Digital Photography Tips - Capturing the Spider's Web

A favorite photography subject of many people is a spider web. They possess such an intricate beauty but also strength that far exceeds their outward appearance. A web, which has been photographed in a thoughtful & considerate manner, will produce a beautiful image. Here's some tips to help you get the money shot when it comes time to head into the yard looking for our eight-legged friends.

1. Always be an environmentally conscious photographer. When we go out in the field, you're number one goal should be to leave as little evidence of your presence as possible. We have a great gift that is not to be squandered for our own purposes. Just keep that in mind when you're out & about please!

2. No motion. Because spider webs are so delicate, even the slightest breeze can result in your shots being out of focus. Sometimes reflectors can also be used to deflect gentle breezes. But you're best to wait for natural calm. For this reason also, you will want to have your camera mounted on a tripod. Use a cable shutter-release or the timer function to help eliminate movement on the camera.

3. Depth of field and background. Open your aperture as much as possible to avoid distraction & clutter in the background. You want the subject to be the web. If you have problems with getting proper exposure, even with highest shutter speeds & slowest ISO settings, you may have to use a neutral density filter to reduce light levels. Another way to help with light levels is to look for dark backgrounds. This will also help accentuate the web.

4. Shoot all around. Be sure to get shots from both sides and looking directly at the web. With a shallow depth of field, you may find a particular web to b more interesting when only a portion is in clear focus. Likewise, you might find a "perfect" web front view that will need to be completely within your focal distance. Don't forget to simplify and highlight your subject by filling the frame. You'll be amazed with your results.

5. Do the dew. Not that I'm trying to rip-off anything from the famous soft drink, but water on a web will give you a truly classic image. This moisture is best found in the early morning before the temperature starts drying everything out. You can also try going out after a light rain. Some professional photographers will carry a a misting sprayer with them to help with composition. Just remember our number one rule if you decide to start messing with things too much.

6. Don't forget the flash. Under most circumstances, the natural light you're using will be sufficient for obtaining a proper level of exposure. However, there may be times when you need a little more. Many species of spiders are actually more active at dusk & dawn because of their feeding habits. In these situations, you may want to deploy a strobe to help provide additional illumination. I don't recommend the use of a constant source due to the attraction of unwanted insects. But my guess is that your subject won't mind the added company in this case.

Now you know the secrets to capturing an awesome image next time you find the spiders' web. Good luck with your attempts. You never know what you'll get unless you get out there & try.

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Testing DSLRs to Shoot Video

So much has been said about the benefits and outstanding picture quality of using one of the new large image chip DSLRs from Canon, Nikon, Panasonic and others that we decided to do a test. It is unquestionable that the large image chips these cameras incorporate have raised the quality of the image produced to a level that was ony achievable with much more expensive video cameras in the past. So with this in mind people are jumping on the bandwagon and buying what are essentially still cameras with video recording features (DSLRs). However often other considerations are overlooked. For example, there are many comments about the wonderful look that a limited depth of field the large image sensors can provide. Depth of field is the area in front of and in back of the subject you are focusing on that is in focus. If only the subject is in focus, this small depth of field gives a look similar to what film has been providing forever. Depth of field is influenced by the telephoto setting of the lens and also the aperture set as well as the size of the image sensing chip. The larger the chip, the more telephoto and the more open the aperture, the less depth of field and the more areas in front and behind a focused subject will be blurred/out of focus. Now this really can look good but is it practical for the typical run and gun type shooting that we as videographers do mostly. The answer is yes and no.

To provide some experience and documentation on using a DSLR to shoot a typical event video production in Las Vegas where we have our studio, we did a test shoot with a Canon DSLR, a Panasonic GH1 DSLR and to provide a baseline for shooting video, Panasonic HMC 150 Camcorders

CANON DSLRs

Beautiful picture quality when everything is perfect but not easy to use for run and gun shooting. In low light the depth of field is so limited with any kind of a telephoto shot and wide aperture that you can focus on a nose and a forehead is out of focus. Because the Canon has a mirror you can't use the eyecup viewfinder when shooting video; you need to use the LCD screen. In bright light the LCD screen is useless and for people who need reading glasses you need to hold it at arms length which makes holding it steady very difficult. It doesn't allow you to autofocus on a moving target and because it is difficult to see in the LCD viewfinder, hard to keep in focus. These are some of the reasons you need to buy expensive support systems and LCD viewfinder accessories to get some additional ease of use. Color balancing was cumbersome. Bottom line, very difficult to use for anything but static well lit shots. Audio also requires supplementary equipment such as a digital recorder that you can plug external mics into. If you are used to having smooth zooms in your shots, a DSLR needs a bit of practice or supplementary optional equipment because there is no servo control. The 12 minute limit built into Canon DSLRs isn't much of a problem to us but for long form continuous recording, it is a issue. Canon lenses are expensive and those with a large zoom range are very slow and large. If you want better faster lenses it gets VERY expensive. It is best to rent lenses if you have a big job that needs them because you could easilly spend $10-$20K on lenses alone. We would use this in the future for static or moving on the same plane green screen and product video.

PANASONIC GH1 DSLR

The picture quality was very good. This had a lot of advantages over the Canons. Because the sensor is still large, much larger than 1/3 inch video camera chips but smaller than the Canons, it has excellent picture quality with a more usable depth of field range making it more usable for moving subjects. Because it doesn't have a mirror, you can use the eyecup viewfinder while shooting video. This has a diopter adjustment so for people who need reading glasses it is perfect and while against your forehead provides more stability. It also has an autofocus which though sometimes does some hunting, is usable together with the ability to touch up focus by pressing the shutter 1/2 way plus the ability to also focus manually. There is no time limit on the length of time you can record a clip. You are only limited by the size of the SDHC stick and your battery. I would recommend you have several batteries. The 14-140 lense we used was adequate but very slow (3.5 to 5.6 maximum aperture based on wide angle/telephoto setting). I would say it doesn't compare to the better Canon lenses but the actual shot video footage guality in comparison was better because of the ease of use and the ability to get successful well focused video. Audio here again requires separate equipment because though the onboard mic is decent, it can't compare to a shot gun or wireless setup. What is great is that it gives you control of audio levels easily. Changing color balance was pretty simple with one button, an instant choice of presets and the ability to manually white balance. Because of our experience with this camera we bought the latest version GH2 which we are still trying to learn the features of.

Panasonic HMC 150s

These are regular AVCHD 1/3 inch 3chip HD camcorders and we of course found they are much easier to use on a run and gun shoot than any DSLR. If needed, autofocus is flawless, changing apertures, gain, color balance and all the other pro features we are used to are standard. Actually for well lit static shots and even some poorly lit shots both the GH1 and the Canons provided better image quality. However as indicated, that isn't real life in tradeshow or event video.

SUMMARY

We are easing our way into integrating DSLRs into our work operations because of the outstanding image quality. At present they are not going to take the place of our camcorders for most of our work. As we become more knowlegeable with the GH2 we hope to integrate it more and more.

This article is by Richard DePaso, the president of Aardvark Video, a video production company located in Las Vegas. Richard has been in business since 1987 first in NY and for over 10 years in Las Vegas. Clients have included companies large and small from Mobil Oil, IBM, Verizon, QVC, NY State, the State of Nevada, Samsung and hundreds of others. He is also the President of the Las Vegas Videographer's Association and can be reached at http://www.aardvarkvideo.tv/

Article Source: http://EzineArticles.com/?expert=Richard_Depaso

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Fashion Photography, Some History

Magazines such as Allure, Vogue and Vanity Fair are known to display some of the best fashion photography that you will ever come across. Photography is a way of showcasing models wearing the trends in clothes, jewelry, sunglasses, hairstyles, necklaces, shoes and other items. The first known record of fashion photography was the portfolio of the Countess de Castiglione, Virginia Oldoini in 1856. The world's first fashion photographer was Adolphe Braun, as he was the one responsible for shooting the first fashion model. Spark and color were added to fashion magazines once halftone printing was introduced to the fashion photography industry. The first magazines to make use of fashion photography were the French magazines Les Mode and La Mode Practique.

At first, fashion photography consisted of staging the shoots in natural environments using natural poses. Baron Adolf de Meyer was the person who first developed and adopted this practice. In the first part of the 20the century, the magazines that were the leaders were Harper's Bazaar and Vogue. The moguls of the industry still pay tribute to the likes of Yva, Edward Steichen and Cecil Beaton, and George Hoyningen Huene. These were the individuals who help to establish fashion photography in Europe. Irving Penn, Richard Avedon and Martin Munkacsi made significant contributions after World War II.

A majority of the artists of earlier times deserted their adopted forms, and took on a more independent and natural style. 1936 was the year that models were first photographed at the beach in different poses, by Martin Munkacsi. After World War II, fashion photography became quite popular among young men who loved to hold a camera in their hands, and among young women who had the ideal body type of a fashion model. Today, fashion photography has evolved into a life of its own. Models and photographers are now seen as international celebrities, and enjoy the lifestyle of the rich and glamorous. But make no mistake this it is no easier for the photographer then it is the models, only a small percentage of those trying to make it actually succeed.

Fashion can be showcased in various avenues. Some of these well appreciated and well paid avenues include celebrity portraiture, art photography and fashion advertising. Fashion moguls such as agent Gloria Cappelletti and photo editor Clio McNicholl both agree that the fashion photography industry is quickly evolving.

For anyone wanting to become a fashion photographer it is important to keep up on trends and aesthetics of the industry. Study the images in the top fashion publications and try to understand the images and what attracts editors to them. Its interesting to look back at some of the really great photographers from a few decades ago. Interesting that some of the fashion photographers appear to have disappeared. The ones still shooting are the ones that accept change and reinvent their style all the time, fashion photography can become dated almost as quickly as the fashions they showcase.

As a professional photographer, apart from your camera, the most important tool that you can own is your portfolio. Your portfolio is actually your gateway to the industry. There are certain guidelines that you must follow when submitting your portfolio to a fashion editor. Once you are able to follow these guidelines correctly, you will on your way to becoming one of the world's renowned fashion photographers.

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Great Features of A DSLR Camera

Digital single-lens reflex, or DSLR cameras are becoming increasingly popular today. Not so long ago, this product was only popular among professional photographers. Now, more and more people use this camera to capture the special moments in their lives.

There are some reasons why DSLR cameras have become more popular than before. First, camera manufacturers have started to produce more user-friendly DSLR cameras. To operate these user-friendly cameras, there is no need to follow complicated technical instructions. The manufacturers have provided some easy-to-use tools to help you take pictures easily. Second, DSRL cameras are becoming more affordable than before. They used to be a luxury item, but now everyone can buy one.

Compared to the point-and-shoot digital cameras, this type of camera offers more features. DSLR cameras allow you to shoot pictures in more creative ways with better results. Here are some key features of the DSLR camera.

1. Better image quality

The DSLR larger image sensor which enables you to obtain larger pixel size. When capturing images with a DSLR, it is also possible to use faster shutter speed to reduce image noise.

2. Flexibility

You can use interchangeable lenses to suit every condition and situation. Camera lenses range from 16 mm-40 mm but the 50mm lens is the common focal length. With a broad range of lens choices, it is possible for you to take more detailed pictures.

3. Manual controls.

This camera gives you more setting options. You can have your own settings and get images exactly the way what you want.

4. Depth-of-field.

It offers larger depth-of-field; this is a feature that you can use to create different image styles. It gives you the ability to take pictures of an object with a blurry background.

5. Value.

The DSLR maintains its value longer than a point-and-shoot digital camera, because DSLR cameras are not updated frequently. On the other hand, point-and-shoot digital cameras may go out of date in a short period of time. This is because the manufacturers make upgrades once a year or even more often.

Those are some great features of a DSLR camera. It is true that this camera comes with more features but it is not for everyone. Before buying this product, it would be better to know your photography needs. If you are pursuing to become a professional photographer, then you may need DSLR camera to support your goal. For more casual photographers, a point-and-shoot camera should be sufficient for your daily photography needs.

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Five Steps to Becoming a Better Photographer

1. P is not for professional. So you pick up your camera, switch the mode dial to P, or if you are really getting fancy perhaps even shutter speed or aperture priority. But how do you go shooting in manual mode? Are you on top of all the decisions you are faced with? Leaving your camera on manual for a while may feel awkward at first but after a short period you will gain a much better understanding of aperture, shutter speed and ISO and how the three correlate to determine exposure. After you are comfortable shooting in manual there will be situations in which you still shoot aperture or shutter priority however you will be better informed to select the right mode for the situation and to evaluate the decisions you are putting into your cameras hands.

2. The lower your ISO the cleaner your images. Digital photographs contain artifacts known as "Noise". The higher you set your ISO the more noise your images will exhibit. Thus always use the lowest ISO you can, just don't forget to be mindful of your aperture and shutter speed and make sure they are correct for the situation at hand.

3. Understand shutter speeds and how to use them to your benefit. The general rule for hand held photography in order to maintain sharp images free of camera shake is that you should use a shutter speed no slower that 1/focal length. Fop example lets say you are shooting with a 50mm lens, the slowest shutter speed recommended for sharp hand help photos would be 1/50th sec, if you were to use a 250mm lens the slowest recommended hand held shutter speed would be 1/250th sec. There are of course exceptions to this rule, you may be able to get away with slower shutter speeds if using a flash. Another option is to use a tripod which is a great idea in general as it leads to more purposeful and thought out images.

4. Make the most of depth of field. If you don't already understand aperture and it's effect on depth of field do some research and learn it. Used creatively and with purpose DOF can transform average photos into great photos. Try shooting some portraits with a shallow DOF in order to render the focus on the subject and remove the distraction of messy backgrounds. An easy way to remember it is that the smaller the f stop (e.g. f 1.8) the smaller the DOF, the larger the f stop (e.g. f16) the larger the DOF.

5. Understand fill flash and when and how to use it. On camera flash can look flat and unflattering however used as fill with the flash power set to approx 1 stop under ambient you will be able to open up the shadows and obtain portraits under full harsh sunlight whilst avoiding the heavy shadows in the eyes. This will lead to more professional looking portraits with greater detail and more flattering light.

By understanding a few simple principles and techniques you can push your photography forward in leaps and bounds. Now get shooting!

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Photography Community Study

This article is a case study of the popular photo.net photography community. Communities are created to help inform and gather knowledge for a specific purpose such as a hobby or profession. Many photographers will land on this community when they are hobbiest and will turn their hobby into a business by following the articles and forums provided by the community. The community also seems like a great way to promote small photography business and create new contacts.

(a) Their mission statement
Photo.net's mission statement is "To serve busy readers who want clear answers to questions." This is very well accomplished with many articles about photography and equipment.

(b) Tagline
Their tagline is "For photographers to help each other become better." This accentuates the fact that photo.net has been built into a very strong community where the photographers help other photographers.

(c) Back story
Photo.net started out in 1993 as Philip Greenspun's home page at MIT. They have now expanded to over 100,000 photographers to work with each other to help them become better. This gives a great example how photo.net has grown into a large community and it communicates its values clearly.

(d) Storytelling
Photo.net started off as a hobby/personal site where the author indicates his views, shows his photos, and where he wants the website to go. Now that it is a much larger website it showcases many different photographers work and showcases some of the best talent in the world.

(e)Brand personality
The photo.net is a visually appealing site with thumbnails to photos all throughout the website. On the index page of the site you are automatically introduced to some of the top photos that are on the website. It is a very nicely laid out site and you can find exactly what you are looking for in seconds. It follows all of the same colour schemes through out and is a very consistent looking website. All of the tools available are all presented on the top. It is all staffed and managed by top photographers that moderate and choose topics wisely (for example photo of the week).

Photo dot net has now turned into a community that has a pay service where you can have unlimited images in your portfolio, access to surveys and contests as well as access to their forums that help many photographers increase their photography skills.

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Top 5 Tips for a Successful Bikini Photo Shoot - Part 1

Now that summer time is approaching, a number of models would want to have a least a couple of bikini shoots in their portfolio. This is a must, especially if you are interested to model in sectors promoting party clothes, swimwear and lingerie items. In short, bikini shoots tell so much about a girl's body. This is the time for a model to strum her stuff and show what she is really made of!

The following tips should be helpful both for photographers and models in doing a successful bikini photo shoot:

Tip 1

Planning ahead the location of the shoot is crucial. It must be taken in consideration the amount of privacy available both for a relaxing shoot, as well for the model to change clothes (public toilets can be very helpful). Take note on which days/time the beach/coast is least frequented. Children, pets and people swimming in the background would add unwanted 'noise' to your photos.

Tip 2

It is of utmost importance that you plan you posing sequence for your session. I am referring to those instances when the model is directed to lie down on the sand or sit on a rocky area. Sometimes it is time wasting or almost impossible to remove efficiently the sand that persistently clings to the model's body. Likewise, if the model is to enter in the water, take in consideration wet hair and clothing attires. I suggest that these shoots are left for the last part of the session.

Tip 3

Demand that the model wears loose clothes 2 hours prior the session. This way any marks on the model's skin, such as left by belts, bra straps and fitted clothes are avoided. Keep in mind that time is money for both of you and waiting for unsightly marks to fade away is a waste of time. Planning these things would reduce the amount of work that you as a photographer have to spend editing the photos later on behind the computer screen. Eventually the model would save money too.

Tip 4

If the model is interested to get a perfect tan for the day, make sure that is planned beforehand. I regularly suggest models to choose their sunbathing costume with care in order to avoid awkward tan marks as a result. Strapless bra tops and low rise thongs are ideal. That way when wearing your bikini attires for the shoot your tan would be even all over the whole body.

Tip 5

Swimwear that contains excessive reflective accessories such as golden/silver chains, bangles or buttons ideally should not be used for photo shoots. These produce unattractive hot spots when reflecting sunlight. It also makes it tricky for us photographers to control the amount of light entering through the lens. Girls keep your bikini simple!

I am confident, that if you follow these basic guide lines, you are on the right path to be a better model. If you are a photographer, knowing the basics can relief a lot of the stress related to photo shoot models.

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Top 5 Tips to 'Break the Ice' During a Photo Shoot - Part 2

I have been approached by quite a few photographers and models expressing their concern about feeling nervous, edgy or uncomfortable during a photo shoot. The reasons for this might vary from one person to another, still, there are some practical things that would help if implemented in order for a photo shoot to run smoothly, be productive and why not, be more fun.

I would like to share with you these five helpful guides that I have found very practical during my work.

Tip 1

In order for both of you to feel at ease, it would be ideal if you set a meeting before the actual shoot. The meeting can be formal such as discussing the photo shoot with the model at your studio. If you do not have such facilities, you can always opt for an informal meeting such as discussing the photo shoot at a caf?. In so doing, this meeting would help to break the ice in order for you and the model to be more at ease with each other, towards a more effective photo shoot. Such meetings should be conducted in a professional way i.e. being polite, cordial and focused.

Tip 2

A good way to start a photo shoot would be to put on some music in the background. This can be done both for outdoor or studio shooting. Ask the model beforehand what style of music she likes or any particular tracks that are her favourites. Many models find it much easier to pose with music in the background. As a photographer you can ask the model to dance if she feels more confident in doing so. That way you can shoot without having to direct poses for the first few minutes of the photo shoot. Some of my best photos have actually originated from these first few moments.

Tip 3

It would be a good idea to have some refreshments, coffee or tea and sweets available. These can turn out to be very helpful in those particular moments, when the model gets stuck or tensed up, especially during a long challenging session.

Tip 4

Needless to say having a couple of jokes up your sleeve to through around while you are shooting would definitely help and be much appreciated. Please do not over do it and make sure that the jokes are of good taste!

Tip 5

It is important that you compliment your model all through the session. You should use words that enforce the good work that is being done from her side. Words such as 'great', 'wonderful', 'fantastic', 'brilliant' and 'awesome' would give the model more confidence and perform better. You should use general terms and at no time, should your comments be sexist or racist.

Together with my above tips you can invent other original ways and means towards creating a calm and relaxing environment for your photo shoot. It should be your primary target to break those barriers that inhibit both you, as a photographer, and the model from giving the best during a photo session.

Are you still finding it difficult to pose your model? Would you like to add to your posing repertory? I suggest you have a look in here http://michaelabela.weebly.com where you can find more details in order to be a more successful photographer in photo shoots.

Author: Michael Abela

I have been fascinated by the human body since the tender age of 7, always with a pencil in hand sketching figures and models. Photography for me is a way through which I aspire to capture the beauty, emotions and passion transmitted through the human body.

Source: http://michaelabela.weebly.com/

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A Guide To Buying A New Digital Camera

When you decide to go out and buy a new camera, you are buried with various brands, each with their numerous models of cameras. Smart as these competitors are, they always tend to make similar featured camera ranges, making it tough for the customer to decide on one. Apart from that, new models keep storming the markets. It would seem like a nightmare for you to purchase a new camera, only to find a newer, maybe better camera out the next week.

Firstly, determine your needs. What is the purpose of your camera purchase? Do you plan to use it for casual, everyday photography; or something more? This realization will help you to significantly narrow down your options of cameras.

As with any new venture you may be considering, research is of essence. Luckily, the internet is at your disposal. According to your needs, you can search for the best cameras in your budget. When you have a few options ready, look for user reviews. Many kind men and women post their experience with the certain cameras online. There are also a lot of videos of the same. This allows you to see the camera in the hand of a person, instead of the professionally taken product photographs you may have seen. The user tell you how it is used, their opinion on its quality and the concerns they might have. This is of great importance, as it is honest and unbiased. If a certain camera intrigues you, you can also check on the company website to see if any newer models of the same range are coming soon.

Many cameras may boast of very high megapixels, which will also come with a higher price. But do not get too attracted by this. Considering that you may need the camera for a moderate level of photography, along with editing on software and printing, an eight to ten megapixel camera is sufficient. The size of the camera may concern you too. A small camera comes very handy for taking on trips, whether close or far. Don't go by its size, it can still pack in quite a lot of features, which are more than enough for you.

Most cameras have pre-programmed scenes for various situations such as landscapes, night scenes, sports, portraits, etc. These scenes help you take good pictures in any scenario. However, for those who wish to experiment in photography, make sure your camera has a manual setting. This means that you as the photographer can change the settings of the camera to your liking. This gives you a chance to try different things. It may seem like a challenge at first, but it is also its charm. The optical zoom is also essential. The greater the zoom, the farther away the object you want to capture clearly can be.

Many cameras these days are waterproof and shockproof. These are very handy qualities to have in the camera if you are a frequent traveller. These cameras may also be sturdier than the others, as a person out on travel does not want to have to make a conscious effort to take care of the camera.

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Improving Your Composition

One aspect of photography that photographers constantly strive to improve is composition. It is one of those things that you spend your entire photographic career working on. There are many considerations to be made on what to include in the frame and, equally important, what to leave out and it can sometimes be a little overwhelming in trying to get the hang ofit . There are, however, some simple rules that we can follow to help compose stronger, more interesting images.

The position of the horizon can have a huge impact on an image. It can direct interest to the foreground if there is a dominant element in this part of the frame, or it can make a big sky look even bigger and add a sense of scale. Position your horizon for a reason. You can do this by deciding what the focal point of your image is. I.e. what your image is about. If you want to show an approaching storm over a mountain ridge, then you might place your horizon at the bottom of the frame to allow the storm clouds to dominate.

If however, your image is about the mountain range itself, then positioning the horizon higher in the frame will show the height of the mountains and show their relation to the foreground in front of you. It is often said that you should avoid positioning the horizon in the centre of the frame as this can create confusion about what the focal point of the image is. Is it about the approaching storm, or the mountain range? This is generally a good rule to follow, however as with most rules in photography, there is always a time where it can be broken. Sometimes all the elements within the frame just balance better with the horizon in the centre. This is where instinct comes in. If your horizon simply feels better in the centre, then leave it there.

Photographs are composed of a series of lines. Straight lines and curved, horizontal, vertical and angled. Understanding the lines in your image and using them to your advantage can help you create much stronger images. All lines start and end somewhere, such as the converging lines of a road leading into your image, which can imply a journey or distance. Lines that are neither horizontal or vertical give an image a feeling of energy, while an image comprised of dominant horizontal and vertical lines has a more static feel. Curved lines soften an image and can change the mood of a photograph altogether to something more relaxing or tranquil.

Combining these lines within a photograph gives you shapes. Each shape within the frame interacts with each other shape and the frame itself. Learning to see how these shapes interact with each other allows you to focus more clearly on the elements that help to tell your story, and leave out those that don't. This is quite a difficult thing to do as it requires you to detach yourself from a scene and view it only as a series of shapes or lines, but once practiced becomes second nature and before long you will be doing it without thinking.

While considering what goes into the frame, also consider the frame itself. Most cameras have a 3:2 aspect ratio, which means that the horizontal side of the frame is a third longer again than the vertical side. This doesn't necessarily mean that every photograph you make needs to have these dimensions. In the case of the mountain range discussed earlier, you might decide that a more panoramic shape works better to show the scale of the mountains, or if you are photographing portraits or still life, a square frame may give better balance to the lines and shapes of the image. The advent of digital photography and post processing software allows you to crop and adjust the frame easily to find the balance that suits your image.

Understanding and practicing the techniques above regularly helps to give you a clearer idea of what story you wish to tell when you make your photographs, and the best way in which to do this, and this is when we can make our images stronger.

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A Photo Shop With No Film?

"Only a transparent film covered her exposed breast." Sign in old photo shop.

A friend of mine was searching for large sheets of film to use in some photo etchings. The photo shop that sold it to them before was out the film and said that it was no longer being produced. As a matter of fact, the manufacturer had to destroy all of its remaining stock due to tax reasons.

Now only some 100 years after the invention of film, we are destroying it! It is useless. Why? Well...Digital Photos! Or better put: digital imaging.

Film came about as an evolution from the early 1800's (actually it began several years earlier) when they used metal plates for images and later glass plates, with silver nitrate on them to produce negatives. The first contraptions took 8 hours or so of exposure to get an image and then it was difficult to make the image stay around. Finally they got the exposure down to about a minute and the image stabilized so one could keep it. That was the beginning of photography.

That is, if you could hold still for a couple of minutes, you had a photo portrait. Being difficult to make and rare, these photographs were in high regard in those days. Today some of these are regarded as fine art photography and are collectors art.

A chap named Daguerre made this process usable and gave the patent rights to the French government. This process, essentially a metal photograph, did not last long and glass plates came into use as negatives, after photo sensitive paper was invented. This began the negative-photo paper printing method of photography around the mid 1800's. Today this process is all but obsolete.

Along about civil war time the glass plates became mainstream and we have some good photos of the civil war by Matthew Brady and also pictures of him and his portable darkroom. Some of the existing photos of this era and later are actually quite exquisite and some say, cannot be duplicated and considered as fine art photography.

Things developed along until the late 1800's, when cellulose film was brought into production by Mr. Eastman. He figured out how to put paper on the back of the film and roll that on spindles to keep it from being exposed. Then, kaboom! Roll film was invented.

Roll film? What is that, you say? Well that is what really made photo making portable, fun and easy. Mr. Eastman made these little boxes that you put the spindle with the rolled up film in. Then you hook the end of the film to another spool, close the box and roll the film on the empty spool as you took pictures.

These contraptions were drastically simple. At first there was only a hole for the light to come through and expose the film, but later glass lens were introduced. The shutters were manual and a lever was pushed by thumb and the exposure time depended on how long you left your thumb on the shutter.

Now every loving husband could take a picture of his wife in hoop skirts.

In the early 1900's the cassette, or metal container, was developed and from this the 35 MM range finder camera came into use. Later in the mid 1900's the 35 MM single lens reflex camera was developed. These formats, with the ability to see through the taking lens, still exist in the digital world, but in body form only. The image recording mechanics are gone. This is the form of camera that almost any serious photographer today prefers, if they can afford it.

Now back to the sheet film which is all but obsolete today. It is thick and flat so that it can slide into light proof holders. This became the favorite of professionals and serious art photographers in early 1900's and on to the 1950's when film and lens technology began to make these cumbersome formats, some as large as 11x14 inches and even larger, somewhat obsolete and now they are virtually gone except for a few crazed fanatics.

Wade Swicord spent some fifteen years as an architectural photographer. He stopped looking at buildings and started building them and now lives in Chattanooga, TN. For some very excellent free instruction on how to use Photoshop, do click on http://photoexpertshop.com/ Photoshop has taken the classic darkroom talent out of picture making and made it into an entirely new art form. You will learn new ways to use Photoshop in the five free videos and will be inspired to be quite creative.

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Why Use Digital Photography Software

For any photographer, graphic designer or visual artist, digital photography software is a crucial element whether you are an amateur or you work in today's visual media industry. Those who are not experienced with the programs and their capabilities might discredit the software that is available as being limited to getting rid of red eyes in family Christmas shots; this is hardly the case. The digital photography software on the market today gives you the ability to manipulate photos and images in almost any way; it even allows you to create designs from scratch that couldn't be replicated with any other tools.

Basic applications for photograph editing are available. Simple functions like cropping and rotating become immediately accessible and easy to perform. Resizing functions that don't leave pixelated images are useful for any photographer looking to strip parts of a photo away while still maintaining the image's size.

If you are the family photographer who ends up with the camera at functions, Christmases and birthdays, other tools that become available with image editing software can help clean up any shots that didn't come out right, or those messy mistakes that we all make. Red eye tools really do fix those common photography errors that come out at the worst of times. Not being able to fix a problem that is such a small part of an otherwise great photo can be really frustrating. Digital photography software eliminates those frustrations.

Image adjustments you can make to hue, saturation and contrast immediately allow you to fix otherwise intrusive lighting and colour issues in your photos. Being able to run a bit of post-production over any shot can really bring out the best parts of your images. Fixing colours to look more vibrant, sharpening up tones and bringing important parts of foreground into better focus is all possible with the right software.

If you want to get more advanced, you can use these programs to create new works of digital art. Editing images with different options and effects, adding surreal elements or combining your own photos with fictitious imagery has become a new form of expression for millions. The possibilities with digital photography editing are endless.

If you are an avid photographer, amateur or looking to create something profitable with your images, digital editing software is a must have tool. Even if you are just taking photos of family members for the family album, an editing suite can help to ensure that every shot is a perfect one.

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Lowepro Slingshot 200 Protects Your Camera

One of the challenges that a photographer may encounter when travelling is the protection of her camera and other equipment. Of course, you really have to take care of them since the equipment is relatively expensive. You could not afford to have your camera scratched or damaged. That is why there are several products, particularly backpacks that protect your camera during your travels. A camera backpack is absolutely perfect in keeping your camera safe and sound.

One of the most trusted brands in the market is Lowepro, which provides very innovative and durable camera backpacks. Surely, this brand will protect your camera even in worst circumstances when travelling. Convenience is what Lowerpro can surely guarantee, too. We all know that getting your equipment from your bag is quite a hassle when we talk about camera backpacks. Now, this is problem is solved through designing a camera backpack that will completely outdo other products out there.

I am talking about the Lowepro slingshot 200. This all-weather backpack has a very unique sling design that allows you to carry the bag and get ready with your camera in just seconds. It is truly accessible and convenient for photographers and travelers alike. They do not have to waste time in taking off their bag and putting the bag to the ground for it to be opened.

And this backpack only weighs 2.05 pounds, which is lightweight. It has an interior size of 22 X 15 X 30 cm, an exterior size of 24 X 18 X 44 cm, and its outer fabric is made of water-resistant micro fiber and ripstop nylon. This backpack is designed to carry a digital SLR body with a compact zoom lens attached, and 1-4 extra lenses or flash units. Lowerpro slingshot 200 comes with great features, which makes this backpack a really good buy. It has this All-Weather feature, which makes this product weather-resistant. This means that even if it rains or it shines, your camera is well-protected. You do not have to worry anymore.

Other features include the zip-stop buckles (provides security for the equipment), the tuck-away stability strap, the built-in memory card pouch and the built-in micro fiber LCD cloth (for extra protection of the memory card and the camera LCD screen), the silent zipper pulls (reduces noise pollution), the sliplock attachment pulls, accessory pockets (for photography accessories) and the mesh back pad (for comfort).

It is amazing that despite its excellent feature, the product remains affordable and convenient to purchase. You can find this product in any online store that sells camera and its equipments. Indeed, this product is a good catch. This product only costs $89.95. Buy now!

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Guidance for New Models

Before any new model begins his or her career in the modeling industry, the most important concept for them to grasp is their modeling portfolio. An industry standard for any modeling hopeful, the portfolio embodies the person's photogenic qualities showing, different characters, age range, and personality. The process of creating your modeling portfolio takes time and skill to perfect, but when done correctly, can open many doors into the industry, and jump start your career.

The first step in creating a stunning model portfolio is finding the right photographer. This is the first and the most important step in the long process. Call local agencies and ask which photographers they go through to get their pictures. It is important to find the right photographer who specializes in the photo styles, which you want to be represented in your modeling portfolio. What you pay for is also what you receive, while hiring the most expensive photographer may not be your first choice, going for the cheaper option may yield cheap results, and in the modeling industry, you are only as good as your worst picture. Find a balance between quality and price of photographer and make an arrangement to meet with them face to face via email or phone to discuss the shooting style you are going for.

Once you have decided upon a date and time to shoot the next step is hiring a make-up artist. If one is not offered through the photographer, search for one the same way you did for the photographer.

The next step you want to take at least before the shoot or as soon as possible is practicing poses for your shoot. When looking through your model portfolio, agencies, and future employers want to see a wide range of poses, and range. Look through fashion magazines, and clothing catalogues and begin practicing in front of a mirror as if in a live shoot.

Once you have the poses you wish to demonstrate, begin preparing yourself for the shoot. First begin by select the clothes you want to wear for your shoot, and make sure they are clean and set aside well in advance before the shoot. Second prepare your body by making sure your skin, nails, face, and hair is well taken care of. Third, make sure you call your photographer and make up artist 48 hours in advance and confirm the date and time. Lastly, get a good nights rest, and stay away from alcohol of any kind before the shoot.

The morning of the shoot make sure your bag is packed, and everything is prepared to go to the finest detail. When arriving for the shoot, make sure you are at least 10 minutes ahead of schedule and are prepared to discuss the type of shots you want to take. When shooting with the photographer enjoy the experience and also pay attention to the directions the photographer gives you. After the shoot be sure to pay for everything upfront and give a personal, and written thank you for their time.

Now comes the most important part to creating your portfolio and that is choosing the portfolio style, and which pictures to go inside of your model portfolio. You should first do research on the style of model portfolios that are accepted where you plan on sending them. for example, in Miami, Snapshot sized "mini-books" are very popular, however in New York the prevalent style is to use 9x12 and 11x14 model portfolio books to present your work professionally.

Once you have decided on the book style you wish to use, go through and select the images you feel best represent you. Your book should only be comprised of great, and "Wow" photos, anything outside of this category should be discarded. Once you have went through and decided which photos fit the correct category, you should then choose which ones are the best in the bunch. It is suggested that for your modeling portfolio you choose between 6-12 of your best shots, anything over 15 and you are pushing the limit. It is about quality of the photo not the quantity. When choosing the pictures to include in your model portfolio it is important to choose a variety of images that showcase your best attributes, and modeling range, and if you have them always include one or two tearsheets as it showcases actual work, which can impress potential clients. Arrange the photos with the great ones on the left and the "Wow" ones on the right, as a viewer's eye are trained to read from left to right.

Now that you have arranged your photos in your model portfolio the last thing to make sure of is the portfolio itself. Make sure that it is neat and organized, no bent edges, dirty pages, cut up contact sheets, or loose photos; these are signs of a very poor model portfolio.

Once everything has been cleared, and double-checked it is time to end your portfolio out to potential clients. Always keep copies of your model portfolio around in case you lose an original or need an extra at a last minutes notice. And remember, a good model portfolio can open many doors, a bad once will keep many closed.

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Top Camera Settings Checklist - What to Set Before You Shoot

Learning cameras can be fun, entertaining, and challenging. With the new found ability to take remarkable pictures comes a hefty checklist of camera settings, lighting worries, and framing issues. While most DSLRs have a plethora of settings, there are a few that constant constant monitoring and changes as your shooting environments and subjects change.

Shutter Speed

The shutter speed is one of the first items I think about before I snap a picture, and while I rarely keep a camera set to shutter priority, I must have a mental priority of the shutter speed needed to freeze motion. In most cases, I am fine with the fastest shutter speed my camera may obtain at a given exposure, but in my mind I need to have a minimum shutter speed (which I wish was a setting on my camera), that if I go below that number, I need to make a change. For portraits, it may be 1/60-120th of a second while for candid photographs I may strive for 1/250th of a second. I am always looking and paying attention to this number in almost every circumstance.

Aperture

There are a few less applications where not paying attention to your aperture may ruin your photos, but they exist nonetheless. Think about how much depth of field you need in any particular photograph to get all necessary objects in focus. If you are shooting single portraits, wide open apertures of >f/2.8 may be perfect for keeping those eyes in focus while a group photograph of several rows of people may require f/5.6-f/8 to keep everyone sharp.

ISO

While accidentally having your ISO set to 800 while photographing outdoors in bright light (guilty) may not render your photos useless, you will lose detail and sharpness at higher ISO settings. I typically keep a base setting for each environment and fine tune those settings as needed. If I know I'm going outside for example, I will go ahead and set my camera to 200-400ISO, even before checking my exact lighting conditions. This should allow me to shoot perfectly in the sun or in the shade without having any issues. Even though I may end up eventually lowering it to 100ISO if my lighting is bright enough, at least if I forget my pictures will still be great.

Focusing Mode

This is a setting that is frequently overlooked unfortunately because there is no current method of correcting out of focus images. While you can reduce grain from high ISO or alter your exposure in post, missing focus will ruin every photograph. If your subject is reasonably still, single shot modes will suffice. Pick a focus point (chose the center if you do not already have a composition in mind) and lock focus on your subject. Feel free to recompose after locking focus as long as your subject is not moving towards or away from you. If your subject may move, focus using a servo focus mode and position your focus point to the position of the frame you would like your subject. You may need to change your aperture to give you extra depth of field. Chose your focus points carefully as you will not be able to recompose after locking focus though as the camera will continually adjust focus.

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How to Put a Simple Vignette on Your Photograph in Photoshop

There is more than one way to put a vignette on a photo in Photoshop. Some are pretty complex, really more work than is needed for a simple vignette. I will show you the easiest way that I have found.

1. Open your document in Photoshop. Once you have completed all of your initial editing (levels, color correction, etc..) and flattened and existing layers. You will be ready for the vignette, I always do it as the last step of my work flow.

2. You will want to select your marquee tool in the tool palette. You can use either a rectangular or an elliptical marquee tool. They do pretty much what they are named, the rectangular will be square and the elliptical will be round.

3. You will then need to place your cursor on the upper right hand corner of the photo. You can make the vignette thicker or narrower by starting your start point closer to the edge or farther into the photo. When you decide where to start your vignette at, you will left click and hold it down as you drag down and across the photo. You will want to drag the selection line (marching ants) until it is pretty even on all sides. Again there is no right or wrong, just whatever looks good to you. Once you get it where you want it, you can let off the left mouse button to see the selected area. If it looks good you are ready to proceed to the next step.

4. You will need to set the foreground color in your color palette to the color that you want the vignette to be. Once that is selected then you will go to your SELECT menu at the top of the page, when the menu pulls down you will select FEATHER. Here you can select any amount of feather depending on how wide you want the vignette to be. I usually use around 80 to 100. That gives it a very nice fade into the picture. Once you have the fade completed, you will pull down the SELECT menu again and click on INVERT.

5. You are almost ready to see your beautiful vignette. The final step is to press the DELETE button. Depending on the version of Photoshop that you have, you may or may not need to select foreground or background color. On CS4 and above it will prompt you to make that selection. Once you click your selection of foreground, the vignette will appear.

6. Final step is to save your work.

This is a very simple process, but can really add some pop to your photos.

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How to Take Vacation Photos for Better Memories.

Is something missing when you begin thumbing through your vacation photos from years ago? Do the memories seem a little disconnected and dim? Does that magical time become a puzzle that can't be finished? Well read on road-trippers and memory makers. I will show you how to fill in the blanks with a little photo note taking or lets say...some memory 'glue'.

Do you remember how proud you were capturing all the right moments and scenes while on your last vacation? Do you recall the anticipation of waiting to see your photos once home? Its all so fresh in your mind. You've made reprints or your digital doubles for everyone, updated the photo album or iPhoto library and now the whole thing begins to settle and fade.

As months and years pass, you begin to sift through past photos you dust off to relive. Faded memories start to come to life like a dry sponge in a water, yet something is strangely missing now. The photos start to bring alive that time of your life, yet the memories aren't as well connected as they once were. You continue perusing the photos that chronicle the time you so well documented. You did document it well didn't you? The realization begins to settle in that there are pages missing in the chapters of your mind. Has this happened to you?

We depart on that well planned trip or vacation and reach for the camera at all the obvious moments, a landmark, a sunset, a family shot or anything similar that deserves grand notation and then we forget everything else. Consider for a moment, its the everything else that could be your holy grail in making your recall of that time more connected and complete years down the road when you stroll memory lane. That "everything else" can become a veritable 'glue' keeping our memories more completely intact.

For example, years ago we took a flight in to a remote Alaskan cabin. I photographed all the obvious hi-lights. Years later, looking through these photos, I began to relive memories but there seemed to be gaps preventing me from reliving the complete picture. After looking at all the photos I asked myself questions whose answers couldn't be rendered from the photos made. What did we eat? What did the weather feel like? How did we prep for a trip like this? What rations were made to comply with the weight restrictions of the small Cessna. How did we do it? What were were our thoughts? Was I even there? Intangible clues left out from a typical picturesque moment.

More recently, trip photography has become much different. I bring back photos, upon first inspection, that look like I was handed a camera for the first time. Stuff that would definitely NOT make it into the pages of Sunset Magazine. There are now pictures of a messy picnic table or eating area, rain on windows, wet things, odd things, shot of duffle contents before stuffing it, shot of the messy cabin upon arrival, shots of a packed car, a messy driver compartment, a loaded canoe, hotel exterior, parking lots, you get the idea. These all carry secret messages for later decoding.

Believe it or not all these photos become your 'glue' for allowing you to completely relive memories long after they have begun to fade. Adhering the masterpiece scenes into a whole memory. Photos that get to the heart of how you really felt and what you were thinking. A snapshot of your mindset if you will.

What is the ultimate 'glue' photo? Something you may not normally photograph or include in your greatest hits, perhaps. Think of it this way, I can make a portrait of you, but if I photograph your CD collection as well as your bookcase I will know so much more about you.

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Pro Tips for Taking Better Portraits

The art of taking a portrait is one that needs to be worked on as it will take practice and dedication in order to perfect. A portrait is a photo, or a representation, of a living person. Most portraits tend to focus on the face, but taking better portraits means being able to capture the person's mood and expression as well.

While there is no true road map to taking better portraits, there are some simple techniques that many photographers use in order to get the most out of their portraits and you can easily institute these techniques into your portrait taking if you so desire.

Select the Proper Background

The perfect background is the gateway to great portraits. You should select a background that will help guide the viewer of the portrait to the exact point where you want them to go, such as the face. Choose colors that are not too loud and gaudy as too much going on in a background can easily take the viewer's attention away from where you want it. If you find that your background is too busy, you can always blur it and keep the focus on the person in your portrait.

Make Use of the Eyes

They say you can see into the soul of a person by looking into their eyes. Use your subjects eyes to your advantage by having them look in various directions and with various expressions on their face. This will more than likely have you taking several shots unlit you get what you are after, but when the perfect shot is taken, you will know it. Using the eyes is one of the easiest and best ways to take better portraits.

Experiment with Lighting

The many number of ways in which you can manipulate the light to affect your portrait are simply endless. You can adjust the light any way you see fit and simply experiment until you get the desired look you are after. If you are taking a portrait in the direct sunlight, you will need to take care that the sunlight doesn't overpower the shot, but other than that it is free reign. Use the light to your advantage and see how much better your portraits start to come out.

Use Angles

If you want to break away from the monotony of portrait taking, try messing with the angle of the shot. Why stick to the traditional horizontal and vertical position? Get a little creative and angle your camera while taking the shot. Don't be shy here as too little of an angle can leave the viewer wondering if you meant to angle the camera or you just made a simple mistake. Go big with your angles and let your next portrait really stand out.

Have Fun

Most importantly, if you want to take better portraits, you have to have fun with the process. Experimentation is the key to great success and with a little practice and patience, your portraits will surely come out better and better.

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A Successful Photography Business - Define Your Vision and Create Your Positioning Statement

What is your visual positioning?

In today's market you must be aware that there is very little work for the visual generalist. Sadly I still find that very few photographers have actively worked to define their visual approach to their chosen subject?

Now more than ever, Vision, is where you must begin. To be successful you must initiate the process of defining the visual approach you will offer clients and the first step is to write your positioning statement.

Your positioning statement is your description of your vision. It is what you shoot and more important how you do it? It defines your style, your vision, and your way of seeing your chosen topic?

You can create your positioning statement by pretending you are the client and looking at your portfolio and pretending that you are a new contact seeing it for the first time.

What is the message that you get? Do the images individually and collectively tell you what type of assignment you would hire this photographer for? Is the photographer's message clear? Is it deep and can you see application? Can you define and articulate the photographer's visual approach? What type of client would hire this photographer? What might that client's branding message be?

Or are you finding that the work of the photographer (you) is all over the map? There is no consistency in the type of work shown or in the visual approach?

The answers to these questions will help you to know if you have a vision present that can be defined or if you need to begin and start to develop a new vision.

If you need to develop a vision try this exercise. Go through magazines, annual reports, web sites, award journals, and source books. Tear out images that represent photography that you would have killed to create.

This is not about selecting work that you like, rather it is about identifying the style of visual that you not only like, but would work your butt off to receive as an assignment. Clearly this is a deeper edit.

When you have about 1-7 examples start to analyze them. Use words to describe what each photo is about. Then choose words to describe the "visual feel"of each image. Look at the tools used (focus styling, graphic composition etc). Put the words on post it notes and go onto the next. When you have completed the defining process, spread the images out, read the post it notes and start to look for similarities in your descriptions.

Which descriptive words do you use repeatedly? Look at how color is used, how selective focus is used. Are the images you chose about people? How are they photographed? Are they props? Or are they relating to the camera? Are we peeking in on their world or are they very present, connecting to the photographer?

Now, do the same thing with your portfolio.

What are the consistent words you use on your post it notes to describe your imagery? What are the messages you are giving to clients? Do the descriptive words on the notes from your chosen tears match that from your current portfolio? Are the messages from the images you loved congruent with the messages from the images in your portfolio?

If so, begin to form your positioning statement making sure to state I shoot blank (your subject focus) and my visual approach is blank. The words on your post it notes fill in the blanks.

You now have a positioning statement!

Once you have developed and articulated your positioning statement you can use it as your main marketing message. Later that statement can be used as an editing tool for all portfolio images and it will also be useful for the descriptions for your portfolio images and on any visual mailers that are sent to contacts. It can be used on your web site and in source books as well.

Defining your Vision is a task that should be taken on with an open heart and lots of enthusiasm. Start today by asking yourself:

What is it that I truly want to shoot? How is it that I create?

You may be pleasantly surprised by the answers you will find!

? 2011 Selina Maitreya

Would you like more information about how to build a thriving professional photography business in 2011? Join 7 photography industry experts for the Clarion Call II - The Professional Photography Telesummit. Clarion Calls I & II were created by Selina Maitreya, a 30-year plus photography mentor and portfolio consultant. Selina teaches commercial and professional photographers of all levels how to build a profitable business that will thrive. Visit Clarion Call 2 for more details.
June 10, 2011 Register Today at http://professionalphotographytelesummit.com/

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How to Find Landscape Photography Opportunities Where You Live

If you are a keen landscape photographer one of your main challenges will be how to locate places that will provide excellent opportunities to create stand out photographs. Your first port of call will probably be the work of other photographers in your area. You can see their work at exhibitions or at photography clubs or via their personal websites or blogs. Another way to view photographer's work of your area is to browse social networking sites such as Flickr. Flickr gives you the ability to search for photographs across the millions that are stored in its database. If you search by town name or county you will end up with a filtered list of photographs that have been taken in your area. Flickr encourages tagging of photographs with keywords, so as long as the contributor has tagged their photograph with the relevant place name it will appear in the search results. Flickr also allows you to search by groups that have been set up by contributors. There are many groups that are dedicated to a geographical area encouraging Flickr members to submit relevant photos to the group's bank of images. These groups provide an excellent source of ideas and inspiration.

You are not looking to copy other people's works but equally there is no such thing as a completely original idea - what you are looking for is inspiration. Even if you don't think much of a contributor's image of a local scene you might get some ideas about how you could do a better job.

Another way of searching for locations is to use Google Earth. Google Earth will give you a satellite image of your county or town. You may spot features that look like they might make interesting subject matter for a landscape photograph. I have found this especially useful for coastal photography as I can view stretches of coastline picking out interesting features which is much quicker than physically walking the same areas.

To really be successful with your landscape photography you need to think a little bit deeper than just location. The time of day is a big factor: sunrise and sunset provide the best lighting in most cases as direct sunlight often bleaches colours and provides little mood or ambience. Check the weather also - if you are after a misty Autumn morning they don't come every morning so it's important to check the weather forecast to see whether mist is likely. If you intend to take coastal shots check the tide - if the tide is all the way out are you going to get the shot you are after?

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How to Dramatically Improve Your Digital Photos

Many photographers are surprised after they buy their first digital camera.

All that research on features and megapixels led them to believe their purchase would somehow create the best photos ever.

Unfortunately, great photographs depend on more than just a good camera. Even the best camera, in the hands of one not so skilled in photo composition, will produce only so-so results.

Getting the best digital photos depends upon several factors.

? Your technical knowledge of the camera...are you familiar with all the features and settings?

? Your knowledge of good composition and lighting techniques

? Your knowledge of how to properly edit your photo for final printing or viewing

Reading your owner's manual, and online tutorials, will give you all the technical knowledge you need to properly and efficiently operate your camera.

There are also many books and online tutorials available for learning to properly compose and light your scene. You can also go to any art museum and take a good, technical view of the work on display. Note how they composed each scene and where they placed the main subject. What was their point of view, from up high, down low, or level with the subject. Where did the light come from?

You can learn a great deal from studying the successful work of others. When you develop a detective's eye, you can get some great clues that will speed your path to success.

However, even the greatest digital camera and phenomenal composition and lighting skills will not eliminate your need for some post-shoot editing. You won't find a single top pro photographer who does not do a bit of digital editing after the shot was taken.

I feel like the photos are only 80% done when they come right from your camera. We can really add 20% more quality and WOW! factor with just a few simple edits. Especially sharpening.

Most choose Adobe's Photoshop series for editing their photos. While many think it's difficult to learn, there are many resources available online and off that can assist you. Some people like books, some prefer video.

I've always preferred a blend. I like to look over someone's shoulder and watch them edit. But then I like to have a text reference guide beside me - because inevitably I'll forget one step and get lost. I like a 'crib-notes' or 'recipe style' version with just the basics. I don't like trying to read through some huge text volume.

So remember, buying a great camera is just the beginning of great photo creation. You must also learn a bit about composition, lighting and editing as well.

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Wedding Photography Tips - How to Take Great Table Shots

One of a photographer's least favorite types of pictures to take at a wedding is the table shot, the pictures of the guests at each table at a wedding reception. This is because it is hard to get everyone from a table organized, and it does not have the artistry of other photos at a wedding. But this does not mean they aren't important or you don't have to put much effort into them. On the contrary, these table shots are popular with wedding couples because they are a testament of who attended their special day. Moreover, for many guests who are on the fringe, that is who are not family or close friends of the wedding couple; this may be the only shot of them from the entire wedding. As I said above, chances are these are not going to be your most artistic shots of the night. The important thing in these pictures is that everyone is present, visible, in focus, and looks all right. In this article I am going to give you a few tips on how to make these shots turn out as nice as possible.

One of the most important things to taking table shots is having a strategy. Normally you will not be able to just go around the reception hall and get every table in order and at the same time. People will be walking around, or there will be servers coming by, so you will need to find a time to shoot each table. The first thing you need to do is keep track of which tables you shoot since you probably won't be able to get all the shots at once. Likewise, only shoot a table if everyone at the table is available for the picture. It doesn't make sense to set everyone up, do the shot, then have to come back and do the exact same shot later in the night. Therefore, as you are walking around taking other shots, you need to be looking around for tables where everyone is present. If you have an assistant, put him or her in charge of this.

The most common method to taking a table shot is to have everyone set up behind the table. Obviously make sure everyone is set up so the heights look pleasing to the eye, that is, not all the tall people on one side of the shot for example. Again, if you have an assistant, put him or her in charge of setting up the guests. Have people place their hands on the back the chair if it is just hanging there in the air. Make sure you get enough shots to account for the chance that someone blinks. With more people, there is more of a chance that at least one of them is blinking. Don't be afraid to make the guests wait a few seconds more to get some extra shots. You already took the time to make sure everyone from the table is present, and to set them up so they look nice. It would be a shame to have a blink ruin the shot.

Another tip is to make sure the table is neat. This does not mean taking all the plates off the table. You can crop the table so that only a small part of it is in the frame, but you still need to make sure that there is nothing distracting in the shot. After all, you never know if this is the picture they decide to frame and put on the wall.

One more thing to keep in mind is your F-stop. Try to use a larger F-stop if there is going to be a lot of people in the photo. Remember the saying eight is great. So set your F-stop to 8 if there is enough light (ambient or strobe). Likewise, try to set up the guests so they are all in the same depth of focus plane. Depending on your camera lens, you may not want to crop so tight in camera. Some cheaper lenses are very soft around the edges, so it would be better to do your cropping post-production. Having people's faces out of focus due to soft edges will kill a table shot.

Try these tips the next time you do table shots at a wedding. Thanks for reading!

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Outdoor Photography and Natural Lighting

Photography has always been a popular hobby. The desire and ability to capture a feeling or to affect an emotion for the viewer is the anticipated goal. Since SLRs have joined to digital field, the options for creative photography has increased. The ability to instantly see what a photo will look like is what makes digital SLRs so popular and effective.

Lighting is the most important element of photography. It can make or break a good photograph more than any other facet. To exact the most effective results in any good photograph, it is imperative that forethought to lighting be considered

Surely, spontaneous images can be extremely compelling, but only when the image portrays something that reflects a captured moment in time that couldn't be rehearsed or planned. A hummingbird's fluttering wings, an explosion or bolt of lightning are typical of a 'moment in time' experience. The element of a dramatic instance always produces a pleasing or compelling image, but even then, lighting can affect the image, particularly with outdoor photography.

When shooting outdoors, lighting will obviously be reliant upon the weather. If the sky is clear and sunny, shadows cast must be considered. The subject, optimally, should be photographed with the light shining on the surface you are facing, unless your objective is to get a silhouette type of image where the background and surroundings are as important as the subject. The usage of natural lighting will produce better, clearer, more natural colors than a supplemental light source.

The sun should be behind the photographer so the light is not 'confusing' the depth of field with refractive or distracting light rays or streaks. Shadows cast in between the lens and the subject could distract from the subject, causing the eye to roam off the point of interest. The only times that rule may not apply are during the 'magic hours' of dusk and dawn when shadows might be an integral part of the desired 'mood' of the image.

With the sun overhead, or positioned in the sky between you and the subject, it may not be possible to get the sunlight behind you; it may be necessary to shade the lens to prevent lighting errors. Sometimes a cupped hand poised above the lens can alleviate the problem. Alternatively, some camera lenses can be affixed with a rubber blinder attachment that completely encircles the lens and extends out for 2 or 3 inches to effectively shade out the sun.

Be wary of reflected light from other sources too. Cars, water, glass or other shiny reflective materials that project reflected light rays can easily ruin a great photo. The vigilant photographer is always aware of the existing lighting and how it could potentially impact the subject and final image.

Whenever possible, even in overcast situations, natural lighting should be the primary light source when shooting outdoors. Supplemental lighting should only be utilized when the existing natural lighting doesn't create the results your subject and image requires to convey the desired effect.

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Heaven Is a Single Lens Reflex Camera

"The wish to capture evanescent reflections is not only impossible... but the mere desire alone, the will to do so, is blasphemy. God created man in His own image, and no man- made machine may fix the image of God. Is it possible that God should have abandoned His eternal principles, and allowed a Frenchman... to give to the world an invention of the Devil?"

The French chap who made this quote was quite convinced that taking photos would not happen because it was against God's will. This, I would suggest, is the first of what would become a classic tradition in the world of photography and that is "What is the Right Way" arguments to get the end product, the photo. We will poke our nose into some of these camps of "The Right Way" in later writings.

Film, as it left the world of glass and metal plates and became celluloid (plastics in today's terms) came in two forms, flat or sheet film and roll film. Sheet film had a variety of sizes but had to have "holders" or reusable containers that would slide into the camera, and this was quite limiting.

Roll film settled down into basically two formats. The first was the roll film with the paper backing. This backing took up room, requiring a camera with some space inside. It seemed like everyone had their own idea as to film size and the camera to use it, resulting in a real mess of film as well as a huge variety of cameras.

One camera format variation was based on film that was 2 1/4 inch wide by various lengths and became known as the "Medium format" camera. This type camera became popular around the 1930's and earlier. These were generally "Bellows" (fold out) type cameras which changed into the workhorse camera, the "Twin Lens Reflex" beginning in the 1950's.

Later these developed into the "Single Lens Reflex" led by the Swedish jewel, the Hasselblad. Just holding one of these was a thrill for any photographer. Interchangeable lens were an innovative advantage with these type cameras and it later had a 21 MM lens (150 degree coverage?).

It should be noted that the "through the lens viewing" cameras were really difficult to construct and came into to general usage later due to the high tech nature of the mechanical process. Our present digital cameras are not bothered with rolling film and flopping mirrors.

Perhaps the most ubiquitous camera was based on another film that was rolled up, without paper, in a small can, the 35MM film canister. A great variety of cameras were made for this film. But unlike the larger paper backed roll film, the 35MM the format and basic camera were much the same. Again, the prime beginning was around 1900 and the canister came about the 1930's.

Actually the 35 MM single lens reflex camera was not fully developed until the early 1950's. Most of the improvements and production moved from Germany to Japan. It is remarkable to think that these innovative film cameras are now completely outdated.

Due to its handy size, the improvement in lens quality and technical quality, the 35 MM became the camera of choice and is really the daddy of the earlier digital cameras. The common digital camera in mass use has departed significantly from the standard 35 MM but the camera in use by most serious photographers looks all but identical to the last of the great film cameras, the 35MM SLR.

Interesting note: In a design contest for the interior workings of the renovated Hasselblad, one of the winners was Sixten Sason, the designer of the original Saab bodywork. Saab was the first automobile company to come out with the crash proof interior frame work. Hasselblad was having structural problems with the new single lens reflex.

Wade Swicord spent some fifteen years as an architectural photographer. He stopped looking at buildings and started building them and now lives in Chattanooga, TN. For some very excellent free instruction on how to use Photoshop, do click on http://photoexpertshop.com/. You will receive five value packed instructional videos on using PhotoShop.

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Making the Jump From JPEG to RAW

Making the jump from JPEG to RAW will be one of the biggest jumps for any aspiring photographer as it changes almost every aspect of how you approach the camera. The high priority items such as exposure and white balance no longer matter as much, while items you may have frequently overlooked like editing and processing now become imperative. Unfortunately, there are some drawbacks to the switch, but most tend to be minor inconveniences, which is a worthy trade off for the tremendous potential of a RAW photograph.

The Negatives

I will begin with the negatives, and although they may sound annoying at first, they are minuscule in light of the benefits to shooting RAW.

File size was one of the largest drawbacks for me. While JPEG files are often smaller than 5mb each, a RAW file will typically range from 20-30mb each. When you are dealing with potentially thousands of photographs, space will become an issue very quickly. Fortunately, computer hard drives are far less expensive than they used to be and finding 1-2TB external drive for around $100 is not difficult. In a later lesson we will explore some easy methods of dealing with large amounts of files in a limited space environment.

A JPEG picture is a 'processed' photograph, thus, whatever processing the camera performs to each picture will now be stripped away. This processing will now take place when you edit the photographs later. Typically a camera will perform some tonal correction, sharpening, and noise reduction during JPEG processing. As a result, when you first view your RAW photographs, they may not look quite as nice as the JPEG processed files, but that is because your job is not yet complete. Every RAW file must be processed before being rendered complete. This processing can take place in a variety of editing applications though one of the best and most popular is Adobe Lightroom. During this editing process you will need to perform some basic adjustments in order to have a 'finished' look to your photographs. While the sound of editing EVERY photograph may sound like a horrible nightmare, software like Lightroom has made this process very simple.

The Positives

The largest reason to shoot RAW for all of your photographs is that the positives are virtually endless. A RAW file contains so much information that can be changed or altered at will with almost no loss in quality. As a result, you may decide to change your photograph in so many ways to depict a certain look or tone in your image. You also have the ability to focus less on items such as white balance, which may be altered later, and spend more time concentrating on composition and focusing.

Obtaining a correct white balance can be difficult, especially in an environment where colors may be constantly changing. Shooting outdoors where a random cloud can alter the color temperature by 2000k, or following a subject through different rooms each with unique lighting fixtures will often yield varied results and improper tones. Shooting in RAW allows complete control over the temperature values in post where instead of having to worry about settings during a demanding shoot, you may set the camera to auto white balance and focus more intently on other aspects of the camera.

RAW files also allow exposure control. While you should always aim for correct exposure during recording, the ability to alter exposure 1-3 full stops can save an incorrectly exposed image from the trash can. Altering the exposure may lead to increases in noise or loss of color when pushed, but I have constantly been amazed with my ability to make large exposure corrections with very little noticeable loss in quality.

Future proofing your photographs may be the most important reason to shoot RAW. Digital photography is still young after all, and the ability to make large modifications to photographs without decreasing the quality is progressing quickly. Even in the last 5 years, photographs that were unusable 5 years ago because of the high amounts of noise and grain present in high ISO photographs, may be completely saved due to the impressive noise reduction filters present in new editing software versions. In the near future it may be possible to even correct out of focus images during the editing process. Not only does technology change, your abilities as a photographer and an editor will progress over time. The ability to return to old photographs and apply new editing techniques and abilities is priceless.

While shooting RAW comes with some mild inconveniences, the benefits are nearly endless. From the ability to correct mistakes, to future proofing your images, RAW files offer tremendous flexibility. Most cameras also allow RAW and JPEG shooting so if shooting only RAW still makes you worry, shoot both and save the raw files for later, you will not regret it.

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How to Clean Your Digital Camera

Ensuring your digital camera remains clean and in good condition is an integral part of successful photography. However, it is important to remember the old adage 'If it's not broken, don't fix it'. Take measures to avoid the lenses and screens becoming dirty in the first place. The best form of protection for your lens is achieved by attaching a UV filter to it at all times. This will prevent it becoming dusty or even worse, getting scratched. It is far easier and cheaper to clean or replace a damaged filter than a ruined lens. Filters are available in various price ranges and if your only wish is to protect the lens then a cheap version will do. Individual lenses stored apart from the camera body should always be kept with caps on both ends to avoid them becoming damaged or dirty.

One mistake people often make is to attempt to clean their lens with a cloth or tissue without first checking the lens for larger pieces of grit. These are then picked up by the cloth and dragged over the surface of the lens causing major damage that could have been easily avoided. Any visible grit should be removed using a soft brush or simply by blowing on the lens prior to using a cloth or tissue.

Lens Cleaning Fluids are usually alcohol based and should be used carefully. They are worth using as they will remove difficult smudges and fingerprints when they are used properly. Just add a couple of drops to your cleaning cloth and wipe the lens or screen gently in a circular motion. Always apply the fluid to the cloth, not directly to the item you are cleaning.

Disposable cleaning tissues are also available for cleaning lenses, filters etc. These are impregnated with cleaning fluids and it is important to use them only once and discard them after use. They are usually made from a very thin paper material which is much thinner than the domestic varieties available. Don't be tempted to use any that are not specifically designed for photography equipment as they are likely to be coarse and may damage your equipment.

If you are concerned about the environment and do not like the idea of throwing away used tissues, there are re-usable micro-fibre cleaning cloths available. It is important to keep these cloths in good condition and they should be regularly washed and stored correctly.

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Digital Camera Filters - What Do You Need And Why Do You Need Them

Filters can be used to control colour, exposure differences in a scene, to give more saturated colours and for special effects. Some of the effects, but not all, can be replicated on your pc using your image editing software but many photographers prefer to do the business at the shooting stage. This also cuts down on the amount of work needing done at the editing stage. We'll look at some of the different digital camera filters you may need and give a quick rundown of reasons to use them.

Round or Square Digital camera Filters

There are two basic types of digital camera filters, round ones and square one. Round ones are made to screw onto the front of the lens, whereas the square ones are made to slot into an adaptor which is screwed onto the front of the lens. The advantage of square filters is you can have an adaptor for each of your lenses, no matter what diameter the lens is but you only need one filter. You will need a round filter for each lens you have. You may find yourself using a combination of round and square digital camera filters.

I would recommend buying a UV or for each of your lenses and keeping it on permanently. A UV filter filters out the UV part of the spectrum on hazy days and at high altitudes but it also protects the front element of your lens from dust and damage. It's much cheaper to replace a digital camera filter than replace or repair a lens.

Neutral Density Digital Camera Filters

Neutral density graduated digital camera filters are a useful addition to the landscape photographer's accessory pocket. These filters have a grey top and clear bottom and are used to reduce the contrast range between the sky and the ground, the dark top darkening the sky. They come in different strengths, commonly 1 stop, 2 stops and 3 stops. You would meter the sky and ground to determine what filter to use. These filters can come with a hard edge for a sharper change from light to dark or a soft edge for a smoother change from light to dark. Graduated digital camera filters are much better in the square design as there is the flexibility to slide the filter up and down or rotate it if necessary

The Polarizer

Of all the digital camera filters, I would recommend you buy a polarizer. You can't replicate the effects of this filter using editing software and it is an extremely useful filter to carry around. This filter dramatically reduces reflections, not just on glass but also on foliage. You use this filter by rotating it and can see the effect as you use it. You will get deeper blue skies and more vibrant, deeper saturated colours. There are two types of polarizer by the way, linear and circular. The circular one is intended for autofocus systems so make sure not to confuse them. A polarizer will also cut your exposure so make sure you are taking meter readings and compensating for the filter. You may also want to change your white balance from auto to daylight with this filter as it your camera will compensate for the filter. The polarizer is one of the digital camera filters you will use regularly.

Other digital camera filters you may want to consider are special effects ones such as softeners and diffusers for, star filters and different coloured filters. it's easy to get carried away using special effect digital camera filters though so it's a good idea to experiment with those.

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How to Get Shallow Depth of Field

Depth of field is a photography term that refers to the selective focus of the camera lens along a certain plane. This create a sharp focus for any objects at a specific distance from the lens, while objects further away from that specific distance become increasingly blurry. The more shallow your depth of field is, the more precise your focus becomes, thus leaving objects in front or behind your subject more blurry. A deep depth of field is the opposite, and all objects are sharper.

There are four main factors that affect the depth of field:
Format or frame size: The area of light captured by a camera (signified by the type of sensor in digital photography - i.e. 2/3 CCD, APS-C, etc.)Aperture: The lower the F-stop, the more shallow your depth of field will be. Be aware that for video, you may need neutral density filters to help compensate. For still photography, you can usually compensate by increasing the shutter speed.Lens length (zoom): The longer your lens length (the closer you zoom in), the shallower your depth of field will be.Physical distance from the lens itself: The closer your subject is to the lens, the shallower your depth of field will be. This is because the depth of field is not linear and becomes more shallow quicker as you get closer to the lens. For example, if your subject is 10 meters away, objects at 15 meters away will appear sharper than objects 5 meters away, even though they are both 5 meters away from your focal point.

As one might guess from these factors, this makes getting clear pictures in macrophotography very challenging. In macrophotography, the lens is usually either very close to the subject, at a longer zoom length, or both. To mitigate this, there is a technique called "stacking", in which a subject is shot from the same angle multiple times, each with a different focal point, and the images are digitally combined to create one smooth shot that's completely in focus.

In cinematography, shallow depth of field is often associated with higher quality cinema, as opposed to home movies created with digital cameras. This is because of the dramatic difference in 35mm film camera frame sizes versus the relatively small capture area of a typical camcorder. Thus, advancements in technology aimed at independent filmmakers in recent years have focused on the ability to emulate a shallow depth of field, with companies such as Panasonic and Canon producing cameras with ever-increasing CCD chips.

This article has been viewed 35 time(s).
Article Submitted On: May 12, 2011

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Various Advantages of Green Screen Studio

By Angel Wood Angel Wood
Level: Platinum

I am expertise into product marketing and having many years experience in web promotion. I am writing on various technologies and e-commerce websites.

Green screen technology or Chroma Key is a technique which helps in compositing pictures or various frames into one in which the color of one object is hidden so that the color of another object gets enhanced. So the object in front made transparent in order to make the object behind, visible. This process is popularly recognized as the color separation overlay. Although blue color is used for this technique, but it is the green color which is mostly preferred since it is sensitive to camera sensors. In pictures and videos the Chroma key technology is used to give certain effects, and this is made possible with the help of various green screen kit objects such as backdrop, lights and body suit.

A green backdrop is used if the subject has to be removed from the picture, and for this the subject is made to wear green colored clothes. The matching color of the subject's dress and the backdrop helps in hiding the subject by replacing an object in its place with the help of a green screen video editor. Green color is farthest from human skin tone, which is why the color is used extensively. The green channel has least noise and is capable in producing the cleanest mask possible. With green color used in the background, you will not have to arrange for extra lighting due to its high sensitivity to camera sensors. The green screen is most commonly used since it is different from the human skin, which makes it possible for an exceptional technique so that the subject can be separated and replaced with another object. The most essential part comes when the foreground has to be separated from the background.

When the subject is made to wear a green body suit that matches the backdrop, the subject can be made invisible with a green screen video editing software. A lot of times photographers have various creative concepts in their minds, but due to a strained budget, they are unable to realize their ideas. A green screen studio is easily affordable, which offers the freedom of manipulating a picture the way a photographer wants. For instance, by placing green backdrop a picture can be clicked and later a picture of wild safari can be replaced for the backdrop. This will add life to an otherwise dull and boring photograph. Similarly, various other effects can as well be used to enhance an image or a video drastically.

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Article Submitted On: May 25, 2011

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