I was around 25 years old, when a friend of mine showed me the hid-den possibilities of the Manual mode on my digital camera that I had at that time. He made a long exposure photo with my camera set on a tripod and I was amazed from the result. What really impressed me were the different possibilities to convey the same situation in a dif-ferent way, just by using the settings of the camera, to enhance the emotion and the mood using nothing but the light, to aim the atten-tion by just using the framing. At that point I still haven’t discovered the possibilities of the off camera flashes. My first 50 000 photos with a professional camera were not technically perfect, but they were carrying within a certain supply of ideas. I remember how excited I was when I was going in the forest in the middle of the night with a friend of mine as a model. Equipped with just a Canon 350D, a tri-pod and a flash light, we managed to make really good shots with a long exposure. This kind of beginning brings a certain romance with its clumsiness, but in the same time with its a pure impulse. The lack of a perfect gear shouldn’t stop any beginner. If we are about to make a photo shoot, the photos themselves should be created first in our minds, but for a good reportage, it’s not less challenging to feel and anticipate the moment.

What kind of a feeling this wonderful art brings to you?For sure the opposite of a hard work day at the office … I think the feeling is quite similar to this one when an artist finishes a painting and also when you notice the joy in the eyes of the people who are see-ing your creations.

What inspires you and from where do you find new ideas for your photos?As I’ve mentioned already, the photo is created first in your mind as an idea for light, surrounding, mood etc., but the most important of all is a desire for a freedom of the imagination.

What motivates you the most?Becoming better and better in what I love to do.

Which is your favorite photographic style?Fashion and portrait photography.

Photographing in the studio or outside?It’s quite a challenge to synchronize natural and artificial light and it’s really nice when you breathe fresh air. That said, I prefer making pho-tos outside.

Finish the sentence! For me the photography is…Materializing of the imagination and a possibility to leave a small part of you in the photo.

What kind of gear do you use and why?I’ve never had the gear that I wanted to have, but this shouldn’t be a reason to stop. In first place stands the idea and then comes the type of gear that you have. It changes depending on the situation wheth-er it will be the light, the place ect. If you’re a really good photogra-pher, you can create great shots even without a gear for 10 thou-sand levas/ e.g. “lev” is the currency at the moment in Bulgaria. 1.80 levas equals 1 euro/

What’s the magic in your photos?I enjoy playing with the light. In this way I can enhance the feeling that the photo should bring or a certain mood.

Wish something to our magazine and our readers.Watch and learn from the good authors, but in the same create your own style. Photography is like love: everyone have similar gear, but the true master is only this one, who is using it with fines, feel and thought!

STEFAN STOIANOVITCH

photo: Stefan Stoqnovitch

What is easier to shoot: the models or the objects? What do you prefer to have in front of your camera?I prefer to communicate with what have to shoot.

Which is the shot that you want to make, but still didn’t have the chance to do?I don’t have an exact future project, maybe a photo shoot of my recently newborn child.

What kind of advice you will give to the young and still unexperienced pho-tographers?I would advise them not to dig too much into the internet lessons, but just to keep shooting and thinking about every single shot. To have self-criticism and to learn from their own mistakes. A person who’s not trying won’t make any mistakes, but also will never learn… Your camera shouldn’t collect just dust!

Thank you so much for your honest answers! P.S. Up to date Stefan has already made the so desired photo shoot of his new born daughter.

43 SHUTTERPASS



SHUTTERPASS 44

45 SHUTTERPASS

photo: Stefan StoqnovitchSHUTTERPASS 46

47 SHUTTERPASS

photo: Stefan Stoqnovitch49 SHUTTERPASS

AcademY

This photocontest had been organized by SHUTTERPASS Magazine.

Jury with the following members: Dimitar GanchevPavel IvanovElena BakarlievaKuman StalevPetya Hristova

All competitions magazine SHUTTERPASS organized in FACEBOOK group of academy: SHUTTERPASS Academy.

To participate in subsequent competitions visit us on FACEBOOK group of us on FACEBOOK: SHUTTERPASS Magazine or: www.shutterpass.com

снимка: Илиана Костова

51 SHUTTERPASS


https://www.facebook.com/shutterpass/

http://www.shutterpass.com

PHOTOCONTEST - WINNERS BOARD

PANORAMA:1 place: Antoaneta Markova2 place: Konstantin Nikolov3 place: Petia Lazarova3 place: Lasko Georgiev

SPORT:1 place: Radoslav Kaimakov2 place: Georgi Ivanov3 place: Jecho Planinski3 place: Lasko Georgiev

MACRO:1 place: Dimitar Mahnev2 place: Maya Stancheva2 place: Atanas Kiulishev3 place: Iliana Taneva

BLACK & WHITE:1 place: Marya Dimitrova2 place: Georgi Georgiev3 place: Petia Lazarova3 place: Kalina Serafimova4 place: Gergana Kurukulieva

PHOTOMANIPULATION:1 place: Marya Dimitrova2 place: Georgi Georgiev3 place: Nedialko Atanasov3 place: Konstantin Nikolov3 place: Petia Lazarova

SPRING:1 place: Iliana Kostova2 place: Gergana Kurukulieva3 place: Nina Deleva4 place: Dimitar Mahnev

LANDSCAPE:1 place: Svetloslav Kolev2 place: Viktor Gnezdilov 3 place: Jordan Stefanov3 place: Georgi Georgiev

PORTRAIT:1 place: Marya Dimitrova2 place: Radoslav Kaimakov3 place: Stoyan Penchev3 place: Kaloian Grozev3 place: Svetloslav Kolev3 place: Georgi Georgiev

Thank you for all for the participation!

SHUTTERPASS 52

1 place: Antoaneta Markova

PANORAMA

53 SHUTTERPASS

2 place: Konstantin Nikolov

PANORAMA

SHUTTERPASS 54

1 place: Radoslav Kaimakov

SPORT

55 SHUTTERPASS

2 place: Georgi Ivanov

SPORT

SHUTTERPASS 56

1 place: Dimitar Mahnev

MACRO

57 SHUTTERPASS

2 place: Maya Stancheva

MACRO

SHUTTERPASS 58

1 place: Marya Dimitrova

BLACK & WHITE

59 SHUTTERPASS

2 place: Georgi Georgiev

BLACK & WHITE

SHUTTERPASS 60

1 place: Marya Dimitrova

PHOTOMANIPULATION

61 SHUTTERPASS

2 place: Georgi Georgiev

PHOTOMANIPULATION

SHUTTERPASS 62

1 place: Iliana Kostova

SPRING

63 SHUTTERPASS

2 place: Gergana Kuruklieva

SPRING

SHUTTERPASS 64

1 place: Marya Dimova

PORTRAIT

65 SHUTTERPASS

2 place: Radoslav Kaimakov

PORTRAIT

SHUTTERPASS 66

TOWER BRIDGE THE BEAUTY OF LONDON

Tower Bridge (built 1886–1894) is a combined bascule and suspension bridge in London. The bridge crosses the River Thames close to the Tower of London and has become an iconic symbol of London. Tower Bridge is one of five London bridges now owned and maintained by the Bridge House Estates, a charitable trust overseen by the City of London Corporation. It is the only one of the Trust’s bridges not to connect the City of London directly to the Southwark bank, as its northern landfall is in the Tower Hamlets.

The bridge consists of two bridge towers tied together at the upper level by two horizontal walkways, designed to withstand the horizontal tension forces exerted by the suspended sections of the bridge on the landward sides of the towers. The vertical components of the forces in the suspended sections and the vertical reactions of the two walkways are carried by the two ro-bust towers. The bascule pivots and operating machinery are housed in the base of each tower. The bridge’s present colour scheme dates from 1977, when it was painted red, white and blue for Queen Elizabeth II’s Silver Jubilee.

The bridge deck is freely accessible to both vehicles and pedestrians, whereas the bridge’s twin towers, high-level walkways and Victorian engine rooms form part of the Tower Bridge Exhibition, for which an admission charge is made. The nearest Lon-don Underground tube stations are Tower Hill on the Circle and District lines, London Bridge on the Jubilee and Northern lines and Bermondsey on the Jubilee line, and the nearest Docklands Light Railway station is Tower Gateway.[1] The nearest Na-tional Rail stations are at Fenchurch Street and London Bridge.

67 SHUTTERPASS


SHUTTERPASS 68



69 SHUTTERPASSphoto: Dimitar Ganchev

SHUTTERPASS 70

SHUTTERPASS 72

SHUTTERPASS 74

photo: Мichal Piotrowski

shutterpass magazine english

Documents