101100 001111|copyright 1997 philg@mit.edu sharpen:yes borders:yes url_stub:/photo/pcd0801/ 1|philip-and-alex-on-bed||Programming Can be Fun (photo: Rob Silvers)|Canon EOS-5, 20-35/2.8L, 540EZ flash tilted up 45 degrees, +2/3 stop flash exposure compensation, Stofen Omni-bounce, Kodak E100 slide film|Philip and Alex in bed using PowerBook (photo: Rob Silvers)|We wanted a boring flat illustrative light and we got it. This photo would have been ruined by standard on-camera flash. Standard bounce flash off the white ceiling would have been better, but probably it would have left unpleasant shadows under eyes and chin. The Omni-bounce worked beautifully here, casting light all around the room. Canon's auto flash exposure worked great too, though because of all the white in the image, it was a good thing that we dialed in +2/3 stop compensation. 2|il-mondo-cover||How I looked on the cover of Il Mondo (January 11, 1997; photo: Rob Silvers)|Canon EOS-5, 20-35/2.8L, 540EZ flash tilted up 45 degrees, Stofen Omni-bounce, Kodak E100 slide film|Philip sitting at his Windows NT box (photo: Rob Silvers)|We wanted a boring flat illustrative light and we got it. This photo would have been ruined by standard on-camera flash. Standard bounce flash off the white ceiling would have been better, but probably it would have left unpleasant shadows under eyes and chin. The Omni-bounce worked beautifully here, casting light all around the room. 3|philip-and-alex-on-couch 4|il-mondo-interior||Il Mondo (January 11, 1997; photo: Rob Silvers)|Canon EOS-5, 20-35/2.8L, 540EZ flash tilted up 45 degrees, Stofen Omni-bounce, Kodak E100 slide film|Philip sitting at his Windows NT box (photo: Rob Silvers)|We wanted a boring flat illustrative light and we got it. This photo would have been ruined by standard on-camera flash. Standard bounce flash off the white ceiling would have been better, but probably it would have left unpleasant shadows under eyes and chin. The Omni-bounce worked beautifully here, casting light all around the room. 5|caloric-low 6|caloric-low 7|caloric-high 8|caloric-high 9|caloric-tight 10|caloric-logo 11|caloric-knob 12|caloric-knobs 13|caloric-with-pots 14|caloric-with-pots-vert 15|caloric-just-burners 16|living-room 17|living-room-with-loft 18|living-room-with-loft 19|living-room-with-loft 20|living-room-with-loft 21|love-nest 22|love-nest 23|love-nest 24|sony-xbr 25|rick-young 26|rick-young 27|ge 28|ge-close 29|ge-high 30|ge-vert 31|ge-with-pots 32|ge-broiling 33|ge-broiling 34|alex-birthday-steak 35|alex-birthday-steak 36|brocoli-in-cuisinart 37|brocoli-in-cuisinart-tight 38|ge-cooking-burger 39|kathy-cooking-calphalon 40|kathy-cooking-calphalon 41|unshifted||Unshifted View of 5 Irving Terrace|Tripod, 24 T/S lens, Fuji ISO 200 color negative film||This is what you get if you want parallel lines; a lot of interesting foreground 42|shifted-a-bit||Shifted a bit 43|shifted-too-much||Shifted Too Much|||We've now shifted the lens up so much that it is unable to cover the entire 35mm frame. Note the dark areas in the top corners. 44|unshifted||Unshifted detail of my house|Tripod, 24 T/S lens, Fuji ISO 200 color negative film||note the extra crud in the foreground 45|shifted||Shifted|||We can shift the lens up to eliminate the unattractive foreground, preserving the parallel lines of the structure 46|tilted-back||Tilted Back|||This is the view we'd get if we tried to frame just the house with a standard 24mm lens 47|trash-cans||Trash Cans 48|no-trash-cans||No Trash Cans|||Rather than drag out a step-ladder to get a higher perspective that doesn't include the ugly trash cans, we just shift the lens up a bit 49|modern-shifted||The Ugly Modern Townhouses Next to My House (shifted) 50|modern-tilted-back||The Ugly Modern Townhouses Next to My House (tilted back)|||Note how these appear to be falling over