The Weekend Photographer Magazine Issue 02

THE WEEKEND PHOTOGRAPHER

MAY 2012 ISSUE 02

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THE WEEKEND PHOTOGRAPHER MAGAZINE

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Summer is in the air and the month of May is of Mother’s Day! Related to these events are covered in this magazine. Some questions were brought up once the first issue was out. One of which is why do I keep this magazine for free? Well, basically taken from the famous phrase, “The best things in life are free.”! Photography is a skill, a talent, a continuous learning art. It not only requires us to learn from it but it would be better also to share it. Once again, feel free to print this up now in 5R format. With the new layout, you could punch holes on the side of each page and bind them up with binder clips so you could take this up with you in every photo shoot. Enjoy! Bert Aricheta Editor / Layout Artist / Photographer

Cover photo by Bert Aricheta. Featured toy bucket and sand shovel by Gelli Geneta, daughter of Mama Denden and Papa Allen, shot at Camayan Beach Resort, Subic Bay, Philippines Panasonic GF1, 1/200s, f/9, ISO100, at 23mm

This is the second issue of The Weekend Photographer Magazine, an independent free e-magazine for photography.

COMMENTS, SUGGESTIONS? EMAIL: [email protected] SUBJECT: TWPM COMMENTS,SUGGESTIONS

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WHAT’S INSIDE?

4 ON LOCATION Earth Day Jam 2012 at Bonifacio High Street

7 FEATURED PHOTOGRAPHER Karen Hornbostel Ilagan

11 MY LIGHTING SETUP Early Summer

12 READERS’ HOT SHOTS featuring Orven Osilla Bert Aricheta

16 MUSIC PHOTOGRAPHY Photographer’s Pass

19 PORTRAIT PHOTOGRAPHY Making Flare Work For You

22 STILL LIFE PHOTOGRAPHY All About Composition

25 LANDSCAPE PHOTOGRAPHY Creating All Things In Focus

30 GEAR REVIEW Lowepro S&F Quick Flex Pouch 75 AW Powerbase 2700mAH Ni-MH AA Batteries The Low Light Photography Field Guide

33 FEATURED SITE

Pinoy Photography

29 DIY CORNER Cable Straps

34 FEATURED MAG I-Mag Photography Digital Photographer Philippines Digital Camera, UK Edition

DO YOU WANT TO CONTRIBUTE? EMAIL: [email protected]

SUBJECT: TWPM CONTRIBUTION

37 FEATURED CAMERA CLUB Emerson Camera Club, Philippines

27 THE DIGITAL DARKROOM Employing Black and White


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ON LOCATION: Earth Day Jam 2012 at Bonifacio High Street Text and photos by Bert Aricheta I was invited by a friend of mine, Yin Quintin to help cover the Earth Day Jam concert led by Ms. Lou Bonnevie last April 28th. Together with Rodney Teodoro, we had the VIP pass which only permitted us to enter backstage but was not permitted to shoot straight on front beneath the stage. Yin took charge of taking photographs from there. Bottom photo: Aia De Leon of Imago 200mm, 1/160, f/2.8, ISO1000

Top photo: Lou Bonnevie 200mm, 1/125, f/2.8, ISO1000 What I brought with me was the Nikon D90 as my primary camera, and the Nikon D80 as my backup for wide shots. Both were paired with the Nikkor 80-200mm 2.8D Push-Pull lens and the Tokina 12-24 f4 lens respectively. What carried my gear was the Lowepro S&F Series Deluxe Belt with the S&F Harness, 2 Lowepro 75 AW camera cases, Lowepro S&F Quick Flex Pouch (see Gear Review section for a detailed for this) for my Nikon SB600 flash (which I ended up not using during the whole coverage), and the Lowepro S&F Transport Duffle Backpack.

Bottom photo: Aia De Leon of Imago 200mm, 1/160, f/2.8, ISO1000


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Regarding the quantity of shots that I took that night was around 3587 photos on both the Nikon D90 and Nikon D80 (most of which came from the Nikon D90). When it comes to post processing I then filter out what’s not good and go about to be having a 35% taken out. Most of the wasted ones a blurry shots (on either because the lens didn’t act that quick to focus, or the instance and timing of a scene was to quick to capture). Now the number of shots come into matter if one of sequence of shots is blurry. I set my shooting speed to High. My ISO setting throughout the event was ISO1000. As a Nikon D90, we get a lot of noise from 1000~up. But come to think of it, it is better to have a grainy shot rather than a blurry shot (in some times).

Knowing that there was a spotlight hovering to light up the main subject (in most of the cases, the vocalist), I switched my White Balance setting to Auto White Balance or AWB and let my camera decide to what white balance would the whole scene be. Color setting was set to Neutral as I would be able to tweak saturation either up or down through Lightroom if I needed to. Top photo: The opening band that started it all 125mm, 1/100, f/2.8, ISO1000 Bottom photo: Noel Cabangon 170mm, 1/125. f/2.8, ISO1000 Onset photo: Bottom photo zoomed at 100%, fairly shows noise at ISO1000


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Event photography is all about capturing specifics of the event. Capturing unique actions in the event. In such cases I try to open up both of my eyes and see the whole scene in my viewfinder as well as outside the viewfinder. At first it is a bit challenging, especially if you want to focus on a particular area. Constant practice to manipulate the camera and on taking a shot, as well as capturing the moment of an event is always the key. Bottom photo: Marc Abaya of Kjwan covers the eyes of the lead guitarist, Boogie Romero as he goes solo on his part of the song. Take note, the shutter speed to capture Marc’s motion of his hand getting an applause from the crowd. 200mm, 1/160, f//2.8, ISO1000

Top photo: Kat Agarrado of Sinosikat? Surprisingly dancing to the tune of the music after singing a stanza. 200mm, 1/160, f//2.8, ISO1000

Kudos to Mr. Eo Marcos

while hanging out at a coffee shop at

Bonifacio High Street. Thanks to

Mr. Otep Concepcion as well.


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Just in time for mother’s day this May, we feature a wonderful photographer from Manila who captures great photographs, Karen Ilagan. The Weekend Photographer Magazine sent some questions to Karen and here they are. The Weekend Photographer Magazine: What field of photography are you into? Karen Hornbostel Ilagan: Lifestyle photography; portraits and events. TWPM: When did your interest in photography started? KHI: As a child, I was always fascinated by photography. My dad loved photography himself and he took a lot of photos. He gave my siblings and I an SLR but I was never really able to use it much because my brother was hogging it all the time (and I am the youngest, so he could bully me out of using the camera!).

FEATURED PHOTOGRAPHER: Karen Hornbostel Ilagan Text by Bert Aricheta Photos by Karen Hornbostel Ilagan

Onset photo by Karen Ilagan

“Shoot, shoot, shoot! Shoot everyday and don't be afraid

to experiment.” – Karen Hornbostel Ilagan

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KHI: My dad subscribed to National Geographic and Life magazine and I just loved looking through them and ogling at all the beautiful photographs. One day, a new issue of National Geographic arrived in the mail and the cover just blew me away: it was Steve McCurry's "Afghan Girl". When I saw that photograph, I just knew I wanted to get into photography. I was finally able to seriously take it up as a hobby in my early 20's when my then boyfriend (who is now my husband) gave me an SLR as a present.

TWPM: Who influenced you in photography? KHI: My first influence was my dad. TWPM: How did these persons influence you? KHI: But just to add, my grandparents, too. I have lots of vintage photos in storage because they also loved photography. They even had their own darkroom. Bottom Photo: Photo & copyright by Karen Ilagan


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Top Photo: Photo & copyright by Karen Ilagan TWPM: What would you say to inspire people who are (or would be) interested in photography? KHI: As a photographer and as a mom, how do you balance your work in photography, and of being a mother? Oh, it's one of the most difficult challenges I have ever faced. I am also home-schooling my 6 year old son, so my schedule can get extremely hectic. I was getting more projects than I could handle and I was not enjoying it as much anymore. Sometimes, you just have to stop and remember what your priorities are and go back to what you enjoy doing. I have to learn how and when to say, "No!" to certain things. I'm still working on this! I'm blessed that I have a very supportive husband and that is a big help, too. H

TWPM: Were your works published in public? If yes, state the names of the publications (Print media/film/TV) of your work). If possible, include also the corresponding dates. KHI: Yes. Baby Magazine, Working Mom as well as some books, print ads, product packaging, billboards, store displays, etc. TWPM: What tip can you give to aspiring photographers (mention one only)? KHI: Don't be eager to buy so much gear right away. Experiment with what you have and learn it well first before deciding to buy any more. To find out more of her works, you could visit Karen at the following websites: http://www.karenilagan.com http://www.facebook.com/ karenilaganphotography


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? Who will be next on the

upcoming 3rd issue?

naN


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MY LIGHTING SETUP: Early Summer Featuring Anna Marie Conde Hair and makeup by Anna Marie Conde Text and photo by Bert Aricheta Me and my colleagues, Felix, Dennis and Orven at the office planned for a summer series photoshoot beside a pool that day. Our model, hair and makeup artist, Anna was our subject that noon time. Armed with a 3x5 feet reflector as a shade for Anna from the burning noontime sun, I took this photo with the fifty (Nikkor 50mm f1.8D) lens on the Nikon D90. At first I had a series of shots wherein I used the Lightcraft Vari ND Filter II with the fifty, and this is one of these shots. The noontime sun was too bright, so I have to kill the ambient light through lessening (remember, it’s a fraction 1/xxxx!) the shutter speed to around 1/2000, keeping my aperture constant at f1.8. Wide enough to show the depth of field, making the foliage of trees in the background to be orbs of bokeh.

About the lighting diagram, you can download a PSD template of it from Kevin Kertz’s website (www.kevinkertz.com). In This Photo: Anna Marie Conde With the help of the large reflector (Silver and Gold sided reflector), the silver side was facing Anna, to create the whitish glow, and NOT the warm glow that the gold sided reflector would produce. In addition as acting as a shade and controlling the majority of the white balance, the reflector acted as a shade for hindering direct sunlight to hit Anna. One interesting thing is that we had our location in a pool wherein it is located in the middle of sets of condominium buildings. Those facing the model were quite tall. White-Cream-colored buildings made a perfect catchlight at Anna’s eyes!


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READERS’ HOT SHOTS: Orven Osilla Right Photo: Boracay Island, Malay, Aklan, Philippines Nikon D3100, f/5, 1/1250sec, ISO200 “After taking a dip on the pool and the beach early in the morning, I decided to come back to my room to get my D3100 and take some pictures of the shore. No one was around since it is burning hot at 10 in the morning so I took the opportunity.”

“Same location as the first picture but I’m closer to the water. The cliff caught my attention so I took the shot and this is what I ended up with.” Left Photo: Boracay Island, Malay, Aklan, Philippines Nikon D3100, f/8, 1/1000sec, ISO200

DO YOU WANT TO CONTRIBUTE? NEXT ISSUE’S TOPIC: WEDDINGS / PRENUPS EMAIL: [email protected] SUBJECT: TWPM READERS’ HOT SHOTS:[subject/theme] Example: TWPM READERS’ HOT SHOTS:[Winter]


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READERS’ HOT SHOTS: Bert Aricheta Right Photo: Plastic balls in a pail, Camayan Resort, Subic, Philippines Panasonic Lumix GF1, f/7.1, 1/320s, ISO 100 at 22mm “So what makes summer in a beach? Sand, swimmers, the sea shore…and play pool things to beat the summer heat for the kids! One of the materials that would be used in one of the games in our Emerson Outing at Subic.”

“A paddle boat on a rocky side

where the dolphins give a show. Good thing that the paddle boat was brightly colored with orange

– it just emphasizes itself from the gray rocks and the blue sea.”

Left Photo:

Ocean Adventure, Subic, Philippines

Panasonic Lumix GF1, f/6.3, 1/200s, ISO 100 at 34mm



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READERS’ HOT SHOTS: Bert Aricheta Top Photo: Lifeguard Post, Camayan Resort, Subic, Philippines Panasonic Lumix GF1, f/7.1, 1/400s, ISO 100 at 14mm “I shot this when I was in our company outing. The scene that day was a bit cloudy at noon time. This was shot at 12:58PM. With the Rule Of The Thirds, I positioned the lifeguard post in the lower right portion, and keeping the sky be filled up in the ¾ area above.”

Bottom Photo: JM at Camayan Resort, Subic, Philippines Panasonic Lumix GF1, f/9, 1/400s, ISO 100 at 40mm

“As a gesture of thank you, here’s a portrait of JM while at our company outing. My first shot of her was to include the sky which also included a mountain horizon and a sail boat which to me was a bit distracting, so I framed her in the water – there was no way to place her in the lower left portion of the frame, so I proceeded as she was looking at the right. ”



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Include your full name. Photos must be of 72 DPI or higher resolution. Place a watermark of your name or your name and logo at the lower right potion of your photo. Take note of the location, the camera used, its focal length used, shutter speed, aperture, and ISO settings. Place a short description of how you come about in taking the photo.

DO YOU WANT TO CONTRIBUTE? Send two (2) of your photos that’s of the required theme for next month and the following information in your email to: EMAIL: [email protected] SUBJECT: TWPM READERS’ HOT SHOTS:[subject/theme] Example: TWPM READERS’ HOT SHOTS:[Winter]


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MUSIC PHOTOGRAPHY: Photographer’s Pass Text and photos by Bert Aricheta Top: As part of Slasphock entourage Avenged Sevenfold Live In Manila April 26, 2012 Smart Araneta Center

A photography pass is concisely a passport in taking photographs on an event. Without it you could not be permitted to take photos during the event, or worse, your camera would be confiscated and let the photos be deleted or let the memory card be formatted. Worst thing also is to be picked up by security personnel. Most of concert photography have the three song-no flash rule. Often exercised in international foreign artists’ concerts, a photographer is only allowed to take photos inside photographer’s pit (the area between the stage and the crowd) during the first three songs and it is required that no flash should be fired up. Some organizers are so strict that right after the show, they may take your memory cards and move the photos to their local PCs, leaving you an empty camera. This though depends on the contract of the organizer and the photographer. As mentioned in the previous issue of The Weekend Photographer Magazine, as part of the good photography etiquette, respect house rules (or else suffer the consequences!).


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Top: Official Production Photographer Red Horse Pambansang Muziklaban January 28, 2012 Pasay City

Obtaining a legitimate photographer’s pass is through either of the following: - Contact the organizer of the event and ask for a photographer’s pass. - Contact the artist who’s going to perform in the event and ask for a photographer’s pass. - Contact a press media agency that would cover the event and ask for a photographer’s pass. - Contact the one who sponsors the event and ask for a photographer’s pass. In most of the cases when it comes to obtaining photographer’s pass from artists performing in the event, you are only asked to give photos of the said artists. The rest though may require you to give the rest of the photos. Some of which may have a contract between photographer and client, each of which may differ from requirements and rules from each other.


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In some events, a photographer’s pass may have restrictions, and that is depending on what the organizers lay out as planned. One example is that an ALL ACCESS PASS is different from a PHOTOGRAPHER’S PASS in such a way that an ALL ACCESS PASS holder is not allowed to take photos of the event. Another example is that a VIP PASS covers only certain areas in the event that the holder could stay unto, an example of this is that a VIP PASS holder is not allowed to stay on the photographers’ pit just below the stage. Rules and security permissions differ from one another. These rules are the said house rules to follow. Respect these rules and you will be respected too. Once you draw a line against the said rules you may either don’t have right on your next coverage to take some photos.

Bottom: Photographer Earth Day Jam April 28, 2012 Bonifacio High Street


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But in this section we will treat lens flare as part of our composition in capturing a great photograph. Lens flare shapes are formed depending on the shape of the light source, or also on the shape of how the lens blades for the aperture are made (usually octagonal). We often see a circular lens flare in our photos when we particularly shoot against the sun, since the sun is a circular light source. Shooting through a light source such as the continuous light LED array produces a rectangular shaped lens flare. Lens flare quality depends on the make of lenses. The distances wherein the first lens element to the second lens element matter. Lens filters also affect such flares.

PORTRAIT PHOTOGRAPHY: Making Flare Work For You Text, illustrations and photos by Bert Aricheta

Lens flare often is annoying when we shoot photos with the sun nearly seen in front of the lens. Lens flare may also be from incident light sources such as flashes, continuous lighting and may also be contributed through reflections. Eliminating lens flare could be done via:

- Don’t photograph a subject against the light.

- Use a lens hood that’s fitted for your lens.

- Use a flag or an obstruction to hinder glare from coming into your lens.

Above photo:

Anna Marie Conde Makeup by Anna Marie Conde

The lens flare here was so large that it made portions of Anna be blue in tint, and this was due to the bright sunlight

emanating on the background

Nikon D90, 50mm, 1/160s, f/2.8, ISO200 Shot at Noontime.


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The key factors/players of this whole lens flare situation are:

1. The Subject 2. The Light Source 3. The Lens 4. The Obstruction [if

there is an available obstruction within the frame]

Proper positioning wherein the source of lens flare is to be situated within the frame is the key idea. This is then done via:

- Side of the frame, keeping the subject within the frame.

In this illustration: Incident light from a bright light source is captured as a lens flare which produces glare on a photograph.

- At the back of the

subject, from which a portion of the light source is peeping out from the subject.

- At the back of an

obstruction that’s near the subject, with a portion of the light source also peeping out from the obstruction.


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From the key areas stated above, we could then compose the 4 key players (light source, subject, lens, and an obstruction [if available]): - Moving the light source

away from the frame. - Moving the subject from

the light source if the light source is unmovable (such as the sun or a lamp post).

- Moving your camera/lens

an angle from which the light source is on the side of the frame but still keeping the subject within the frame.

With the guidelines mentioned above, experiment with placing the 4 key players on different positions within the frame and learn how a foe of a lens flare becomes a friend.

In this photo: Lens flare emanating from a bare

bulb located at the lower right portion. Nikon D90, 50mm, 1/60, f/4.5, ISO320

Lit by a 92cm Octobox and backlit with a bare bulb strobe from behind.


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STILL LIFE PHOTOGRAPHY: All About Composition Text and photos by Bert Aricheta

Inset photo: Sanyo CR2 Battery

Panasonic GF1 at f/5.6, 1/100s, ISO200, 42mm with SB600 firing at 1/64 at 50mm.

Composition is how you position your subject to create an image. In this section, we would tackle how to create an impact of an image, the rules and how to break them and create your own style. We have used simply a set of batteries, memory cards and DVDs to explore composition in photographing them.

RULE OF THE THIRDS This is done by dividing the whole frame of the image into 3 sections (2 lines) both in vertical and horizontal. The intersections of the horizontal and vertical lines are where the main subject should be situated. Positioning the main subject in these intersections would create balance on the image. The attention of the viewer would be attracted to the main subject. This is considered the simplest form of composition.

Above photo:

Eneloop Battery Panasonic GF1 at f/5.5, 1/100s, ISO200, 40mm with SB600 firing at 1/64 at 50mm.


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LEADING LINES This is drawing attention to the viewer, similar to the rule of the thirds. The image may compose of lines, and through this lines you may direct the viewer to give the whole image interesting.

In this photo: Eneloop Batteries.


SHAPES AND PATTERNS Repetitive shapes and making a pattern of which to fill in the frame is one of the guidelines of creating an image composition.

In this photo: Eneloop, Powerbase, Sanyo Batteries

with Eyefi, Transcend, Ridata, and PNY SD Cards.


FRAMING Framing the subject would let the subject be confined in a frame, drawing the attention to the subject itself.

In this photo: Powerbase Batteries and Charger. Panasonic GF1 at f/5.5, 1/100s, ISO200,

40mm with SB600 firing at 1/64 at 50mm.


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S CURVES Leading a composition of the whole frame through an “S“ curve or a “Z” curve to fill in the frame would give an impact to a whole image. In this photo: Sanyo Battery. Panasonic GF1 at f/5.5, 1/100s, ISO200, 40mm with SB600 firing at 1/64 at 50mm. DEPTH Depth of the main subject from the background would create a compositional image. This may also be referred as creating a great depth of field, wherein the main subject is in focus, either the foreground or the background is made to be blurry. In this photo: Powerbase, Sanyo, Energizer, and Eneloop Battery. Panasonic GF1 at f/5.5, 1/100s, ISO200, 40mm with SB600 firing at 1/64 at 50mm.


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LANDSCAPE PHOTOGRAPHY: Creating All (Mostly All) Things In Focus Text and succeeding photos by Bert Aricheta Shot at Ninoy Aquino Parks and Wildlife, Quezon City, Philippines

Landscape photography is all about framing a whole scene all in focus (almost all in focus). With this, we manipulate our aperture to set all areas within the depth of field to be in focus. In this section, We will analyze two landscape photos with one having an aperture of f/4 and the other set at f/11. The shutter speed has been varied to suit the exposure of the scene. ISO setting on the other hand has remained constant all through out. The first photo as seen above is shot at f/4 at 1/400s, ISO320. I had set my focus at almost center and I had it in here:

Looking at the bottom, top and left side where the focus areas are way far we have some slight unfocused areas shown. That is, the farther from the point of focus, we get non-sharp and un-focused images as shown below:


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No Now shot at an aperture of f/11 and a shutter speed of 1/125s, ISO still at ISO320. Focusing was still set on the area where the previous image was shot with. The part of the images on the background and foreground now come a bit more sharper and focused. The leaves of the tree that is over me are now in focus. The foliage that’s beneath me also is in focus. The little mound in the middle of the lake is much more crispier, and the trees farther are more defined. So when shooting landscape wherein you want to include the background and foreground elements to be in focus in unison, a sweet spot of reducing (take note that this is a fraction! F/1.8 > F/22) aperture helps.


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In this section we’ll be working with Black and White conversion using Adobe Lightroom’s current version 4.

Above and Succeeding Photos:

My mother in an afternoon break. Date taken April 7, 2012

Nikon D90, f/2.8, 1/250s, ISO 400 at 44mm.

THE DIGITAL DARKROOM: Employing Black and White Text and photos by Bert Aricheta

The first and simplest method is setting the Saturation to its

lowest setting, in here it shows -100.


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Another conversion is by simple clicking the BW tab at the HSL / Color / B&W tab. It then automatically sets the colors to their respective percentages in order to make the whole image to be black and white.

The good thing here is you could set individual color’s luminance (how black is black or how white is white – an advantage in converting and creating Infrared Images).


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DIY CORNER: Cable Fastener Text and photos by Bert Aricheta Cable fasteners are needed in keeping the peace in many situations. Organizing cables when packing up, setting the power cables of a strobe that’s dangling from a light stand, fixing the cable up on tethered shooting, and other stuff [I could even use it as a hair bungee for a pony tail. LOL!] Materials needed: Large plastic bead necklace (bought mine from Carolina’s SM Megamall) for about P120 composing of around 20 beads – I preferred black colored beads, but I think it is best to have the RED bright ones to easily keep an attention that a cable is wrapped up for instance. Large rubber bands (bought a box of them at National Bookstore for P25.00). Drill bit, around a diameter that is bigger a bit when inserting the folded rubber band inside the bead (around 3/16” or 7/32” diameter drill bits). Power drill. Pliers or a vise grip capable of holding in place the big bead. A damping material such as a cloth so as not to leave a scratch on the bead when gripped by the pliers or vise grip.

Procedure: 1. Download and print a copy of

this project with instructions at the following link:

http://issuu.com/theweekendphotographermag/docs/diy-issue02 2. Cut the nylon that holds up all

the beads in the necklace. 3. Grip a bead wrapped with a cloth

with a pair of pliers or a vise grip. 4. Position the bead so as the hole

for the nylon string could be drilled down.

5. Drill the bead though and through.

6. Clean any burs made from drilling the hole on the bead.

7. Insert the large rubber band through the hole.

8. Pull the other end of the rubber band and loop it up inside the whole rubber band, holding the bead on one end of the rubber band.

Using this Cable Fastener is by holding on position the bead then wrapping the rubber around the cable then end it up in flipping the free end of the rubber band on the bead.


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GEAR REVIEW: Lowepro S&F Series Quick Flex Pouch 75 AW http://products.lowepro.com/product/ Text and photos by Bert Aricheta An addition to my Lowepro rig, the Lowepro S&F Series Quick Flex Pouch 75 AW for flash speedlights. Lowepro at Megamall sells it for PHP 2550.00. Pros: -Sturdy thick covering. -Protective cover for rain, dust and snow. -As part of the S&F Series, it places well on the Deluxe Belt as well as the Harness. -Spring loaded flap design which Lowepro says that it provides easy access and automatically closes for added security. -Fits a large flash such as the Canon 580 EX II or Nikon SB900. Fits snuggly too on my Nikon SB600 with Stofen diffuser.

-Has an internal pocket for a pack of 4 AA batteries. -It include a shoulder strap, good for carrying the flash separately. Cons: -To bulky when storing, but it is a plus as an added padded material for the camera.


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GEAR REVIEW: Powerbase 2700mAH Ni-MH AA Batteries http://www.eye.fi/products/connectx2 Text and photos by Bert Aricheta I purchased a pair of second hand Nikon SB600s last Sunday and I had to test them right away when I reached home. I dropped by Ace Hardware at SM Megamall and bought a couple of sets of Powerbase 2700mAH Ni-MH AA batteries to use. They cost around PHP 499.75 on a 4-piece set. Pros: -It packs a longer punch than my rated 1800mAH, obviously. -The straight-from-the pack batteries stored an initial charge to fire up some shots in a shoot. -Like most of rechargeable batteries, they are around reliable up to 1000 cycles (my batteries are more than a thousand but still they are being used – environment-friendly). -Comes with a battery case for the 4 AA pieces. -No memory effect (of what they are called when you don’t have to discharge the batteries in order to charge them up again).

Cons: -In the length of sometime they’ll be non-useable after more than 1000 charge cycles.


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GEAR [BOOK] REVIEW: The Low Light Photography Field Guide by Michael Freeman Text and photos by Bert Aricheta Following the previous issue’s book from the publisher Ilex is another book with a gist of photography on low light conditions.

The gist of the book states: -Master the camera skills needed to take great photos in challenging conditions. -Learn using easy-to-follow tutorials on creating the perfect low light photographs digitally. -Understand the tools your camera uses to tackle low light, such as long exposures and high ISO settings. National Bookstore sells it for about PHP 535.00, just like the previous book that was reviewed.


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FEATURED SITE: Pinoy Photography http://pinoyphotography.org/ Text by Bert Aricheta

Pinoy Photography , commonly known as PIPHO is a Philippine website that caters to photography. It is well known as an active online photography community for Filipinos worldwide. As far as their website is concerned, PIPHO currently has 42,000+ forum members to date.


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FEATURED MAG: Imag Photography http://www.imagphoto.com Text by Bert Aricheta Issue 35 covers Master the Art of Selection, that is select before you correct. An Eye for D’Tails covering Ely Teehankee’s amazing bird photography. It also feature a travel log on Japan, touching autumn’s colors. Tips and tricks handled by Orlee Ninon’s section is also worth trying for. The I-Mag Photography Magazine sells for about PHP 200.00.

Onset Photo from http://www.imagphoto.com


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Onset Photo from http://digitalphotographer.com.ph

FEATURED MAG: Digital Photographer Philippines http://digitalphotographer.com.ph Text by Bert Aricheta Issue number 43 covers the 17th Caltex Hot-Air Balloon Photo Contest. Special features include Working With A Model, in regard to Tom Epperson’s view. Inside Tech covers Light and Metering and is being handled by Jo Avila. The Digital Photographer Philippines magazine sells for about PHP 295.00.


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FEATURED MAG: Digital Camera (UK Edition) http://digitalphotographer.com.ph Text by Bert Aricheta Their Spring 2012 issue covers mastering one’s SLR in a day! It also shows how to fix tripod bad habits, setting up like the pros. Shoot sunrises and sunsets. Tricks on how to “mistify” landscapes. …and one this that’s worth reading is the FREE Handy Legal Guide for knowing the rights of a photographer (presumably that you are in UK though). …and yes, also the free Camera Technique Video Disc! The Digital Camera (UK Edition) costs around PHP 799.00.

Onset Photo from http://www.digitalcameraworld.com/


ISSUE # 02

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FEATURED CAMERA CLUB: Emerson Camera Club Philippines (ECCP) eccp.multiply.com Text by Bert Aricheta, as conversed through Poch Pimentel. Buddy Ilao and Jimjay Ocampo File Photo Above: The first batch of the Emerson Camera Club, Philippines Circa December 03, 2007 Photo credit to Buddy Ilao File Photo Right: ECCP Members represent ECCP in an out take during the Emerson Corporate Video 2012 March, 2012 @ Intramuros Photo credit by Don Valle

The founding father of ECCP is Buddy Ilao, and the club was formed late 2007. According to Raul “Poch” Pimentel, one the founders of the said club, it was mentioned on over a Breakfast Club meeting with the later FRSI (Fisher-Rosemount Systems Inc. – PBO) HR, Ms. Annette Duques, and was noted as the first non-work club inside FRSI. The first out-of-the-town event for ECCP was that of Panagbenga 2008 in Baguio City.


ISSUE # 02

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The Weekend Photographer Magazine Issue 02

Documents

Transcript of The Weekend Photographer Magazine Issue 02