First things first, in the tendency of full revelation, I want to announce that I possess numerous cameras. These include cameras sold by separate manufacturers. The cameras I be the owner of include four Olympus’, a Pentax, and a Kodak. I have to mention that I’m a little partial with respect to a specific company, although I will aim that it doesn’t blur any statements I might consequently put forth.
reckon on a funny Fuji Finepix J27 Digital Camera
Very often, the global ’sales’ verify what the finest product is, and if the same applies to cameras, the frontrunner is Canon. Even while I write this, the specified company accounts for 18 of the top 25 top selling cameras in their top seller list. This comprises of 4 out of the 5 top ones. Partaking in the top positions with this maker are a couple of the units created by Panasonic cameras. Kodak has 4 cameras in the top 20. In the subsequent position are cameras offered by Minolta. To finish, Kodak enters the fray with its own offerings. gpoz324
Going through a different site displayed that Canon led the race, followed by Fuji. The following in the line-up is Flip Video , which in turn is followed by Fuji; and the subsequent ones are HP, Petri, Bolex, and Yashica. A second camera review site under its hundred best cameras showed 47 Canon cameras, 22 Pentax cameras, 21 Konika cameras, 5 Panasonic cameras, 4 Minolta cameras, 2 BenQ cameras, 3 Petri cameras, 4 Minoz cameras, a Yashica camera, as well as one Argus camera.
By simply adding together these different results, Canon stood above the others, Pentax followed as second finest, and in 3rd spot are cameras offered by Kodak. Everyone else had fewer than ten top rated cameras.
Posted by admin as The Photographer's Way at 7:45 AM CDT
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Did you know that in many cases digital photos are cropped by the time they reach paper? If you have never “cropped” your photos manually, you may not be aware that it is happening.
What is cropping?
Cropping is the process of trimming portions of the digital image so it fits in the shape of the paper. Let’s say we have a 5″ x 7″ photo. The problem is, the frame we want to display is 4″ x 6″. One of our choices is to take scissors and carefully trim away the least important edges of the photo until it fits into the 4″ x 6″ frame. What we have accomplished is “cropping”.
In the world of digital photography, cropping is performed with software. When the photo is comprised of bits of data, there is no need to crop for size alonethe software and printing process can stretch the image to fit. We do, however, have to crop digital images to fit the paper’s shape.
A more detailed look
Let’s look at an example. My Canon camera has a sensor size of 1536 x 2048 pixels. Dividing these numbers by the highest common denominator of 512, we get an image shape of 3 x 4.
How many print sizes do you think fit this shape? Not many. If we want 4″ x 6″ prints, the shape of the 3 x 4 digital image will not fit. It is possible to stretch the image into the 4 x 6 shape using software, but this will distort the image, which we don’t want.
Our only option is to crop the 3 x 4 image into the 4 x 6 shape. If you are thinking, “I never had to crop my images and they always looked fine,” then chances are the cropping was done for you automatically. Who would do such a thing behind your back?
Don’t be alarmed, cropping was always done on our behalf, even with film photos. When we drop off our digital photos at a lab to have them developed, or insert them into our printer, the images are loaded into the computer system and are automatically cropped. How does the computer know which sections are OK to crop and which ones are not? It doesn’t. When the decision is left to the machine, it will trim an equal amount from two edges.
Have you ever received a photo from the lab and something important near the edge was cut off, but when you saw it on the computer screen it was there? That is a result of automated cropping.
Do your own cropping for maximum control
Under most circumstances automatic cropping produces good results with our snapshots. In cases where we want to control precisely where the image is trimmed, we need to take the cropping under our own control.
Cropping can be accomplished in several places such as your photo editing or printing software, online developing services, or the kiosk machine available at many local labs. I find that the best place to crop your photos is on your own computer using the software you are most familiar with. If you have never used this feature of your photo editing software, I urge you to learn how to use it. The other two cropping methods are typically more time consuming. You may also be rushed during the delicate cropping procedure if a line forms behind you at a kiosk machine.
Charles Kerekes is an amateur photographer and maintains the Flying Sam Digital Photo Guide (FlyingSamPhoto.com) web site to help others find fun and unique digital photo finishing products and services.
Posted by admin as The Photographer's Way at 3:03 PM CST
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So a gorgeous yellow daisy mesmerises me, swaying elegantly in the light afternoon breeze, bathed in the warm light. Mmmm…emotions gently bubble to the surface, excitement foremost, followed by the deep satisfaction that I’ve been able to make time to return to this spot to revisit my yellow daisy. I’ve already shot her once…but…now another chance to create another feel, another image worthy of my wall.
As before I dispense with my tripod. An odd decision? Perhaps… but here’s my thinking on the subject. Firstly this is a decision which individual photographers need to make for themselves and secondly, and please understand this clearly, there are no rights or wrongs when the intent is artistic creation.
A tripod slows the process down (a good thing), it allows for greater reflection on composition and it creates the freedom necessary to style the shot without losing the angle of view one has chosen. It also has the added benefit of helping to steady the camera considerably so that camera shake is avoided. Actually in practise that bonus can rapidly become nullified - add a little spring zephyr to the mix and suddenly movement becomes an artistic must have, with or without the tripod!
Easing swiftly on to my preference…
Shooting fashion was my world for a number of years and even though I used a tripod a lot in the studio, more often than not on location I preferred to hand hold my monster of a medium format camera (GX680). Luckily it has an autowind so cranking to the next frame wasn’t a bore, but the freedom to be able to approach all shots by circling the subject to see how the world looked from that perspective was hugely stimulating. Good stuff! And oddly now that I’m shooting my mostly inanimate gorgeous yellow daisy and the like, I feel incredibly fettered when using a tripod. Don’t ever let anyone dictate that there is only one proper way (ironically almost always their way - strange…). Discipline is in your approach and consistency of approach rather than just the tools.
There is another factor in the mix - DIGITAL…A little rant last time, a repeat now…Freedom! To me digital spells freedom - access, creativity, lack of stress about mundane matters like money i.e. cost per frame “wasted”. If you like to shoot a lot of each view as I do, this would get prohibitive real quick on film. I urge you as a budding or even a relatively experienced photographer to shoot lots - life is too short to stuff a mushroom (if you get that you get my point), and shoot at the highest res possible. I cringe at sad sack stories of the one that got away.
Be disciplined, shoot smart. Make yourself a checklist, mental or written, of things to check and use it every time you go out to shoot. It’s the little things…you try explaining to a client that you forgot the charged batteries at the studio or even worse, a whispered aside to assistant “Herm where’s the film?” And then even worse the reply “I thought you packed it….” Checklists rule okay!
So to the gorgeous yellow number…Another decision, another choice. Shoot the natural view or create an instant outdoor studio background with flags, fills and scrim. Me, I like the control of creating my own environment as far as possible. I like the deep orange fuzzy card in the background with my model languishing, exotically garbed in yellow organza, in the foreground. Daisy perfection!
Now for some forward planning…don’t ever restrict your ability to shoot by not planning ahead. Take a few extras with you…
I grabbed a series of different colored cards before I left, A4 sheets as the work is close and my subjects mostly small, and I cut a slit down the vertical centre line to 1/3 into the page, then carved out a small round hole (a keyhole in effect),a perfect fit around the stem of most flowers, without doing any real damage. Don’t worry about the slit, Photoshop will clean that up! For the purists out there sorry if that’s cheating in your book, but hey if you’ve got it, use it, is my feeling.
I also stuck a bit of foil, white card and black card in for good measure. A tiny mobile studio - flag and fill! Do it properly if you’re going to do it at all. The foil can be well used to create pattern or glitter on an otherwise dull surface, the white card to fill in the shadow areas and the black card to define edges on white/light subjects. On really bright, sunny days it’s worth adding a sheet of scrim to the mix to soften the light over the subject. Diffuse light created by a cloudy day or by a decent piece of scrim is so much easier to work with - color saturation is deep and satisfying without huge loss in shadows or highlights. Be prepared!
BUT…
Do not rule out the harsh directness of full-on sun. It can be awesome to work in direct sun - huge drama, brilliant glitter. Give yourself a break - luxuriate in choice. Never loose site of the point…GET THE SHOT…the shot that’s beautiful enough to grace the wall…any wall!
See the beauty!
Copyright 2005 Patrick Heathcock
Sometime commercial photographer London, fulltime flower art photographer and web designer living in the southern semisphere, soaking up the sun. Visit A Flower Gallery to view the yellow daisy and more!
Posted by admin as The Photographer's Way at 3:37 PM CST
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You can find photo opportunities in the most ordinary of places.
Take the beach, for example. If you just sit on the beach for a while you will be overwhelmed by the diversity of opportunities available to you.
To your left is that family group - 2 adults and 2 children - playing, making sandcastles and interesting shapes in the sand. To your right are those two widows basking on a deckchair fully clothed with only their feet and ankles showing. Behind you, a group of teenagers play beach volleyball whilst ahead, in the sea, there are people swimming.
Look closer. Can you see those boys with their kite, that man on the surfboard and those two children in their boat? Those children splashing, laughing and diving. What about those people strolling along the promenade and those two young lovers lost in their own sweet world?
There’s the store. Ice creams, candy, hot dogs. Lots of colour, lots of activity. That means lots of great images to be had.
Who are you with? A friend? Can they pose next to the pier or by those boats? How about those rocks? In the water?
Over there are some interesting stones and wood fragments. Many different colours and shapes. Can you see how the waves gently lap over them? A ship in the distance would make a lovely silhouette against the bright sky.
Now the sun is falling, the water takes on a different appearance - reds and oranges, leading to a near-perfect sunset.
Time to go home. My memory card is full.
Eric Hartwell runs the photography resource site http://www.theshutter.co.uk and the associated discussion forums as well as the regular weblog at http://thephotographysite.blogspot.com
Posted by admin as The Photographer's Way at 9:31 AM CST
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The digital camera is not something of a magic box that came out of the blue and made wonders! The digital camera is very much like the conventional analog camera, but the technology has been altered. It also contains most of the associated components that the conventional camera contains, like lens and a shutter for letting in light, however instead of reaching a photosensitive film, the light is made to fall upon array of image sensors or photosensitive cells. Much of the differences are like this, yet most of it still remains in oblivion for the ordinary people. And it order that the digital camera gets its true respect, it is necessary to explore these areas of truth and reveal them in light.
Looking a bit more in details about the working of the fantastic device, the digital camera. As a continuation of the above lines, it can be further investigated that the sensor array is basically a microchip about 10 mm across. Every image sensor is a charged-couple device (CCD) converting light into electric charges, and is essentially a silicon chip used to measure light. These charges are stored as analog data that are then converted to digital via a device called an analog to digital converter (ADC). Over the chip are present a collection of very small light-sensitive diodes, named photosites, or pixels that convert light (or more scientifically, photons) into electrical charges called electrons. The pixels are very much light sensitive, therefore with brighter light striking them, produces greater build up of electrical charges. Each 1000 array receptor creates 1 pixel, and every pixel corresponds to some information stored. The light enters the digital camera via the lens, which is the same mechanism as the conventional analog camera. And this light hits the CCD when the photographer presses the shutter button. The shutter opens and thereby illuminates every pixel, however with various intensities.
Taking a look apart, it can be observed that quite a few digital cameras use CMOS (meaning complementary metal oxide semiconductor, a technology of manufacturing these microchips) technology based microchips as image sensors. The basic advantage is that the CMOS sensors are appreciably cheaper and simpler to fabricate than CCDs. Another great advantage from CMOS sensors is that these take very less power compared to other technology, which adds up to the fact as to their extensive use, and can thus even support the implementation of additional circuitry on the same chip like ADC, some control units etc. Thus it can be stated that CMOS technology based cameras are small, light, cheap and also energy efficient, yet at the cost of some amount of image quality.
However the common trend remains that all cameras of the mega pixel range and higher up use CCD chips instead of CMOS. This is because of the fact of picture quality only, leaving aside the price differences.
This is basically the fact about how digital cameras work! Having known this much difference would not come in the photographing expertise of the users, but it always feels a kind of satisfaction on understanding the inner depths of a device that is so close to the eyes!
About The Author
Jakob Jelling is the founder of http://www.snapjunky.com. Visit his digital camera guide and learn how to take better pictures with your digicam.
Posted by admin as The Photographer's Way at 9:39 AM CST
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The American master of photography, Ansel Adams, said “The negative is comparable to the composer’s score, and the print to its performance.” That holds true today as much as it did when first uttered. Although in the digital age the discussion about the print generates more heat than light.
Artists have been producing prints for eons using a variety of techniques. Etching, lithograph, mezzotint and more recently serigraph (the fancy name for silk screen printing) have been used by the likes of Rembrandt through to Warhol. Each used the best technology available to them to transfer their ideas on to their chosen paper support.
Today in the 21st Century as the internal combustion engine has replaced the horse and buggy as a preferred means of transport so digital printing has replaced its predecessors. From the glicee to the home printer the quality and the supports available has blossomed in the past few years. Now artists and photographers can print on canvas, watercolour paper and papers specially designed to compliment the technology to mention a few.
The quality of their prints will rival if not surpass those that have gone before, even those printed on the humble home printer. Yes, it will change its appearance over time but then, so will an oil painting. The occupation of painting conservation is a long and honourable one.
One web site I visited whilst researching this article offered a life time guarantee against fading. Great marketing hype and a pretty safe bet. Fading will happen very slowly and over a considerable length of time. What you will compare the fading against if you even notice it has me beat.
Pollution, ultra violet light and changes in temperature extract their toll on any artefact. If a few common sense precautions are taken, your grand children will be admiring your choices as they contemplate their mid life crisis. Protect them from accidental damage, framed under glass is a good bet. Keep them out of harsh light and extremes of temperature, your car’s dashboard is not a good place for any work of art, not too good for anything come to think about it.
If purchasing via the internet a no questions asked right of return for your purchase if it doesn’t meet expectations is reasonable. The item you hold in your hand will differ from what you saw on the screen. For starters it is a different medium, ink rather than light and a monitor’s calibration will vary in accord with its user’s preferences. What you see on your screen is bound to be different to what I am seeing.
With a myriad of printing choices out there today, there are many ways a print may strut its stuff. That it will do so for an acceptable length of time is a given. The life of the subject matter you choose is an entirely different question.
Henry Bateman is an artist/photographer and his work can be seen at http://www.pissedpoet.com
Posted by admin as The Photographer's Way at 9:29 PM CST
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What is “macro” photography? You will come across many different people talking about the real meaning of macro photography and there are very many senseless arguments as to what it means for the reasonable photographer.
Basically, macro photography is just close up photography. It means getting nearer to your subject and effectively making it look bigger in the viewfinder or on the screen.
But to get closer you need to be able to have a lens that will focus close. This can be achieved by buying a specialised macro lens that can be used as a normal lens but which will have close focussing. Alternatively, you can buy inexpensive add-on lenses that attach to the front of your lens or “extension tubes” which fit in between your lens and the camera body.
Irrespective of which you choose, you will be able to take pictures of bees on flower petals and raindrops on cobwebs and anything you want large and close.
But be aware of the problems of macro (close up) photography. The first is that focussing has to be more critical as the closer you get to an object, the shallower is the depth of field or depth of focus. Make sure you are accurate with the focussing and use a small aperture if you can.
The other problem is that lighting can be a bit tricky. Being so close means that ambient light is often obscured and indoors this makes things difficult. You can use a flashgun but the lighting can be harsh and directional so use little reflectors where possible.
Luckily, your pictures of bees on a sunny day will be easy. Try it.
Eric Hartwell runs the photography resource site http://www.theshutter.co.uk and the associated discussion forums as well as the regular weblog at http://thephotographysite.blogspot.com
Posted by admin as The Photographer's Way at 9:46 PM CST
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Never before has their been so much opportunity for all, regardless of age, sex and looks now virtually anybody with a little ambition and perseverance can be part of this exciting and developing industry.
The dictionary defines glamour as ‘making the eyes see things as fairer than they are : fascination : enchantment: groomed beauty and studied charm.
If you think about this then it is evident that glamour not only embraces those of us that are fortunate enough to have the looks to be considered glamorous but more importantly those who have the ability to project not only others as glamorous, but also locations, circumstances, clothes, makeup, magazines, TV and films, the list goes on and on.
Let’s look first at modeling, probably the most obvious glamour related activity.
Catwalk models, photographic fashion models, catalogue models, girlie magazine models, male models, exhibition and display stand models, nude models, outsize models and the sub categories who are employed just to model only their hands or legs or busts or faces.
In the category of glamour modeling alone the personnel needed to provide the infrastructure is extraordinarily diverse. Specialist glamour photographers, make up artists, hairdressers, set designers, location finders, dress and swimsuit designers and fitters, magazine and newspaper editorial and layout staff, advertising agency campaign creators, etc,etc.
In film and TV the actors and actresses, whether stars or extras, will hope to look as glamorous as their part will allow, it is as much a boost to their self esteem and confidence as it is in the hope of getting noticed to further their careers. Again they are aided by the back up teams of make up, clothes and hairdressers and by no means least the team that shoots their most glamorous camera angles.
You can make it as a model even if you haven’t got a fabulous figure. If you have just one glamorous feature such as great legs, lovely face, wonderful eyes, elegant hands, even if you feel the rest of your body is not quite perfect you can still enjoy the rewards of modeling and this applies to men as well. Male models make big money.
Think of the glamour that a sexy male or female voice over on a TV or radio advertisement evokes, another rewarding activity associated with modelling.
To get started, first consider your attributes and if you think you might have that certain something then start by seeing the top model agencies, they are always on the look out for the next talent. Otherwise choose from the many other careers in the glamour industry. Either way perseverance will pay off.
To sum up glamour modeling is a financially rewarding team effort with a vast number of career opportunities for both sexes irrespective of looks, as usual ability and perseverance offer the best opportunities to ‘ make the eyes see things fairer than they are’.
John Lloyd has been involved in the advertising and promotions industry for many years. He is married to an ex-model and his daughter has followed into the profession.
http://nude-model-photography.50webs.com.
Posted by admin as The Photographer's Way at 2:33 PM CST
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What does one need to do to get the perfect close-up of a wild flower? Set up a tripod, clip on camera, then snap, snap it’s in the bag, camera, chip.. whatever? Maybe… but consider a few unexpected impediments first. Finding the perfect clump of subjects (mostly the easy part), stopping suddenly or rather screeching to a halt (sometimes interesting along a busy highway)…parking and gathering up the necessary gear (easy) - then my least favourite part, lugging everything over hill and dale. Tripod, camera bag with several lenses which never seem to get any lighter and then fun, fun, fun…It seems, seemed a short distance across three fences to where the wild, gorgeous yellow number (nothing exotic - a simple daisy but a beauty!), nods in the gentle breeze..but…
Have you ever tried to climb over a fence with tripod in hand and weighty camera bag over shoulder? “Just pass them through the fence and follow”, you say! In theory perfect but as is often the case when I’m out ready to shoot I have tripod ready, camera clipped in, slung over right shoulder legs extended, spread ready to go (the fact that I look like a giraffe with ungainly neck protrusions goes unnoticed) and my camera bag is old, slightly smelly and large!. So, how do I climb through the first fence, let alone the second or third in pursuit of the perfect daisy without a lot of folding of legs pushing and shoving, and unclipping of my precious digital genius first? Simple answer - I don’t, I try to get through regardless. Result? The air rapidly turns blue around my head and expletives neither original nor inventive start erupting unbidden from my person. And then the final indignity as at least one part of my favourite jumper gets snagged by an ever vigilant barb! My alternative solutions: throw the gear over and hope for the best, find a gate (how many miles to the nearest?), or simply leave it all in the SUV…barring the digital genius and one’s favourite 1:1 lens of course!
My final decision? Leave tripod and bag in the SUV, take the necessary, and hope that the ravages of the previous night haven’t wrought havoc with traditionally rock steady hands. So then leaping like a gazelle over fences one, two and three, I stride toward the perfect clump of yellow. It’s late in the season, so all the white daisies are pretty much done - rich, golden yellow it is.
Selecting the perfect specimen is next. I need to decide what I’m trying to say in the pic. Perfection with clarity - nature’s form, sublime in its attention to detail or organic soft colour merging into more colour with shadowy bits - a bit of both perhaps. The magic of digital, the freedom of digital - the ability to try everything because one can! I love it. It’s a revelation, a deepening of the creative urge to explore new realms without cost… or end sometimes.
Sure, one can always argue that it leads to lack of direction, lack of planning but one can also argue in return that it extends one’s vision, increases one’s output and ability to see the world from different perspectives. I relish the challenge!
Back to the world of yellow! Perfection… mmmm. Unable to settle on which of the perfect choices is THE perfect choice I decide to shoot anyway, putting pen to paper or rather index finger to shutter button in order to get the creative juices flowing. As always seems to happen, I relax into it and my mind opens up to the possibilities: depth of field, front edge of a petal in focus back edge out and vice versa but mostly my mind is consumed by warm yellow. Kneeling on the ground head down intensely focused - the butt in the air angle would not be an attractive sight for any passing observer but I don’t need to worry about such considerations as this mild obsession most often leads to splendid isolation.
A bit of advice - bracket everything (1 either side in stops or thirds if you have the choice), shoot at the highest resolution you can achieve with whichever model of digital genius you possess and take at least half a dozen shots per chosen angle. Give yourself the best chance of capturing the one you really wanted - the perfect image, beautiful enough to grace your wall, a wall anywhere. One feels such an idiot when one has to declare it didn’t quite happen because of trigger finger meanness! Digital genius is defined by trigger finger generosity or put another way - repetition is the basis of professionalism. Whatever it takes I say. Get the shot! The satisfaction is immense.
More advice - check the first few images carefully on the preview screen just to make sure everything is working as it should. Don’t end up taking twenty splendid black and white shots of a gorgeous yellow daisy - do the greyscale thing in Photoshop! Slow down, check the first few brackets. Check that the ISO is set to 100 not to 1600 from last night’s fun and that all the exposure compensation overrides are back to normal (or leave the settings at 1600 over by two if weird and whacky is what you’re after). Little things but in my twenty years as a photographer these little things become mortifyingly large things if ignored!
So perfection captured, 0 and 1’s secured in the land of Flash wizardry it’s back across the three fences leaping not quite so enthusiastically now, the gazelle’s knees are a little creaky from kneeling on the damp ground - back to the ever patient, ever reliable SUV. Gear stowed, key in the ignition, we’re off …A glow of anticipation washes over me!
But never forget the first things to do on your return? Download and backup! Forget at your peril. DOWNLOAD AND BACKUP just in case you didn’t get it the first time.
Copyright 2005 Patrick Heathcock
Sometime commercial photographer London, fulltime flower art photographer and web designer living in the southern semisphere, soaking up the sun. Visit www.aflowergallery.com to view the yellow daisy and more!
Posted by admin as The Photographer's Way at 8:18 PM CST
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Tripod:
In order to successfully take a good photo, it is important you use a tripod. Tripods will result in sharp, clear pictures. Photographers who do not use a tripod will often experience blurred images.
Prepare:
Take plenty of batteries and film for your camera. Don’t rely on finding stores, it might be difficult to locate supplies on location. Even worse, you may loose precious time or keep others waiting while looking for supplies.
Shoot:
Take multiple shots, so you can guarantee the outcome of your pictures. Experiment: Adjust your camera settings, different lighting, different camera angles. Try to find what works for you.
Groups:
If you are taking a picture of a group indoors, and conditions are fairly dark, there is danger that the people near you will be overexposed and the people further away will be a little in the dark. If you can arrange the group so that they are all equidistant from the camera. That way there will be an even spread of light.
Lighting:
Avoid direct sunlight, as this can alter natural coloring. A bright but overcast day is perfect. Get up early and shoot the sunrise in the best location. Scout the area the day before or during the dead time during the high noon sun. During midday if you have to shoot, try using a polarized on the lens. Use the filter only at a 90 degree angle from the sun. You must open up approximately 1 to 1 1/2 stops or more sometimes in order to compensate for the diminished light coming through the filter. Meter a gray card and open up from that reading.
Also use the polarized lens at sunset for some great effects on landscapes. The best time to take the majority of night shots is shortly after the sun has set. This allows a small amount of natural light to work with. Set your camera’s resolution at or near its highest setting (largest file size). The last thing you want is a grainy photo. In the majority of instances it is usually best to have the sun behind you when you take a picture. But watch out for shadows your own and the subjects.
Framing:
Look for ways of naturally framing a shot. Framing accentuates the main subject. Fill your frame!
Closeups:
Move in close. When first starting out you will be surprised at the difference moving closer to the subject will make. Handheld close-ups are often blurry or overexposed. A tripod is essential for taking good close-up shots, especially smaller items. An image stabilizer in the lens is a huge bonus because it means you can handhold the camera in lower light conditions and not have blurring occur in the final picture.
Francesca Black enjoys photography as a hobby and manages content at Future Photo www.future-photo.com and Digital Photo Tips www.digital-photo-tips.com
Posted by admin as The Photographer's Way at 4:08 AM CST
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