Tuesday, January 29, 2008
Tuesday, January 22, 2008
Basic techniques for taking great landscape photos
Basic techniques for taking great landscape photos
People often enjoy good landscape photographs because of the almost magical nature of the photos to transport the viewer to the location that was photographed. Although seemingly simple to take, only photographers who are aware of some key techniques will take very good landscape photos.
If you look at a few of the really great landscape photographs, you will be able to identify a certain amount of common elements to them. There is a foreground portion, appropriate composure or framing and they will all draw on the rule of thirds one way or another.
The foreground
When you consider landscapes, they are often vast, breathtaking areas which can be awe-inspiring when you are physically present. To reproduce this effect in photography, you need to present the viewer with a sense of dimension. The best way to do this is to include an element that can be easily distinguishable in the foreground.
This way, you show your viewer the true size of the landscape and they will be able to relate to it better. One main point to remember in landscape photography is that your pictures need to be in focus from foreground to background. The way to do this is to shoot with a narrow aperture. This is also referred to as using a high f/stop.
You need to scout your landscape area first for elements which you can use as foreground elements. Consider the following example: you’re shooting a lovely vineyard located in a mountainous region. One element you can easily include is an individual grape vine. Since the vineyard will be scattered with these vines, you can frame your photo to have one or two of these vines in the foreground. Since there will be so many of them, the viewer will be able to follow the line of vines towards the distance thereby gaining a sense of understanding of the vastness of the vineyard and landscape itself.
Different photographers prefer different elements to depict as their foreground. Some other examples of this are using a car to photograph a long, winding road or a boat on a beach. These elements themselves can be the subject of the photograph as well.
Otherwise there are instances when an old metal railing is used in the foreground to photograph a big city in the background. If executed correctly, mis-matching foreground and background elements can be quite compelling. Think Central Park in New York City with grass and trees in the foreground and big buildings in the background.
Composition
Composing or framing your photograph is another way you can draw attention to where you want your viewer’s eyes to go. It adds more context to your subject. Framing elements can be objects like trees, a window or doorway. Some photographers use the technique of placing the branches of a tree on the upper part of the frame that seem to ‘point’ to the landscape you are photographing. Having framing elements in your photographs to ‘lead’ the viewer’s eyes to your subject or by surrounding your subject is usually a good technique to learn.
When framing your subjects in this manner, make sure you don’t make the mistake of drawing attention to your framing elements by not focusing correctly. Since you’re taking landscape photography, use a high f/stop to gain good focus on both your foreground and background elements. Ideally, you would want your framing elements to be a little less prominent than your subject. One sure way of doing this is to use the light creatively to render the framing elements slightly darker than the subject. Think of an archway which is slightly shadowed which leads to a large garden and castle.
The Rule of Thirds
This often misunderstood and badly used technique is practically essential in landscape photography. Because of the nature of landscape photography being so wide, a certain amount of structure is required. Achieving this structure is easy by applying the rule of thirds. The basic idea of the rule of thirds is that the frame can be divided into 3 horizontal and 3 vertical sections. The ideal locations to place the important points of your composition is where these lines meet. In landscape photography, the rule is invaluable to photographers who need to determine where to place foreground and horizon. It can either be 1/3 sky or 1/3 land.
People often enjoy good landscape photographs because of the almost magical nature of the photos to transport the viewer to the location that was photographed. Although seemingly simple to take, only photographers who are aware of some key techniques will take very good landscape photos.
If you look at a few of the really great landscape photographs, you will be able to identify a certain amount of common elements to them. There is a foreground portion, appropriate composure or framing and they will all draw on the rule of thirds one way or another.
The foreground
When you consider landscapes, they are often vast, breathtaking areas which can be awe-inspiring when you are physically present. To reproduce this effect in photography, you need to present the viewer with a sense of dimension. The best way to do this is to include an element that can be easily distinguishable in the foreground.
This way, you show your viewer the true size of the landscape and they will be able to relate to it better. One main point to remember in landscape photography is that your pictures need to be in focus from foreground to background. The way to do this is to shoot with a narrow aperture. This is also referred to as using a high f/stop.
You need to scout your landscape area first for elements which you can use as foreground elements. Consider the following example: you’re shooting a lovely vineyard located in a mountainous region. One element you can easily include is an individual grape vine. Since the vineyard will be scattered with these vines, you can frame your photo to have one or two of these vines in the foreground. Since there will be so many of them, the viewer will be able to follow the line of vines towards the distance thereby gaining a sense of understanding of the vastness of the vineyard and landscape itself.
Different photographers prefer different elements to depict as their foreground. Some other examples of this are using a car to photograph a long, winding road or a boat on a beach. These elements themselves can be the subject of the photograph as well.
Otherwise there are instances when an old metal railing is used in the foreground to photograph a big city in the background. If executed correctly, mis-matching foreground and background elements can be quite compelling. Think Central Park in New York City with grass and trees in the foreground and big buildings in the background.
Composition
Composing or framing your photograph is another way you can draw attention to where you want your viewer’s eyes to go. It adds more context to your subject. Framing elements can be objects like trees, a window or doorway. Some photographers use the technique of placing the branches of a tree on the upper part of the frame that seem to ‘point’ to the landscape you are photographing. Having framing elements in your photographs to ‘lead’ the viewer’s eyes to your subject or by surrounding your subject is usually a good technique to learn.
When framing your subjects in this manner, make sure you don’t make the mistake of drawing attention to your framing elements by not focusing correctly. Since you’re taking landscape photography, use a high f/stop to gain good focus on both your foreground and background elements. Ideally, you would want your framing elements to be a little less prominent than your subject. One sure way of doing this is to use the light creatively to render the framing elements slightly darker than the subject. Think of an archway which is slightly shadowed which leads to a large garden and castle.
The Rule of Thirds
This often misunderstood and badly used technique is practically essential in landscape photography. Because of the nature of landscape photography being so wide, a certain amount of structure is required. Achieving this structure is easy by applying the rule of thirds. The basic idea of the rule of thirds is that the frame can be divided into 3 horizontal and 3 vertical sections. The ideal locations to place the important points of your composition is where these lines meet. In landscape photography, the rule is invaluable to photographers who need to determine where to place foreground and horizon. It can either be 1/3 sky or 1/3 land.
Friday, January 11, 2008
A simple guide to colour photography
There are four main types of colour that you will come across in photography.Most award winning photos will usually contain only one type of colour.
Contrasting Color:
Two colours that when placed together cause one to dominate the other.The contrasting colour for red is blue and for yellow it's green.
Complimentary Colour:
Two colours on opposite sides of the colour wheel,which when placed next to each other make both appear brighter.The complementary colour for red is green,for blue it's orange,and for yellow it's purple.
Monochromatic:
A photograph taken in shades of only one colour.Not always the realm of black and white but where all colours appear as the same tonal range,think soft lit landscapes,moody window shots,David hamilton nudes etc.Usually seen as neutralcolours,such as browns and greys,very dramatic if used in the right context.
Spot Colour:
A monochromatic picture can be turned into a masterpiece simply by adding a spot colour.Adding a red or yellow spot colour lifts the picture dramatically.
Contrasting Color:
Two colours that when placed together cause one to dominate the other.The contrasting colour for red is blue and for yellow it's green.
Complimentary Colour:
Two colours on opposite sides of the colour wheel,which when placed next to each other make both appear brighter.The complementary colour for red is green,for blue it's orange,and for yellow it's purple.
Monochromatic:
A photograph taken in shades of only one colour.Not always the realm of black and white but where all colours appear as the same tonal range,think soft lit landscapes,moody window shots,David hamilton nudes etc.Usually seen as neutralcolours,such as browns and greys,very dramatic if used in the right context.
Spot Colour:
A monochromatic picture can be turned into a masterpiece simply by adding a spot colour.Adding a red or yellow spot colour lifts the picture dramatically.
Monday, January 7, 2008
The Art of photography-interior shot
this two photography taking at the singapore conference hall,during my photography assignment,i am using Nikon D80 camera to cupture this 2 image.
Art Photography
The world needs a comprehensive, working definition for the realm of the "ARTS". This definition succinctly satisfies that need.
“Art” means different things to various people. It's been an enigma! Since the age of twelve I wanted to be an "artist". Over the years I had become involved with numerous "art" endeavors: drawings, sculptures, paintings in various media, architectural design, photography, writing, and ceramics. I've even been fortunate to have "art" jobs: art and photography teacher, freelance artist, supervisor of a graphic art department, museum exhibits designer and builder, and art director. In all those experiences and even through educational training beyond the master's degree I could not find a comprehensive definition of..."art". After all, I was an "artist"; but, how could I make claim to this intriguing group with out really knowing what "art" was?
In the early 1990's, I participated in the Improving Visual Art Education Conference in Cincinnati, Ohio, which was sponsored by the Cincinnati Art Museum and the Getty Center for the Arts. The conference basically centered around the concept of "Discipline Based Art Education". In this realm arts education is believed to have four basic tenants that should be covered in pedagogy and help give credence to spending constrained budgets on having "arts" in the public school curriculum. These four areas are: history, theory/criticism, aesthetics, and production. It was from this conference that I came up with the design for the MIA PATCH Lesson Plan for the Arts since there was no lesson plan format that I new of that really fit the "arts" education arena. One of the speakers, and I forget her name, was an aesthetics professor from the University of Minnesota. She came the closest to a definition of art that I could agree with, except, for her, art had to have a concrete artifact, an art "object", something tangible to be reviewed through time. But, as many "artists" know, sometimes an artistic creation is designed to be fugitive, non-tangible through time, it must disappear to fulfill its aesthetic intent.
While out jogging one afternoon at the conference it came to me, an epiphany; " There is a simple, comprehensive definition of "art", it's an acronym for itself".
The Aesthetic Rendering of Thought.
In order for Art to exist, the following three (3) criteria must be met. First of all, there must be some sensory manifestation (Rendering), fugitive or permanent, that is based upon a creative, intellectual process (Thought) with the intention of a beautiful or pleasurable (Aesthetic or Anti-aesthetic) action, or reaction, in one or more of the senses and/or psyche.
Encircled within this definition are more than the traditional concepts of "art": painting, sculpture, ceramics, writing, architecture, drama, music, dance, and photography. It's now easier to understand why cooking can be included as an "art" and more than just a craft. Please do not confuse "craft" with "art". Art objects are original creations, one of a kind. Craft, on the other hand, is the fastidious copying, reproduction, of an art object.
Robert E. Bear is a professional educator and national award winning wildlife artist. He has been recognized in Who's Who In America, Who's Who In American Education, and National Honor Soceity Outstanding American Teachers. He has created the Star Poster Progra, the game of Gig'l(TM), and the team sport of Bearball(TM). His additional writings on art and eduation, as well as, paintings may be seen at http://www.ursidaeenterprises.com
Article Source: http://EzineArticles.com/?expert=Robert_Bear
“Art” means different things to various people. It's been an enigma! Since the age of twelve I wanted to be an "artist". Over the years I had become involved with numerous "art" endeavors: drawings, sculptures, paintings in various media, architectural design, photography, writing, and ceramics. I've even been fortunate to have "art" jobs: art and photography teacher, freelance artist, supervisor of a graphic art department, museum exhibits designer and builder, and art director. In all those experiences and even through educational training beyond the master's degree I could not find a comprehensive definition of..."art". After all, I was an "artist"; but, how could I make claim to this intriguing group with out really knowing what "art" was?
In the early 1990's, I participated in the Improving Visual Art Education Conference in Cincinnati, Ohio, which was sponsored by the Cincinnati Art Museum and the Getty Center for the Arts. The conference basically centered around the concept of "Discipline Based Art Education". In this realm arts education is believed to have four basic tenants that should be covered in pedagogy and help give credence to spending constrained budgets on having "arts" in the public school curriculum. These four areas are: history, theory/criticism, aesthetics, and production. It was from this conference that I came up with the design for the MIA PATCH Lesson Plan for the Arts since there was no lesson plan format that I new of that really fit the "arts" education arena. One of the speakers, and I forget her name, was an aesthetics professor from the University of Minnesota. She came the closest to a definition of art that I could agree with, except, for her, art had to have a concrete artifact, an art "object", something tangible to be reviewed through time. But, as many "artists" know, sometimes an artistic creation is designed to be fugitive, non-tangible through time, it must disappear to fulfill its aesthetic intent.
While out jogging one afternoon at the conference it came to me, an epiphany; " There is a simple, comprehensive definition of "art", it's an acronym for itself".
The Aesthetic Rendering of Thought.
In order for Art to exist, the following three (3) criteria must be met. First of all, there must be some sensory manifestation (Rendering), fugitive or permanent, that is based upon a creative, intellectual process (Thought) with the intention of a beautiful or pleasurable (Aesthetic or Anti-aesthetic) action, or reaction, in one or more of the senses and/or psyche.
Encircled within this definition are more than the traditional concepts of "art": painting, sculpture, ceramics, writing, architecture, drama, music, dance, and photography. It's now easier to understand why cooking can be included as an "art" and more than just a craft. Please do not confuse "craft" with "art". Art objects are original creations, one of a kind. Craft, on the other hand, is the fastidious copying, reproduction, of an art object.
Robert E. Bear is a professional educator and national award winning wildlife artist. He has been recognized in Who's Who In America, Who's Who In American Education, and National Honor Soceity Outstanding American Teachers. He has created the Star Poster Progra, the game of Gig'l(TM), and the team sport of Bearball(TM). His additional writings on art and eduation, as well as, paintings may be seen at http://www.ursidaeenterprises.com
Article Source: http://EzineArticles.com/?expert=Robert_Bear
Books,Art,Architecture and Photography
Bell Hooks once stated "Life transforming ideas have always come to me through books." There is no better rejuvenation than reading a book for anyone who has picked it up as a hobby. Books indeed fill up your mind with ideas; ideas that are sometimes vain, sometimes thought provoking and sometimes life transforming. Books for every interest group exist in this world. Be it an adventure seeking soul, a meditation lover, a die hard romantic, a photography enthusiast or a connoisseur of art. The task here is just to find that right one that is capable of satiating your thirst.
Art, architecture and photography is a popular category when it comes to the book section of various high street stores or e-shops. Various followers of art, architecture and photography are on a never-ending trail for buying books that can further enhance their knowledge in their fields of interest. Not just the self starters, the veterans in the field too are on a constant look out for such books that can give a push to their careers.
Range of recommended books falling under this category includes the likes of The Digital Photography Handbook: An Illustrated Step-by-Step Guide by Doug Harman, The Botanical Palette: Colour for the Botanical Painter by Society of Botanical Artists, The Story of Art by E.H.Gombrich, Architect's Pocket Book by Charlotte Baden-Powell, Landscape Photographer of the Year: Collection 1 by Charlie Waite and Understanding Exposure: How to Shoot Great Photographs with a Film or Digital Camera by Bryan Peterson.
Informational books as these not just interests the veterans in the field, but general book readers as well who have an eye for art, architecture and photography. Various portals and e-shops on the internet have special sections dedicated to these genres. Most of the bestsellers in these categories are available online. You can also avail the free home delivery benefit offered by the merchants over the World Wide Web.
Jacob Marshal, a dedicated writer of Rupizcompare.co.uk which provide Architecture & Photography with Books and Magazines as price comparison shopping.
Article Source: http://EzineArticles.com/?expert=Jacob_Marshal
Art, architecture and photography is a popular category when it comes to the book section of various high street stores or e-shops. Various followers of art, architecture and photography are on a never-ending trail for buying books that can further enhance their knowledge in their fields of interest. Not just the self starters, the veterans in the field too are on a constant look out for such books that can give a push to their careers.
Range of recommended books falling under this category includes the likes of The Digital Photography Handbook: An Illustrated Step-by-Step Guide by Doug Harman, The Botanical Palette: Colour for the Botanical Painter by Society of Botanical Artists, The Story of Art by E.H.Gombrich, Architect's Pocket Book by Charlotte Baden-Powell, Landscape Photographer of the Year: Collection 1 by Charlie Waite and Understanding Exposure: How to Shoot Great Photographs with a Film or Digital Camera by Bryan Peterson.
Informational books as these not just interests the veterans in the field, but general book readers as well who have an eye for art, architecture and photography. Various portals and e-shops on the internet have special sections dedicated to these genres. Most of the bestsellers in these categories are available online. You can also avail the free home delivery benefit offered by the merchants over the World Wide Web.
Jacob Marshal, a dedicated writer of Rupizcompare.co.uk which provide Architecture & Photography with Books and Magazines as price comparison shopping.
Article Source: http://EzineArticles.com/?expert=Jacob_Marshal
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