What we're about

Welcome to Down the Shore Photography we shoot along the Jersey Shore and with the training and trips offered through Adventures in Photography we shoot around the world.

We have local meetups to shoot in locations in Monmouth and Ocean counties for photographers to learn from one on another and through Adventures in Photography our members have access to trips designed by photographers throughout the metropolitan area, the US and international locations.

We welcome all levels of photographers and hope that by shooting together we are creating learning opportunities.

Upcoming events (5+)

LAYERS, MASKS & MODES IN PHOTOSHOP: Your Path to Creativity

Layers, Masks, and Modes are tools that can supercharge your work in Photoshop. They are the basic building blocks to unleashing your creativity and taking your photography to the next level. In this workshop you will learn to manage your Layers, how to use Masking to reveal or conceal elements in a layer, and how to use Modes to control the interaction between images on different layers. These are the tools you’ll use most often in creating a composite image, colorizing an image, and in making non-destructive edits to your images. Layers were introduced in Photoshop 3.0 in Sept. 1994 and changed everything. Now users could work on separate elements of an image to make local changes without affecting anything else. It's like working with sheets of stacked acetate illustrators used in building a cartoon. Masks can be added to layers to restrict the visibility of the content either completely or incrementally. With masks, you could completely hide a change made on a layer or reduce the visibility of the change, literally by percentages. Modes define how one layer interacts with the layers below and can completely change the resulting image. Think about the days when you picked up two slides by mistake and you could see parts of each slide blended together, although usually a bit too dark. Now think about having 27 different options on how they could blend together. Mind boggling for sure! Using these three tools together and understanding how they work is the first steps in getting complete control over your images. they also are the tools you'll use in making the image you want from the one the camera captured. Even more fundamental, they let you choose between capturing an image or creating one. In this presentation we will review the Layer Palette in Photoshop to discover all of the tools that it contains. We'll break down layers, masks, and modes to understand how they work together to allow you to refine your image and even take the first steps beyond enhancements and into the realm of image manipulation including creating composite images. Time permitting, we'll also delve into Smart Objects and the amazing surprises awaiting when the Stack Mode is changed on a group of layers converted to Smart Objects. Our Presenter - Chuck Almarez: - Degree from Brooks institute of Photography in Santa Barbara, CA - Master's Degree in Digital Photography at the School of Visual Arts in New York City. - Owns and operates a commercial photography studio and gallery (Fire and Light Gallery in Clinton Forge) - Teaches photography courses at Dabney S. Lancaster Community College in Clifton Forge and Blue Ridge Community College in Wyers Cave, VA. To see some of Chuck's photos, go to: http://www.fireandlightgallery.com and/or http://www.almarezphoto.com

CREATING A COMPOSITE IMAGE

Unique Photo

$79.00

WHAT IS A COMPOSITE IMAGE? COMPOSITING is the combining of visual elements from separate sources into single images, often to create the illusion that all those elements are part of the same scene. Unlike a multiple exposure where separate images are made on the same frame. The purpose is usually to make the combined images look as though they were a part of the same scene. WHAT YOU'LL LEARN: WHAT A COMPOSITE IS HOW TO CREATE A SIMPLE COMPOSITE HOW TO CREATE A SINGLE IMAGE COMPOSITE HOW TO SELECT AN IMAGE OR IMAGES FOR A COMPOSITE HOW TO CREATE A MONTAGE YOU'LL ALSO LEARN THE FOLLOWING: ABOUT THE COMPOSITE AS A NARRATIVE THE COMPOSITE IN PORTRAITURE THE COMPOSITE IN LIGHT PAINTING OTHER TYPES OF COMPOSITES, SUCH AS Panoramas High Dynamic Range images Focus Stacking Displacement Mapping Our Presenter - Chuck Almarez: - Degree from Brooks institute of Photography in Santa Barbara, CA - Master's Degree in Digital Photography at the School of Visual Arts in New York City. - Owns and operates a commercial photography studio and gallery (Fire and Light Gallery in Clinton Forge) - Teaches photography courses at Dabney S. Lancaster Community College in Clifton Forge and Blue Ridge Community College in Wyers Cave, VA. To see some of Chuck's photos, go to: http://www.fireandlightgallery.com and/or http://www.almarezphoto.com

Soar With AIP - A Doors-Off Helicopter Experience Over NYC For Photographers

FROM THE ORDINARY TO THE EXTRAORDINARY A one hour "DOOR OFF" photo flight over and around New York City JOIN OUR AIP AERIAL BLUE HOUR/FULL MOON PHOTO ADVENTURE THE REASON THAT WE'VE CHOSEN MONDAY NIGHT, JUNE 17TH IS THAT THERE WILL BE A FULL MOON RISING OVER NEW YORK AT 8:56 P.M. IN ADDITION, SUNSET WILL OCCUR AT 8:29 P.M. THIS MEANS THAT EVERYONE ON THE FLIGHT WILL GET TO PHOTOGRAPH NYC DURING THE BLUE HOUR, WITH A SETTING SUN AND A RISING MOON. We'll be flying 2 helicopters, each with a capacity of 3 seats (total of 6 seats) available for the BLUE HOUR/FULL MOON PHOTO ADVENTURE. - We start with an hour of training and prep before your scheduled flight time where we'll discuss safety, shooting techniques, camera settings and stabilization. - We will be providing high quality cameras with EXTRA fast glass (F1.4 - f1.8) that you can use in the event that your own cameras or lenses are not fast enough. We will also show you how to use those cameras and pre-set everything so it's ready to insure you get the very best shots. - You'll then board the helicopter for the experience of your life. A Doors-Off 1-hour flight over lower Manhattan, Mid-town and around the Statue of Liberty. SOME OTHER PROGRAM DETAILS: The flight portion of each of our Helicopter Photo Adventures will last for 1 hour. It takes ~7 minutes to get from our lift-off point to a photo position over New York City and 7 minutes to get back. That will gives you 46 minutes over our target areas, which you'll find to be more than enough. AIP plans on offering an extended schedule of sunset into the the blue hour and evening photo flights. The afternoon flight will lift off around sunset. AFFECT OF WEATHER ON OUR FLIGHT PROGRAM AND ON YOUR RESERVATION: As you can imagine, weather conditions will have a major effect on our decision to fly or not. If its raining or windy, we don't fly. If conditions for flying and/or photographing are anything less than ideal, we don't fly. If we don't fly, you will receive a refund. MOST EFFECTIVE EQUIPMENT FOR DAY AND/OR NIGHT TIME PHOTOGRAPHY: a. Almost any DSLR will do as long as it's capable of shooting in bursts. b. Most effective lenses are between 35 and 85mm. We think that shooting at 35mm, 50mm and 85mm would be ideal. Anything shorter or longer than this range is pretty ineffective and won't produce the best results, especially if you're a first-timer. c. Generally speaking fast glass is best and your lens of choice should be capable of opening up to at least f 1.8. At the end of blue hour, a faster lens is best. Note that fast glass is usually of higher quality and sharper as well. The most effective way of shooting from a helicopter is to come prepared with 2 camera bodies and a different lens for each body. (You can't change lenses and or fumble around with equipment while in flight.) Malcolm Kahn, Padma Inguva and Martin Joffe Your AIP Organizers

Soar With AIP - A Doors-Off Helicopter Experience Over NYC For Photographers

FROM THE ORDINARY TO THE EXTRAORDINARY A one hour "DOORS OFF" photo flight over and around New York City JOIN OUR AIP AERIAL FULL MOON PHOTO ADVENTURE THE REASON THAT WE'VE CHOSEN MONDAY NIGHT, JUNE 17TH IS THAT THERE WILL BE A FULL MOON RISING OVER NEW YORK AT 8:56 P.M. IN ADDITION, SUNSET WILL OCCUR AT 8:29 P.M. THIS MEANS THAT EVERYONE ON THE FLIGHT WILL GET TO PHOTOGRAPH NYC WITH A MOON RISING BEHIND THE NEW YORK SKYLINE. OUR PILOTS WILL TRY TO POSITION THE HELICOPTER SO THAT WE CAN SHOOT THE FULL MOON RISING BEHIND THE FREEDOM TOWER. We'll be flying 2 helicopters, each with a capacity of 3 seats (total of 6 seats) available for the FULL MOON PHOTO ADVENTURE. - We start with an hour of training and prep before your scheduled flight time where we'll discuss safety, shooting techniques, camera settings and stabilization. - We will be providing high quality cameras with EXTRA fast glass (F1.4 - f1.8) that you can use in the event that your own cameras or lenses are not fast enough. We will also show you how to use those cameras and pre-set everything so it's ready to insure you get the very best shots. - You'll then board the helicopter for the experience of your life. A Doors-Off 1-hour flight over lower Manhattan, Mid-town and around the Statue of Liberty. SOME OTHER PROGRAM DETAILS: The flight portion of each of our Helicopter Photo Adventures will last for 1 hour. It takes ~7 minutes to get from our lift-off point to a photo position over New York City and 7 minutes to get back. That will gives you 46 minutes over our target areas, which you'll find to be more than enough. AFFECT OF WEATHER ON OUR FLIGHT PROGRAM AND ON YOUR RESERVATION: As you can imagine, weather conditions will have a major effect on our decision to fly or not. If its raining or windy, we don't fly. If conditions for flying and/or photographing are anything less than ideal, we don't fly. If we don't fly, you will receive a refund. MOST EFFECTIVE EQUIPMENT FOR DAY AND/OR NIGHT TIME PHOTOGRAPHY: a. Almost any DSLR will do as long as it's capable of shooting in bursts. b. Most effective lenses are between 35 and 85mm. We think that shooting at 35mm, 50mm and 85mm would be ideal. Anything shorter or longer than this range is pretty ineffective and won't produce the best results, especially if you're a first-timer. c. Generally speaking fast glass is best and your lens of choice should be capable of opening up to at least f 1.8. At the end of blue hour, a faster lens is best. Note that fast glass is usually of higher quality and sharper as well. The most effective way of shooting from a helicopter is to come prepared with 2 camera bodies and a different lens for each body. (You can't change lenses and or fumble around with equipment while in flight.)

Past events (311)

Photos (8,861)

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