Fifteen Tips For Better Photography

Keep an eye on the weather
Weather conditions can play a big part in setting the mood of your shot. Rather than waiting for the bright light of the midday sun, a misty morning in a forest can be the perfect time of day for that mood-shot.

Take your time to choose the subject
Take your time to choose the subject, then spend time walking around the subject looking for the best angle and lighting.

Take your time to set up the shot
Don't be afraid to take your time to set up your shot. Although it can get a bit frustrating if you have your loved ones tagging along and they're sitting and waiting impatiently for 20 minutes for you to take a single shot of a piece of driftwood on the beach!

Don't always choose brightly-colored subjects
Subjects with muted colors can sometimes produce excellent results. A field of wheat of similar yellow-brown color can produce striking results when accompanied by a low-sun and long shadows.

Movement diffusion
If you have a camera that allows you to shoot with a manual shutter speed - try slowing the speed and increasing the F-stop. Then move your camera when taking the shot. Some very effective arty-type images can be produced with blur effects.

Overexpose your subject
Not too good to do all the time, but experiment with results by over-exposing the subject.

Try macro photography
Grab a magnifying glass and see if you can focus your camera through the glass onto a small subject. It just may work! And may open up a whole new range of subjects for you!

Shoot through wet glass
Try spraying water onto a window, then take a shot through the window to a subject outside. (wet the outside of the window - not the inside of your home!)

Colour balance
Try balancing colour by having subject and the surrounding detail in similar colours.

Silhouettes
Silhouettes usually have a small range of colours, but can produce some of the most beautiful images. Shooting a silhouette involves having the background brighter then the subject in the foreground.

Experiment with patterns
We've all seen those amazing images of the red and orange leaves of maple trees in the fall/autumn. Thousands of leaves - all of a similar shape and colour - but very awe-inspiring and beautiful.

Compliment colours
Two strikingly-different colours can be beautiful too. Picture an image of your girlfriend or wife in a red dress sitting on a field of green grass. Or your boyfriend or husband in a red shirt walking through a field of waist-high wheat stalks. Complimentary colours that will bring more attention to the subject.

Use a colour filter
If your camera can be fitted with coloured filters - try your hand. Although this effect can be made quite easily these days with photo and image-editing software.

Sunrise is better than sunset
Wake up before sunrise one day and go on a photography expedition. If you've not done it before you'll be pleasantly-surprised by the contrasting light and shadows. But remember you'll only have a very short window of time in which to shoot (usually less than an hour) before the sun rises too high and you lose the light.

Use a flash in daylight
Use your flash during the daytime to fill a close subject with light. This will produce better results where the background is brighter than your subject and the automatic shutter speed on your camera shoots too fast to effectively show the detail of your subject.

Stock Photo Sites That Pay For Your Photos

       Arctic Fox Stock 03 by Malleni-Stock


Because of the Internet, it’s now easier than ever for photographers to make money from their photographs. And you don’t even have to be an experienced professional. Some stock photo sites will accept your photos even if you’re an amateur or hobby photographer.

Below is a list of online stock photo sites where you can sell photos.

123RF - http://www.123rf.com/login.php?redirect=/myaccount.php
Big Stock Photo - http://www.bigstockphoto.com/forphotographer.html
Crestock - http://www.crestock.com/quick-tour/sell-stock-photos.htm
Cutcaster - https://www.cutcaster.com/register
Dreamstime - http://www.dreamstime.com/sell
Fotolia - http://www.fotolia.com/Info/Contributors
FreeDigitalPhotos - https://www.freedigitalphotos.net/images/sell-photos-online.php
FreeFoto - http://www.freefoto.com/browse/99-14-0?ffid=99-14-0
ImageVortex - https://www.imagevortex.com/members/register.htm?occupation=photographer
iStockPhoto - http://www.istockphoto.com/sell-stock-photos.php
PhotoStockPlus - http://www.photostockplus.com/register.php
Shutterpoint - http://www.shutterpoint.com/Sell-Photos.cfm
Shutterstock - http://submit.shutterstock.com/
Stockxpert - http://www.stockxpert.com/support/help/1
Zymmetrical - https://www.zymmetrical.com/account/profile/

This is only a partial list of the most popular stock photo sites that help you sell your photos. Each site has its own submission guidelines and policies about how much your photos will be sold for, and what percentage of each sale you will receive.

You can visit each site on this list, or better yet, sign up for the free report, “How To Make Money With Digital Photography”.

It’s got tips on how to get started with selling your photos to stock photo sites, which pictures are hot sellers, and even how to take better pictures. You could be making money with the photos you already have NOW. Here’s the link again: Click Here

Landscape Photography - Depth of Field

Depth of field is the limitation of perceived sharpness within a photographic image. The greater the depth of field, the more of the image from front to back that appears sharp. An image that is said to have a shallow depth of filed has a short and more specific depth of sharpness.

In photography, careful use of depth of field can be a very powerful tool indeed. It can force viewers to focus only upon that which is sharp, by utilizing a shallow depth of field. As our eyes are not comfortable in viewing unclear images, we then tend to look at the parts of an image that is sharp, and our gaze will then focus upon that part of the image, rendering the other un-sharp parts of the image as blurry and not worthy of our attention. This use of a shallow depth of field is particularly well suited to portraiture. As long as the eyes are sharp, most other things can be forgiven if they aren’t pin sharp. People and animals tend to look at the eyes first, and so the eyes really need to be sharp in nearly all portraiture photography.

Landscape photography is generally at the opposite end of the scale of depth of field, where the vast majority of landscape images require a very long depth of field. This is due to the fact that landscapes generally are trying emulate an actual scene as we see it, and viewers are usually drawn into the image by its great depth of field.

Depth of field is controlled in two ways. The most commonly used is by aperture control. The smaller the aperture (the larger the number ie. F22), the greater the depth of field. The larger the aperture, (the smaller the number like F2.8), the shallower the depth of field. The apertures in between have a depth of field is that is directly proportionate to the aperture selected along the scale. The second means of controlling depth of field is by using a camera or lens that enables the lens to be tilted forward or back. This enables the focusing plane of the lens to be more inclined to the plane of focus of the subject matter, and hence providing a much better depth of field without a change of aperture. It is one of the major reasons for using bellows type cameras, or tilt lenses. With such a camera or lens, one can have a huge level of control over depth of field at any aperture.

Depth of field is also dictated by the focal length of the lens, and the camera format for which the lens is used. For instance, a wide angle lens always has a much greater depth of field than a telephoto lens. A very wide angled lens such as a 14mm lens has a depth of field so great that it almost doesn’t require focusing, whereas a 600mm telephoto lens has an extremely shallow depth of field, and unless focused upon long distance subject matter, the depth of field will always be very limited indeed. On the other end of the scale are macro lenses, which are made to be able to focus very closely to objects. Once you start moving in and start focusing very closely, the depth of field again becomes extremely shallow indeed. The closer you get to the subject, the less the depth of field becomes, and in extreme close-ups just the slightest movement will cause the image to go out of focus entirely. 


How To Take The Most Clear, Breathtaking, Majestic and Powerful Landscape Photos….. Click Here

Get The Perfect Exposure… Every Time!

Did you ever get back a fresh batch of film, only to be disappointed in finding out that you got back wash-out boring images.

The problem is that you didn’t expose your film properly. 

Whether we use a digital or film camera, we need to be able to calculate exposure properly. But first, we need to understand how the aperture and the shutter work together. We also need to know how film handles light, and the relationship between film light sensitivity and f/stops.

Lets take a quick look at the main elements.

Aperture and f/stops: the aperture is an opening in the center of the lens through which light passes. The amount of light which passes through an aperture is indicated by f/stops. The lower the f/stop the more light that passes through the aperture. Opening up one full f/stop doubles the amount of light entering the camera.  F/4 admits twice the light of f5.6. 

Shutter: the shutter is a mechanical device that controls the length of time that light is allowed to act on the film. Each time you open the shutter by one, we double the light, when we close down the light by one we half the light.  Opening the shutter at 1 second allows twice the light as that of a ½ second.

ISO (ASA): stands for International Standards Organization. The initials are used for film speed which  rates light sensitivity.  A film with an ISO number 100  is twice as light sensitive as a film with an ISO of 50. The faster the film, the more sensitive it is to light.

Most digital SLR have ISO settings built in to them. If you are taking a low light image with a digital camera use a slow ISO rating of 200 or upwards.

Getting the perfect exposure isn’t easy, but there are several different ways of making it easier.


Using a light meter: there are two types of light meters,

1.  Reflected-light meter (the same that is built into your camera) works by pointing the meter at your subject.

2.  Incident-light meter: instead of pointing the meter at your subject, you stand beside the subject and point the meter at the camera. The light that falls on your subject will also fall on your meter.

The most common way is to use the meter built into your camera. All modern day cameras have a reflected-light meter built in to them. But don’t point the camera directly at your subject from 10 meters. This will more than likely underexpose your image. Take the exposure reading up-close, then return to the starting position and take your image.

It doesn’t matter which metering system we use, if we don’t point them in the right direction our images will return too dark or too bright. The key is to know where to point the meter.

When I take a landscape image I normally take five or six different readings. I take an incident-light reading with my light meter to record the foreground and a reflected-light reading of the sky.

If you are unsure take three or four images at different exposure settings.  Don’t let a perfect picture moment pass by without recording it flawlessly.

Camera Tripod Variations and Uses

 
In simple form, a camera tripod is best explained as a three-legged stand used to stabilize and elevate a camera. A camera tripod can be used in either still or motion imagery. Most commonly used by professional photographers in a studio, a camera tripod is designed to capture the perfect image every time.

A camera tripod is available in several variations, including floor model or tabletop. The least expensive begins at $50.00 and goes up, depending on the size and features. A basic camera tripod is designed for consumers and is best used for amateur photography or filming. An expensive camera tripod features feet suitable for rough ground and the head of the unit is designed move smoothly for improved video recording. The most expensive, which are used is studios and professional filming, are made of wood.

A full-size camera tripod is much better equipped to handle heavier equipment, whereas a tabletop model can accommodate up to 50lbs. These portable units are ideal for traveling and where compact equipment is needed.

There are several ways that a camera tripod can be used, including a family portrait where you want to be included in the photo. Simply set the camera up on a tripod and position it so that everyone is in perfect view, set the timer on your camera, push the button to take a photo and get into place with the family. Other uses may include an instance where your hands are shaky and you want to stabilize the camera for a quality image or if you are responsible for taking school pictures. Do you remember the days of middle school when the photographer would come into the gymnasium, set up his/her background sheet and tripod? All he/she had to do was to situate the child, convince him/her to smile and snap the picture. A camera tripod makes it easy to take multiple photos, in which the subjects are in the same location, without having to worry about placement every single time. With a tripod, placement is always perfect so long as the subject is where he/she should be.

When shopping for a camera tripod, first consider the uses that you will need it for. The weight of your camera, the needed features and swivel capabilities, the locations that the tripod will be placed and the needed height. In addition, a realistic budget that you can afford will be best considered early before shopping for a camera tripod. Most photography supply stores, both online and local, may offer camera tripods. Before purchasing, be sure to check out the dealer’s reputation with the Better Business Bureau and also learn about their return policy.

Click Here For Best Camera Tripods Sellers On Amazon !

 

A Picture Perfect Wedding

Weddings are definitely one of the happiest moments in a person’s life. But, this momentous occasion does not always come as blissful as the event itself. Days and even months before the big day, couples usually cram up with the littlest details.

The process of listing down and cutting down everything into specific details—the wedding date, the venue, the reception, the caterer, the designer of the gown and suit, all the way down to the wedding coverage—are the areas where stress usually ushers in.

Due to hectic schedules, most couples usually do not pay much attention to one of the crucial things in any wedding—the wedding coverage. Despite the overwhelming tension and excitement, couples do not have to be nonchalant when choosing their wedding photographers if they want their fun times and precious memories recorded very well.

WEDDING PHOTOGRAPHY PREFERENCES

To avoid making this slight neglect that usually leads disastrous results, couples have to decide first what kind of wedding photography they would want to have.

Most wedding photographers today categorize the types of wedding photography into two: the traditional or classic style and the wedding photojournalistic style.

The most common style used by wedding photographers today, the traditional or classic wedding photography is considered as a “timeless” and the “safest” style because you normally see in countless wedding albums. Characterized by classic poses of subjects aware of the camera, this style involves so much control from the photographer because he is in-charge in arranging individual and group shots before, during, and even after the wedding.

Having excellent portraiture skills, expect the photographer to focus more on the quality of the photograph by making the subject look great from the littlest details. Expect typical wedding photos like pre-ceremony pictures, formal shots of the bride and groom posing with brides maids and ushers, cake cutting, garter and bouquet toss, and the like when you choose a classic wedding photography. This style is ideal if the couple would want to keep portraits of family members for their wedding album.

If the couple is adventurous and unconventional, then you might want to consider the wedding photojournalistic style of photography on your big day. An increasingly popular style today, wedding photojournalism offers fresh and new style of taking photos in the occasion. Characterized by candid shots of the subjects unaware of the moving camera, the photojournalism style lets the attendees act freely to capture their pure and true emotion.

Sourcing style from his experience in journalism, the “photojournalist” pays more attention to minute details and candid shots rather than arranged ones. He’s more into eyeing interesting moments and capturing those in his lens to produce a narrative collection of images that tell a story.

Although some traditional poses will be present, expect photos that show actual emotions of the bride and groom and of other participants throughout the duration of the wedding when you choose the photojournalism style.

In order to avoid ruining the documentation of your wedding, here are some tips in making your wedding a picture perfect one:

1. Weddings are one of the most exciting chapters of one’s life. Make sure that you choose a wedding photographer that can meet all your standards. Meet with the photographer before hand the so you could discuss the details you want.

2. Inform the important participants about the schedule of photo sessions and make sure everyone attends the rehearsal to cut down the stress.

3. Have a reception area so guests can be informed about the itinerary. This will set the occasion in order.

If You Want To Earn More Than a Living as A Wedding Photographer, But You Don’t Know from Where to Begin, Then This May Be The Most Important Letter You’ll Ever Read! Click Here

Are You Ready to Start Making Money With Your Camera?

You may have seen countless adverts and promotions telling you how easy it is to make money with your camera. Let me tell you that for one it is not easy...it is simple in its concept and execution, totally available and possible for anyone to do but not easy as it requires a certain amount of dedication from yourself.

Also, when you see the sales pages for these products, how many times do you get to see who the actual author is? How many of them show their own personal images? How many of them show actual image sales with their sales value as proof of sales?

How can you trust someone that does NOT show you this information?
            
I recently came across a new product from Nick Stubbs, a professional, full time photographer and online photography teacher with over 30 years experience, that shows you the exact blueprint, a step by step guide on how to create a monthly, residual income using just your DSLR and lens...you need nothing more to start with.
            
He doesn't dazzle you with crazy, untrue statements about ridiculously high earnings (there is no need because do this right and you will succeed in making as much extra cash, in proportion to the work you put in, as you like).
            
There is no leaving of any stones unturned as the eBook is jam packed with solid, useful information in a step by step guide that leads you through the exact processes to making money taking pictures in your own time and at your own pace. There is no filler or fluff to bore you!
            
There are no claims of "giving away the secrets" that are meant to entice you to buy the product because there are no "secrets", just facts and Nick covers them all using his 6 years of successful selling experience as a benchmark for your own business.
            
Head on over to his website to see for yourself, this industry is huge and still growing so jump in and grab your piece of the pie!

See How To Sell Stock Photos

Understanding Red-Eye in Photos and How it can be Prevented

Why are Eyes Red in Photos ?

Red-eye is a phenomenon that happens only when taking photos using a flash. When taking photos in day light or when in high ambient light scenarios people’s eyes look normal. When taking pictures in low ambient light scenarios using a flash the result many times is redness in the people’s eyes.

The reason for the color red is simple – when flash light from the camera hits the eyes it penetrates and is reflected back from the retina. The color of the reflected light is red because the light is actually reflected from the red blood in the retina.

In some scenarios the red-eye is evident while in others it is mild or doesn’t seem to appear at all. One of the main factors for that is the state of the pupils. If the pupils are dilated (for example the pupils dilate in darkness or when drinking alcohol) more light is reflected back from the retina and the eyes in the photo appear redder.
 
Common Way to Reduce Red-eye

The most commonly used method to reduce red-eye is activating the camera’s built-in red-eye reduction feature. The red-eye reduction feature is very simple yet effective. When turned on the camera shoots a series of pre-flash strobes followed by one more strobe when actually taking the photo. The pre-flash strobes cause the pupils to reduce in size and by the time the photo is taken the pupils are small enough for the eye redness to substantially reduce.

The red-eye reduction feature does what it is supposed to do: reduce the red-eye effect but almost never is it completely prevented. There are many limitations to this feature for example pupils reaction time to light can vary. In addition this feature can have a side-effect that results in photos having people’s eyes closed. The reason is that the pre-flash strobes blind the people and cause them to close their eyes.
 
Other Ways to Prevent Red-eye

Understanding what causes red-eye helps being more creative in preventing it. Following are some ways to prevent red-eye other than using the built-in camera red-eye reduction feature:

Increasing the light where photos are taken (for example by turning on the lights in a room before taking photos of people) causes people’s pupils to reduce in size and eye redness to reduce.

Point the flash away from the eyes. Since red-eye is caused by flash light reflected from the retina the best way to prevent red-eye would be to eliminate such reflection as much as possible. In most cameras the angle between the flash and the lenses is narrow (this is especially true for built-in flash and pocket cameras) causing most of the flash to bounce back from the retina to the lenses. Increasing the angle (for example by using an external flash) reduces the reflected light. You can also use a bounce flash – by having the flash light bounce off a bright surface (a white wall or a professional reflector) most of the direct reflection from the retina can be eliminated.

Red-eye can also be removed after photos were already taken by using photo processing software on your PC. Most digital cameras include a CD with PC software that embeds this feature. Although this method doesn’t eliminate the red-eye from the source it can result in a practically red-eye free photo. Some software are better than others some are manual while others automatically identify the red-eyes and process that area to revert to normal eye colors.

Improving Your Landscape Images…Part 2

We use filters in photography to bring back an image to the way our eyes have perceived the original scene. Some times it’s not possible for our cameras to record an exact scene - so we have to rely on the manufacturers of camera products. 

If you are only going to buy one filter for your landscape photography a polarizing filter is the one you’ll use most. A polarizing filter can be used with colour or black and white and is probably the most important filter on the market today.

Lets take a quick look at the science behind it. A polarizing filter is made up of two pieces of glass which when rotated cut out all glare on non-metallic surfaces.  Light travels in waves - these waves travel in all directions and at different rates and speeds. The polarizing filter works by limiting the amount of waves that enter your lens.  You decide how many waves pass through your lens by rotating the filter.

The polarizing filter is most effective with side lighting.

For example: if you are taking a picture of a scenic lake area and there is a messy reflection of the clouds in the lake; it will  be too much of a distraction in the final  picture. This can be simply removed by rotating the polarizing filter ‘til the clouds disappear. You can view the filter working in the viewfinder of your camera.

The polarizing filter will also darken the blue sky to give it a strong rich colour. It will make mist stand out and can be also used to give fast flowing water a misty effect. 

You don’t have to rotate the filter the full amount to get the maximum affect you need, sometimes you will only have to rotate it a small amount. You can decide best for yourself by viewing through your viewfinder while you rotate the polarizing filter.

This filter is not just for a landscape photographer.
   
There are many different uses for a polarizing filter, which make it so important for all photographers.  Property photographers would find this filter extremely handy - when taking an image of a shop front, the polarizing filter will remove glare that reflects off the glass.

Take extreme care when calculating exposure. Remember that you will have to add two stops of light when using the polarizing.

People Skills for Portrait Photography

Taking great portraits is as much about people skills as it is about technical ability, or using the latest and greatest photographic equipment.  Sure, refining your technical skills and knowledge may expand the extent of your capabilities, and using superior equipment may indeed boost your edge.  But, unless you can first see through your subject's eyes, and understand her as a unique individual, and then build rapport with her so you can unveil and accentuate her finest qualities, your portraits will remain mediocre at best.  Some lessons learned along my journey as a photographer may help those who choose to follow.

1. If using a tripod, compose your portrait and then take one step just to the side and forward from the camera.  Do not look through the viewfinder as you capture your subject's image.  This allows you to make eye contact initially with your subject, and then direct her in mood, expression, position, and the angle of gaze you are aiming for.  When your subject interacts with your camera, the result can be a cold or lifeless rendering, but when you engage your subject through eye contact, expression, gestures and words, the result can be a warm and candid reflection, charged with mood or emotion.

2. If you are not using a tripod, you really should redouble your effort to maintain constant interaction with your subject.  Many photographers tend to keep their eyes in the viewfinder of the camera, but this leads to your subject interacting more with the front glass in your lens than with you.  Again, you do not want the sterile and lifeless rendering that most often comes when the camera serves to isolate you the photographer from your subject.  Interaction with an inanimate object (your camera) can never be a substitute for interaction with another human being (you), when your goal is to capture the essence of your subject, and reflect the attitude and emotion she was feeling at that moment in time.

3. Allow your subject to be herself.  A little girl dressed up in fairy wings for a special picture is very cute, and I suppose there is a place in this world for cute.  But, contrast this with the little girl who just loves to dance.  You put her in her everyday clothes, stand her in front of a plain backdrop, put on her favorite music and say to her, "can you show me how to dance to this song?"  You should have no difficulty in capturing timeless expressions there.  Now imagine a jeans and t-shirt kind of guy whose true passion in all of life is sailing.  You dress him up in a tailored suit; formally pose him in front of a low key backdrop, seated in a Chippendale chair, and use classic loop lighting.  What would be said of this portrait years later?  "Who was this guy, an executive?"  But just suppose, you photographed this same guy in his favorite t-shirt and blue jeans, at the helm of his beloved sail boat, on a beautiful late afternoon, just as the boat was coming about?  What would be said of this portrait years later?  "This was Charlie, doing what he loved most!  That was such a glorious day."  The point is, "keep it honest".  Fantasy can be cute, but your subject being herself, years later this will be much more meaningful. 

4. Allow your subject's expression to be honest.  A frown or a grimace that is genuinely felt can be more interesting than a smile that is forced.  I try to never just pose my subject and then say, "Okay, now smile for me."  If you want your subject to smile then tell a joke, put on a face, or perhaps merely smile at her and she will smile back at you.  People generally tend to reflect in their face what they see in yours, but in my experience this is not always so.  Nevertheless, interaction with your subject is the key.  That being said, the next time you have a difficult subject ask him to tell you a joke, to bring out a smile, if that's the expression you are after.  If you are a professional, you know that smiles sell, but if you're an amateur, you are under no pressure to sell, so make your portraits interesting.  Not everything in the world is to smile about.

5. Direct your portraits.  Take control of the composition of your portraits!  Do not be afraid to tell or show your subject what you want.  Sometimes showing is best.  I often find that actually demonstrating a pose I have in mind, works better than trying to direct my subject through words alone.  If you are photographing a group, your life will be easier, if you arrange and pose the adults first.  Then, work your way from oldest (or more mature and settled) to youngest of the children.  The point to remember is, as the photographer, you should take charge of the shot.  The success or failure of the portrait will be your responsibility, so take charge.

Engage your subject to establish and build rapport with her, to take your photos to a higher level.  Make your portraits more meaningful by keeping them honest, and natural.  We all know a fantasy photo can be cute, and a formally posed portrait can be graceful and dignified, if that is your subject's personality.  But, a portrait that is true to the subject is always more meaningful.  Allow your subject to be herself, and never force an expression.  Learn to take charge and direct your portraits and you will move far ahead in your journey as a photographer.  Practice your people skills with each portrait you take.  People skills are the prerequisite to all else, if you want to take great portraits.  Good day and happy clicking!

Improving Our Landscape Images - Part 1

 All the world’s cameras, films and other photographic equipment are no more than tools for making landscape pictures.  Cameras don’t think for themselves.  Whether we use digital or film camera, the same photographic principles apply.

We don’t have to stick to many rules to produce great landscape images, but knowing what they are will make your pictures more successful. There are two salient points in landscape photography: how to compose your image, and how to use available natural light in any given situation.

Lets start off with light: There are three basic qualities of light: intensity, direction and colour.

Intensity: refers to the strength of light. If the sun is high in the sky, light can be harsh and too strong. Cloudy days bring soft and defused light.

Direction: this refers to light placement. There are three categories of light placement: front, back and side-lighting. Side lighting produces more texture between light and shade.

Colour: the colour of sunlight varies depending upon conditions and time of day. If the sun shines at the beginning or the end of the day, the colour of the light will be much warmer, and will lead to a much more dramatic scene.

Understanding natural light will develop your ability to see. You will start to see the beauty of light in a different and exciting way.

In landscape photography it is very important to take care with composition. A normal scene can be transformed by paying close attention to detail. Composition is all about how you arrange the elements in front of you.

Here are a few ideas in which you may find useful.

Lead with lines: To lead with lines into the main part of the scene will draw your viewer into your image. These lines don’t have to be straight. Lines, such as tracks, riverbanks or fences, may work successfully.

Foreground interest: Simple foreground objects can give your landscape a greater sense of depth. Use a small aperture (f/22) to keep the entire scene in focus.

Natural frames: Frame your scene with the elements all around you. This will focus attention on the main part of the picture. Trees make great natural frames.

These are just a few essential guidelines, and combined with a good eye, you have all you need to get the best out of photography - especially landscape photography.  These are just a few rules to get you started, but like all rules, they are there to be broken.

How To Take The Most Clear, Breathtaking, Majestic  

and Powerful Landscape Photos….. Click Here

Top Ten Digital Camera And Photography Tips

Digital cameras have definitely simplified the manual labor of the photographers and do their job at mere a click of button. But, that does not mean you can have perfect shots with just the aid of your camera equipment. You can feel a bit more confident with digital camera in your possession, but the job of “clicking” has become specialized. Some misunderstandings about its functional aspects, and the entire love's labor is lost! The photography of an event is lost for ever...

So, some standing instructions, some important workable tips need to be followed by the man holding a digital camera. Experience combined with technical expertise is what makes you a perfect photographer.

1. Look your subject in the eye, don't spray your attention all over. Sometimes, you get a fraction of a second to click an important event. There are occasions, you have to vie with hundreds of other photographers. You need to develop the meditative concentration, to 'hunt' your object.

2. Use a plain background. If the background is a hotchpotch, it will have a direct bearing on the main photograph.

3. Use flash outdoors.

4. Move in close. Adjustments from the close range can be done easily. They will be more effective.

5. Move it from the middle. That is always the safest way. If you move from one side, there is every chance of missing the activity on the other side.

6. Lock the focus. That is very important as it is your main job.

7. Know your flash's range. This is a very important technical aspect, that is mastered by experience. A bad flash can spoil, beyond repair an important shot.

8. Watch the light. It constantly change.

9. Take some vertical pictures. This adds variety to the total number of pictures that you have shot.

10. Be a picture director. A sense of involvement is necessary. You need to be in a position to anticipate the results, just as a movie director directs his actors for getting a perfect shot.

Don't credit those magnetic eyes and bewitching smiles to the account of digital camera alone. It is the skill and the sense of timing of the photographer that matters most. You need to know when to tell your photo-audience to “say cheese”, and those fraction of seconds before their response to the cheese. Have an eye contact of a sharp shooter, with his shooting object.

Get The Most Out Of Your Camera - Part 2

In part 1 of: Get the most out of your camera, we looked at how to use the aperture and the creative uses of depth-of-field. In this part we’ll look at how to use the shutter button on your camera and how both the shutter and the aperture control exposure.

The shutter is a mechanical device that controls the length of time that light is allowed to act on the film.

 
Most standard cameras allow us to use a range between 16 second and 1/1000 second. You might be wondering, why anyone would use a long shutter time of 16 seconds: I’ve used this and even longer shutter times when taken low-light landscape images. I would always advise the use of a tripod with these long exposures time to avoid blur images.

Using a shutter speed of 1/125 second should safely avoid overall blur due to camera movement if you hold the camera by hand. Any longer shutter time should require a tripod.

Each time you open the shutter by one, we double the light, when we close down the light by one we half the light.  Open the shutter at 1 second allows twice the light as that of a ½ second.

The shutter can also be used creatively when taking landscape images or sport images. If you want to add motion to your image a slow shutter speed can give an image an extra bit of sway. No more so than taking images of streams. Using a slow shutter speed when photographing water will cause the water to blur, resulting with the image expressing motion.

By contrast, a fast shutter speed of 1/250 would be used in shooting wildlife or where the subject that you’re shooting needs to be still and sharp.  Most wildlife photographers would use a fast shutter speed.

By using the shutter and aperture together we control exposure. Both allow light to enter the camera: the shutter by time and the aperture by the size of the hole in the lens.

For example: you’re shooting a landscape scene;  you get an exposure reading at f/11 at ¼ second. You know that by using f/11 that the entire image wont be sharp. You want to shoot at f/22, which is four times less light than f/11. You need to quadruple the light through time; each time you open the shutter by one you double the light, so open it by two stops and your exposure time will be 1 second. Your final exposure should read f/22  at 1 second.

At the best of times, calculating the correct exposure can be a difficult task, but with a few simple tips our images can produce eye-catching colours that we see all around us every day.

Wedding Photography Secrets: Tips For Taking The Best Wedding Day Photos Possible

It’s your wedding…one of the most beautiful days in your life. How else can you make the perfect occasion last? Capture the momentous event with great wedding photographs. Read this guide to make sure you choose the right wedding photography service for your big day.

The first thing to do is to give the most opportunities for the photographer when scheduling activities during the wedding day. When planning the time of the wedding ceremony and of the reception, couples should incorporate the time that the photographer requires to capture all of the couple’s special moments. There should be a gap between the end of the ceremony and beginning of the reception, to allow for more photographs for the bride, groom and wedding entourage, especially if they are in two different locations. The photographers and subjects will have a more relaxed shoot and will enjoy all the parts of the wedding if the events are well spaced out.

Next, think of important factors when selecting a wedding photographer. The photographer should be able to show more than one complete set of wedding photos. Couples should not accept someone who shows only selected prints of their best photographs from different weddings. Ideally, all photographs from 3 to 4 complete wedding sets that are at least satisfactory should be a criterion of a professional wedding photographer.

It is also good to have a photographer that gives a package with unlimited coverage for the whole day. Again, this way, photography will not be rushed.

Next, try to be aware of photography companies or individuals that contract out jobs to a pool of wedding photographers or even freelancers. Salespersons often pose as actual photographers and try to woo customers. Make sure companies deal openly, and ask them to show 3 to 4 complete weddings from each of the photographers they offer you, so you can choose. Make sure the one chosen is the one that will cover your wedding. Otherwise, it is better to find a photographer that personally shoots weddings. A two-person team is an even better package because two points of view of the wedding can be taken.

Some photographers only offer the traditional wedding photography style, or strictly a photo-journalistic style. It is best to find a versatile photographer that can do both.

Lastly, couples should take note of some important questions to ask a prospective wedding photographer:

· Are colored and black and whites included, or would he charge extra for B/W? Dramatic effects can be made with black and white photographs, so ask if this is a premium.

· Are hand and digital coloring or digital color separation included in the package or would he charge extra for these? Better pictures are developed when the photograph colors are separated first, improved, and then printed.

· What kinds of cameras does he use? Does he use medium format equipment and have a back up? Does have a "leaf" shutter or "focal plane"?

· What lenses does he use? Does he use only one, or will he change lenses? Make him show you photo effects that he is able to achieve with different lenses and choose the ones which you like to appear with your photographs.

· Is he willing to customize a package that is within your budget?

Asking intelligent questions will encourage photographers to deal openly with customers. Remember, it’s your special day, and you should make sure that the wedding photography is something that will help you and your loved ones relive those wonderful memories.

Get The Most Out Of Your Camera - Part 1

Did you ever see an image where only a small part of it is sharp? Using the aperture ring correctly can maximize the artistic look of your image.

Not only does it determine the depth-of-field, it also has the power to direct the human eye.

The human eye is instinctively drawn towards noticeable points of an image.  These are usually the sharpest and most important parts of an image. Using a wide aperture to limit the area of sharp focus can direct attention to the most important elements of your image and blur out any off-putting backgrounds.

This isn’t that hard to accomplish, and can be blissful if done correctly.

Lets start off with understanding depth-of-field, aperture and f/stops.

Depth-of -field:  The distance from the front to back that is in reasonable sharp focus is called the depth-of-field. There are two ways of controlling depth-of-field: Use a small aperture or focus on a point farther away from your camera.

Aperture and f/stops: The aperture is an opening in the center of the lens through which light passes. The amount of light, which passes through an aperture, is indicated by f/stops. The lower the f/stop the more light that passes through the aperture. Opening up one full f/stop doubles the amount of light entering the camera.  F/4 admits twice the light of f5.6. 

By selecting a small or narrow aperture (f/16 or up), all or most of the scene will be reasonably sharp. This is ideal for landscape photography. By using a small aperture you increase the depth-of-field.

By selecting a large or wide aperture (f/5.6 or below) you decide which part of your image is sharp. This is ideal for taking pictures of wildlife, portraits, sport and small objects. By using a large aperture you decrease the depth-of-field

The smaller the f/number, the wider the aperture.

There is about twice the depth-of-field behind the point of focus as there is in front of it, using any aperture.

Now you know how to isolate your subject, so it’s time to put it to use. Set your camera to aperture-priority (AV) mode, and then select a large aperture (f/2 - f/5.6). By doing this the camera will select the shutter speed automatically. If you are shooting wildlife choose a low viewpoint to maximize the image, try putting the camera lens at eye-level with the subject.

While the above will help to isolate you subject, it’s only a start. Know your subject, especially when shooting wildlife. Don’t be fooled into thinking all elements of an image must be sharp to be considered a good photo.

Taking Portrait Photos with Blurry Background and Understanding Depth of Field

  

We have all seen beautiful photos where the object is perfectly focused while the background is blurred. Such a photo can be very dramatic and might seem to be hard to shoot. In this article we will give you a few tips on how to shoot blurry background photos that will impress your friends and family. You will also understand what Depth of Field is and how to control it.

Depth of field (also known as DOF for short) is the most important thing to understand before shooting a blurry background photo. Depth of field is defined as the range in which the photo is in focus. For example an infinite depth of field means that the photo will be in focus from a certain distance from the camera and up to infinity. When taking a blurry photo the goal is to set the depth of field just around the object. In this way the object is in focus while the background behind it is not.

How do you control the depth of field? After all there is no “depth of field” menu in the camera (wouldn’t that be nice…). Depth of field is an optical figure that is influenced by a few factors:
 
The distance of the object from the camera: This is obvious to understand when taken to the extreme. Shooting an object 10 feet from the camera will result in a smaller depth of field than shooting an object 100 feet from the camera. Obviously shooting an object which for all practical purpose is infinite distance from the camera will result in the camera focused on infinity and the depth of field being infinite too..
 
The aperture: The wider the aperture (f number decreases) the smaller the depth of field and vice versa: the narrower the aperture (f number increases) the greater the depth of field. Just remember that the depth of field changes along with the f number: when the f number increases and depth of field increases and vice versa. Unfortunately you can not just change the aperture as you wish. Changing the aperture results in a need to change the shutter speed (either manually or the camera can most likely do that for you automatically). The wider the aperture the more light that penetrates the lens and the faster the shutter speed needs to be so there is a limit to how wide you can set the aperture to.
 
The focal length of the lens: The shorter the focal length the greater the depth of field and vice versa the longer the focal length the smaller the depth of field. For example if you use normal lenses at somewhere around 50mm your depth of field will be much greater than if you use zoom lenses at 200mm. With long focal length the depth of field can be extremely small. For that reason zoom lenses are a good choice in order to shoot a good blurry photo that is practically focused only on the object.

After understanding the theory it is best to go to the field an experiment. You will get a sense of how your photo will look like and how blurry the background will be after playing with different lenses, different apertures and different distances from your object. If you own zoom lenses start with taking photos of a relatively close object while using your zoom lenses. You will find out that it is extremely easy to get a blurry background photo using this method even without setting the aperture. Once you feel comfortable with that setup start changing the aperture and also change to your normal 18mm-55mm or similar lenses.

Most cameras allow to manually change the aperture by putting the camera in “A” mode – while you are changing the aperture the camera will automatically set the shutter speed accordingly. Some cameras allow you to manually set both aperture and shutter speed.

In conclusion shooting dramatic blurry background photos is easy with some minimal understanding of depth of field and some experimenting.

"Turn Your Photos Into Cash" Home Study Course Review

Seller: Dan Feildman

"Turn Your Photos Into Cash" is a home study course about making money online through digital photography. Written for anyone who can use a digital camera, the course focuses on selling digital photography through stock photo sites on the Internet. The text and video formats allow different types of learners to make the most of the course.

Product Details:

"Turn Your Photos Into Cash" - The main course is a 129-page Ebook with the following chapters:

- Introduction
- Jump start Your Career
- Before You Begin
- Four Ways to Make Money with Your Digital Photos
- Five Secrets to Making More Money with Your Stock Photos
- Tips and Tricks for Taking Better Photos
- Tips and Tricks for Enhancing Your Photos

The product also comes with the following bonuses:

1. "Offline Opportunities Report" - A 34-page special report about offline ways to make money with digital photography

2. "Slash Your Learning Curve Using These Five Checklists" - Detailed checklists or cheat sheets guide the user through the essential points of the course. The checklists are:

- What You Need to Make Money Online with Your Digital Photos
- The Legalities of Digital Photography
- How to Protect Your Photography
- How to Take Better Photos
- How to Improve Your Image Editing

3. "Five Action Steps Guides" - Step-by-step guide to make money through specific websites. The guides are:

- How to Make Money with iStockPhoto
- How to Make Money with Stockxpert
- How to Make Money with Cafe Press
- How to Find Freelance Projects with Elance
- How to Make Money with Break.com

4. "Turn Your Photos Into Cash Mind Maps" - Excellent for visual learners, the mind maps allow the user to grasp the strategies at a glance. The mind maps offer an excellent overview of the course, and can be used to refresh the lessons in the user's mind. The 8 mind maps are:

- Complete Mind Map
- Introduction
- Jump Start Your Career
- Before You Begin
- Four Ways to Make Money
- Five Secrets to Making More Money
- Tips for Enhancing Photos
- Tips for Taking Better Photos

5. "Turn Your Photos Into Cash" Video - This is the complete home study course in either video or audio-only formats.

Format:
The main course and first four bonuses are digital text files in the form of PDF. The videos are in digital Flash format. These can be either viewed online or downloaded into the user's hard drive. The audio version of the course is in mp3 format, which can be loaded into any mp3 player.

Thoughts on the Product:

"Turn Your Photos Into Cash" was created for anybody who knows how to use a digital camera and has access to a computer with Internet connection. One does not have to be a professional photographer to understand and benefit from the course. While it briefly discusses the technical issues of digital photography, the course really isn't about how to take digital photographs. It is about how to sell those photographs online and make money.

The course presents these marketing strategies in easy to understand language. Even complete newbies or amateur digital photographers will not be overwhelmed or intimidated. The strategies don't take a lot of time or energy to implement. The bonus cheat sheets, step-by-step guides and mind-maps make it even easier to actually take action and simply jump into making money with digital photography.

The video and audio formats will appeal to visual and auditory learners. That you can load the lessons into your mp3 player and listen to them on the go is a definite plus.

Digital photography is a little-known work at home business model, particularly among those who are not professional photographers. With "Turn Your Photos Into Cash," however, even amateur photographers with a little time and motivation can soon be making money with their photographs.

Where to Learn More:  Turn Your Photos Into Cash

How to Increase Your Chances of Winning a Photography Contest

These days, with the advancements in technology, more and more people are buying cameras. It's very easy to own one because of the improvements in ease of use and maintenance. We don't have to buy rolls of film just to use a camera. It's also easier to take great pictures, because we can preview the image that's going to be taken and if it's not up to standard, it can be deleted in just a press of a button. No film is wasted, and the photos come out as we want them.

It's normal practice to bring a camera everyday, especially those that are compact and lightweight. This is so that every important moment is captured and thus, preserved throughout time. With this in mind, more and more people are getting interested in photography and enjoying it. Even non-professional photographers can take very good pictures, and there shouldn't be any surprise if there are more people who join photography contests, whether it's for the prize, the recognition, or just for fun.

If you're one of the many people who enjoy photography, and someday you hope to enter and win a contest, here are some photography contest tips and advice:

Follow All the Rules Of the Contest
There is always a different set of rules for every contest, and you should be aware of them first and foremost. Familiarize yourself with them and follow them to the letter. You might not understand why some rules are there, but don't assume you can just disregard them. They are there for a reason. It's better to follow the rules rather than have your work returned to you because you did not follow the rules.

Research on Past Entries
Researching on past winning entries will help you learn more about the contest that you want to join and its standards. If you know more about the standards and the judges' basis for a good photograph, you'll have a better edge against the other contestants. You also might get inspired from studying the past entries.

Study the Categories
There are different categories in every contest, and you must consider the requirements of each category before submitting an entry under the category that you've chosen. Your photograph should be focused on the category's topic. Many entries get disqualified for not following the requirements, and it's sad because the photographer may be talented, but the entry is not even seen by the judges because of a technicality. For example, there are categories that might require your picture to have a few items at the background of the photograph's main focus. One missing item may hurt your chances in the contest.

Consider Your Work With a Critical Eye
You might have a photograph that you're really fond of. You might even consider it as your best, because of its meaning to you. Remember, your contest entry will be judged by many different people who are strangers to you. They don't know the story and circumstances behind your favorite work, and they don't care. They are also given a set of guidelines in choosing entries, and each of them has unique standards. If you want a good chance of winning, better submit photographs that are good on all technical factors. For your entry to stand out, your subject should be doing some actions. A subject that is doing something is more noticeable and has more depth compared to a subject that is on a pose.

Send Only Your Best Work
There are contests that allow multiple entries, and if you plan on submitting more than one entry per category, it's better to submit just a few of your best work, rather than submit a lot of entries that include a few decent, but lackluster, photographs. This is to protect how the judges think of your best photograph. If you include a few second-rate photographs, chances are the judges' opinion on those photographs might dampen their opinion on your best entry. Instead of your best photograph standing out, it might get buried under the mediocre ones.

It's easier now to take pictures, and it's even easier to prepare for a contest if you only study how. Apply these photography contest tips and advice, and improve your chances of winning a photography contest.

The Hidden Art of Digital Photography

Computers and cellular phones, mobility and microchips – these are the trademarks of the world today. We live in a world continually changed by technology. Even the arts have continually changed due to technology. Think of it: from charcoal drawings to painting to photography to digital photography, we have come a long way in the visual arts. We have used various methods in capturing life and freezing time. New technology is continually being developed to make art easier and more fun. However, you should know that the art of digital photography is not as simple as aim and shoot.

The art of digital photography needs skill in order to pull off properly. Although some people may reason out that digital photography art can always be edited, many people do not really know how much work editing can be. Oh sure, we can say that technology has reached a level wherein a person needs to do practically nothing in order to achieve a great photograph, but of course, you need to know how to use the tools properly in order to do that.

The art of digital photography, in order to be truly mastered, needs three T's: Time, talent and tactical placement of equipment. No, that's not right. You need time, talent and treasure. Just what does this mean?

1) Time – one cannot be an instant expert in digital photography. You need to take the time to learn all about it. Even though you are some sort of protege who has the talents of a genius, you actually need training to hone that talent. Remember that for all its power, a steamroller cannot be used to do the work of a hammer. There is wisdom in harnessing power properly.

Taking the time to train your self in the art of digital photography is something akin to sharpening a knife using a grindstone or forging a fine katana (that's the Japanese samurai sword) by heating it and folding it over a thousand times –it may be painful, but it is necessary to produce the best.

2) Talent – of course, you need a bit of inherent talent in order to be truly great at the art of digital photography. You need to have an eye for the subjects that would make a great photograph. Otherwise, you will only end up being mediocre in a field that requires greatness.

Of course, the proper training can actually enhance your inherent talent and help you sharpen your skills in the art of digital photography.

3) Treasure – as said before, you will need the proper tools in order to be successful in the art of digital photography. This means that you will need to invest a lot of cash. Although there are a lot of digital art photography equipment that can be bought at inexpensive prices, the best equipment needs some serious pocket digging. This, of course, tests your courage because there's nothing scarier to a man than having to pull out his wallet in the name of an untested interest.

Once you have invested money in the art of digital photography, there's no turning back.

The art of digital photography may seem like it requires a lot. However, in order to be truly successful in something you need love and love always requires sacrifice. You should keep that in mind.

Surefire Tips on Capturing Action Shots

Do you find it quite a challenge to shoot great action shots?

Whether you are shooting a fast moving car or pictures of a soccer match, you may find it some challenges to produce nice photos of those subjects.

In fact, the first thing you’ll realize is that digital Cameras are bad for action shots. That is why first time digital camera users  often grumble  about how lousy their action shots turn out. 

Through some ample combination of careful  lighting, focusing , positioning  and shutter-speed adjustments, you can take the exact  stop action shots. Even if you never take sports photos, knowing how to freeze action allow you capture birds in flight, water splashes,  and fleeting childhood moments.

Worry not, the best way to master your digital camera's many buttons and screen menus is through hands-on experience. If setting your camera's shutter to 1/500th of a second gets you that perfect image of your baby mid-bounce, you're more likely to remember how to activate shutter-priority mode next time. So don't spend your time memorizing settings. Instead, remember the following principles for good action photography. Over time, making the camera do your bidding becomes second nature.

1. Move in close.
Using a zoom lens, digital zoom, or your own body, get as close to the action as possible to eliminate distracting backgrounds.

2. Increase your camera's shutter speed.
If your camera has manual mode, shutter-priority mode, or even a preset action mode, use it to prevent blurring caused by movement.

3. Anticipate the action.
When you see the perfect moment on your camera's screen, it's way too late to press the shutter, especially if your camera has a substantial shutter lag. Even if you use burst mode to fire off a bunch of shots in a row, the time to begin taking your shot is about a second before the best action is likely to occur. It takes practice, but you will get the hang of it.

4. Do as much as possible before you take the shot.
Prefocusing and spot metering are easy on most digital cameras. Get in the habit of setting them during breaks in the action. Once your camera has focus and/or exposure locked in, you can concentrate on getting the shot without the drag of shutter lag.

5. Above all, persevere.
Don't get frustrated if many action shots don't turn out, even when you use these techniques. Pros shoot dozens, sometimes hundreds, of frames just to get one good picture. By its very nature, action photography produces lots of wasted shots. Just remember you've got a digital camera, so mistakes don't cost you a thing.
...

You must understand the sport game before you start shooting. You have to know how points are scored, what cause penalties, etc. This way, you will understand where the best action is likely to happen.  Don’t forget to capture the emotion. Be ready to capture player’s faces on winning, or other emotional action in the game. They should make your photos looks alive!

On the next time you take such shots, do keep the above tips in mind, and I’m pretty sure your results will get better.

Tripods - How to Avoid Blurry Photos

All of us had the experience of shooting photos just to find out they look blurry or too soft. In almost all cases the reason for that is camera movement. When the camera moves while the shutter is open the result is a soft or blurry photo. Usually camera movements are small and for that reason in high shutter speeds the camera does not have an opportunity to move enough. However in some scenarios such as slow shutter speeds or high zoom values even the tiniest movement will result in a blurry photo.

 
Most photos are taken when the camera is held in your hand. The hand is an unstable platform and tends to move quite a bit. Moreover new digital cameras are smaller and lighter than ever before and are much harder to keep stable. Another cause for camera movement is aggressively pushing the shutter button which in return moves the camera. It is always better to squeeze the shutter button very slowly to prevent the camera from moving. Choosing the right camera for weight, grip and shutter button sensitivity is a recommended way to minimize camera movements in the future.

As a general rule photos that are taken with slow shutter speeds or high zoom values should be taken using a more stable platform than your hand. A stable platform can be anything that is stable: a table, a shelf, a chair or a newsstand in the street. However the platform that is considered the most stable and professional is the tripod.

There are many types of tripods and they vary in size, weight, price and other features. The most important criteria when choosing a tripod is to pick one that will be easy to use. For example if you are traveling consider a tripod that is easy to carry and lightweight otherwise you will end up leaving the tripod in the hotel room while missing great photo opportunities. On the other hand if you take photos in a studio consider a heavier professional tripod.

Another important feature to consider is the tripod’s height. Many tripods can be locked at any height up to a maximum. Ideally you would want a tripod that extends to your height allowing photos to be taken from the same angle as your eyes as if they were taken by hand. Many portable tripods extend to a waist height or less. In these situations the tripod will be put on a raised platform or the photos can be taken from a low angle.

In cases where a tripod is not available but a stable platform is needed you can improvise by using many other available platforms around you. For example you can place the camera on a table when taking a photo or if you’re outdoors you can use a newsstand, a tree to lean on, a fence or anything else that is stable enough.