Our premium memberships come with thousands of videos, quizzes, assignments and more. Valued at over $1,000, we include education on weddings, photography basics, post production, lighting, business and much more! All of the workshops you see listed below are included for a monthly or annual membership fee.
When we approach Couples Photography, commonly referred to as Engagement Photography, we want to help both beginners and professionals develop and enhance a strong overall foundation in couples portraiture. We help guide you through the lighting techniques, posing methods, planning knowledge, and post-production skills necessary to help improve your photography. This workshop has been designed to teach photographers a simple and systematic approach. (Click here for more info)
Lighting 201 Slr Lounge Torrentl
Our Lighting 101 Workshop helps photographers build a strong foundation in creating and shaping light. We have made lighting simple and intuitive so that you can learn the fundamentals of flash photography as well as learning how to create interesting and dramatic effects even with the most basic gear. With this workshop you will learn to master your on-camera flash and be able to capture amazing and professional looking photos.(Click here for more info)
Lighting 201 picks up right where Lighting 101 leaves off as we will begin to develop on all of our previous techniques in lighting, light shaping, and light modification. In this workshop, we will focus on creating amazing images with only the use of a single off-camera flash.
As a way to help aspiring photographers or simply parents capture those special newborn moments, we have created a workshop that will help you take professional photos with inexpensive gear. We guide you through the entire process of a newborn photography session from the planning, lighting, newborn safety, and everything in-between. This workshop also includes extensive knowledge of post-production techniques that will give you the tools to produce and retouch beautiful newborn photos.(Click here for more info)
Without light, there is no photography, and lighting plays an especially crucial role when photographing portraits. Whether dramatic or light & airy, editorial or whimsical, lighting works hand in hand with posing/expression and can determine the mood and tone of your portraits, elevating your photography to new heights when used with intention.
Minolta (as Chiyoda Kōgaku Seikō) produced the world's first multicoated consumer photographic lens in 1956 for their 'Minolta 35 Model II' rangefinder camera - the Rokkor 3.5cm f/3.5 - with their patented Achromatic Coating. New lenses for the 1958 Minolta 35 Model IIB, also used the Achromatic coating, including the Super Rokkor 5cm f/1.8 and 3.5cm f/1.8.[112] All other lens surfaces of the 5cm f/1.8 were single-coated with at least the front-group being multicoated.[113] Although the 3.5cm f/3.5 lens did not sell well due to the slow aperture, a more modern, multicoated Super Rokkor 3.5cm f/1.8 was later produced for the 35 IIB shortly before the system was discontinued, and therefore the lens is extremely rare today. A prototype mutlicoated 5cm f/1.4 lens was also produced for the discontinued Minolta Sky M-mount rangefinder during its development, though it is not known if the coating was more advanced than that applied to prior lenses. By 1958, single-layer anti-reflection coatings were commonplace on photographic lenses around the world but it was not until 1966 with the introduction of MC ('Meter-Coupled') lenses that all Minolta focal lengths were updated to be fully multicoated, where every optical surface was coated at least twice, with the exposed front surface coating being relatively more scratch-resistant. Prior to this, full multicoating was mainly only applied to the standard 55\58mm AR ('Auto-Rokkor') series SLR lenses, between 1958 and 1965. These lenses would be collectively referenced by Minolta as the 'green Rokkor lens' in a 1962 16mm company film promotion titled This is Minolta, because of the predominant green reflection of the front-surface coating which was distinctive to the coatings of other companies. Their Achromatic Coating initially consisted of a two-layer thickness-varying vapour deposit of Magnesium-Fluoride but no 'hard' coating, meaning many examples of the lens today show scarred surfaces due to improper cleaning.[114][115]After 1958 when Minolta ended development of interchangeable-lens rangefinder products and focused on interchangeable SLR cameras and lenses, their Achromatic coating was continually updated throughout production with major coating advances being seen in 1966 (MC), 1973 (MC-X), and finally through 1977 to 1984 (MD-I, II, III). Hard-coatings were initially used in the immediate SR SLR series lenses. MC corresponds to the application of achromatic layers on all lens surfaces with new 'ingredients' ('Double Achromatic'), while MC-X introduced even more layers of new 'ingredients' ('Super Achromatic Coating') similar to Pentax's SMC, achieving an empirical improvement of about 1 stop with regards to flare and contrast control of dominating light sources. Beginning with the MD series lenses, additional layers were introduced as standard, although it is clear that for all lenses in any series, improvements in coatings were gradually introduced into production lenses as they were developed.[116][117] One of the primary marketing claims of Minolta's Achromatic coating was that colour consistency was achieved across all lenses, deprecating the requirement for colour correction filters (common in the 1920s to 1930s) when shooting under constant lighting conditions with different lenses, although the claim has not been substantiated and any colour-consistency difference over competing brands is not clear. It is also not clear if Minolta intended the process name as a reference to achromatic ('neutral') colour (white, grey and black) - or achromatism (a lack of red/blue chromatic aberration).
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