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Silhouette Photo Tricks

In the area of photography, a silhouette is defined as an outline that appears dark against a light background. More specifically, it is where your subject appears as a plain black shape against a brighter background. It is an artistic photography expression that many photographers like to refine and perfect in their images. This effect can be achieved with any bright light source with the sun being the most common. In a sunset silhouette photo, the sunlight in the background is exposed correctly forcing everything else in the photo to be underexposed causing the effect.

When you are preparing to take a silhouette image, there are many things to keep in mind. These tips are equally effective for both digital and film photography. First of all, you need to make sure that there is not too much light on your subject, even if it is being reflected on to your subject the stray light will ruin the effect. If there is not enough light in the background, your subject will appear grey instead of black. The effect

Underwater Camera Housing

Check your underwater camera housing to see how many feet it is rated (its maximum working depth underwater). Will the camera be adequately and safely protected during use in rugged environments? Does it have injection-molded plastic? Is it constructed to take the rigorous environments that underwater photographers and outdoor photographer’s experience, and will it protect digital cameras in these demanding activities?

Just as most underwater video manufacturers limit their design efforts to Sony cameras, the majority of still housing systems are built around the Nikon line. Although Canon has increased in popularity with topside professionals, few underwater housings are offered for Canon systems.

For your underwater camera housing, you will want something durable. It should be made from machined aluminum, black type III ‘hard’ anodize finish, and sealed with a nickel-acetate process, have no sticking buttons or faulty electronic controls, use quality optics with clarity, sharpness and no vignetting (cutoff dark corners) to spoil your images. It should allow you to change lenses underwater from wide to macro with a MultiPort and include lighting options.

About Painting With Light

Outdoors, sunlight shows crisp edges, creates dimensional shapes, reveals textures and outlines silhouettes. The color differences between direct sunlight and light from the open sky intensifies the feeling of outdoors, though this effect must be used with discretion. A cloudy day usually portrays a somber mood, lighting everything with a top-weighted blue cast.
A warming filter changes the blue mood to one of happier emotions.

Indoors, the light from a window is very shape-revealing in nature. Care must be taken to provide light on the shadow side in order to balance the picture. A blue sky as a source must be warmed up with a filter (80A) when using outdoor film. Sunlit clouds are a perfect source of light for your window pictures. Incandescent light is much warmer and must be used carefully. When incandescent light is used, a cooling filter (81B) will prevent the photograph from appearing too orange. Fluorescent lights are lacking in red may not portray skin tones properly.

The width of the light source must be taken into consideration. The widest possible light

Avoid Or Reduce Red-Eye

It can be noted here that the only important thing is that the users must ensure that the proper fixing of the angle between the flash beam and the lens axis. The general rule here is that the photographer must keep the angle wide enough that the light beam from the flash does not reflect off the retina of the person being photographed and comes right back into the digital camera lens. A good idea is to make the red-eye reduction work by making the flash shine a light into the eyes of the person being photographed just before the flash is incident and the shutter is pressed. This causes the irises in the eyes of the person being photographed to narrow down or shrink. As a result of this the eye develops a smaller opening for the eye view of the digital camera and does not show off the blood filled retina. This light is called pre light! And very importantly this process works only if the person to be photographed is in point of fact looking directly at the flash for the pre-light to come.

Other factors influencing the red eye are the level of

Ideal Digital Camera

If you’re an amateur photographer, keep to the low-end of cameras, one that you can afford. Then teach yourself about composing photos, exposure, along with other techniques.

Once you determine that you enjoy photography as a hobby and you would prefer some advanced functions, then you can sell your old equipment and graduate to higher-end models.

If you figure out that you’ve got a secret gift in taking great pictures and you’re thinking that you may genuinely wish to make some money from your talent, then you can spend more money on fancy equipment.

But your cash goes furthest if you get quality lenses. This will make a bigger impact than buying a costly camera body.

The biggest misconception when picking a camera is that the megapixels make a big difference in the quality of your images.

Unless your image is going to be plastered on a billboard, every camera presently on the market should be perfectly sufficient to satisfy your MP needs.

Instead, think about these distinctions between high-end DSLR vs. low-end DSLR vs. point-and- shoots.

  • Price (the difference between the top and bottom could be a few thousand dollars)
  • Response

Info of Creating Portraits

Props should be kept to a minimum. Allowable is anything which will support the mood and which will not detract from the main subject. A high key portrait can be enhanced with a white wicker chair, a loose white flower arrangement out of focus in the background or a high-keyed landscape judiciously placed off center, blending with the other background tones. A large, dark sculptured bowl of red apples, a black poodle, or a dark-toned piece of furniture in the background would contrast too sharply with the generally light toned subject and background. Attention diverted to these items due to their strong intrusion in the composition is lost to the main subject and detracts from the ambiance.

Attention should be paid to the lines created by the subject and other components in the composition. Lines leading strongly out of the picture should be avoided. Rather use curves to bring the eye back to the main subject. Moveable items in the composition can be place to complete gap in a leading line so as to facilitate the eye in its movement around the work. Invisible paths of light can be created with the use of similar colors, a

Composition in Photography

What I am trying to do is to encourage you to think about what you are trying to achieve when looking through the viewfinder. I will start then with something that you have probably already come across:-

The Rule of Thirds.

Basically, if you imagine a photo divided into thirds, both horizontally and vertically, the main subject of the image should be where a vertical line cross a horizontal one.

Many modern cameras allow you to place a grid in the viewfinder which can be used to place the object where two lines intersect. While we are talking about the Rule of Thirds, it is generally best to place the horizon on one of the thirds, rather than in the centre of the frame, dependent on whether the main points of interest are in the sky or on the ground.

Leading Lines

These lead the viewers eyes into the picture either to the main subject or on a journey through the whole of the picture. Examples of leading lines could be a path wandering through the image, a fence line, a meandering road or a stream or river.


To demonstrate

Photo Retouching

Not Ridding Halos around Objects Completely

Coronas are groups of lights that embellish the edges of the primary questions in photos. They fundamentally emerge as the consequence of poor climatic conditions. This in this way implies they must be wiped out to give the photos the honesty they require.

In many examples, these coronas are never expelled totally. Along these lines, the last nature of the photographs are not as attractive as in a perfect world should be the situation. Most extreme care in this manner must be taken to make sure that they are totally dispensed with.

Over-brightening of the Teeth

Those photos that are taken of grinning individuals will typically get defensive. While stained teeth are awful to see, over-brightening them, then again, may mutilate the honesty of the ultimate result. This may render the photograph insignificant and conniving particularly if the subject is an outstanding open figure. Therefore, this action must be completed precisely and with most extreme concern.

Editing Images Disproportionately

In a few cases, the pictures must be edited to guarantee some coveted measurements. To edit a picture just means slicing that picture to measure for advantageous

Photographing Animals

1) Eye contact is important, but not always necessary. In some instances, a pose with eye contact from an animal works. In my opinion, this type of pose is equivalent to a traditional, formal portraiture. When the pose works, the body position is natural and shows the full-body.

2) The surrounding setting is important too. If there are a couple of background textures and tones which complement the animal and setting, this would be perfect! In this way, the animal and setting (the background) contain visual unity.

3) The camera’s flash fills in shadows and enhances the appearance of humans, as well as animals. Take a fill flash photograph and look for the shadows on and around the animal’s body. Now, take another photograph without the flash. Without the flash, part of the animal’s face is darkened and the shadows are not as pleasing to the eye. The shadows tell us about the form and shape of an object. Normally though, shadows can add beauty to forms.

4) Viewpoint perspectives can make or break a photograph. Sometimes, shooting down on an animal works and other times not. Photographers have to make needed adjustments for each

Camera and Condensation

This explains why my viewfinder got all steamed up when I started using my camera yesterday (ok, I had left it in the boot of my car overnight – this should not be condoned for reasons not only of condensation but also of potential theft). Luckily, condensation doesn’t usually signify resultant damage to the camera or lens and, after wiping the moisture away, I was able to take my intended shots.

Care should be taken though. Rough treatment of your lens with an inappropriate cloth could lead to scratches. Pooling of the water droplets around the edge of the glass could possibly seep into the lens mechanism. Not a good idea.

Most times however, you are advised to leave and store your equipment where there is warmth. You can reduce condensation by storing your camera in a good bag when it is brought in from the cold – the temperature change will be less dramatic. Luckily, most condensation will evaporate very quickly.

I always carry a soft cloth with me. This serves to remove the condensation without risking damage to the camera or lens. So far, I have not had any problems, and don’t expect

Use a Tripod

Consider the following image opportunities:

– a night time shot of the moon

– a beautiful church in the evening

– a stunning landscape

– making running water appear fluid

You won’t get very far without a tripod with any of these shots. You will have an image, but it will be inferior to what you could have produced.

A tripod holds your camera steady and allows you to do the following

– take long exposures without camera shake

– use maximum depth of field (smallest aperture) for landscapes

– allow movement in your shots whilst keeping the background steady

Imagine you have a wonderful building in your local town. In the evening it is beautifully lit and there are trees and bushes surrounding it giving you a perfect opportunity for a gorgeous shot when there is still a bit of light in the sky. Even at full aperture you are thinking of perhaps half a second or more for the shutter speed.

If you don’t use a tripod, whatever you do, your shot will be blurred.

The answer?

Get out your tripod. The you

Portrait Lighting

The photographer’s first task is to evaluate the facial features and
decide which ones to emphasize and which ones to minimize. Long
noses look best from a low angle for instance, and double chins
respond well to a high camera angle, but this article will be aimed
at the effects of lighting on the human face.

It is easier to gauge the proper lighting by watching for key points.
A flattering main light produces a definite shadow that extends from
the crest of the nose to the cheek and includes all of the unphotogenic
area next to the nose. The height of the main light is determined by
the angle of the shelf under the eyebrow. Cavernous eyes are well
served by a low main light and protruding eyes can benefit from a
high main light. A second consideration is the appearance of a noticeable
catch light on the eye since a too high main light will not show a catch
light. The lower edge of the nose shadow should not touch or obscure
the upper lip line. A proper shadow is the key to a flattering ‘loop’ light.
This lighting shows most faces to good advantage,

Photography in Snow

Snow is cold and sloppy. It this wasn’t bad enough for the photographer, there is one other problem to face: snow can fool your camera when exposing.

Snow is white and a blanket of snow shows the camera exposure meter a blanket of white. Consequently, the camera will average all the white it sees and attempt to produce an image that is “average” or “mid grey”. This means that snow turns out not white, but some dirty, murky colour.

But how do you ensure that snow on your image is the virgin white that your eyes see? It’s easy.

Because your camera sees a vision of white, it will underexpose the image leading to murky highlights and detail. You need to tell the camera to change the exposure – just dial in some overexposure. This is usually in the form of extra “stops” of exposure on your camera but you will need to refer to your camera manual to see exactly how this is done.

An overexposure setting in 1 or 1.5 stops should get your snow scene bright once more!

Skylight Filter

Skylight filters are cheap, freely available and come in various filter thread sizes. You will have little trouble obtaining one but you must ensure the correct size to fit your lens. Everyone can afford one and there will be a filter to fit every lens (or almost).

The primary function of a skylight filter is to cut down excessive UV rays which, in turn, make scenes in the distance appear to have a blue haze. The filter effectively reduces the haze and blue colour cast. Pictures of hills and mountains in the distance look clearer.

The secondary function, and why you should have one on each lens, is that of protection. Like a lens cap, the skylight filter fits over the front of the lens and helps to prevent the ingress of dirt and dust. It also protects the lens from the effects of oily and greasy fingers, stick hands and from accidental knocks. It is much cheaper to replace a skylight than it is to replace a damaged lens.

Creative With Compact

In fact, you might not even understand what these terms mean! And, it doesn’t matter.

Because if you have your camera set on “Auto” or “Program” then you will already be in a position to take excellent pictures which show your creative side.

Because, by leaving aside the worry about which settings to choose and when, you can now focus on what makes one photographer better than another – creativity. Without the worry of setting up the camera you can now concentrate on finding the image that pleases you, composing the shot on the LCD screen and selecting the right moment to take the shot.

In fact, the pressure will now be on you to get decent shots and with you mind training on “selection, composition and timing” you will be able to show the world – and yourself – that getting a great picture is not so much dependent on the type of camera you own but more on the inspirational faculties of the owner.

Info of Lens Madness

On the other side of the coin, my father has a lens for his film SLR that he bought over 30 years ago. It is ragged, chipped and squeaks a bit. But he won’t part with it. It was cheap(ish) but it lacks some of the functionality of my friend’s DSLR lens.

My friend’s lens is huge. I can see him coming in the distance simply because he had a large photo-rucksack on his back to hold all his equipment. It is a splendid piece of glass but requires a tripod or monopod for all but the brightest of conditions.

The lens is also white. It stands out and says to everyone “I am a lens to look at”. My friend loves it and gives him added impetus to get out there and take pictures.

My father, however, gets the same results – and has been doing for 30 years – with his rag-bag of assorted accessories, some of which are nearing the end of their useful life. His lens, although tatty, produces excellent results and gets HIM out in the field taking shots, just like my friend’s does for him.

My father’s lens

Pre-Wedding Photo Shoot

1. Finding the right person for the shoot:

Hiring the right individual or the right professional is a must as this makes the amount that you have invested in the project a success. Ensuring that the photographer is capable of taking excellent pictures will make sure that the moments will be captured with all the right focus and light considerations. Go through the catalogs and the websites of the recommended professionals before zeroing in on one.

2. Finding the right places:

A list of all those places where the shoot has to be done should be made. This list should be the guiding itinerary of the shoot. A perfect photo shoot will involve all the places where the couple met, they proposed and other picturesque places in the city or abroad.

3. Finding the right weather:

The weather must be dealt with in the proper way. A proper timing for conducting the shoot should be decided so that the background that is naturally nature should be at its best. Even the environment of indoor shoot should be arranged well before time to avoid problems.

4. Finding the right clothes:

The right

Digital Images Safe

The images from your memory card are transferred onto your hard disk. You would think that would be enough wouldn’t you? But no, as I have told you, your hard disk will fail. Also the images still on the memory card need to be deleted ready for further image taking.

So, copy your files into another area. Perhaps a DVD or an external hard disk. Copying onto a DVD will reduce the chances of them being stolen (external hard disks are nice to steal but who wants a homemade DVD?) but who knows if the media will fail over the years or perhaps there will be a mishap? You can also copy to CDs but the capacity of CDs is far less then that of a DVD.

So, some people copy onto two DVDs or CDs. One is kept separate from the other and is only used for checking that the images have written successfully. This is the master backup. If media changes, you should be able to remake DVDs (or their future counterparts) by recopying either directly or from your computer once more.

External hard drives are cheap and large capacity (mine is 320

Take a Candid

A look of defiance and unrest. You have been caught. That person has noticed that you are trying to snap them and they just don’t like it. They may even speak to you about it.

It can feel uncomfortable for both parties.

But, at other times, even when you know the subject has seen you, you can snap away unhindered. It is even, at times, as though the subject is enjoying the attention. Or perhaps, they feel too awkward to respond and complain.

In real life, most people, I believe, would enjoy seeing images of themselves. Even at times when we feel mightily unsettled, there is something special about having a record of your image to look at in future times. Images can be very emotive – reminding you of times, people and places.

But, some people can only feel this if they re in control of the process – if they give permission and if they invite the photographer in. Candids, of the type described above, means that the photographer is in control – in control of the taking of the image AND its disposal.

Camera Manual Out

It was that lovely shiny thing that you spent a lot of money on and which was something that was going to enhance your photographic experience.

Yes, the manual was there but did you ever read it? In fact, did you even pick it up other than to get it out of the way in preparation for grabbing and caressing your new piece of equipment?

Well, I’m not going to castigate you. It is natural to play with your camera as soon as you get it. I did the same. I was so excited. And, of course, most digital cameras are so simple to use that you don’t really need a manual to get started.

But, now you’ve had a play, it is time to have a look at the instruction manual. Get it out and grab a coffee in preparation for reading it.

You will learn something.

You may learn how to change your camera onto shutter or aperture priority. Perhaps switch to manual. How about setting a different white balance of changing the ISO setting? What about flash compensation, zooming, changing the quality of the saved image, self-timing, depth of field