Fartash Photography Newsletter
Issue 1
Dear Readers ,This is Fartash Barvarz and what you see is the first issue of the fartash photography newsletter.
I know myself as a nature photographer mostly 'Macro Photographer '. Most of the people which know my works, they’ve seen my macro shots also. This monthly newsletter subjects under fartashphoto.com. The aim of this newsletter is to help mainly photographers and other artists to learn about photography,Regards.
A Millimetre Closer-Depth of Field
Depth of field is the range of distance around the focal plane which acceptably
sharp. depth of field varies depends on camera type,aperture and focusing
distance.and It can be increased by using narrower aperture(f/10 or greater).
Depth of field is an important consideration in macro photography.this makes
it essential to focus exactly on the most important part.
Best technique to make your subject to pop is to control the depth of field (DOF) to isolate the subject. by donig this , you're not only given the viewer a single area to concenrate on, but you're thrown the background area of
the subject out of focus enough that It becomes a frame for main subject matter.
Best technique to make your subject to pop is to control the depth of field (DOF) to isolate the subject. by doing this , you're not only given the viewer a single area to concentrate on, but you're thrown the background area of the subject out of focus enough that It becomes a frame for main subject matter.
Effect of F-number
For a given subject framing, the DOF is controlled by the lens F number. Increasing the f-number (reducing the aperture diameter) increases the DOF; however, it also reduces the amount of light transmitted, and increases diffraction, placing a practical limit on the extent to which the aperture size may be reduced. Motion pictures make only limited use of this control, to produce a consistent image quality from shot to shot.
Then there are two ways of increasing depth of field in a macro shot. Perhaps the most obvious is to use
a small aperture.
Alternative way is to change your point of view to make the most of whatever there is in the shape of subject.try to keep the focal plane as parallel to the subject.
Happy Shooting
Eastern Arts-Reza Deghati
Reza Deghati, one of the best-known photojournalists in the world, has captured the beauty and turmoil of the Middle and Far East for such magazines as National Geographic, Newsweek, Time, and GEO.
Reza was born in Tabriz, Iran, in 1952 and studied architecture at the University of Tehran. He taught himself the principles of photography at the age of 14. From 1971 to 1978, he photographed rural society and architecture in his homeland. The Iranian revolution shifted his focus from the countryside, and he covered the conflict for Agence France-Presse and Sipa Press.
His work for Sipa Press attracted the attention of Newsweek, for whom he became a correspondent in Iran from 1978 to 1981. He then became a Middle East correspondent for Time from 1983 to 1988. From 1989 to 1990 Reza served as a consultant to the United Nations humanitarian program in Afghanistan. Since 1991 he has mainly divided his time between photographing for National Geographic and working for AïNA, a nonprofit NGO he founded for the development of independent media and cultural expression in Afghanistan. In a third-world country ravaged by war, promoting an ideal like freedom of the press is difficult when many people are more concerned with mere survival. Building hospitals and schools and developing a national infrastructure are the causes many groups have adopted. But for Reza, teaching and sharing knowledge are more important than constructing physical buildings.
He has encountered fundraising obstacles, however, because education and knowledge are intangible. Reza says people often prefer to donate their money when they will be able to see a physical return, such as a building, for their contribution. Others have said that they will give only if AINA agrees to support a certain political platform. Reza says he has chosen to sacrifice his personal belongings rather than his vision for AINA.
"I am actually auctioning pictures, cameras and books, as well as selling posters to raise money for AINA," Reza says.
His hard work and sacrifice are paying off. For instance, in the last five years, AINA has helped train almost 1,000 Afghani girls and boys in all subjects related to media and communication, from design to photography, video, radio and the cinema.
Along with the thousands of lives that Reza has helped improve, he has taken thousands of pictures. He says he cannot pick just one favorite. "That is like asking a father of five to pick their favorite child," Reza says.
One photograph, however, continues to haunt him. In December 1994, Reza was in Sarajevo while the city was seized and warring. There was no food or water, and alert snipers shot anything that moved. As he walked down an alley, he saw a nine-year-old girl standing at the corner of two streets in front of a table covered with dolls. Sorrow overwhelmed her face. Reza took pictures of her and then asked her what she was doing. She said she was selling her dolls to buy bread for her grandmother, who had not eaten in three days.
Reza offered to buy the dolls. The girl took his money, hesitantly giving him the dolls as she slowly backed away into the alley, clutching the money and never taking her eyes off her dolls. Reza beckoned her to come back and speak to him, yet the little girl misunderstood, thinking he wanted his money back. She quickly stashed the money as well as she could in her clothes. Slowly Reza walked into the alley, placing her dolls midway between them and then walking backwards to show the girl his intentions. She then very cautiously stepped towards the dolls, snatching them and darting into the alley just like a cat.
Again, Reza called for the young girl to come back. After much persuasion, she crept back to where he was. He told her to keep her dolls and the money. She snatched them up and ran away.
"If someone would understand how dear those dolls were to that girl, and that she was willing to give them up to feed her grandma, it would help them to understand the horror of war more than any photograph," Reza says.
From war-torn Afghanistan to the streets of Sarajevo, Reza's commitment to humanity and justice has been lighting candles around the world. Someday, he hopes, truth and freedom will shine brightly everywhere.
Reza has contributed to a number of books, is a regular correspondent for BBC Persian and Radio France Internationale Persian, and has taught at such schools as the Ecole d'Art in Paris, Stanford University, and Georgetown University.
In 2005, he was honored with the Chevalier de l'Ordre du Mérité, the French award for distinguished services in a public or private capacity. In 2006, he received the University of Missouri-Columbia School of Journalism Honor Medal for Distinguished Service in Journalism "in recognition of his lifelong contributions, through brilliant photojournalism, to justice, and dignity for the world's citizens."
From Reza’s works there are eight published collections which contain more than one thousand Pictures. A photographer which fond of his subjects, get close to them and live with them then he starts to capture what he feels inside from them.
Reza WAR+PEACE is his last published work which he said `This book is the result of my thirty Years old Travelling to places in battle`. WAR+PEACE published in English and French by National Geographic. November 2008. The exhibition of some of WAR+PEACE collection is held in the huge hall of Caen Mémorial museum, Caen, France.
Reza Deghati is the founder and President of Aïnaworld. Aïna is a non-governmental, non-political, non-religious and non-profit organization that watches over its moral and financial freedom. As a humanitarian body, Aïna facilitates initiatives in the area of education, information and communication for and with the support of local actors by rallying high-skilled international volunteers and local experts.
Its mission is to foster the democratization process and to take part in the building or rebuilding of civil society in countries where it operates. Aïna's actions are in keeping with women's rights, the Universal Declaration of Human Rights, the Declaration of Children's Rights, and the customs of each country where those actions are carried out.
