Wide apertures let in more light, so you can use a faster shutter speed in any given light level. This is handy for anything from low-light photography to action shooting.
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Wide Aperture Clicks
You should always shoot with your eyes wide open (at least, the one looking
through the viewfinder). But often it pays to shoot with your lens wide open,
too.
Wide apertures let in more light, so you can use a faster shutter speed in any given light level. This is handy for anything from low-light photography to action shooting.
Another benefit of shooting wide open is very limited depth of field. If you're
shooting a portrait, and the background is distracting, and you can't
move the subject or camera, just open the lens to its widest aperture, and the
background distractions will magically blur into insignificance. This effect
is greatest when you use a longer focal length and shoot at a close focusing
distance--shoot a head shot from 4 feet away with a 100mm lens wide-open
at f/2.8, and background distractions will vanish.
Wide apertures let in more light, so you can use a faster shutter speed in any given light level. This is handy for anything from low-light photography to action shooting.
Aerial Photography - 5ive Tips
The world looks different from the air, and aerial photography thus offers
some unique photo opportunities.
If you're not a pilot, probably the best way to get aerial photos through a flight school at your local general-aviation airport. Training planes can fly fairly slowly, and the instructors will be familiar with the area's airspace, and experienced at flying from either front seat (with some planes, only the window on the pilot's side can be opened).
High-wing airplanes are generally considered best for aerial photography, because the wing is above the cockpit, out of the way when you're shooting downward. However, most high-wing planes have wing struts, and many have fixed landing gear, both of which can get in the way. You can work around wings, struts and landing gear--I've done nearly all of my aerial photography from a low-wing plane, by aiming the camera midway between the wing and the nose of the plane. Sit in the airplane you're going to use on the ground, open the window, and try different camera positions and lens focal lengths to see what will work best with that particular aircraft.
More important than wing configuration is that you can open a window in-flight, so you don't have to shoot through the plexiglass. Shooting through the plastic will result in reflections, decreased sharpness, and a color cast if the plastic is tinted. If you can't open the window, move the camera as close to it as you can without touching it, and shoot straight through the window, not at an angle to it. It's also a good idea to wear black clothing and use a black cloth to minimize cockpit reflections. Don't let the lens touch the window, frame or other part of the aircraft--vibrations will be transferred to the camera, causing unsharp images. And don't stick the lens outside the plane--the rushing air can pull the camera right out of your hands, and will almost certainly tear off the lens hood.
If you are a pilot, remember that your first job is "pilot." Fly the plane, and watch for traffic. When you arrive at the target area, slow the plane to a safe speed, trim it for hands-off flight at that speed, check the area for traffic, take a shot, check for traffic again, check airspeed and altitude, take another shot, etc. Don't get so involved in shooting that you stall the plane or forget to check for traffic.
I have the large advantage of being the pilot on my aerial photo flights, so I can just fly the plane where I want it for each shot. If you go up as passenger, discuss beforehand with the pilot what you want to do, and establish a communication system. An intercom with headsets is invaluable here--it's noisy in flight, especially with a window open.
Don't look through the camera for long periods of time in flight, especially while the aircraft is turning--you'll likely get airsick. When you spot a subject, have the pilot maneuver the plane into position, then bring the camera up to your eye and take the shot.
It can get cold aloft with the window open. Consider the temperature (it usually gets colder the higher up you go), and dress accordingly.
When photographing subjects on the ground, use manual-focus mode and set focus at infinity, then tape the focusing ring there so it doesn't accidentally move.
While I do most of my shooting these days with digital SLRs, I still prefer film for aerial work--generally Kodak Ektachrome E100VS or Fujichrome Provia 100F or Velvia 100F, all pushed a stop to EI 200 to provide faster shutter speeds and more contrast. Aerial photos generally lack contrast and color saturation, due to the haze between camera and subject--you'll be at least 500 feet from subjects on the ground (1000 feet in populated areas), and I'm often shooting from several thousand feet up during cross-country flights. If I need more speed, Fujichrome Provia 400F is the finest-grained high-speed slide film, and I also use Ektachrome E200 pushed to EI 400 or 800 at times.
A polarizing filter can help cut through haze (but not smog, which actually consists of particulate matter) and improve contrast, but I rarely use one.
1. The Best Time
As with all photography, lighting is a big factor. For aerial photography, the lighting is best early and late in the day, when the low-angle sun creates long, dramatic shadows. Ideally, you also want a clear and smooth day, because hazy weather makes for murky photos, and turbulence causes image blur and missed compositions. Unfortunately, clear days are generally that way because of strong winds, and strong winds make for bumpy flights. I've got a few good shots on bumpy days (also a lecture from air traffic control when I accidentally keyed the yoke-mount microphone button as a strong gust hit just as I shot, causing me to blow blew yet another composition, and I apparently muttered something untoward). If you're up there and see something good to shoot, by all means, shoot it; but I wouldn't deliberately set out on an aerial photo flight on a bumpy or hazy day.
If you're not a pilot, probably the best way to get aerial photos through a flight school at your local general-aviation airport. Training planes can fly fairly slowly, and the instructors will be familiar with the area's airspace, and experienced at flying from either front seat (with some planes, only the window on the pilot's side can be opened).
High-wing airplanes are generally considered best for aerial photography, because the wing is above the cockpit, out of the way when you're shooting downward. However, most high-wing planes have wing struts, and many have fixed landing gear, both of which can get in the way. You can work around wings, struts and landing gear--I've done nearly all of my aerial photography from a low-wing plane, by aiming the camera midway between the wing and the nose of the plane. Sit in the airplane you're going to use on the ground, open the window, and try different camera positions and lens focal lengths to see what will work best with that particular aircraft.
More important than wing configuration is that you can open a window in-flight, so you don't have to shoot through the plexiglass. Shooting through the plastic will result in reflections, decreased sharpness, and a color cast if the plastic is tinted. If you can't open the window, move the camera as close to it as you can without touching it, and shoot straight through the window, not at an angle to it. It's also a good idea to wear black clothing and use a black cloth to minimize cockpit reflections. Don't let the lens touch the window, frame or other part of the aircraft--vibrations will be transferred to the camera, causing unsharp images. And don't stick the lens outside the plane--the rushing air can pull the camera right out of your hands, and will almost certainly tear off the lens hood.
If you are a pilot, remember that your first job is "pilot." Fly the plane, and watch for traffic. When you arrive at the target area, slow the plane to a safe speed, trim it for hands-off flight at that speed, check the area for traffic, take a shot, check for traffic again, check airspeed and altitude, take another shot, etc. Don't get so involved in shooting that you stall the plane or forget to check for traffic.
I have the large advantage of being the pilot on my aerial photo flights, so I can just fly the plane where I want it for each shot. If you go up as passenger, discuss beforehand with the pilot what you want to do, and establish a communication system. An intercom with headsets is invaluable here--it's noisy in flight, especially with a window open.
Don't look through the camera for long periods of time in flight, especially while the aircraft is turning--you'll likely get airsick. When you spot a subject, have the pilot maneuver the plane into position, then bring the camera up to your eye and take the shot.
It can get cold aloft with the window open. Consider the temperature (it usually gets colder the higher up you go), and dress accordingly.
When photographing subjects on the ground, use manual-focus mode and set focus at infinity, then tape the focusing ring there so it doesn't accidentally move.
While I do most of my shooting these days with digital SLRs, I still prefer film for aerial work--generally Kodak Ektachrome E100VS or Fujichrome Provia 100F or Velvia 100F, all pushed a stop to EI 200 to provide faster shutter speeds and more contrast. Aerial photos generally lack contrast and color saturation, due to the haze between camera and subject--you'll be at least 500 feet from subjects on the ground (1000 feet in populated areas), and I'm often shooting from several thousand feet up during cross-country flights. If I need more speed, Fujichrome Provia 400F is the finest-grained high-speed slide film, and I also use Ektachrome E200 pushed to EI 400 or 800 at times.
A polarizing filter can help cut through haze (but not smog, which actually consists of particulate matter) and improve contrast, but I rarely use one.
1. The Best Time
As with all photography, lighting is a big factor. For aerial photography, the lighting is best early and late in the day, when the low-angle sun creates long, dramatic shadows. Ideally, you also want a clear and smooth day, because hazy weather makes for murky photos, and turbulence causes image blur and missed compositions. Unfortunately, clear days are generally that way because of strong winds, and strong winds make for bumpy flights. I've got a few good shots on bumpy days (also a lecture from air traffic control when I accidentally keyed the yoke-mount microphone button as a strong gust hit just as I shot, causing me to blow blew yet another composition, and I apparently muttered something untoward). If you're up there and see something good to shoot, by all means, shoot it; but I wouldn't deliberately set out on an aerial photo flight on a bumpy or hazy day.
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Action Photography - Capturing the Moment
This is an excerpt from the book “Sports Photography: How to Capture Action and Emotion” by Peter Skinner.
Virtually every day we see great sports action photographs in newspapers and magazines. As the term implies, the photographers who made these images have truly “captured the action.” Because we see them so often, it can be easy to overlook the skill and talent involved in producing these attention-grabbing photographs. While luck might be involved in making great sports shots, invariably luck favors the photographer who knows what to expect, and is well prepared to capitalize on that fleeting, never-to-be-repeated moment when something extraordinary happens.
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Virtually every day we see great sports action photographs in newspapers and magazines. As the term implies, the photographers who made these images have truly “captured the action.” Because we see them so often, it can be easy to overlook the skill and talent involved in producing these attention-grabbing photographs. While luck might be involved in making great sports shots, invariably luck favors the photographer who knows what to expect, and is well prepared to capitalize on that fleeting, never-to-be-repeated moment when something extraordinary happens.
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Action Photography - Capturing the Moment | Part II
Know the course and the best vantage points. Keep in mind the time of
day, the angle of the sun and how long that spot is likely to be well
lit. Ask officials about the course layout. These people want coverage
of their events and will probably do what they can to help you but don’t
leave the approach to the last minute! Also, ask if and when access to
any part of a course might be closed. Rushing to a great location only
to find it is off limits would be frustrating, to say the least.
Once you’ve selected the best vantage spots get the approximate times that athletes will get there after the start and how many circuits will be made. An elevated vantage point can be handy and you can even take your own, such as a small, lightweight stepladder, an aid that Bob Woodward uses often.
Once you’ve selected the best vantage spots get the approximate times that athletes will get there after the start and how many circuits will be made. An elevated vantage point can be handy and you can even take your own, such as a small, lightweight stepladder, an aid that Bob Woodward uses often.
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Still Life Photography - Four Tips
Throughout the decades, artists have depicted still life scenes--arrangements
of inanimate objects--in paintings and photography. Shooting still life
subjects is one of the best ways to sharpen your photographic skills. You can
take your time, and your subject remains stationary. Good composition, framing
and lighting are all very important to translate your still life into a great
photo.
Study Good Photos
Every day we are bombarded with still life images of appetizing foods, shiny housewares and other appealing products in magazine ads, brochures and catalogs. Professionals spend a great deal of time setting up these shots and you can learn a lot just by studying the photos you find most appealing and unique. Notice how photographers use repeating shapes and lines to create patterns and use complimentary colors. Study the lighting that they use. One of the best things you can do before you shoot still lifes is to collect images that inspire you.
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Study Good Photos
Every day we are bombarded with still life images of appetizing foods, shiny housewares and other appealing products in magazine ads, brochures and catalogs. Professionals spend a great deal of time setting up these shots and you can learn a lot just by studying the photos you find most appealing and unique. Notice how photographers use repeating shapes and lines to create patterns and use complimentary colors. Study the lighting that they use. One of the best things you can do before you shoot still lifes is to collect images that inspire you.
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Enhancing Outdoor Portraits Using Fill Flash
When the weather is nice outdoors, nothing beats an informal
portrait. You do not want to shoot in the direct sunlight because your
subject will be squinting. However, if you can find a shady spot under a
tree, both you and your subject will be much happier.
So, how can you take the best portrait outdoors and still compete with the sun? The answer is usually right on top of your camera—the flash. You may not want to use the full intensity of the flash to combat the effects of the sun, but depending on your subject’s location, time of day, and hair color, you probably have more control than you think.
Grouping subjects by hair color, I’ll explain what techniques have worked for me on the warmth of a summer day and in the crispness of a colorful fall day. Beginning with brunettes, I usually have females sit under a tree and look up at the camera. They will be in shade because of the tree and the only ambient light is what is bouncing or reflecting off the ground. Knowing that dark colors absorb light (like dark hair) and lighter colors reflect light (blonde hair), I adjust my flash accordingly. Keep in mind the distance from your subject (I’m standing, she’s sitting) and their skin tone.
Here are a few rules to keep in mind: direct sun rarely works well; instead choose a shady spot and let your compensated flash be your fill light source. It provides the needed illumination plus benefits such as sparkling eyes, daylight-balanced skin tone, and less background/subject exposure variations.
I will always use the flash outdoors to fill in the shadows created by the sun, but in this case, I wanted to add illumination to the shot and make her eyes sparkle. This will be one of the few times I will use the fill flash at full strength. In this instance, the flash lightens her skin slightly, creates a twinkle in her eyes, and causes a mild shimmer to her hair.
Chris was placed in the shade of a tree with a much brighter background. Still using the flash as fill, I backed down the flash compensation to -1 EV. I don’t want the flash at full power because his skin tone is light and I want to avoid overexposure. The camera’s flash is daylight-balanced (5600?K) and an overcast day often causes a blue cast. The warmth of the flash added a little color to his light skin.
So, how can you take the best portrait outdoors and still compete with the sun? The answer is usually right on top of your camera—the flash. You may not want to use the full intensity of the flash to combat the effects of the sun, but depending on your subject’s location, time of day, and hair color, you probably have more control than you think.
Grouping subjects by hair color, I’ll explain what techniques have worked for me on the warmth of a summer day and in the crispness of a colorful fall day. Beginning with brunettes, I usually have females sit under a tree and look up at the camera. They will be in shade because of the tree and the only ambient light is what is bouncing or reflecting off the ground. Knowing that dark colors absorb light (like dark hair) and lighter colors reflect light (blonde hair), I adjust my flash accordingly. Keep in mind the distance from your subject (I’m standing, she’s sitting) and their skin tone.
Here are a few rules to keep in mind: direct sun rarely works well; instead choose a shady spot and let your compensated flash be your fill light source. It provides the needed illumination plus benefits such as sparkling eyes, daylight-balanced skin tone, and less background/subject exposure variations.
I will always use the flash outdoors to fill in the shadows created by the sun, but in this case, I wanted to add illumination to the shot and make her eyes sparkle. This will be one of the few times I will use the fill flash at full strength. In this instance, the flash lightens her skin slightly, creates a twinkle in her eyes, and causes a mild shimmer to her hair.
Chris was placed in the shade of a tree with a much brighter background. Still using the flash as fill, I backed down the flash compensation to -1 EV. I don’t want the flash at full power because his skin tone is light and I want to avoid overexposure. The camera’s flash is daylight-balanced (5600?K) and an overcast day often causes a blue cast. The warmth of the flash added a little color to his light skin.
Abbie—Dark Hair, Brown Eyes, Olive Skin
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Chris—Light Skin, Dark Hair, Light Beard
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Creative Look - Combine Your Images
I had a thought (it happens!) back in the `80s. I was thinking how great
it would be to create a portrait piece of someone that combined several images
together to show the many facets of that individual. Let's take an example.
Suppose you were commissioned to do a portrait of a young man. His interests
may include playing football, swimming, sailing, playing guitar, etc.
My thinking was to photograph this individual while he was doing these activities,
and somehow combine all these images together into one super image with all
the individual ones. Great idea, right? Man, I thought, I could get paid a fortune
for doing this kind of work! The only problem was, I couldn't figure out
how to do it! Make a few small prints and tack them up and copy them? Not quite
the elegant image I was going for. Print them on one piece of paper using masking
techniques? Possibly, but not an easy task for someone not owning a color lab.
Do a "brain shot" like at weddings, where you put the bride's
face in the groom's head? Yuck! Oh well, nice idea, but just too complicated
and time consuming. Time to move on.
Fast forward to 2006. Film is fast becoming a memory, and anyone with image-editing
software is capable of combining images to create spectacular effects. Of course,
the key word here is capable, because the old computer axiom of "Garbage
In, Garbage Out" is especially true of today's digital photographer.
But in the hands of a skilled artist/photographer, wonderful things can happen.
"Morning Ritual"
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From Color To Black & White In A Few Steps - Plugins
One of the reasons photographic purists usually refer to black and
white prints as “monochrome” is that it’s a more precise descriptive
term that also covers images produced in sepia and other tones. There is
much more to black and white photography than simply an absence of
color. Maybe we wouldn’t feel this way if the first photographs had been
made in full color but that didn’t happen. Like many photographers, I
grew up admiring the works of W. Eugene Smith and other photojournalists
who photographed people at work, play, or just being themselves, all in
glorious black and white.
One of the advantages of working with monochromatic digital
photographs is the original image can come from many sources. Some
digital cameras have Black and White or Sepia modes for capturing images
directly in monochrome but more often than not they capture these
photographs in RGB. Yup, it’s a color file without any color! You can
also capture your images in color, then use any of the software that
I’ll introduce you to and convert that full color photograph into a
monochromatic one. As a creative medium, traditionalists may still call
it “monochrome” while digital imagers may prefer the computerese
“grayscale,” but, to paraphrase Billy Joel, “It’s still black and white
to me.”
One of my favorite ways to convert a color file into monochrome is to use Photoshop-compatible plug-ins. You can always use the Black and White New Adjustment Layer (Layer>New Adjustment Layer>Black & White) in Adobe’s Photoshop and it’s a pretty good tool as far as it goes, but this story is about monochrome conversion plug-ins.
Monochrome Conversion
Nik Software’s (www.niksoftware.com) Silver Efex Pro is a Photoshop- and Aperture-compatible plug-in that offers emulations of 18 different black and white films from Agfa, Fuji, Ilford, and Kodak, along with a grain engine that mimics the traditional silver halide process. In the Film Types area on the right-hand side of the stunningly designed interface, you’ll also find controls for Sensitivity and Tonal Curve, allowing fine-tuning of the conversion.
The plug-in uses Nik Software’s patented and insanely cool U Point technology, borrowed from Nikon’s Capture NX software, that allows selective control of an image’s brightness, contrast, and structure, adding another level of control. By placing points on specific parts of the photo you can control how much of the effect is applied to only those areas. When making the final monochrome conversions, Silver Efex Pro uses algorithms to protect against creating unwanted artifacts. The plug-in costs $199.95, and works with 8- and 16-bit images, RGB, CMYK, and LAB color spaces, and is compatible with Photoshop’s Smart Filters feature.
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One of my favorite ways to convert a color file into monochrome is to use Photoshop-compatible plug-ins. You can always use the Black and White New Adjustment Layer (Layer>New Adjustment Layer>Black & White) in Adobe’s Photoshop and it’s a pretty good tool as far as it goes, but this story is about monochrome conversion plug-ins.
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Nik Software’s (www.niksoftware.com) Silver Efex Pro is a Photoshop- and Aperture-compatible plug-in that offers emulations of 18 different black and white films from Agfa, Fuji, Ilford, and Kodak, along with a grain engine that mimics the traditional silver halide process. In the Film Types area on the right-hand side of the stunningly designed interface, you’ll also find controls for Sensitivity and Tonal Curve, allowing fine-tuning of the conversion.
The plug-in uses Nik Software’s patented and insanely cool U Point technology, borrowed from Nikon’s Capture NX software, that allows selective control of an image’s brightness, contrast, and structure, adding another level of control. By placing points on specific parts of the photo you can control how much of the effect is applied to only those areas. When making the final monochrome conversions, Silver Efex Pro uses algorithms to protect against creating unwanted artifacts. The plug-in costs $199.95, and works with 8- and 16-bit images, RGB, CMYK, and LAB color spaces, and is compatible with Photoshop’s Smart Filters feature.
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Depth of Field - 4our Tips
When you focus your camera's lens on a subject, the point focused upon
is sharp. Objects in the scene closer or farther than that point appear progressively
less sharp as their distance from the focused point increases.
Depth of field refers to the area in front of and beyond the point focused upon in which things appear acceptably sharp in a photograph. Depth of field is really an illusion: Again, the point focused upon is sharp; everything in the scene closer to or farther from the camera is less sharp. Depth of field is based on the fact that our eyes can't differentiate between dead-on sharp and almost-sharp until the lack of sharpness reaches a certain degree. Within depth-of-field limits, objects in the photo will appear sufficiently sharp at normal viewing distances for the print size.
Depth of field affects every photograph. So it's a good idea to put it to work for you, rather than just leave it to chance. You have three controls over depth of field: aperture, focal length, and focusing distance. Smaller apertures increase depth of field, while larger apertures decrease it. Shorter focal lengths increase depth of field, while longer focal lengths decrease it. And greater focusing distances increase depth of field, while shorter focusing distances decrease it.
1. Great Depth of Field
Great depth of field is handy when you have several important subjects in a scene, each at a different distance from the camera. It's also useful when you want to get an entire three-dimensional subject sharp, rather than just a portion of it.
Depth of field refers to the area in front of and beyond the point focused upon in which things appear acceptably sharp in a photograph. Depth of field is really an illusion: Again, the point focused upon is sharp; everything in the scene closer to or farther from the camera is less sharp. Depth of field is based on the fact that our eyes can't differentiate between dead-on sharp and almost-sharp until the lack of sharpness reaches a certain degree. Within depth-of-field limits, objects in the photo will appear sufficiently sharp at normal viewing distances for the print size.
Depth of field affects every photograph. So it's a good idea to put it to work for you, rather than just leave it to chance. You have three controls over depth of field: aperture, focal length, and focusing distance. Smaller apertures increase depth of field, while larger apertures decrease it. Shorter focal lengths increase depth of field, while longer focal lengths decrease it. And greater focusing distances increase depth of field, while shorter focusing distances decrease it.
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Great depth of field is handy when you have several important subjects in a scene, each at a different distance from the camera. It's also useful when you want to get an entire three-dimensional subject sharp, rather than just a portion of it.
Compositions Simplified
Good photographs needn't be complicated.
You can often make better pictures by thinking "simple."
Instead of trying to get as much as possible into the shot, try to include as little as possible. Ideally, you should include everything that adds to the picture, and nothing else. But that's a tall order for those new to photography (and for a few "old hands."). Thinking "simple" will help you learn to do it.
If you include too much in the picture, the result is confusing. It gives the viewer too much to think about. He or she probably won't even be able to figure out where to start.
A simple composition, on the other hand, allows the viewer to take it in quickly and effortlessly. Then his or her mind can find a starting point for his or her own "tour" of the picture, for their own questions: In the case of the bench photo on the next page, Why is this bench empty? Who is the bench for? What country is this? The viewer's adventure begins.
The photographer came across a weathered bench in front of a building with
some shuttered windows. And that's just what he shows the viewer. He didn't
try to include the whole building, or its surroundings. He simplified the photo
by including only the bench and two shuttered windows. (He made this photo with
an Advanced Photo System point-and-shoot camera, by the way--you don't
need fancy gear to get good shots.)
You can often make better pictures by thinking "simple."
Instead of trying to get as much as possible into the shot, try to include as little as possible. Ideally, you should include everything that adds to the picture, and nothing else. But that's a tall order for those new to photography (and for a few "old hands."). Thinking "simple" will help you learn to do it.
If you include too much in the picture, the result is confusing. It gives the viewer too much to think about. He or she probably won't even be able to figure out where to start.
A simple composition, on the other hand, allows the viewer to take it in quickly and effortlessly. Then his or her mind can find a starting point for his or her own "tour" of the picture, for their own questions: In the case of the bench photo on the next page, Why is this bench empty? Who is the bench for? What country is this? The viewer's adventure begins.
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Striking Sunsets- 5ive Tips
The word photography literally means "painting with light." Thus,
twilight is one of the best times to take pictures, as the light at that time
is magical. You can capture colorful clouds at sunset time, silhouetted objects
against a colorful sky, or the sparkling lights of a city at dusk. Even though
you'll need to go to a little extra effort to obtain great results, it's
worth doing this to successfully capture one of nature's grandest spectacles.
Camera Support
Because you'll be working under dim lighting conditions, you should invest in a good tripod or monopod. Some manufacturers have even created small beanbags to steady lightweight point-and-shoot cameras. There are also times when you can brace your camera against a rock or on top of a fence. In any case, avoid the blurred images that occur when using a slower shutter speed while hand holding your camera. Lacking a camera support, use fast film in the 400--1600 range, or use an equivalent ISO setting on a digital camera.
Look For Silhouettes
It's always a good idea to scout a location in advance for subjects suitable for silhouettes. Look for simple, recognizable shapes, such as trees, mountains, or even a structure on a beach. It's also important that your subject be surrounded by the brightly colored sky. A fisherman on the beach at sunset is an identifiable shape, but fishing boats lined up too closely in a row may merge into a dark cluster. Any subject that you position in the foreground of a sunset sky will be silhouetted unless you use flash to illuminate it. The dark blue sky after sundown on a clear day, or the pink and orange clouds after sunset on a cloudy one, make great backdrops for silhouettes.
Camera Support
Because you'll be working under dim lighting conditions, you should invest in a good tripod or monopod. Some manufacturers have even created small beanbags to steady lightweight point-and-shoot cameras. There are also times when you can brace your camera against a rock or on top of a fence. In any case, avoid the blurred images that occur when using a slower shutter speed while hand holding your camera. Lacking a camera support, use fast film in the 400--1600 range, or use an equivalent ISO setting on a digital camera.
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It's always a good idea to scout a location in advance for subjects suitable for silhouettes. Look for simple, recognizable shapes, such as trees, mountains, or even a structure on a beach. It's also important that your subject be surrounded by the brightly colored sky. A fisherman on the beach at sunset is an identifiable shape, but fishing boats lined up too closely in a row may merge into a dark cluster. Any subject that you position in the foreground of a sunset sky will be silhouetted unless you use flash to illuminate it. The dark blue sky after sundown on a clear day, or the pink and orange clouds after sunset on a cloudy one, make great backdrops for silhouettes.
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Tips for Photographing Mountains
Anyone who loves shooting scenics probably enjoys capturing the grandeur of
mountains. As with most landscapes, it's best to photograph mountain scenery
very late in the afternoon or very early in the morning. Some of the best high-country
photos are shot by photographers who get up before daybreak or stop shooting
only after dark. You'll find that an otherwise dramatic peak can look
a little flat and uninteresting during the middle of the day.
The low light at dusk and dawn lends texture, depth and form to photos of
mountains. You can also get great shots in varying weather conditions--don't
put your camera away simply because the weather has turned cloudy. Don't
go out in a blizzard or heavy rain, but look for dramatic clouds building before
a storm, or the sun peeking through clouds afterward. You can also get some
dramatic pictures of mountain peaks disappearing into clouds or fog.
At high altitudes, a phenomenon sometimes occurs called alpenglow. This warm glow appears when blue and green wavelengths are scattered by the atmosphere and a little red light dominates, which briefly bathes a mountain in warm, reddish hues. Alpenglow can illuminate the clouds around mountains as well.
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At high altitudes, a phenomenon sometimes occurs called alpenglow. This warm glow appears when blue and green wavelengths are scattered by the atmosphere and a little red light dominates, which briefly bathes a mountain in warm, reddish hues. Alpenglow can illuminate the clouds around mountains as well.
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Morning Photography Tips - 6ix
Morning conjures up thoughts of beautiful sunrises, the start of a new day,
and perhaps brewing a cup of coffee while reading the newspaper. Photographers
enjoy shooting early in the morning (and late in the day) for dramatic light.
When shooting outdoors, the light is especially beautiful during the half-hour
or so after sunrise. These early-morning hours can provide great lighting as
well as the opportunity to photograph scenes before the crowds arrive. Additionally,
industrial pollutants haven't had a chance to settle in, making scenes
even clearer than at dusk.
1. Color Of Light
Our eyes adjust to the changing color that sunlight provides throughout the day. Nonetheless, film and digital sensors record the color of light the way they're designed to see it. In the morning, the colors can range from a yellowish to rosy orange at sunrise. A neutral mix of colors occurs from mid-morning on a clear day, although shady areas will be tinged with blue. It's important to recognize the changing color of light in order to compensate for it with film, or with your digital camera's white-balance setting.
2. Use Silhouettes
If you're photographing a sunrise, try to utilize an interesting foreground element against a colorful sky. A sky with beautiful oranges and reds can often be striking alone, but a foreground element can take your photos a step further by adding a center of interest and revealing something of your location. At dawn and dusk, a foreground subject will usually be rendered as a silhouette, so look for simple and easily recognizable shapes. A single person jogging on a road early in the morning, for example, may be a good subject for a silhouette.
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1. Color Of Light
Our eyes adjust to the changing color that sunlight provides throughout the day. Nonetheless, film and digital sensors record the color of light the way they're designed to see it. In the morning, the colors can range from a yellowish to rosy orange at sunrise. A neutral mix of colors occurs from mid-morning on a clear day, although shady areas will be tinged with blue. It's important to recognize the changing color of light in order to compensate for it with film, or with your digital camera's white-balance setting.
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2. Use Silhouettes
If you're photographing a sunrise, try to utilize an interesting foreground element against a colorful sky. A sky with beautiful oranges and reds can often be striking alone, but a foreground element can take your photos a step further by adding a center of interest and revealing something of your location. At dawn and dusk, a foreground subject will usually be rendered as a silhouette, so look for simple and easily recognizable shapes. A single person jogging on a road early in the morning, for example, may be a good subject for a silhouette.
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Tips For Shadows In Your Clicks - 5ive
Photography is all about light. But wherever there's light, there are
shadows lurking nearby. And therein lie some great photo ops.
Exposing Shadows
Contrasty shadow scenes can fool reflected light meters, such as those built into cameras. A spot meter enables you to meter the most important highlight area, and determine an exposure that will give detail there (try two stops more exposure than the highlight reading calls for). It's generally fine to let the shadows go black; if you want detail there, too, you'll probably need to use the Zone System--or Photoshop's Shadow/ Highlight feature. With the multi-segment meters built into today's SLRs, you'll have to experiment to see how your specific camera handles shadow scenes--with some scenes, multi-segment meters work very well, with others they don't.
It's a good idea to bracket exposures when you start doing shadow images.
1: Shadows Add Impact
Soft light is easy to work with, primarily because it produces soft shadows. If you didn't get the main light in the right place, there are no harsh shadows to whump the viewer upside the head with that fact. But soft light also lacks impact. Harsh shadows--in the right place(s)--can add impact and drama to a photograph. The best source of harsh shadows is direct sunlight outdoors. But you can create strong shadows with direct light sources in the studio, too, such as direct electronic flash or tungsten lamps.
The contrast between sunlit fog and unlit trees adds drama to this early-morning scene.
2: Show The Subject A Different Way
For a different sort of image, make the shadow the main subject of the photo, or photograph only the shadow, without including the subject.
This self-portrait was "discovered" on the side of a store near the end of a hike. Keep your eyes open for such photo ops in your wanderings.
Exposing Shadows
Contrasty shadow scenes can fool reflected light meters, such as those built into cameras. A spot meter enables you to meter the most important highlight area, and determine an exposure that will give detail there (try two stops more exposure than the highlight reading calls for). It's generally fine to let the shadows go black; if you want detail there, too, you'll probably need to use the Zone System--or Photoshop's Shadow/ Highlight feature. With the multi-segment meters built into today's SLRs, you'll have to experiment to see how your specific camera handles shadow scenes--with some scenes, multi-segment meters work very well, with others they don't.
It's a good idea to bracket exposures when you start doing shadow images.
1: Shadows Add Impact
Soft light is easy to work with, primarily because it produces soft shadows. If you didn't get the main light in the right place, there are no harsh shadows to whump the viewer upside the head with that fact. But soft light also lacks impact. Harsh shadows--in the right place(s)--can add impact and drama to a photograph. The best source of harsh shadows is direct sunlight outdoors. But you can create strong shadows with direct light sources in the studio, too, such as direct electronic flash or tungsten lamps.
The contrast between sunlit fog and unlit trees adds drama to this early-morning scene.
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2: Show The Subject A Different Way
For a different sort of image, make the shadow the main subject of the photo, or photograph only the shadow, without including the subject.
This self-portrait was "discovered" on the side of a store near the end of a hike. Keep your eyes open for such photo ops in your wanderings.
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Tips To Get Point Of Interest Stand Out - Se7en
What and how to get a Prominent Point of Interest in Photography
Point of Interest is the gravitating aspect that will draw the viewers to a certain point of the photograph. Ideally, there is one point of interest (POI) in a photograph to ensure its viewers are able to understand the message conveyed by the photograph. There are several techniques to ensure the photograph’s viewers comprehend the POI:
1. Fill the Frame
By filling the frame with the main object, the object will inevitably be the center of attention. There are several ways to fill the frame with the main object of the photograph. Some of these include:
- Photographing closer to the object.
- Using a telephoto lens or zoom.
- Cropping.
Point of Interest in Photography - Fill the frame
2. Depth of Field
By adjusting the Depth of Field (DoF), the main object will appear sharp while the surrounding environment becomes blurry in contrast. This ensures the clarity of the point of interest. To obtain a thin Depth of Field, the steps that can be taken are:
- Set the lens to its widest aperture (lowest digit).
- Use the farthest zoom range (tele-end).
- Distance the object with its background.
Point of Interest in Photography - Shallow Depth of Field
Action Photography Tips - Three
Photographing action is quite challenging, but can also be very rewarding.
The keys to success are knowing your camera, knowing your subject...and LOTS
of practice. You have to be able to set focus and exposure quickly (or monitor
them quickly, if using an automatic camera). In short, you can't be fumbling
around trying to figure out how to apply exposure compensation or switch from
single-area AF to multiple-area AF or vice versa while the action is happening.
Camera operation must become second-nature.
It's also very helpful to know as much as possible about your subject,
be it an animal or a sport. The more you know about your subject, the better
you'll be able to anticipate photo ops, and be ready when they occur.
Learn as much as you can about your subjects from books, online, and other sources,
and by watching them yourself.
There's a lot of luck involved, too, of course. But you'll find that the more you practice and the more you learn about your subjects, the more often you'll get lucky.
TIP 1: Shutter Speed
There are two basic ways to deal with action subjects: freeze them sharply, or blur them. Using a fast shutter speed will sharply freeze the subject, while using a slow shutter speed will blur it. How fast a shutter speed it takes to freeze the subject, and how long a shutter speed you'll need to blur it effectively, depend on the subject's speed and distance from the camera, the focal length of the lens you're using, and the effect you want. The faster the motion, the closer the subject, and the longer the lens, the faster the shutter speed you'll need to "freeze" the motion.
With the foregoing in mind, it's a good idea to try a variety of shutter speeds each time you encounter a new action subject, to see which one(s) produce the best results for that subject. You'll soon learn what speeds will produce the effects you prefer.
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There's a lot of luck involved, too, of course. But you'll find that the more you practice and the more you learn about your subjects, the more often you'll get lucky.
TIP 1: Shutter Speed
There are two basic ways to deal with action subjects: freeze them sharply, or blur them. Using a fast shutter speed will sharply freeze the subject, while using a slow shutter speed will blur it. How fast a shutter speed it takes to freeze the subject, and how long a shutter speed you'll need to blur it effectively, depend on the subject's speed and distance from the camera, the focal length of the lens you're using, and the effect you want. The faster the motion, the closer the subject, and the longer the lens, the faster the shutter speed you'll need to "freeze" the motion.
With the foregoing in mind, it's a good idea to try a variety of shutter speeds each time you encounter a new action subject, to see which one(s) produce the best results for that subject. You'll soon learn what speeds will produce the effects you prefer.
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What To Shoot In Winter
Winter brings with it some great photo opportunities. In many areas
winter means snowy landscapes and snow sports; in others, it's just a
somewhat cooler and slightly wetter time of year. Here are some
winter-oriented photo tips that should help you add some nice shots to
your portfolio, and have some fun doing it.
1 Sun Comes Up, Sun Goes Down . . .
If you're not an early riser, or you like to get to bed early, winter is your season for sunrises and sunsets. The sun rises nearly three hours later, and sets nearly three hours earlier, in mid-winter than it does in mid-summer. So you can sleep in and still catch those neat things that often happen around sunrise (such as the alpenglow on pre-sunrise lenticular clouds shown here)—or photograph the sunset and still have time to go out for dinner and a movie. You can also capture those sunsets over picturesque parklands that close at 5 or 6 p.m. (which is well before sunset in mid-summer). Photo by Mike Stensvold
2 Different Times of Day
As the sun "travels across the sky" (which it does more quickly during the shorter days of winter), the lighting direction changes relative to landscape features. So, schedule permitting, you should check out potential subjects first thing in the morning, in midmorning, around noon, in midafternoon, in late afternoon, and around sunset to see how they look in the different lighting. Not only does the lighting direction change throughout the day, but the color changes as well, from cool before sunrise to warm just after sunrise to neutral at midday to warmer near sunset to cooler after sunset. The combination of different lighting angles and different lighting colors can make a subject look quite different as the Earth does its daily rotation. So shoot a frame (or more) throughout the day, and you'll get some interesting shots.Photo by Lynne Eodice
3 White Is White
. . . but snow isn't, always. Snow in sun is white, snow in shade is bluish, snow under an overcast sky is grayish, snow near sunrise or sunset has a warm cast. To get great snow shots, first you have to learn to see the snow as it is, and second you have to expose it properly. If you take a reading off sunlit snow with your camera's built-in reflected-light meter, the resulting photo will show the snow as gray—too dark for sunlit snow. So you'll have to give the snow more exposure than the meter calls for. How much more? That depends on how you want the snow to appear—try one stop, and bracket exposures. Soon you'll develop a "feel" for how to expose snow to show it the way you want in your photos. (Note: If the snow occupies only a small portion of the image, your in-camera meter will probably expose it correctly. But it's still a good idea to bracket exposure whenever you're in doubt. )Photo by Mike Stensvold
4 A Touch of Color
Snow is very pretty, but photographically a little snow goes a long way. You can add interest and color to snow shots simply by including a colorful object or two in your composition. The colorful object can be incidental, or the main subject of the photo. Keep your eyes peeled for colorful items to include in your snow pictures.Photo by Ron Leach
1 Sun Comes Up, Sun Goes Down . . . If you're not an early riser, or you like to get to bed early, winter is your season for sunrises and sunsets. The sun rises nearly three hours later, and sets nearly three hours earlier, in mid-winter than it does in mid-summer. So you can sleep in and still catch those neat things that often happen around sunrise (such as the alpenglow on pre-sunrise lenticular clouds shown here)—or photograph the sunset and still have time to go out for dinner and a movie. You can also capture those sunsets over picturesque parklands that close at 5 or 6 p.m. (which is well before sunset in mid-summer). Photo by Mike Stensvold
2 Different Times of Day As the sun "travels across the sky" (which it does more quickly during the shorter days of winter), the lighting direction changes relative to landscape features. So, schedule permitting, you should check out potential subjects first thing in the morning, in midmorning, around noon, in midafternoon, in late afternoon, and around sunset to see how they look in the different lighting. Not only does the lighting direction change throughout the day, but the color changes as well, from cool before sunrise to warm just after sunrise to neutral at midday to warmer near sunset to cooler after sunset. The combination of different lighting angles and different lighting colors can make a subject look quite different as the Earth does its daily rotation. So shoot a frame (or more) throughout the day, and you'll get some interesting shots.Photo by Lynne Eodice
3 White Is White . . . but snow isn't, always. Snow in sun is white, snow in shade is bluish, snow under an overcast sky is grayish, snow near sunrise or sunset has a warm cast. To get great snow shots, first you have to learn to see the snow as it is, and second you have to expose it properly. If you take a reading off sunlit snow with your camera's built-in reflected-light meter, the resulting photo will show the snow as gray—too dark for sunlit snow. So you'll have to give the snow more exposure than the meter calls for. How much more? That depends on how you want the snow to appear—try one stop, and bracket exposures. Soon you'll develop a "feel" for how to expose snow to show it the way you want in your photos. (Note: If the snow occupies only a small portion of the image, your in-camera meter will probably expose it correctly. But it's still a good idea to bracket exposure whenever you're in doubt. )Photo by Mike Stensvold
4 A Touch of Color Snow is very pretty, but photographically a little snow goes a long way. You can add interest and color to snow shots simply by including a colorful object or two in your composition. The colorful object can be incidental, or the main subject of the photo. Keep your eyes peeled for colorful items to include in your snow pictures.Photo by Ron Leach
Se7en Winter Photography Tips
1. Keep your camera cold. Although it is tempting, don’t put your
camera under your jacket. Warming and cooling your camera will cause
condensation and render your camera unusable. It is easier to brush
falling snow off a cold camera as well. Falling snow on a warm camera
makes for first a wet, then a frozen mess. But don’t don’t try to blow
snow off your camera with your breath! This too can cause a frozen
condensated mess. I have learned all these things the hard way.2. Keep your batteries warm. Your camera will work fine in very cold temperatures as long as it has functioning batteries. The cold can quickly zap the energy out of any battery, but warming them up can restore much of their power. If I’m taking extended exposures where I can’t afford to have my camera quit such as photographing northern lights, I use a rubber band and attach a chemical hand warmer to the battery compartment. Otherwise I keep extra batteries in a pocket inside my jacket where I can keep them warm. Sometime I put a chemical hand warmer in that pocket to speed up the process. I then rotate the batteries between my camera and my warm pocket.
3. Warm your camera slowly when you return home or in your car. If you walk into the house with a cold camera, it will instantly become covered with condensation. Anyone who has worn glasses in the winter will know exactly what I’m talking about. Some photographers will put their camera gear in zip lock bags and that works fine. I just leave my gear in the camera bag and make sure I don’t open the bag for an hour of two. The camera bag seems to be adequate for avoiding condensation. Be sure to remove film or cards from your camera before you bring it inside so you won’t be tempted to open your bag prematurely.
Amazing Patings in 3D
Marchal Mithouard (aka Shaka) is a
French artist whose paintings literally pop out off the canvas into the
world. To create his pieces, Mithouard first creates a bas relief of
his figures on canvas, then paints them in his multi-colored, street art
style.
Marchal Mithouard started as graffiti artist whose work gradually evolved from basic to a unique brand of three-dimensional street art. Using exaggerated perspective and realism, Mithouard aims for his human figures to jump out at the viewer. His paintings appear to have an underlying theme of revolt and rebellion.
His foremost influences, he says, include Vincent van Gogh, Le Caravage and Expressionism.
Marchal Mithouard started as graffiti artist whose work gradually evolved from basic to a unique brand of three-dimensional street art. Using exaggerated perspective and realism, Mithouard aims for his human figures to jump out at the viewer. His paintings appear to have an underlying theme of revolt and rebellion.
His foremost influences, he says, include Vincent van Gogh, Le Caravage and Expressionism.
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