Staring your own photography can be an exciting adventure. Before you set up shop, browse the current, local competition to compare and contrast your business field or capabilities to theirs. Photographers truly shine in skill when they embark on a business journey related to a field of particular interest. Hone in on your desires for business purposes and to become a great photographer.
Photographers have a hard time standing apart people in the same field. Unless, they push to put together a portfolio containing photographs with regards to a particular area of the photographer’s interest. Dedicate your business to creating a niche in the market and stand out over the less original artists.
Well known artists succumb to greatness by finding a way to share what they see as beautiful, or a huge impact in their own lives, with the general public. Artists focus on bridging a mental gap between them selves and the audience. Artists relate to their viewers through different mediums of composition, and by focusing on various details not previously given attention to by the general population. Monet, Picasso and other famous painters possessed a talent for creating paintings with a unique vision of the world.
The general public holds a common interest of wanting to view life in modes outside of their immediate perception. Photographers grab a hold of their audience by capturing moments the general public often overlooks. Photographers express great talent through creating a personal experience with a single photograph of particular landscape settings, formidable architecture or other event settings. Some photographers happen upon their success by sharing a photograph originally intended for personal reference. A business filled with enjoyment of hobby innately falls into the lap of the photographer. A photographer, as an artist, presents normal and abnormal perspectives on daily subjects to create a unique statement through a photograph.
Artists are not merely born into great fame. Famous artist’s dedication, focus, passions, inspirations, and deterministic capabilities combine together to create unique and exquisite work. Photographers start their success from a feeling within. They must truly believe in their ability to create great art in order to produce it. An artist cannot be discouraged by not being very popular right off the hinge. Famous artist develop by producing work over time and their talent eventually comes to light of the public.
A variety of Internet-based sites provide tips to up and coming photographers on how to start their own business. Some websites describe methods of personal business marketing with regards to photography allowing business capabilities to expand worldwide. Amateur business photographers learn a great deal by researching other well-known artists online. Research allows the prospective business photographer to seek out answers to beginner questions and learn ways to avoid pitfalls experienced by established businessmen. The Internet allows your work to be seen by several people across the world, rather than the few who might discover you at conventional venues. Connecting with people of common interest through photography presents the most sure shot way to making it in the photography business. Present your attitude and work ethic through exercising passion in business-oriented relationships. Make sure to prepare long-term goals to help keep you within the guidelines of a good business proprietor. Seek out the assistance of business professionals in your field. Setting your goals ahead of you early allows you to focus on the artwork through passion and interest. Otherwise, you will be too busy concentrating on the challenges of having your own business and your artistic ability may decline under the stress.
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Friday, April 4, 2008
Depth Of Field-What is it?
Developing a basic understanding on depth of field allows you to take matters further through personal research by having a starting point. Your shots give off a sense of confidence by making informed decisions.
Amateur photographers run through several rolls of film or memory capabilities before capturing the true meaning of certain photographic technicalities. Exposure times comprise the first of two aspects for so many rolls of film or memory use. The second aspect has to do with the DOF (Depth of Field). Photographers spend countless thoughts on what they might have done wrong.
Amateur photographers ask two questions frequently when first starting off.
1. How can I achieve a sharp subject and blurry back round in my pictures?
2. How do I put everything into focus?
Amateurs must learn the rules involved in long and short depths of field in order to move on to professional photography. Beginners need to learn how to manipulate and express personal vision through the depths of field.
First and foremost, consider the differences between short Depth of Field and long Depth of Field. Short DOF photographs contain a subject in focus, while the back round and all objects behind the focus show up blurry. Long DOF photographs focus every object in the picture. Combining short and long DOF you obtain the circumstances involved in medium Depth of Field photographs.
When should you use short DOF? Selective focus allows the photographer to be specific on what to focus in a photograph. Establish control of subject focus provides powerful photographs through this dynamic tool. Photojournalism photographs often include pictures of people standing out in a crowd and establishes them apart from the back round. “A picture paints a thousand words,” when uniquely using this powerful tool in your photography.
Glamour portraits use short DOF to isolate the subject in the photograph. Examples seen in photographs where the subject’s eye closest to the point of perspective renders sharply and the eye furthest away slightly blurs. This technique allows a level of individuality in the creation of personal messages through the photograph.
What instances should you use DOF in? Long Depth of Field provides great photographs considering landscape subjects. Shorter DOF used for landscaping produces minimal focus on the vast subject and capture much of the subject in a blurred outcome. Long DOF captures everything near and far in a landscaping picture and gives focus to several aspects of the subject. Ansel Adams and Edward Weston utilize long DOF to create famous works of art and photography. Large, wonderful scenery can produce a great blurred back round to a single bright, atheistically appealing flower by use of short DOF. Photographers need to develop versatility in order to capture the right photograph in various situations.
How can you make your understanding of DOF work for you? DOF varies on the camera’s focal length in the lens. Following information touches on quite a bit of technical details using a SLR lends with a 45mm to 70mm range. Learn to adjust the F-stops (aperture) on the camera to manipulating DOF. Modern SLR cameras allow the use of this feature through switching to AV (Aperture Priority) mode.
Fully explaining aspects of aperture could take quite a bit of time. Thus, the simplest understanding represents the F-stop as an adjustable opening controlling the light inducing a photograph on the film and digital captures. DOF of an image becomes controlled by the F-stop and choosing shutter speeds.
SLR cameras of older make contain lens ranges on the barrel. The aperture ring looks like the following on a basic lens:
2.8 - 5.6 - 8 - 11 - 16 - 22
The numbers indicate aperture open settings or otherwise known as the F-stops.
Modern electronic and other cameras display F-stop values on the viewfinder. Newer lenses raise the range between F-stops; the following displays some common examples:
2.8 - 3.5 - 5.6 - 6.3 -7.1 - 8 up to 32
Choosing DOF settings on the camera requires a bit of technical information and basic understanding of certain concepts. Short DOF selects lower F-stop numbers to represent their capabilities, such as 2.8. Longer DOF selects higher end F-stop numbers to represent their capabilities, such as 22. Everything in the final photograph for higher numbered F-stops will come into focus. One subject in the final photograph for lower numbered F-stops focus the subject only and blur out the back round. The separation between pictures and photographs provides a dividing line in the understanding of the F-stop concept. You can practice understanding F-stop settings by picking out 3 subjects to photograph. Apples or orange provide good subjects since they do not move on their own and you can change their position to practice different ranges and F-stop settings. Arrange the subjects in order of 2′, 3′ and 4′ to give you some perspective in the final photographs. Start off with lower end numbers on the F-stop and progress through until you reach the highest values. The final photographs should focus the very first subject in the line up and blur out the rest on smaller F-stop numbers. The final photographs including higher end F-stop values should include focus to the back round subjects with greater accuracy as the number gets higher. In high-end F-stop value photographs all subjects should view as sharp objects and under great focus.
SLR cameras usually have a preview icon to represent the DOF. Selecting the preview icon and focusing the lens on your subject should project what the final image will come out as. Consider the possibility off too much light getting in as the F-stop value gets higher. Preview capabilities will appear darker because of the amount of light being let in. Several practice sessions allow you to take photographs without the use of the preview button because you’ve learned how to master reproducing the image without a guide.
You’ve just learned the basics of Depth of Field! Certain facets of DOF include understanding Hyper Focal Distance issues, after all, longer and shorter focal lenses provide different DOF results. With the information you’ve obtained here, you are ready to go further in developing professional photography skills.
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Amateur photographers run through several rolls of film or memory capabilities before capturing the true meaning of certain photographic technicalities. Exposure times comprise the first of two aspects for so many rolls of film or memory use. The second aspect has to do with the DOF (Depth of Field). Photographers spend countless thoughts on what they might have done wrong.
Amateur photographers ask two questions frequently when first starting off.
1. How can I achieve a sharp subject and blurry back round in my pictures?
2. How do I put everything into focus?
Amateurs must learn the rules involved in long and short depths of field in order to move on to professional photography. Beginners need to learn how to manipulate and express personal vision through the depths of field.
First and foremost, consider the differences between short Depth of Field and long Depth of Field. Short DOF photographs contain a subject in focus, while the back round and all objects behind the focus show up blurry. Long DOF photographs focus every object in the picture. Combining short and long DOF you obtain the circumstances involved in medium Depth of Field photographs.
When should you use short DOF? Selective focus allows the photographer to be specific on what to focus in a photograph. Establish control of subject focus provides powerful photographs through this dynamic tool. Photojournalism photographs often include pictures of people standing out in a crowd and establishes them apart from the back round. “A picture paints a thousand words,” when uniquely using this powerful tool in your photography.
Glamour portraits use short DOF to isolate the subject in the photograph. Examples seen in photographs where the subject’s eye closest to the point of perspective renders sharply and the eye furthest away slightly blurs. This technique allows a level of individuality in the creation of personal messages through the photograph.
What instances should you use DOF in? Long Depth of Field provides great photographs considering landscape subjects. Shorter DOF used for landscaping produces minimal focus on the vast subject and capture much of the subject in a blurred outcome. Long DOF captures everything near and far in a landscaping picture and gives focus to several aspects of the subject. Ansel Adams and Edward Weston utilize long DOF to create famous works of art and photography. Large, wonderful scenery can produce a great blurred back round to a single bright, atheistically appealing flower by use of short DOF. Photographers need to develop versatility in order to capture the right photograph in various situations.
How can you make your understanding of DOF work for you? DOF varies on the camera’s focal length in the lens. Following information touches on quite a bit of technical details using a SLR lends with a 45mm to 70mm range. Learn to adjust the F-stops (aperture) on the camera to manipulating DOF. Modern SLR cameras allow the use of this feature through switching to AV (Aperture Priority) mode.
Fully explaining aspects of aperture could take quite a bit of time. Thus, the simplest understanding represents the F-stop as an adjustable opening controlling the light inducing a photograph on the film and digital captures. DOF of an image becomes controlled by the F-stop and choosing shutter speeds.
SLR cameras of older make contain lens ranges on the barrel. The aperture ring looks like the following on a basic lens:
2.8 - 5.6 - 8 - 11 - 16 - 22
The numbers indicate aperture open settings or otherwise known as the F-stops.
Modern electronic and other cameras display F-stop values on the viewfinder. Newer lenses raise the range between F-stops; the following displays some common examples:
2.8 - 3.5 - 5.6 - 6.3 -7.1 - 8 up to 32
Choosing DOF settings on the camera requires a bit of technical information and basic understanding of certain concepts. Short DOF selects lower F-stop numbers to represent their capabilities, such as 2.8. Longer DOF selects higher end F-stop numbers to represent their capabilities, such as 22. Everything in the final photograph for higher numbered F-stops will come into focus. One subject in the final photograph for lower numbered F-stops focus the subject only and blur out the back round. The separation between pictures and photographs provides a dividing line in the understanding of the F-stop concept. You can practice understanding F-stop settings by picking out 3 subjects to photograph. Apples or orange provide good subjects since they do not move on their own and you can change their position to practice different ranges and F-stop settings. Arrange the subjects in order of 2′, 3′ and 4′ to give you some perspective in the final photographs. Start off with lower end numbers on the F-stop and progress through until you reach the highest values. The final photographs should focus the very first subject in the line up and blur out the rest on smaller F-stop numbers. The final photographs including higher end F-stop values should include focus to the back round subjects with greater accuracy as the number gets higher. In high-end F-stop value photographs all subjects should view as sharp objects and under great focus.
SLR cameras usually have a preview icon to represent the DOF. Selecting the preview icon and focusing the lens on your subject should project what the final image will come out as. Consider the possibility off too much light getting in as the F-stop value gets higher. Preview capabilities will appear darker because of the amount of light being let in. Several practice sessions allow you to take photographs without the use of the preview button because you’ve learned how to master reproducing the image without a guide.
You’ve just learned the basics of Depth of Field! Certain facets of DOF include understanding Hyper Focal Distance issues, after all, longer and shorter focal lenses provide different DOF results. With the information you’ve obtained here, you are ready to go further in developing professional photography skills.
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Digital Photography-What 10 things can i do to improve?
Lets start with the basics; in order to learn how to photograph well, you need to understand the 10 most fundamental aspects of digital photography. By keeping these basic tips in mind when embarking on your journey through digital photography, you are well on your way to improving your technique and the quality of the photographs you take. At the very least, by learning these tips, you will be in a better position to understand the reasons behind certain other techniques of the craft.
Digital photography has revolutionized the way photographs are taken, processed, viewed and distributed. The convenience of it far outweighs any advantages afforded by the traditional 110 camera and film photography. The tips in this article will ensure you are making the best use of the myriad of assets available to you in the world of digital photography.
To start off with, always try to have the subject of your photo centered in your viewfinder. This will ensure that you place adequate emphasis on your subject and the viewer’s eyes will be drawn to it. If you cultivate this habit, you will discipline yourself into always taking the time to position your subject and draw attention to it. As you progress, you will learn that how you position your subject can go a long way into creating the perfect picture.
Do your best to avoid elements which take the attention away from the subject. Taking a picture of your dog with kids running into or out of the frame, or taking a picture of a sculpture with other photographers in the foreground, taking pictures of the same sculpture. These distractions will greatly diminish your ability to draw attention to the subject you have chosen to photograph.
You may already be aware that when choosing a digital camera, most vendors will list the resolution of the camera in terms of megapixels. When taking pictures, always select the highest resolution possible. This will allow for you to have the most amount of data to work with during the processing phase. The lower resolution pictures have less data and the results obtained during the processing phase may be of a much lower quality.
Make sure you get close to your subject. In other words, fill up the frame of your camera. This is another good way to draw the viewer’s attention to the subject. When the subject fills the frame, any distracting elements will most likely be eliminated and leaves the viewer with no doubts as to what your subject is. Either walk closer to your subject or use the zoom feature present in many of today’s digital cameras to maximize the use of the entire frame. The zoom feature is great for taking pictures where you need to be at a distance (either to be safe or because of the location) from the subject, but want your picture to appear as if you were nearby.
When taking pictures of people while using a flash, make sure to select the red eye reduction feature. This feature is again found in most of today’s digital cameras. It diminishes or completely eliminates the appearance of red, monster-like eyes in people when using flash photography. This phenomenon occurs when the light of the flash is reflected by the human eyes. The red eye reduction feature activates the flash in such a way that the human eyes are rendered less reflective. They teach a lot of this type of thing in photography schools which is another way to improve. Here’s an article on online photography schools.
Whenever possible, strive to frame photographs from a unique angle. Have you noticed how eye-catching some photographs are? It is more likely that these photographs will have been taken from a unique angle. It can be a sharp angle looking down at the subject or looking up from a lower position. Consider the mood you are trying to evoke in your viewers. If you want something to appear larger, go for a low positioned, upward facing angle.
Always carry extra batteries. Digital cameras rely solely on having batteries to operate. If the camera itself has a special battery that can only be bought from the manufacturer, then it would be worthwhile in investing in one of these proprietary battery packs. You don’t want to be in the situation where you missed the perfect shot because your battery was flat.
A tripod is a perfect way to lend stability to an otherwise shaky photographer. It is natural that you may not be able to hold the camera absolutely steady. In cases like this, you will be left with blurred or fuzzy pictures due to ‘camera shake’. In order to minimize the fuzzy pictures, invest in a tripod. Once a camera is mounted on a tripod, you can take crisp, clear photographs with minimal camera shake.
If there is one feature that makes digital photography stand out from traditional photography, it is the photo review feature. This feature allows you to examine the picture you took a few seconds ago to determine if it is exactly what you wanted. If it isn’t, then you can simply delete the photograph that you are not happy with and take another.
Make sure that you adjust your flash appropriately for the occasion when you take pictures. For example, indoor or night photographs will more likely require the use of a flash to properly illuminate the subject. It is not uncommon to have professional photographers using the flash even for daytime, outdoor photography. This is known as ‘fill-flash’ and if used properly, can add great dimension to an outdoor photograph.
You can gain more knowledge at Profitable Photography Business. It’s dedicated to coaching you in starting your own photography business but places a strong emphasis on profitability issues & guidelines. You can also gain many photography resources (some free) from Photography Equipment & Resources
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Digital photography has revolutionized the way photographs are taken, processed, viewed and distributed. The convenience of it far outweighs any advantages afforded by the traditional 110 camera and film photography. The tips in this article will ensure you are making the best use of the myriad of assets available to you in the world of digital photography.
To start off with, always try to have the subject of your photo centered in your viewfinder. This will ensure that you place adequate emphasis on your subject and the viewer’s eyes will be drawn to it. If you cultivate this habit, you will discipline yourself into always taking the time to position your subject and draw attention to it. As you progress, you will learn that how you position your subject can go a long way into creating the perfect picture.
Do your best to avoid elements which take the attention away from the subject. Taking a picture of your dog with kids running into or out of the frame, or taking a picture of a sculpture with other photographers in the foreground, taking pictures of the same sculpture. These distractions will greatly diminish your ability to draw attention to the subject you have chosen to photograph.
You may already be aware that when choosing a digital camera, most vendors will list the resolution of the camera in terms of megapixels. When taking pictures, always select the highest resolution possible. This will allow for you to have the most amount of data to work with during the processing phase. The lower resolution pictures have less data and the results obtained during the processing phase may be of a much lower quality.
Make sure you get close to your subject. In other words, fill up the frame of your camera. This is another good way to draw the viewer’s attention to the subject. When the subject fills the frame, any distracting elements will most likely be eliminated and leaves the viewer with no doubts as to what your subject is. Either walk closer to your subject or use the zoom feature present in many of today’s digital cameras to maximize the use of the entire frame. The zoom feature is great for taking pictures where you need to be at a distance (either to be safe or because of the location) from the subject, but want your picture to appear as if you were nearby.
When taking pictures of people while using a flash, make sure to select the red eye reduction feature. This feature is again found in most of today’s digital cameras. It diminishes or completely eliminates the appearance of red, monster-like eyes in people when using flash photography. This phenomenon occurs when the light of the flash is reflected by the human eyes. The red eye reduction feature activates the flash in such a way that the human eyes are rendered less reflective. They teach a lot of this type of thing in photography schools which is another way to improve. Here’s an article on online photography schools.
Whenever possible, strive to frame photographs from a unique angle. Have you noticed how eye-catching some photographs are? It is more likely that these photographs will have been taken from a unique angle. It can be a sharp angle looking down at the subject or looking up from a lower position. Consider the mood you are trying to evoke in your viewers. If you want something to appear larger, go for a low positioned, upward facing angle.
Always carry extra batteries. Digital cameras rely solely on having batteries to operate. If the camera itself has a special battery that can only be bought from the manufacturer, then it would be worthwhile in investing in one of these proprietary battery packs. You don’t want to be in the situation where you missed the perfect shot because your battery was flat.
A tripod is a perfect way to lend stability to an otherwise shaky photographer. It is natural that you may not be able to hold the camera absolutely steady. In cases like this, you will be left with blurred or fuzzy pictures due to ‘camera shake’. In order to minimize the fuzzy pictures, invest in a tripod. Once a camera is mounted on a tripod, you can take crisp, clear photographs with minimal camera shake.
If there is one feature that makes digital photography stand out from traditional photography, it is the photo review feature. This feature allows you to examine the picture you took a few seconds ago to determine if it is exactly what you wanted. If it isn’t, then you can simply delete the photograph that you are not happy with and take another.
Make sure that you adjust your flash appropriately for the occasion when you take pictures. For example, indoor or night photographs will more likely require the use of a flash to properly illuminate the subject. It is not uncommon to have professional photographers using the flash even for daytime, outdoor photography. This is known as ‘fill-flash’ and if used properly, can add great dimension to an outdoor photograph.
You can gain more knowledge at Profitable Photography Business. It’s dedicated to coaching you in starting your own photography business but places a strong emphasis on profitability issues & guidelines. You can also gain many photography resources (some free) from Photography Equipment & Resources
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Monday, March 17, 2008
What Good Are Zom Lenses?
What Good Are Zoom Lenses?
One of the ideas which are crucial to becoming an expert photographer is understanding the difference between a camera and a human eye. Our eyes are fixed to a narrow range of abilities - we have no choice in what magnification our eyes see with or what ranges of light they use. Nature gave us so many abilities and that is that. But cameras are an artificial contrivance we’ve cobbled together, with the aim of capturing images permanently. They aren’t bound by the constraints of nature.
Zoom lenses, unlike our eyes, allow the camera to have a variable focal length. This can allow your image to appear to have been taken closer to the subject than you actually were. Most often, this is handy for photographing natural subjects. Those shots of wildlife such as herons taking off from a pond or tigers lounging on the savanna are taken from a far distance away, with the camera magnifying the image. Likewise, you can get a close-up image of an approaching tornado, without actually getting up close and personal with it!
One can’t expect too much image quality under these circumstances. Particularly with digital cameras with telephoto and zoom lenses, some image quality will be sacrificed. This is because digital telephoto zoom lenses have to be made with that physical material we call glass, and it’s that much harder to engineer a lens that’s small, light, able to pull in the magnification, and still get good detail. Even with non-digital cameras, the camera lens sharpness will be lower with a 60-180 zoom lens than it would be with even a cheap prime lens. If you’ve used camera lenses in macro photography, you’ve noticed the difference when you blew the final image up to scale.
There are plenty of zoom lens tutorials online, so I won’t repeat them here. My purpose is to just give you a good feel for the territory, rather than directly answering questions like “How do camera lenses work?”. Lugging those various lenses through the field will be great exercise, as will handling them with the delicacy of a Faberge egg to make sure they don’t get damaged. There’s nothing quite like traveling on assignment only to open your luggage and discover a case full of broken lenses thanks to bellhops and taxi drivers who treat delicate photography equipment like Hulk Hogan giving somebody a body slam.
The best place to try out your new zoom lens is under studio conditions. Here, you can keep the camera perfectly still, the lens free of dust, and your subject set in ideal conditions. You’ll be pretty much limited to macro photography here, unless you’re looking to capture the paint on the studio wall magnified until it looks like the surface of Venus. But here you will have time to go over your camera lens zoom conversion tables and compare them with your results, so you get a good feel for what level of zoom will compensate for what amount of distance. Taking an action shot at a sporting event while your lens’ motorized zoom is adjusting will not be the time to practice.
On a final note, remember that all those variables in photography is what makes it challenging as a hobby or field of endeavor. Luck is a factor. Make luck work for you by taking lots of shots, trying to make each one perfect. When you see your results, you will hopefully have one that’s close to perfect
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One of the ideas which are crucial to becoming an expert photographer is understanding the difference between a camera and a human eye. Our eyes are fixed to a narrow range of abilities - we have no choice in what magnification our eyes see with or what ranges of light they use. Nature gave us so many abilities and that is that. But cameras are an artificial contrivance we’ve cobbled together, with the aim of capturing images permanently. They aren’t bound by the constraints of nature.
Zoom lenses, unlike our eyes, allow the camera to have a variable focal length. This can allow your image to appear to have been taken closer to the subject than you actually were. Most often, this is handy for photographing natural subjects. Those shots of wildlife such as herons taking off from a pond or tigers lounging on the savanna are taken from a far distance away, with the camera magnifying the image. Likewise, you can get a close-up image of an approaching tornado, without actually getting up close and personal with it!
One can’t expect too much image quality under these circumstances. Particularly with digital cameras with telephoto and zoom lenses, some image quality will be sacrificed. This is because digital telephoto zoom lenses have to be made with that physical material we call glass, and it’s that much harder to engineer a lens that’s small, light, able to pull in the magnification, and still get good detail. Even with non-digital cameras, the camera lens sharpness will be lower with a 60-180 zoom lens than it would be with even a cheap prime lens. If you’ve used camera lenses in macro photography, you’ve noticed the difference when you blew the final image up to scale.
There are plenty of zoom lens tutorials online, so I won’t repeat them here. My purpose is to just give you a good feel for the territory, rather than directly answering questions like “How do camera lenses work?”. Lugging those various lenses through the field will be great exercise, as will handling them with the delicacy of a Faberge egg to make sure they don’t get damaged. There’s nothing quite like traveling on assignment only to open your luggage and discover a case full of broken lenses thanks to bellhops and taxi drivers who treat delicate photography equipment like Hulk Hogan giving somebody a body slam.
The best place to try out your new zoom lens is under studio conditions. Here, you can keep the camera perfectly still, the lens free of dust, and your subject set in ideal conditions. You’ll be pretty much limited to macro photography here, unless you’re looking to capture the paint on the studio wall magnified until it looks like the surface of Venus. But here you will have time to go over your camera lens zoom conversion tables and compare them with your results, so you get a good feel for what level of zoom will compensate for what amount of distance. Taking an action shot at a sporting event while your lens’ motorized zoom is adjusting will not be the time to practice.
On a final note, remember that all those variables in photography is what makes it challenging as a hobby or field of endeavor. Luck is a factor. Make luck work for you by taking lots of shots, trying to make each one perfect. When you see your results, you will hopefully have one that’s close to perfect
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Monday, February 25, 2008
Cloudy or Sunny-Which is Best For Photographs?
Many photographers, especially professionals, will say that overcast cloudy days are best. However, this is actually more for practical reasons rather than aesthetic ones.
One advantage of cloudy days is that because of the lack of dark heavy shadows, there is less contrast and it is much easier to find a good exposure. There is usually quite a range of exposure settings that will look good.
The light on an overcast day is soft and this is normally much more flattering for portraits. Also, the light is more or less the same in all directions, which gives you much greater freedom, for instance, in choosing a suitable background for portrait shots.
The biggest disadvantage of cloudy days is that your pictures can often look dull and flat. This can be a particular problem for landscape photographers. Another problem is that a cloudy sky (unless it's very dark) is often much brighter than it looks and can easily just bleach out to a flat white in your photographs. If you reduce the exposure so the sky turns out the way it looks, everything else in the picture may be badly underexposed. It is best to try and include as little of the sky as possible when shooting on cloudy days.
When the sun comes out
On sunny days, things are very different. Colours are brighter, richer and more saturated. Everything in your pictures is more clearly defined and your photographs may even look sharper because the sunlight will bring out any edges and textures. Even the blue of the sky will come out more like it looks to the naked eye.
The other big difference is that the light is now very directional and that is very important for photographers. Unlike on a cloudy day, the direction you shoot in, relative to the sun, will now make a tremendous difference to your photographs. Almost everything will now look much better from one particular angle, depending on how the sun is striking it.
This angle keeps changing throughout the day so something that looked stunning in the morning can seem quite ugly in the afternoon. In landscape photography, the direction of the sun makes a great deal of difference. Many landscape photographers will visit a location at different times of the day just to gauge the effect of the changing position of the sun.
The worst time of day is probably mid-day, when the sun is directly overhead, this is not really a flattering light. The lower in the sky the sun is, the more interesting its effect on the landscape. This has led to photographers naming the hours after sunrise and before sunset as "golden hours". It's not just the colour of the light that makes them golden, but the direction too.
Another advantage of sunny days is simply that there is more light around, which always helps in the pursuit of photography. It means, for example, that you can keep the ISO number low for better quality or use a faster shutter speed for less chance of camera shake.
The downside of shooting on sunny days is mainly that the high contrast may make choosing the right exposure quite tricky, but by no means impossible. If in doubt, just shoot several different exposures and choose the best one later. The issue of the sun's direction can be a blessing or a curse. Most things will look better in sunlight, but more often than not, only at one particular time of day and from one specific angle.
What's best?
For portrait photographers, probably overcast most of the time and landscape photographers are much more likely to prefer sunlight, especially at the beginning and end of the day.
Colin Aiken is a professional photographer based in the United Kingdom. His new website is full of photographs, useful information and news about photography. Take a look at: http://www.lovethepictures.co.uk
Article Source: http://EzineArticles.com/?expert=Colin_Aiken
One advantage of cloudy days is that because of the lack of dark heavy shadows, there is less contrast and it is much easier to find a good exposure. There is usually quite a range of exposure settings that will look good.
The light on an overcast day is soft and this is normally much more flattering for portraits. Also, the light is more or less the same in all directions, which gives you much greater freedom, for instance, in choosing a suitable background for portrait shots.
The biggest disadvantage of cloudy days is that your pictures can often look dull and flat. This can be a particular problem for landscape photographers. Another problem is that a cloudy sky (unless it's very dark) is often much brighter than it looks and can easily just bleach out to a flat white in your photographs. If you reduce the exposure so the sky turns out the way it looks, everything else in the picture may be badly underexposed. It is best to try and include as little of the sky as possible when shooting on cloudy days.
When the sun comes out
On sunny days, things are very different. Colours are brighter, richer and more saturated. Everything in your pictures is more clearly defined and your photographs may even look sharper because the sunlight will bring out any edges and textures. Even the blue of the sky will come out more like it looks to the naked eye.
The other big difference is that the light is now very directional and that is very important for photographers. Unlike on a cloudy day, the direction you shoot in, relative to the sun, will now make a tremendous difference to your photographs. Almost everything will now look much better from one particular angle, depending on how the sun is striking it.
This angle keeps changing throughout the day so something that looked stunning in the morning can seem quite ugly in the afternoon. In landscape photography, the direction of the sun makes a great deal of difference. Many landscape photographers will visit a location at different times of the day just to gauge the effect of the changing position of the sun.
The worst time of day is probably mid-day, when the sun is directly overhead, this is not really a flattering light. The lower in the sky the sun is, the more interesting its effect on the landscape. This has led to photographers naming the hours after sunrise and before sunset as "golden hours". It's not just the colour of the light that makes them golden, but the direction too.
Another advantage of sunny days is simply that there is more light around, which always helps in the pursuit of photography. It means, for example, that you can keep the ISO number low for better quality or use a faster shutter speed for less chance of camera shake.
The downside of shooting on sunny days is mainly that the high contrast may make choosing the right exposure quite tricky, but by no means impossible. If in doubt, just shoot several different exposures and choose the best one later. The issue of the sun's direction can be a blessing or a curse. Most things will look better in sunlight, but more often than not, only at one particular time of day and from one specific angle.
What's best?
For portrait photographers, probably overcast most of the time and landscape photographers are much more likely to prefer sunlight, especially at the beginning and end of the day.
Colin Aiken is a professional photographer based in the United Kingdom. His new website is full of photographs, useful information and news about photography. Take a look at: http://www.lovethepictures.co.uk
Article Source: http://EzineArticles.com/?expert=Colin_Aiken
Digital Photography During Any Kind Of Wealther
If you are a photographer you know that bad weather does not have to stop you from going out and getting that fantastic digital photograph. This is your chance to get that kind of photograph that you can't just go out and take on any kind of day. These photographs can really show some crazy weather shots, like lightning storms, or just a dreary, rainy afternoon, and snow shots are very cool to see.
The harder it is for you to capture these kinds of photographs the more money someone would probably pay you for them. If you're an adventurous kind of photographer these kinds of shots will be just ideal for you. With safety in toe, take a calculated risk in order to create the perfect digital experience.
If you are taking digital photographs outside in the rain you will notice the way the rain tends to make everything around just shine. Whether your in the city or out in the country, looking across a field of grass or flowers, everything just seems to kind of sparkle. This can create a really nice photograph. Actually the rain, along with a few good size clouds can create just the perfect natural light setting, removing any fade outs or shadows that might appear in your digital photograph otherwise. With a little bit of rain you will have the chance to create some really great landscaping photographs or even of the wildlife that surrounds you, if you're in the right spot at the right time. Just make sure you have something to cover up your lens to keep the droplets away. You don't mind the rain but when it gets on your lens that could be a problem.
Taking a photograph of lightning can be complicated, you have to snap it at just the right time and that is very unpredictable. You will have to have a tripod for taking these kinds of photographs and a rather long shutter speed. You can hold down your shutter manually if you'd like so that all you have to do is shut it on your own as the lighting passes through the sky or slams down onto the grounds. You'll want this kind of photograph to be as bright as you can possibly get it, to get that full affect.
Snow photographs are a very appealing photograph to create. The light from the snow creates such a nice contrast along with all of it's surroundings. Capturing a photograph of the snow melting off the tree limbs or using the snow as a nice background for whatever your main object is that you are photographing. Some nice nature shots or friends and family playing in the snow, or you could even get a nice portrait type picture with snow all around.
You can do so many things when using digital photography, even things that may seem a little bit extreme. Making sure you have all the right gear and the drive to get out there and take risks is all you need, no matter what mother nature has in mind for that occasion.
Professional engineer in the IT industry engage in marketing online,home base business. Visit us at: http://www.emarkethall.com
Article Source: http://EzineArticles.com/?expert=Peter_Cheongkh
The harder it is for you to capture these kinds of photographs the more money someone would probably pay you for them. If you're an adventurous kind of photographer these kinds of shots will be just ideal for you. With safety in toe, take a calculated risk in order to create the perfect digital experience.
If you are taking digital photographs outside in the rain you will notice the way the rain tends to make everything around just shine. Whether your in the city or out in the country, looking across a field of grass or flowers, everything just seems to kind of sparkle. This can create a really nice photograph. Actually the rain, along with a few good size clouds can create just the perfect natural light setting, removing any fade outs or shadows that might appear in your digital photograph otherwise. With a little bit of rain you will have the chance to create some really great landscaping photographs or even of the wildlife that surrounds you, if you're in the right spot at the right time. Just make sure you have something to cover up your lens to keep the droplets away. You don't mind the rain but when it gets on your lens that could be a problem.
Taking a photograph of lightning can be complicated, you have to snap it at just the right time and that is very unpredictable. You will have to have a tripod for taking these kinds of photographs and a rather long shutter speed. You can hold down your shutter manually if you'd like so that all you have to do is shut it on your own as the lighting passes through the sky or slams down onto the grounds. You'll want this kind of photograph to be as bright as you can possibly get it, to get that full affect.
Snow photographs are a very appealing photograph to create. The light from the snow creates such a nice contrast along with all of it's surroundings. Capturing a photograph of the snow melting off the tree limbs or using the snow as a nice background for whatever your main object is that you are photographing. Some nice nature shots or friends and family playing in the snow, or you could even get a nice portrait type picture with snow all around.
You can do so many things when using digital photography, even things that may seem a little bit extreme. Making sure you have all the right gear and the drive to get out there and take risks is all you need, no matter what mother nature has in mind for that occasion.
Professional engineer in the IT industry engage in marketing online,home base business. Visit us at: http://www.emarkethall.com
Article Source: http://EzineArticles.com/?expert=Peter_Cheongkh
Friday, February 8, 2008
Interior Photography
Interior photography is very demanding and the photographer must be sensitive to all the elements that will appear in the final print. Most rooms consist of small objects that look good in the room, but in a print, these objects may cluster the image.
Photographing interiors involves working within a confined space, so the first thing you need is a suitable lens. Most of us would prefer to use a wide-angle lens, but this lens causes problems with image distortion. Distortion is a large and common problem when shooting interiors, but can be reduced if you use a lens with the focal length set between 80 and 100.
Interior images should be bright, with perfect exposure and have fresh vibrant colours. This is the standard used by publishers all over the world. To achieve this the photographer must be able to control these elements and have a very good understanding of light.
Light will play an important part when photographing interiors. Most of your images will be shot with a low shutter speed, because natural light levels will be very low, so a tripod will be needed. If the natural light is good, use a reflector to bounce the light into the dark areas of the room.
If the natural light is not good enough you will have to use a strobe unit. Try to bounce the light off a photographic umbrella to soften the light in the room. If you are using more than one light have some reflectors with you.
Composition is very important when photographing interiors. Here are some pointers that you may find useful and helpful:
Look out for lines that will lead to the focal point of your image. By leading with lines into the main part of the scene you will draw observers into your photograph. These lines don't have to be straight. They can be a row of seats or interesting converging vertical objects.
Simple foreground objects are also perfect for composition. Patterns on a floor can give your interior a greater sense of depth. Use a small aperture (f/22) to keep the entire scene in focus.
Try to frame your scene with some of the elements in the room. This will focus attention on the main part of the picture.
Tiles on the floor and walls can be very handy as composition when photographing a room - use the tiles to focus attention on the focal point of the room. When photographing bathrooms, if possible exclude the toilet. Always try to exclude anything that you think is distasteful.
Sometimes framed pictures hanging on walls will appear distorted so it is best not to include them. If you are photographing someone's home ask the owner before you move items.
Good interior images are not easy to take but the rewards are great if you can master the trade. If you are unsure of the standard, buy some of the magazines that use these images. Publishers pay fine prices for well exposed, good quality indoor images.
TJ Tierney is an award winning photographer and a freelance writer. To find out more information visit his free http://www.goldprints.com photography and http://www.goldprints.com/digital_photography.html digital photography site. His site also contains a free http://www.goldprints.com/photography_competition.html photography competition
Article Source: http://EzineArticles.com/?expert=TJ_Tierney
Photographing interiors involves working within a confined space, so the first thing you need is a suitable lens. Most of us would prefer to use a wide-angle lens, but this lens causes problems with image distortion. Distortion is a large and common problem when shooting interiors, but can be reduced if you use a lens with the focal length set between 80 and 100.
Interior images should be bright, with perfect exposure and have fresh vibrant colours. This is the standard used by publishers all over the world. To achieve this the photographer must be able to control these elements and have a very good understanding of light.
Light will play an important part when photographing interiors. Most of your images will be shot with a low shutter speed, because natural light levels will be very low, so a tripod will be needed. If the natural light is good, use a reflector to bounce the light into the dark areas of the room.
If the natural light is not good enough you will have to use a strobe unit. Try to bounce the light off a photographic umbrella to soften the light in the room. If you are using more than one light have some reflectors with you.
Composition is very important when photographing interiors. Here are some pointers that you may find useful and helpful:
Look out for lines that will lead to the focal point of your image. By leading with lines into the main part of the scene you will draw observers into your photograph. These lines don't have to be straight. They can be a row of seats or interesting converging vertical objects.
Simple foreground objects are also perfect for composition. Patterns on a floor can give your interior a greater sense of depth. Use a small aperture (f/22) to keep the entire scene in focus.
Try to frame your scene with some of the elements in the room. This will focus attention on the main part of the picture.
Tiles on the floor and walls can be very handy as composition when photographing a room - use the tiles to focus attention on the focal point of the room. When photographing bathrooms, if possible exclude the toilet. Always try to exclude anything that you think is distasteful.
Sometimes framed pictures hanging on walls will appear distorted so it is best not to include them. If you are photographing someone's home ask the owner before you move items.
Good interior images are not easy to take but the rewards are great if you can master the trade. If you are unsure of the standard, buy some of the magazines that use these images. Publishers pay fine prices for well exposed, good quality indoor images.
TJ Tierney is an award winning photographer and a freelance writer. To find out more information visit his free http://www.goldprints.com photography and http://www.goldprints.com/digital_photography.html digital photography site. His site also contains a free http://www.goldprints.com/photography_competition.html photography competition
Article Source: http://EzineArticles.com/?expert=TJ_Tierney
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