False It is imperative as a photographer, that you have at least one backup of every image you want to keep over the long term because digital files are so easily lost, damaged, or accidently overwritten and therefore gone forever. False When mounting a number of photographs that will make up a series and be displayed together it doesn't necessarily matter that the photos are printed the same size and/or mounted in the same manner, as variety is the spice of life, so to speak. True When choosing which photographs to appear in a photo essay, it doesn't matter if some images are visually weaker in their compositions than others so long as the photographs in question add to the overall content of the series itself. True As a general rule for writing captions to accompany your photographs in a display, keep them short and to the point because photographs usually speak for themselves. True What color of mat board is often the best one for showing off the brilliant black or white tones of a particular photograph? A neutral gray mat board One major problem with digital photography is being organized with regards to storing your photo files for the long term and being able to find an older image easily later. It is an optical illusion, but when pictures are placed absolutely in the center there will always appear to be less space at the bottom than on the sides and the top. True When positioning your image on a mat board, place it in the center from side to side but move it slightly higher than center from top to bottom. True Dry mounting with a press is the best, most professional way to mount a print. True Before mounting a digital print, it is highly recommended that a photographer carefully visually scan a photographs' file before making a final print to check for dust and scratches that could be easily be removed via the spot healing brush in post-production. False When choosing what size mat board to mount a print to, keep in mind that the more neutral visual space that is placed between the display wall and the print itself, the more your photograph itself will stand out and be the star of the show. ![]() True If a photographer is looking to recrop a finished print, a good and effective way to visualize what a new crop would look like would be to do what? cut out two L-shaped cards and place these over the print sliding them closer together to visualize the new crop The color of a final prints' mat board does not have much bearing on the overall look of the final print's presentation. ![]() Cropping is also a viable option for the photographer to do later on in post-production editing software. To see a more stripped-down studio set-up, watch this video showing how to shoot boudoir photography with just one light.A finished photograph does not have to be cropped the same way as it was taken in camera. It's impressive he's able to fit all this gear in such a small space to capture striking portraits of Andra. For a light stand, he uses Manfrotto's Nanopole. For an extra effect, he adds a Gobos kit metal modeling sheet and an optical snoot, Ambitful AL-16.Ĭarretta's camera of choice is the Sony A7C with the Sigma 85mm f/1.4 DG DN Art II lens in Sony E-mount. Fill light comes from the AD300 Pro in the lower right behind her, with a softbox 60cm plus a grid. Next up is the addition of a beauty dish, 55cm plus a grid.Īfter that, Carretta places a rim light behind her shoulder, the AD 100 Pro. ![]() He first lights for the backdrop using the Godox AD100 Pro and then adds a key light above Andra, the Godox AD400 Pro. It simply shows Carretta demonstrating how to set up flattering studio lighting including a Godox AD400 Pro, AD300 Pro and AD 100 Pro lighting during a shoot with his model, Andra. In the tutorial, pro photographer Andrea Carretta shows you how to create the portrait look you want in a space not much bigger than a bedroom. ![]() If you've ever wanted to shoot eye-catching portraits in a studio but don't have a ton of space, here's a great video showing you how to create a professional-level shoot in a small area.
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