tag:blogger.com,1999:blog-323185692024-03-07T17:26:01.664+10:00Tin Can Bay Outdoor Photography Workshops - Photo Tips & TutorialsMuch of which applies to mobile phone and tablet camerasfergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.comBlogger104125tag:blogger.com,1999:blog-32318569.post-60960752217050304762023-03-22T12:26:00.002+10:002023-03-22T12:26:17.758+10:00Perspective<p><span style="font-family: verdana;"> </span></p><p class="MsoNormal" style="line-height: normal;"><span style="font-family: verdana;">Perspective in photography is when we
shoot a subject, by way of choosing several different angles and/or heights;
rather than simply taking just one shot at eye level. Which unfortunately, is
the way a lot of novice photographers will tend to go.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal;"><span style="font-family: verdana;">By administering perspective, it can
surely change, for the better, the photos you take in future, because you will
discover that you will now have choices, allowing you to select the best of
many shots, rather than just one that may not be so good anyway.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal;"><span style="font-family: verdana;"> A plain shot at eye level can, at
times, produce some great shots, but by manipulating perspective, which is
simply a matter of moving your body a couple of steps either to the left or
right or taking the shot from a lower or higher angle, will also instil a sense
of animation in your photos; which has got to be a good thing.</span></p><p class="MsoNormal" style="line-height: normal;"><span style="font-family: verdana;">You will notice too, that many
photojournalists will also shoot subjects from different heights or angles to get
the best perspective in the photos they produce.</span></p><p class="MsoNormal" style="line-height: normal;"><span style="font-family: verdana;">Even by just tilting the camera up or
down a little or from left or right, this simple action may also be enough to change
the perspective.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal;"><span style="font-family: verdana;">Note: An important thing to mention
here is that whilst you are taking all these varied shots, you are still
checking what is going on in the background or foreground of the scene; especially
elements that you do not wish to include. Or even those you do!</span></p>fergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.comtag:blogger.com,1999:blog-32318569.post-57485163404119913362018-01-20T14:08:00.002+10:002023-02-02T06:53:55.213+10:00IMPORTANT: SHUTTER LAG<div>
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<span face=""verdana" , sans-serif">Shutter lag refers to the time it takes from when you press the shutter button, to the time the camera actually completes the shot. This can be a problem sometimes for digital cameras and in particular, digital (point-and-shoot) compacts and can certainly be a problem in many photographic situations; especially if your subject is constantly moving about. Or, when you are waiting for that decisive moment.</span><br />
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<span face=""verdana" , sans-serif">The best way around this is when you take the shot just press the shutter button halfway and hold it for a second or two. This allows the camera to perform all of the functions it needs to before you press the button all the way. If your camera allows for manual focusing, set your focus at a distance that is comfortable for you. Say, 6 or 8 feet from your subject </span>(about right for this sort of photography). This will then help speed up the process and allow you to get on with composing your shots.</div><div style="text-align: justify;">
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<span face=""verdana" , sans-serif">Neglecting to do this can result in fuzzy out-of-focus photos.</span></div>
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fergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.comtag:blogger.com,1999:blog-32318569.post-39978912218931899392015-10-28T13:42:00.003+10:002023-02-02T06:57:51.755+10:00front page<i><b>Be my guest to scroll down to look through and click on any of the many tips & tutorials I have compiled here to assist you in your photography journey.</b></i><br />
<strong><em>Let me know if this site has been a help to you in some way and if you wish to ask a question or comment with regard to any of the content herein, or would like me to arrange a personal critique of your photos, simply click <a href="http://www.tincanbayphotography.info/">"HERE"</a> for my contact form</em></strong>fergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.comtag:blogger.com,1999:blog-32318569.post-84117849329044659492015-10-28T11:51:00.004+10:002018-11-09T05:16:13.119+10:00TIN CAN BAY BIRD HIDES<div align="center" class="MsoNormal" style="text-align: center;">
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<span style="font-family: "calibri" , sans-serif; font-size: 14pt;">For some years now, there has been much discussion and calls for ideas for the future visitor and tourism potential advancement of our area. <o:p></o:p></span></div>
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<span style="font-family: "calibri" , sans-serif; font-size: 14pt;">There have been many ideas put forward, some positive and others not so.<o:p></o:p></span></div>
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<span style="font-family: "calibri" , sans-serif; font-size: 14pt;">In</span><span style="font-family: "calibri" , sans-serif; font-size: 14pt;"> the midst of all this, there has been some quiet discussion regarding the possibility of having one or even two bird hides erected adjacent to or nearby migratory and local shorebird roosting areas along the Tin Can Bay foreshore. And of course, being an avid nature photographer, I clearly envisage the tourism and visitor potential that the bird hides would very likely bring; benefitting not only Tin Can Bay but the entire Cooloola Coast. As it would allow those interested, to view or photograph shorebirds or other related coastal creatures in close proximity without bothering or disturbing them.<o:p></o:p></span></div>
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<span style="font-family: "calibri" , sans-serif; font-size: 14pt;">Now, for all those local members of the community who are not so photographically inclined and saying, ‘Oh, not another wild suggestion!’ All I ask is that I am permitted to have my say and I can assure you, I am certainly not the only advocate of this venture and through research and discussion over the past couple of years, with many naturalist groups, camera clubs and other interested parties, I know the bird hides would be put to good and frequent use.<o:p></o:p></span></div>
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<span style="font-family: "calibri" , sans-serif; font-size: 14pt;">Such groups are well aware of the many varieties of, not only the plethora of migratory birds that flock to the area annually to roost and nest along our shores but also the great numbers that stay all year round and once established, news of the hides will very soon be passed on to other affiliated groups further afield.<o:p></o:p></span></div>
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<span style="font-family: "calibri" , sans-serif; font-size: 14pt;">Ultimately</span><span style="font-family: "calibri" , sans-serif; font-size: 14pt;">, as already stated, the town and the Region as a whole, would surely benefit financially from a second, very unique and natural asset. Tin Can Bay will then not only be famous for its dolphin feeding but also its shorebird watching. Surely taking the town to another tourism level.<o:p></o:p></span></div>
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<span style="font-family: "calibri" , sans-serif; font-size: 14pt;">Yes, Tin Can Bay is very lucky to have the dolphins as a major tourism drawcard, but why not extend that by allowing visitors and locals alike the opportunity of having the ability to get closer to, what already exists as a major resource for the town and the Cooloola Coast generally.<o:p></o:p></span></div>
<span style="font-family: "verdana" , sans-serif; text-align: justify;"><br /></span> <span style="font-family: "verdana" , sans-serif; text-align: justify;">Please </span><a href="https://www.fergiesfabfotos.info/contact" style="font-family: verdana, sans-serif; text-align: justify;">CONTACT</a><span style="font-family: "verdana" , sans-serif; text-align: justify;"> me for your thoughts. Thank you.</span></div>
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fergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.comtag:blogger.com,1999:blog-32318569.post-5775955237659126982011-04-28T07:17:00.014+10:002023-02-02T12:33:18.264+10:00The Glory Of Morning<div style="margin-bottom: 0cm; text-align: center;">
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;"><b>How To Shoot A Better Sunrise</b><span style="font-size: small;"><span style="font-weight: normal;"> </span></span></span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif"><span style="font-size: small;"><span style="font-family: verdana; font-weight: normal;"> By Ken Ferguson</span></span></span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;"><span style="font-size: small;">Out of all the wonderful and interesting subjects that Nature can provide, there are possibly none more photographed than sunsets or sunrises. Myself, I enjoy shooting both, but I do prefer sunrises (I will explain later). However, during the Winter months, I do not always enjoy slipping out from under the warm covers of my cozy bed; but then, one never knows what the morning will bring and I'd hate to miss out on what could be another spectacular show. </span> </span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;">But those cooler months do have their advantages, you don't need to get up quite so early as you do in the warmer months and I find, much to my pleasure, there are far fewer people about in those early hours.</span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif"><span style="font-family: verdana; font-size: small;">I was once asked why I shot more sunrises than sunsets and whilst I don't have any problems with sunsets, they too can produce some really moody shots, I prefer to do sunrises because I much enjoy the fresh, still morning air and the light is generally crisper and clearer; especially if there has been a shower of rain during the night. That really 'clears the air'. I also, as do other photographers, find it to be truly the best part of the day. </span></span></div>
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<span style="font-family: verdana;"><span class="Apple-style-span" face=""verdana" , sans-serif"><span style="font-size: small;"></span></span><span class="Apple-style-span" face=""verdana" , sans-serif">Incidentally, the general phases of sunrise and sunset are pretty much the same, only in the reverse of each other. So, with that in mind, from here on in, I will only give reference to sunrises.</span></span></div>
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<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: small;"><b>Some of the photographic </b></span><b>composition rules (</b><b>guidelines) and essentials needed </b><b>for both landscape and sunrise photography</b></span></div>
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<span style="font-family: verdana;"><span class="Apple-style-span" face=""verdana" , sans-serif"><span style="font-size: small;">The following are a few, 'so-called' rules (I prefer to call them guidelines) of composition that should be mentioned, for general </span></span><span face=""verdana" , sans-serif">sunrise landscape or seascape imagery. e</span><span face=""verdana" , sans-serif">specially if the intention is for entering them into photographic competitions. These rules, </span>by<span face=""verdana" , sans-serif"> the way, are definitely not mandatory and it is entirely up to you as to whether or not you want to apply them, but it is important that you know about them, practice them and then make a conscious decision regarding their application.</span></span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif"><span style="font-family: verdana; font-size: small;">Composition rules were originally put in place by classic artists for psychological and aesthetic reasons but also to help make it easier on the eye of those viewing their works, but also for the interest they add to both paintings and photographic images.</span></span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">It is not mandatory to use these rules, but it is important that you know about them if you wish to submit your photography at competition level, as some judges will look to where and how these rules have been applied and when it comes down to the wire, you may lose out to another contender who has made good use of them in their composition.</span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;">Sometimes an image can look quite boring when the main subject is placed bang in the centre of the frame. The rule of thirds can relieve some of that boredom.</span></div>
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<span style="font-family: verdana;"><span class="Apple-style-span" face=""verdana" , sans-serif">It is basically about the placement of focal points and other points of interest when we compose an image in </span><span class="Apple-style-span" face=""verdana" , sans-serif">the camera's viewfinder or on our viewing screens.</span></span></div>
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<span style="font-family: verdana;"><span class="Apple-style-span" face=""verdana" , sans-serif"><span style="font-size: small;">The best way to put this rule into practice is to imagine your viewfinder or </span></span><span class="Apple-style-span" face=""verdana" , sans-serif">viewing screen has an imaginary naughts and crosses type grid on it, with two equally spaced lines running horizontally across the frame and two running vertically down the frame. It is either on or near the area where the intersecting lines meet that we place our points of interest. </span></span></div>
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<span style="font-family: verdana;"><span class="Apple-style-span" face=""verdana" , sans-serif"><span style="font-size: small;">So, we have four intersections in our grid and all four of these points are just off </span></span><span class="Apple-style-span" face=""verdana" , sans-serif">centre. How do we know on which of these intersections to place our subject/s? This is dependent</span><span class="Apple-style-span" face=""verdana" , sans-serif"> on how you wish to configure your subject within the frame. </span></span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;">Let's look at how our sunrise could best be placed within the 'rule of thirds' grid.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">Firstly, do we have a horizon line running through the scene? If so, we don't particularly want to place it in the middle of the frame if we can avoid it. Such action can cause the resulting image to appear as though it is split in two. So, other forces here will cause us to make a conscious decision as to where we place this line. That decision is generally made for us after we have looked at the sky.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">If the sky is totally void of cloud or is simply grey, dull and uninteresting, it is best not to make a feature of it, but to place it on, or at least near, the upper horizontal imaginary line or about 1/3 of the way down from the top of the frame.</span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;"><span style="font-size: small;">If, on the other hand, the sky is really dramatic and colourful and you want to make a feature of it, as you would with a really dramatic sunrise, include it by placing it on the bottom horizontal line and the brightest part of the sky, assuming the sun has not yet broken the surface, could take up a position on either the left or right bottom intersections. It is up to you on what side you place it. </span> </span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">If for instance, there are sunbeams streaming out from behind some surface clouds and they are pointing to the right of you, then place that part of the sky on the left side, so that the sunbeams then shine across and into the frame.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">Try to balance your composition by placing a subordinate element (secondary point of interest) on an opposite intersection, or you may even be using the sunrise merely as a backdrop whilst the second element is, in fact, your main point of interest.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">I might point out here, that there is an instance where it is acceptable to have your horizon line in the centre of the frame, and that is when you have other objects running vertically through the scene. This will then take much of the emphasis away from the horizon line. Water reflections can be exempted from this rule.</span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;"><span style="font-size: small;">In portrait photography and even with pets or insects, the focal point, and that includes the face and eyes are usually placed on one of these grid intersections and that the subject is best presented looking into the frame when facing left or right. </span> </span></div>
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<span style="font-family: verdana;"><span class="Apple-style-span" face=""verdana" , sans-serif"><span style="font-size: small;">It all makes for a better composition, but it also makes it more pleasing to the eye of </span></span><span class="Apple-style-span" face=""verdana" , sans-serif">the person viewing the completed im</span><span class="Apple-style-span" face=""verdana" , sans-serif">age</span><span class="Apple-style-span" face=""verdana" , sans-serif">.</span></span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;"><b>2. The level horizon rule</b></span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">Unless it is for aesthetic reasons, there is also the rule that insists on a level horizon line. </span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;"><b>3. The less is more rule</b></span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">Keep it simple! When you view an image and it is too busy or cluttered, that is where it becomes difficult for the eye to settle on any particular spot, so you soon become bored and disinterested with it.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">Landscape composition should be constructed like that of a book – with a beginning, a middle section and a great ending or background. This can also create a good strong sense of depth or give a third-dimensional effect to the image, but it should also have a simple storyline, with one major player and just a couple of subordinate players.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">Keeping this in mind, along with the 'rule of thirds', will also help your creations hold the interest of viewers, who will want to see them time and time again.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;"><b>4. The where to amputate rule</b></span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">This is one rule that may not always apply directly to sunrise photography, but it is one worth knowing because it can help you get things into perspective.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">In portrait photography, human and animal, particularly where some part of the human anatomy has to be excluded, it is aesthetically advisable and much more pleasing, if and when you must amputate, try to do it halfway between joints of the anatomy and not at the joint itself.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">Where this may apply to sunrise photography, is when you look through the viewfinder or at your viewing screen and you see part of something protruding in from the side of the lens's extremities. You must make a decision then, if you want to include that part, all of it, or omit it out altogether.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;"><b>5. The landscape focusing rule</b></span></div>
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<span style="font-family: verdana;"><span class="Apple-style-span" face=""verdana" , sans-serif"><span style="font-size: small;">A good landscape vista image should be clear, sharp from the immediate foreground, right through to the distant background. To achieve this with a compact camera, simply turn your shooting mode dial to 'landscape' mode and the camera will do the rest. What it does, it will set a small aperture (large setting number), anywhere from between f-8 to f-22, to allow for this type </span></span><span class="Apple-style-span" face=""verdana" , sans-serif">of shot. </span></span></div>
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<span style="font-family: verdana;"><span class="Apple-style-span" face=""verdana" , sans-serif">With a DSLR, switch to 'manual focus' and turn the focus ring on your lens till it is set to infinity (if you have one, it's the little emblem that resembles a figure 8 laying on </span><span face=""verdana" , sans-serif">its side) and while in aperture priority, set the reading to about f-11 and the camera will automatically set a correct shutter speed for that aperture setting.</span></span></div>
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<span face=""verdana" , sans-serif" style="font-size: small;"><span style="font-family: verdana; font-weight: normal;"><br />
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;"><b>6. The fill the frame rule</b></span></div>
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<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: small;">Unless you are shooting your sunrise to have it as a feature in a 'minimalist' image, try to fill the frame with your scene. A zoom lens is ideal for getting in close to your subject or adding to the composition, but also great for eliminating unwanted elements from within the scene. If after zooming in, you still can't fill the frame, this could be a simple matter of physically moving in closer until you feel you have it right. If necessary, cropping of the scene can always be done later </span><span class="Apple-style-span" face=""verdana" , sans-serif">on the computer </span><span class="Apple-style-span" face=""verdana" , sans-serif">in your photo editing program. </span></span></div>
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<span style="font-family: verdana;"><span class="Apple-style-span" face=""verdana" , sans-serif"><span style="font-size: small;"><b>More ideas</b> </span></span><b>to help create more interest </b><b>in your sunrise images</b></span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;"><b>Portrait or landscape mode?</b></span></div>
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<span style="font-family: verdana;"><span face=""verdana" , sans-serif">It is obvious that most cameras are designed and constructed in a horizontal style. It is,</span><span face=""verdana" , sans-serif"> therefore</span><span face=""verdana" , sans-serif">, not unusual for some people to adopt the opinion that that is the way in which they should use it at all times. Generally speaking, most landscape creations, do require the camera to be held in landscape mode (camera held horizontally), simply because that is how landscapes are usually portrayed. But there will be just as many times when you need to use your camera in portrait mode (camera held vertically). This mode is very useful for when you want to include a lot of your scene, but in a vertical format only without the intrusion of side elements. A really wide-angle lens is great for this, as you can include all you want from within the scene, at the viewpoint from where you are standing, right up high into the sky.</span></span></div>
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<span style="font-family: verdana;"><span class="Apple-style-span" face=""verdana" , sans-serif"><span style="font-size: small;">If you are not used to using your camera in portrait mode, here is an excellent way to </span></span><span class="Apple-style-span" face=""verdana" , sans-serif">allow yourself to become more familiar with it:</span></span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">Each time you take a landscape shot, take the same scene or part of it again in portrait mode. After some practice, it will soon become second nature to you and in no time at all, you will be assessing each scene on its merits as to which mode is best to use.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;"><b>When one is never enough</b></span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">Top professional photographers are never that cocky that they can think they can get away with just one shot of their subject/s. A good pro will really work at it – trying various camera settings, shooting angles, points of view, moving the tripod to the left or right, higher angle or lower. Don't waste your time because that colour and light will not last long, so get all that you can, while you can, because you may never get the chance again for a while to come.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;"><b>Try to keep your image distraction free</b></span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;"><span style="font-size: small;">No matter what type of photography you are into, it is always important not to let any little distracting elements spoil the show for you. </span> </span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">Always keep in mind, your camera sees and records every little thing within the viewing range of its lens. Whereas, the novice photographer sees only what he/she wants to see; therefore, you must always be vigilant about what is being included in your composition. Remember the 'level horizon' rule?</span></div>
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<span style="font-family: verdana;"><span class="Apple-style-span" face=""verdana" , sans-serif">These little annoyances could be anything at all – anything that is, that you don't </span><span class="Apple-style-span" face=""verdana" , sans-serif">want to have included in the shot. Distractions in photography will only draw the </span><span class="Apple-style-span" face=""verdana" , sans-serif">viewer's attention away from the main point of interest.</span></span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">Some of these unwanted elements could be obvious ones like bright colours or shiny reflections, but they may also be parts of that intrude along the inside edge of the frame. These can easily be cropped out later, but others internally may not be so easy. So, always check your backgrounds!</span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;"><span style="font-size: small;"><b>Framing</b></span><span style="font-size: small;"><span style="font-weight: normal;"> </span></span> </span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">The framing referred to here is that composition element we might find within the scene to frame subjects with. Things like tree branches, doorways, arches, bridges, pipes, tunnels, etc.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">When we use elements like this to frame our subject, we can certainly create a lot of interest in our photography and it is also fun to do and good to try and practice but we have to be very careful that it does not dominate the scene.</span></div>
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<span style="font-family: verdana;"><span class="Apple-style-span" face=""verdana" , sans-serif"><span style="font-size: small;"><b>Composition elements</b> <b>to help</b></span></span><b> create impact </b><b>in your sunrise photos</b></span></div>
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<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: small;">In the transition from true novice photographer, to enthusiast and eventually going </span><span face=""verdana" , sans-serif">on to become professional, whichever photographic road you decide to follow, in time you will develop your very own individual style – your own footprint or mark, so to speak; just as classic</span><span face=""verdana" , sans-serif"> artists, musicians and famous novel writers did.</span></span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;"><span style="font-size: small;">In that time, however long it takes to gain experience, you, like them, will use and manipulate the ideas and inspirations of many others who have gained their own notoriety and as you become more and more proficient you will become an individual and as you find your own wings, you will also develop your own photographic style and others will surely recognise you by it. </span> </span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">To help speed up this transition, the following ideas can also be used when constructing and composing your sunset or even landscape images.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;"><b>Emotional values</b></span></div>
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<span style="font-family: verdana;"><span class="Apple-style-span" face=""verdana" , sans-serif"><span style="font-size: small;">I mentioned earlier about developing an individual style. Well, everyone is an individual and what you may perceive as a thing of beauty, another could find it very difficult to muster the same emotion. Beauty and art are truly in the </span></span><span class="Apple-style-span" face=""verdana" , sans-serif">eyes of the beholder and that same strong emotion that aroused us to create what we consider to be a photographic masterpiece, needs to be conveyed in the same way </span><span class="Apple-style-span" face=""verdana" , sans-serif">to the average competition judge, but ultimately to those of whom we wish to sell our work.</span></span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">The following should help build that emotional factor or to 'convey a story' into an image.</span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;"><span style="font-size: small;">The simple use of 'shapes' can stir up psychological and emotive feelings subconsciously in the eyes and minds of those who view our images. </span> </span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;"><span style="font-size: small;">Shapes, such as squares, circles, or triangles, flat lines, vertical or angular. In fact, circles or squares are really just lines joined at both ends. These elements can often be found in parts of churches or buildings or steeples, windows, doorways, etc., triangular sails on boats, even letters of the alphabet like the A's and H's, found in bridge construction. </span> </span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif"><span style="font-family: verdana; font-size: small;">In landscape photography, we have many of these emotive elements at our fingertips. </span></span></div>
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</span><div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;"><span face=""verdana" , sans-serif">It was mentioned earlier about taking the shot vertically (portrait style) or horizontally (landscape style). </span><span face=""verdana" , sans-serif" style="text-align: justify;">Landscapes are best seen in a wide vista style, to have as much scenery in the shot as possible. Because they are mostly horizontal, and horizontal being flat or like a flat line, the emotions drawn from that are of restfulness, peace or serenity. This is what is generally conveyed in sunrise images and we can even increase those emotive values by using elements like boats lying at anchor or someone quietly fishing in water that is also quiet and still. Especially in the 'twilight hour' before the sun has risen to disturb the peace.</span></span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">On the other hand, we can use portrait style to evoke emotions of heavy action, drama, power, strength and dynamism.</span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;"><span style="font-size: small;">It is worth remembering too that we can also use angular lines or leaning elements to create a sensation of movement. </span> </span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">Curves and straight lines can also bring on different emotive feelings. We simply have to recognise them. In general landscapes, we can find curves in the undulating land and lines in roads, fences, a line of trees, a pathway leading into a garden, etc. In our seascape/sunrise, water run-offs perhaps that meander down to the ebbing tide line. This meandering line may even be used to draw the eye of the viewer into the scene or perhaps the tide line itself could also be used. In all of this, we are only limited by the extent of our own imaginations - and knowledge of course.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">We have to adopt the correct use of light and shade, we cannot work without the right light and with clouds and shadows, we can create dramatic scenes and also use long shadows to create those 'guiding lines' to draw the eye of the viewer into our creations. The strength or softness and the intensity or direction of light can also stir the emotions because of the texture and form it creates on surfaces.</span></div>
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<span style="font-family: verdana;"><span class="Apple-style-span" face=""verdana" , sans-serif"><span style="font-size: small;">Certain colours can also cause the emotions to stir. Colours in the blue or green range can make you feel cold. On the other hand, strong reds, oranges and pinks can bring </span></span><span class="Apple-style-span" face=""verdana" , sans-serif">about a sense of comforting warmth.</span></span></div>
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<span style="font-family: verdana;"><span class="Apple-style-span" face=""verdana" , sans-serif"><span style="font-size: small;">This is where sunrises can really impact on the viewer, with strong and dramatic </span></span><span class="Apple-style-span" face=""verdana" , sans-serif">colours in the sky and dark heavily silhouetted features in the foreground. You will </span><span class="Apple-style-span" face=""verdana" , sans-serif">find an extremely rough sea, with waves smashing heavily over rugged rocks will have a different effect on the viewer, as opposed to where the sea is quiet and serene and reflects the sky, as would a sheet of glass or mirror, with only the odd ripple when something from below occasionally comes up to disturb the surface.</span></span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;"><b>Don't discount that human element</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWLfkXyWHyrugB8PAvRpq77y7mcriYHTdQzc2xQpkWihpc2R3aX1wuJ3oUEEqS83KeWOO4c_qMeziXYysEfI45Ab89btnnHr4js57idSr6rJK4-E3-GH0RvCJZNK9kKlZMKf4Dpw/s1600/07.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: justify;"><span face=""verdana" , sans-serif" style="color: black; font-family: verdana;"></span></a><span style="font-family: verdana;"><span class="Apple-style-span" face=""verdana" , sans-serif"></span><br />
</span><div style="text-align: justify;">
<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;">People can be very usefully when placed in the making of the ideal composition, especially where we need to provide a sense of scale or even depth in an image. And yes, people can also be a darned nuisance at times, when we definitely don't want them in the shot, but they can be strategically placed in a certain part of a scene that, for instance, includes a waterfall. When we shoot a waterfall, we know how high it is, but how do we convey that same sense of height or scale to those who view our images?</span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif"><span style="font-family: verdana; font-size: small;">There are also places where you would expect to find people and it can be emotionally disturbing if they are not there. </span></span></div>
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<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">You can conjure up feelings of desertion and/or abandonment when you see certain images of places where you expect to see people, but they are not there. For example, a park bench, with no one sitting on it. A popular seaside beach, with no one sunbathing on it or even an, often frequented, but empty, beer garden.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">In our coastal sunrise, we could include perhaps someone fishing or casting a net. Don't be afraid to include that influential human element whenever and wherever you deem it necessary to do so.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;"><b>Equipment</b></span></div>
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<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: small;">As newer model compact cameras come onto the market these days, they do not have all the bells and whistles that DSLR cameras can offer but some of them do allow for manual or at least semi-manual operation; including options of manual focusing or manual flash operation. </span><span class="Apple-style-span" face=""verdana" , sans-serif">However, because you are shooting in near-dark conditions, to get a reasonable result with sunrise photography, your camera must have the ability to allow for lengthy </span><span class="Apple-style-span" face=""verdana" , sans-serif">exposures. As from the time you press the shutter until it closes again.</span></span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">For these long exposures, you will also need to stabilise your camera and for that I recommend a good, sturdy tripod because, at these low shutter speeds, the slightest movement the resulting image is likely to be blurred and even if you have a built-in anti-shake facility, it will not help under these extreme conditions. A remote shutter release is best on these occasions as it will help to eliminate camera movement. However, in some cases, the mere movement brought about by the operation of the camera itself is sometimes enough to cause slight blurriness in your photos. The camera's 'timer function' can also assist in this case.</span></div>
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<span style="font-family: verdana;"><span class="Apple-style-span" face=""verdana" , sans-serif"><span style="font-size: small;">What can also be a problem, is if you have your tripod is standing on soft terrain such as wet boggy sand. During long exposures, the tripod will slowly begin to sink and you will probably not </span></span><span class="Apple-style-span" face=""verdana" , sans-serif">realise it until you view the results. Just be aware of this and you may be able to improvise.</span></span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">So, we have the right sort of camera for the job as well as something to keep it stabilised - preferably a good sturdy tripod.</span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;"><span style="font-size: small;">Most sunrise photos tend to be taken on the spur of the moment, in the heat of the excitement, with very little planning involved. In anything you do, you simply cannot expect to get a good result without prior planning and it is just as important with sunrise photography, as it is with any other sort of photography. </span> </span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">Ther plan should involve, knowing what time and where on the horizon the sun will first appear and you will need to be there at least an hour earlier to give yourself ample time to be set up and ready for the task. Do this in the days leading up to the shoot and just to be a little more precise, take along a compass. This will give a much better indication of where the sun will rise.</span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;"><span style="font-size: small;">It is also a good idea to check on the tide times, as this may also be an important factor as to the options and overall quality of your shots. </span> </span></div>
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<span style="font-family: verdana;"><span class="Apple-style-span" face=""verdana" , sans-serif"><span style="font-size: small;">The impact of your ocean sunrise will depend entirely on what other content you plan to include in the scene. If it is a clear morning without any cloud, the sky part of the image will be lacking somewhat and remember, it will still be reasonably dark when you arrive on scene and even with the best planning you still can't be sure at this stage just what the </span></span><span class="Apple-style-span" face=""verdana" , sans-serif">morning is going to bring and it can be very frustrating, after going to all this trouble then finding, when you get there, there is no cloud or there is too much cloud. That's when you have to be prepared to get whatever images you can or simply pack up and do it </span><span class="Apple-style-span" face=""verdana" , sans-serif">all again tomorrow. Yes, this type of photography can really sort out the men from the boys, but you will definitely find the eventual rewards will far outweigh a few</span></span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;"><span style="font-size: small;">little disappointments. </span> </span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif"><span style="font-family: verdana; font-size: small;">It is mainly the clouds or the light which is reflected from them, that provide not only the magical colour but also the drama and emotion or much-added interest to your sunrise. But that also is dependent on the type, quality and height of the cloud. The higher the cloud base, the more time you will have to allow yourself to be there and this depends on a lot on where in the world you are at the time. However, you generally can't go wrong if you allow yourself a good hour before the sun breaks the horizon.</span></span></div>
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<span style="font-family: verdana;"><span class="Apple-style-span" face=""verdana" , sans-serif"><span style="font-size: small;">The first traces of colour could start to appear about half an hour (again, depending on the height of the cloud base) prior to the time the sun is due to break the horizon and you may only have a time slot of around 10 to 15 minutes before the colour begins </span></span><span class="Apple-style-span" face=""verdana" , sans-serif">to dissipate. Also, be aware that it will be constantly changing throughout that time, so time is of the essence.</span></span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana;">In our great plan, we now know where and when the sun will rise, we also know if the tide will be in or out and we will check with the weather bureau on the weather and especially the cloud indicators.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">What we have to do now, is look for something that will complete our scene in the way of foreground interest and as we are down on the foreshore, there is no telling to what limits our imaginations will go. Silhouetted Palm trees, boats, rocks, high rise buildings, the ideas are endless really, but it has to be right. This is what will make or break sunrise images!</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">Incidentally, if the sunrise itself is a real fizzer, you may just need to utilise one of the secondary subjects as the real thing. To use anything at all is better than to go home with nothing.</span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;"><span style="font-size: small;">Another part of the planning is to look at the scene now in daylight and try to pre-visualise how it will appear in the semi-darkness. Try to get an idea of how the bits you have chosen will all fit neatly into your photo plan. Remembering of course that these items will be virtual silhouettes. If there is only one extra point of interest, other than the sunset itself, that's alright, but if there are more than one, without making the scene too cluttered, separate each item, so that they are easily distinguishable. </span> </span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">There is nothing more annoying than looking at silhouettes in a photo and being unable to ascertain what the shapes might be.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">Once you have found the ideal foreground feature and you are happy with how you imagine it will look, make note of where the site is so that you will not encounter any problems finding it again.</span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;"><span style="font-size: small;">Before day's end, make certain you have all that you need for the shoot. </span> </span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;"><span style="font-size: small;">Firstly, your camera - make sure it is fully charged or if it takes normal batteries, have some fresh ones ready, just in case. </span> </span></div>
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<span style="font-family: verdana;"><span class="Apple-style-span" face=""verdana" , sans-serif">If it is a compact model, turn your mode dial to “Landscape” or if you can manually operate it, switch it to Aperture Priority and set your aperture accordingly. A good start is about f-11. Although, you </span><span class="Apple-style-span" face=""verdana" , sans-serif">may have to alter settings as you go during the shoot.</span></span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">With a DSLR, pack any lenses deemed necessary for the shoot but have the one you think you will be using mostly already fitted to the camera and check the battery level.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana; font-size: small;">If filters are being used, such as sunset filters, it is probably not a good idea to have them fitted to the camera yet, but wait till the morning light improves a little after you have arrived on site.</span></div>
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<span style="font-family: verdana;"><span class="Apple-style-span" face=""verdana" , sans-serif"><span style="font-size: small;">Ensure that your tripod is fully functional and be sure to pack your remote shutter release – if </span></span><span class="Apple-style-span" face=""verdana" , sans-serif">you have one. A pair of rubber boots and a plastic ground sheet is handy if the tide is out and be certain to pack a torch (and extra batteries for that too), the brighter the better – I will explain later. But don't pack it away, instead, keep it in a p</span><span class="Apple-style-span" face=""verdana" , sans-serif">lace where it will be easily accessible in the morning. You may need it to go from the car to your preselected site.</span></span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;">When packing your personal gear, don't forget, you will be leaving in the dark or at least semi-darkness, so hats, sunglasses and water bottle will more than likely be the last things you are likely to think about. Also, the insect repellent, long trousers and long sleeve shirt. </span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;">You are probably now thinking, 'Is all this really necessary?' And I say, from experience, “Yes, it is!” </span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;">All these things should be laid out and ready to jump straight into in the morning. It is all part of the planning so that all will be 'okay on the day' and you will not get halfway to the site and realise you have forgotten something and have to go back, thus missing out on half the action. </span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;">The next morning, everything should be going nicely and according to plan. It should still be too dark to see what the sky is doing, but at least be thankful if it is not raining!</span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;">With the light from the interior of your car, calmly and methodically fix the camera to the top of your tripod, the legs of which should be fully extended, put on your insect repellent, grab the rest of your gear, lock the car, making sure all lights are off and quietly make your way to your chosen spot.</span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;">Before you get started on your composition, remember the rule, “Less is more”. Try not to include too much stuff in your shot. The sunrise is to be your main feature and whatever else you have included in your shot, should be treated as secondary in value to the main feature. Subordinate things are simply stop off places for the eye when viewing the resulting images.</span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;">Remember plan B if the sunrise itself is a complete fizzer! </span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;">You should by now, be able to see a bit of light on the horizon, so switch on your camera and knowing that it should already be set on f-11, try the shutter and see if it will expose a shot. This exposure should be a long one, so wait till the shutter closes then take a look and see what you have.</span></div>
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<span style="font-family: verdana;"><span class="Apple-style-span" face=""verdana" , sans-serif">The resulting shot will help you determine whether or not you should change your settings (a higher ISO possibly) or it may include altering your viewpoint - a simple matter of moving slightly to the right or left or </span><span class="Apple-style-span" face=""verdana" , sans-serif">shooting from a higher or lower angle.</span></span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;">Remembering the 'rule of thirds', you should determine whether or not it is worth including the sky in your shot. Is the horizon line level?</span></div>
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<span style="font-family: verdana;"><span class="Apple-style-span" face=""verdana" , sans-serif">If detail in the foreground feature/s is required, whilst pressing the shutter </span><span class="Apple-style-span" face=""verdana" , sans-serif">button shining your flashlight on them. Sometimes, depending on how close in you are to your chosen foreground, your on-camera flash or external flash </span><span class="Apple-style-span" face=""verdana" , sans-serif">unit may be enough to cast light (fill-flash) on them.</span></span></div>
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<span style="font-family: verdana;"><span class="Apple-style-span" face=""verdana" , sans-serif">With the composition of your foreground features, and again observing the 'Rule of </span><span class="Apple-style-span" face=""verdana" , sans-serif">thirds', try to place the one showing the most interest, about 1/3 of the way in from the side of the frame and the still yet to come sunrise on the other side and </span><span face=""verdana" , sans-serif">at this </span><span face=""verdana" , sans-serif">stage, if </span><span face=""verdana" , sans-serif">you are not getting much joy as far as colour goes, it is probably best to stay where you are and see it through, as the morning and the </span><span face=""verdana" , sans-serif">ever-changing</span><span face=""verdana" , sans-serif"> colours can still bring many surprises.</span></span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;">In the course of all this, keep looking around you. The light can play tricks and it could be that there is colour in some other part of the sky behind you.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana;">Be aware of what you are including in your shot as your foreground content is just as important as your background.</span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;">The next phase of the sunrise is when the sun actually starts to peep over the horizon. The pinks, oranges and reds have all but gone now and we are in, what is known as, the 'golden hour' phase.</span></div>
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<span style="font-family: verdana;"><span class="Apple-style-span" face=""verdana" , sans-serif">The light is very much different now as it takes on a golden hue, but this is the time when </span><span class="Apple-style-span" face=""verdana" , sans-serif">you can get some great landscape or even cityscape photography as you will no doubt soon discover when taking a good look around.</span></span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;">This different light now accentuates surface form and texture with bright areas along with heavily cast shadows. If you are on a beach, look at how it accentuates shapes in the sand and all the little coloured bits and pieces that have been left along the high tide mark. The bark on trees and surfaces of coloured rocks are much more noticeable now because the light puts more emphasis on the texture of their surfaces. </span></div>
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<span class="Apple-style-span" face=""verdana" , sans-serif" style="font-family: verdana;">As the golden hour passes, the sun will have well and truly risen, as it starts its slow journey across the sky, if not before, the breeze is probably now prevalent and the light has become much whiter now, so it is generally about this time when I think about starting to pack up and make for home, wondering at the same time, how tomorrow morning might be.</span></div>
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fergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.comtag:blogger.com,1999:blog-32318569.post-88428478477359248242011-02-05T15:20:00.005+10:002023-02-03T08:25:27.684+10:00Shooting Indoors<div align="CENTER" style="margin-bottom: 0cm;">
<span style="font-family: verdana; font-size: small;"><b>Challenges of shooting indoors</b></span></div>
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<span style="font-family: verdana; font-size: small;"><b>(Real estate photography)</b></span></div><div align="CENTER" style="margin-bottom: 0cm;"><span style="font-family: verdana; font-size: small;"><b><br /></b></span></div>
<div style="margin-bottom: 0cm; text-align: center;"><span class="Apple-style-span" face=""verdana" , sans-serif"><span style="font-family: verdana; font-size: small; text-align: justify;"><br /></span></span></div><div style="margin-bottom: 0cm; text-align: left;">
<span class="Apple-style-span" face=""verdana" , sans-serif"><span style="font-family: verdana; font-size: small; text-align: justify;">I have found shooting indoors can </span><span style="font-family: verdana; text-align: justify;">bring about, for me, many more challenges, than outdoor photography. Particularly with lighting and especially if there is a bright, open window dominating part of the scene. This can result in a drastically under-exposed shot due to the camera exposing the bright window.</span></span></div>
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<span style="font-family: verdana; font-size: small;">Other problems could include room clutter, such as kid's toys on the floor, too many ornaments or brightly coloured cushions, articles of clothing or dishes still in the sink. If there are windows that show a clear view of the bright outdoors, make certain it is a clear view and one without any annoying or distracting elements either. </span></div>
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<span style="font-family: verdana; font-size: small;">Another problem with indoor photography is the distortion caused by wide angle lenses on vertical and horizontal surfaces, such as door frames and window drapes. And we need a good wide-angle lens to get everything in, but the wider the lens the more distortion. Fortunately, many DSLR cameras have a built-in distortion correction facility to alleviate these problems.</span></div>
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<span style="font-family: verdana; font-size: small;">All these things can not only detract dramatically from our main point of interest but also give shots a very unprofessional look.</span></div>
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<span style="font-family: verdana; font-size: small;">Perhaps you are photographing a property that is for sale or rent for a Real Estate office - is it going furnished? If so, will you need to show all items in each room? But you will also need to find out if there are any special features of the property that the owner would like to have included in the shoot.</span></div>
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<span style="font-family: verdana; font-size: small;">In real estate photography you would normally shoot both inside and out, so outdoors will surely need the same amount of scrutiny, care and consideration.</span></div>
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<span style="font-family: verdana; font-size: small;">Obviously, a DSLR camera is best suited for this type of photography. Mainly due to the fact that if you need to use flash (as well as changing lenses), as would normally be the case, the pop-up flash of a compact camera is simply not powerful enough for distant shots and just too over-bearing for close-ups. Therefore, an external flash unit attached to a DSLR camera's hot shoe is much more acceptable, as its light is more powerful and can be diffused by being bounced off a whitish wall or ceiling. You may need to adjust its strength, and/or your white balance, however, depending on the type of fixed lighting being used in the building.</span></div>
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<span class="Apple-style-span" style="font-family: verdana;"><span style="font-size: small;">A slave flash or other lighting apparatus mounted atop another tripod would also be an asset in large rooms. </span> </span></div>
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<span style="font-family: verdana; font-size: small;">As for the strength and direction of the sunlight coming in from outdoors, you may have to draw the curtains or possibly come back when the sky is a bit more overcast.</span></div>
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<span style="font-family: verdana; font-size: small;">It all depends on the equipment you have and how proficient you are in its use.</span></div>
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<span style="font-family: verdana; font-size: small;">The best type of lens for this job, of course, is a wide-angle lens. If you are using a compact camera, set it to its widest angle.</span></div>
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<span class="Apple-style-span" style="font-family: verdana;"><span style="font-size: small;">On a DSLR, 14-18mm is about right for larger sensors, but for smaller, 12-14mm. You will notice, however, the wider the lens, the more 'barrel distortion' will affect your shots. And unless you have a very costly distortion altering lens, the best you can do is try to make it as less obvious as possible, by possibly not including vertical door frames, etc., in the shot. </span> </span></div>
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<span class="Apple-style-span" style="font-family: verdana;"><span style="font-size: small;">To make it less obvious, get a rough idea of the ceiling height of the rooms and if you shoot at half that height, you will find those distortions will not be so prominent. </span> </span></div>
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<span class="Apple-style-span" style="font-family: verdana;"><span style="font-size: small;">One thing that I consider important in real estate photography, is to contact the owner prior to the shoot and be fully informed with what he expects and all that is required. </span> </span></div>
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<span face=""verdana" , sans-serif" style="font-size: small;"><span style="font-family: verdana; font-weight: normal;">Keep a file on him/her and the real estate office handling the property. Take notes of each consecutive frame number that relates to a particular room, so that you can then relate back to them if needed. Also, note down any special aspects of the shoot that you may want for future reference.</span></span></div>
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<span style="font-family: verdana; font-size: small;">Ask the owner if he/she would like to have a photo or print of any special part of the house or garden that they are particularly fond of or has a certain closeness to.</span></div>
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<span style="font-family: verdana; font-size: small;">All these things considered can only help you become more professional in what you do and how you accomplish it.</span></div><div style="text-align: justify;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: justify;"><span style="font-family: verdana;"><br /></span>
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fergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.comtag:blogger.com,1999:blog-32318569.post-79598392219567801522010-05-06T09:35:00.010+10:002010-08-28T09:03:09.586+10:00Ken & Jackie's Wedding - 10/04/2010Local Celebrant extraordinare, <a href="http://www.gympiecelebrant.com.au/">Bev Travis</a>, doing her thing. Excellent, couldn't have wished for better!<br />
And thank you Peter Holt of <a href="http://holtieshouse.blogspot.com/">HoltiesHouse</a> for taking the photos.<br />
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Ceremony held at Alford Park duck ponds, Gympie and later at the <a href="http://www.phoenixhotelgympie.com.au/">Phoenix Hotel</a>.fergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.comtag:blogger.com,1999:blog-32318569.post-34236843002654359282010-02-25T08:49:00.017+10:002010-09-15T05:15:20.654+10:00Make my Photo Tips page your page...<div align="center"><em></em><br />
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<em>I do hope my Photo Tips will soon become a part of your everyday, photographic routine.</em></div><div style="text-align: center;"><strong><em><span style="color: #ff6600;">Please let me know if this site has been helpful to you and if you wish to enquire about my photography sevices (restricted to my locale at Gympie, Queensland, Australia, of course), ask a question, comment on any of the content herein, or if you would like me to arrange a personal critique of your photos. Simply click <a href="http://www.fergiesfabfotos.com/-/fergiesfabfotos/contact.asp">"HERE"</a> to contact me.</span></em></strong></div><div align="center"><em>To keep my Photo Tips handy and at a moments notice, here's how you can make my Home Page your favourite page.</em></div><div align="center"><br />
</div><div align="center"><em>It's easy, just follow thes instructions:</em></div><div align="center"><em>Open your internet browser and from the main menu select "Tools".</em></div><div align="center"><em>Click on "internet options",</em></div><div align="center"><em>Then, in the URL "Home Page" address box, </em></div><div align="center"><em>Type in: <a href="http://blog.fergiesfabfotos.com/">http://blog.fergiesfabfotos.com/</a></em></div><div align="center"><em>Then click "Apply" and "OK"</em><br />
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<em>***************************************</em></div><div align="center"><em></em></div>fergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.comtag:blogger.com,1999:blog-32318569.post-62126134095365451172009-11-14T08:31:00.006+10:002018-01-19T10:17:12.501+10:00Balance<br />
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<span style="font-family: verdana, sans-serif;">Another important composition rule, or principal, which I have already briefly mentioned in my 'Composition Design' tutorials is 'Balance' - getting the elements in your photos to achieve the 'right balance'.</span></div>
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What I mean by balance is, you may have seen a photo or two, where everything is heavily weighted on one side of the frame, with nothing of significance on the other. In other words, it looks a good deal one-sided.</div>
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In some shooting situations, you may not even have to give much thought to balance, but it is worth giving some consideration, when confronted with a situation where you need to place your main point of interest on or near the edge of the frame, to add another subordinate point of interest on the other, upper or lower side of the frame. For instance, a tree branch, a rock, a bird or an interesting bit of sky perhaps. Making sure that this subordinate object is not going to draw too much attention away from the main point of interest. A smaller object will always balance a larger one, or a softer colour will balance a bright one.</div>
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Simply by checking the scene carefully prior to pressing the shutter button, and by moving to the right or left, or by gaining a higher or lower viewing angle, you can be more creative with your shots and they will not only be more interesting, but they will also have more impact.</div>
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Balance can be a bit like symmetry in shots. Where, if you have a number of objects of the same size and colour filling the frame, such as green leaves, you can add a brown one and by placing it on or near one of the 'Rule of thirds' intersecting lines, you will not only give the shot more interest, but it will then have a focal point, a very important element.</div>
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Balance can also relate to subject perspective, or if your subject is side on to you and, for instance, looking toward your right, place the subject on the left of frame so it is looking into the scene and again with the 'Rule of Thirds' in mind, place the subject’s eyes on the upper left part of the frame.</div>
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A non-level horizon line can also cause a photo to look unbalanced, so also be aware of that if you are shooting a scene which includes a horizon line.</div>
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If you don’t get all this quite right on the day, there is always the possibility of a bit of post-production later on the computer to tidy it up.</div>
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fergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.comtag:blogger.com,1999:blog-32318569.post-84289517687429827302009-08-29T16:07:00.007+10:002023-02-02T12:24:35.027+10:00Shooting Panoramas<div style="text-align: justify;"><span face=""verdana" , sans-serif"><br /></span></div><div style="text-align: justify;">
<span face=""verdana" , sans-serif">Panorama photography is not everyone's cup of tea but it is fun to try these things and I do encourage everyone to try and get involved as much as they can with all photography variants.</span></div>
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<span face=""verdana" , sans-serif">There are many new model cameras now equipped with their own built-in 'stitching' programs, but there are also programs available freely on the net.</span></div>
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<span face=""verdana" , sans-serif">Admittedly, panoramas are fun to do and can require a certain amount of skill to get a reasonable result.</span></div>
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<span face=""verdana" , sans-serif">The main thing I find is to choose a really interesting subject or at least one that has one or two good focal points. They can look fairly boring with miles of landscape and nothing much to fix your eye on.</span></div>
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<span face=""verdana" , sans-serif">For instance, scenes such as Monument Valley in Utah, Ayers Rock (Uluru) in Australia or Yosemite National Park, just to name a few, they would all make excellent panoramas and hold great interest to the viewer, because of the interesting elements they provide.</span></div>
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<span face=""verdana" , sans-serif">For best results, your equipment should include a good stable tripod for your camera and one fitted with a pan head if possible. A remote shutter release would also be an asset, but not essential. </span></div>
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<span face=""verdana" , sans-serif">Depending on the scene you are composing (we will assume, in this case, a landscape) and type of camera you are using, for a correct exposure you should switch your mode dial to “Landscape” and have your lens set on a wide angle. Or, on the other hand, if you are using an SLR type camera, a 50mm (standard) lens or a zoom set at around 45 - 50mm. For exposure, 'aperture priority' mode and set it to f11 or f16 or 'shutter priority' - 1/125 or 1/250 second (for a bright sunny day). This should allow you to get good clear focus throughout the scene, availability of ambient light permitting. You may have to make minor adjustments till you get exposure settings right.</span></div>
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<span face=""verdana" , sans-serif">I am hoping, at this stage, you have been practicing your composition skills, so I don’t have to go through all that with you but when you compose your first shot, remember it is the start of your panorama and in most cases, people will view a scene from left to right, so it is, therefore, important to include part of your subject in the first frame.</span></div>
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<span face=""verdana" , sans-serif">When you are happy with your first composition, (and I am assuming you are panning from left to right), carry out the shot, but keep a mental note of any elements near the right edge of the frame, such as a tree or rock. Pan your camera along for the next composition, but overlap slightly the tree or rock that you mentally noted from your first frame. Then compose and take the shot.</span></div>
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<span face=""verdana" , sans-serif">Repeat this process for a third, fourth or fifth shot. Depending of course on how long you want your panorama to be, or in fact, how long your subject is. Generally speaking, most panoramas will include four, five or six frames.</span></div>
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<span face=""verdana" , sans-serif">Remembering, of course, the more frames you have, the longer your panorama will be, and the more difficult it is then to view comfortably on your PC.</span></div>
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<span face=""verdana" , sans-serif">We have been discussing horizontal panoramas here, but you can also do vertical panoramas simply by turning your camera 90 degrees on your tripod and using your vertical adjustment lever to vertically pan each shot.</span></div>
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<span face=""verdana" , sans-serif">Yes, panoramas can be fun to do and with a bit of planning and care and good subject selection, you can get some pretty good results.</span></div>
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fergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.comtag:blogger.com,1999:blog-32318569.post-37529332273638120222009-08-19T12:58:00.006+10:002023-02-02T11:10:12.789+10:00When one is never enough<span style="font-family: verdana;"><br />
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<span face="verdana, sans-serif" style="font-family: verdana;">They say a picture speaks a thousand words, but I also say, that a good subject is worth a thousand pictures. And if you have a subject worth shooting, it’s definitely worth giving it all you’ve got at the time or, if not, come back tomorrow or another day, when the light or time is better and plan to take as many shots of it as you can.</span></div>
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For the novice, when a subject first catches the eye, you think to yourself, ’Wow, gotta get a shot of that.’ You will invariably take one shot from the same angle you first saw it at and then move on. Even the most experienced of photographers never think for one minute that they are clever enough to only need one shot!</span></div>
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If you are shooting a bird or an animal, you will want to get in as close as you possibly can and one shot may be all you can manage, before they take flight. Of course, one shot may be all you need for a record of the event, but if there is a chance of a second shot, you may decide to wait for a moment when the subject is in a better light or perhaps a different viewpoint might eliminate background distractions or if there is a chance you can move another couple of steps closer.</span></div>
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Always try to think outside the square and really put your camera to the test. Give it all you have got and use wisely whatever light you have at your disposal. It is no use after the event, when you get your shots up on the PC, thinking you wish you had done this or that, because you may never get the chance again to return to that same scene.</span></div>
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An excellent way to practice this is to go out into your garden with your camera. Shoot the first bright, colourful object that catches your eye. Let’s assume this is a flower. Photograph this flower from your normal height and from wherever you are standing at the time, then take a couple of steps closer and whilst focusing on your target, move from side to side or crouch down on one knee, till you get your background and viewpoint right. Also, check the background for any bright spots or distractions. Use your zoom. Try holding the camera vertically as well as horizontally. When you feel you have it right, get another shot in. Then go through the entire process again for a possible third shot.</span></div>
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When out in the wilds you are confronted by a bird or animal, you never really know what they consider is a safe and comfortable distance from you, so you must try to be very quiet, but get in your first shot as quickly as possible from where you are standing and treat this simply as a record shot.</span></div>
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Then, remembering the steps of the above exercise and how important it is that you get in as close as possible, if there is a chance of a second shot, go through all of those things again in your mind and try to get in as many shots as you can until you are completely satisfied that what you have will be sure to offer at least some good results.</span></div>
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fergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.comtag:blogger.com,1999:blog-32318569.post-37411107334898918362009-07-17T15:57:00.006+10:002023-02-02T12:28:01.939+10:00Photographing Lightning Strikes<div style="text-align: justify;">
<span face=""verdana" , sans-serif">Good old Mother Nature certainly gives us a diverse range of subjects to photograph and none could be more fascinating or unpredictable than that of lightning storms, but when lightning strikes, you should no doubt be aware of the risks and possible dangers involved.</span></div>
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<span face=""verdana" , sans-serif">That being considered, it is an advantage if you can be under a shelter of some sort, especially at night in case of a sudden downpour or even being struck yourself. Although your vantage point should allow you to have a good wide view in the direction of the sky you will be photographing.</span></div>
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<span face=""verdana" , sans-serif">Your equipment should include a good sturdy tripod, remote shutter release, and your camera should have the ability to be manually operated on shutter priority or the 'B' (Bulb) setting, as you will be working on times of up to thirty seconds and more. It’s no use attempting to press the shutter button after the lightning has struck, as it all happens so quickly and your chances of catching it will be next to none.</span></div>
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<span face=""verdana" , sans-serif">You could say that photographing lightning strikes, is not un-akin to </span><a href="http://fergiesfabfotos.blogspot.com/2007/02/fireworks-and-fairgrounds.html"><span face=""verdana" , sans-serif">fireworks</span></a><span face=""verdana" , sans-serif"> photography, only I’d say that fireworks are probably more predictable. And like fireworks, by keeping the shutter open for long periods you can catch several strikes on the same frame.</span></div>
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<span face=""verdana" , sans-serif">So, let’s assume there is a storm approaching and it is black dark or at least in the twilight hours. Your camera, which is pointed skyward, is set on shutter priority at +30 seconds and you have allowed for a little bit of terra-firma at the bottom of the frame and your lens should be at its widest setting.</span></div>
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<span face=""verdana" , sans-serif">It will give added impact to your photos if you can include something of a landmark, a tree or anything else of interest. This will also add drama and a sense of scale to your images.</span></div>
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<span face=""verdana" , sans-serif">As the lightning starts, open the shutter. If there is nothing else in the first 30 seconds, open it again and repeat this procedure until you get a couple of good strikes. Keeping a vigil of course on what’s happening with the storm, both with its direction and intensity.</span></div>
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<span face=""verdana" , sans-serif">No lightning strike is ever the same and you may get several strikes within a second or two and you may only get the odd one every now and again, but you need to be patient and try different techniques and you sometimes just have to be content with what you get on the night. But if you are in the storm season, then there is always the possibility of another chance tomorrow night.</span></div>
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fergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.comtag:blogger.com,1999:blog-32318569.post-65456543956396244802009-07-17T10:54:00.005+10:002023-02-02T11:19:29.716+10:00Pets Photography<div style="text-align: justify;"><span face=""verdana" , sans-serif" style="font-family: verdana;"><br /></span></div><div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;">Photographing your pets, whatever they may be, does require, as you may have already discovered, not only a certain amount of skill but lashings of patience and a very mild and even temperament.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana;">So, with that in mind, I have discovered that the best opportune time is when they have either just been aroused from a deep sleep or have recently eaten a large meal.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana;">Of course, you may be lucky enough to possess a pet which is fully responsive and quite willing to do whatever you want, but I assure you these individuals are very far and few between. Especially at a juvenile age.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana;">I would advise that you plan the shoot to be undertaken indoors, in a restricted room, where there is a good amount of natural light coming into the room from a large open window or doorway. It is important that your pet is familiar and comfortable with the room and its surroundings, but if you are unsure, I would suggest, a couple of days beforehand that you set up the planned area with whatever you intend to use in the shoot, such as props, favourite toys, etc. That will at least put the animal at ease.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana;">By the way, natural light is best to use in these situations. You don’t want to use on-camera flash, as it tends to create nasty shadows and blown out areas as well as red-eye and not to mention the fact that it could be uncomfortable and cause the animal stress when fired at close range.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana;">It is important to note here too, that you are fully aware of your camera’s capabilities, as some of the requirements here may restrict you.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana;">Apart from the props you use, you really need a tripod and a remote shutter release would be an asset but not essential.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana;">Your camera and its lens will need the ability to not only get full body shots of your pet but also close-up, Macro type shots, which might include just the eyes and face.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana;">It is important that the animal has had a recent bath to ensure the eyes and face are clean, as this is likely to be the main focal point and where you will be mainly directing you focus control at. You should also be attempting to convey the character of your pet by catching some quirky little antics that also bring out the emotion not only in yourself but those who view the images.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana;">A classic shot to get is when they show sudden alertness such as when they have been playing quietly with something for a while and you suddenly whistle or clap your hands.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana;">Don’t be satisfied with just one or two shots. Even if it means keeping the area set up for a few extra days, get in as many different shots as you can and from various angles and viewpoints. In particularly those shots that bring out the best in your pet.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana;">Life is too short - even more so for our pets. And even more reason to make the shoot worthwhile.</span></div>
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fergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.comtag:blogger.com,1999:blog-32318569.post-26003221136852124482009-07-15T15:51:00.005+10:002023-02-03T08:24:33.714+10:00Sport and Action Photography<div style="text-align: justify;">
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<span face=""verdana" , sans-serif">Sports photography, which can also come under the category of 'photojournalism', can offer photographers quite a reasonably well-paid career if they become proficient enough at it. But if it’s just the kids at school sports meets or if you just want to know how to take action shots, then I hope this tutorial will help accomplish that at least.</span></div>
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<span face=""verdana" , sans-serif">For the NOVICE, sport or action photography does not really require special sophisticated gear. A good point and shoot digital camera will certainly give you some good results, but for versatility and a better range of options, the DSLR has got to be out on its own. In fact, I will continue this tutorial based on the SLR camera, but a great deal of it will still refer to the 'point and shoot' and I am sure that the owners of those sorts of cameras will see where their limitations lie.</span></div>
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<span face=""verdana" , sans-serif">I say the DSLR is preferable because of the option for manual operation, to change lenses and fit various filters whenever the need arises. 'Point and shoot' cameras can also be quite limited when your boy has possession of the ball but he’s away over on the other side of the field. So you are also restricted where distance is concerned.</span></div>
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<span face=""verdana" , sans-serif">I suppose distance can also be a bother with the DSLR unless you are prepared to spend big money on a long telephoto lens. And that can run into many thousands of dollars.</span></div>
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<span face=""verdana" , sans-serif">So, I would advise that if you are just interested in having a go at it at this stage, then you should read up as much as you can on the subject, get in some good practice and take it from there.</span></div>
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<span face=""verdana" , sans-serif">It would be favourable too, with your DSLR to have a good knowledge of the manual workings of your camera and plan to use them with this type of photography. This includes shutter speeds, aperture settings, ISO ratings and focus control (reference link below).</span></div>
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<span face=""verdana" , sans-serif">For the action enthusiast, it is recommended to switch to aperture priority, which will allow for faster shutter speeds with large apertures of f2.8 or f4 (if your lens permits). This will give your subjects sharpness and clarity, but plenty of isolation, with a blurred background.</span></div>
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<span face=""verdana" , sans-serif">Also, take a look at 'Panning' (reference link below).</span></div>
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<span face=""verdana" , sans-serif">No matter what subject you take on, it is a good thing to know a little about what you are shooting and sport, or any action photography for that matter is certainly no exception.</span></div>
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<span face=""verdana" , sans-serif">Which means that if you are going to shoot a football match, you should have a good idea about how the game goes, so you can anticipate each move and know ahead of time when the action is about to happen.</span></div>
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<span face=""verdana" , sans-serif">Another aspect of football matches and many other field games is that the players spend a lot of their time looking down at the ball, so invariably your correct shooting angle will be at below eye level. In fact, you have probably seen at football matches how the photographers on the sideline are actually sitting down. It’s not because they are lazy, but that is their chosen and preferred angle at which to shoot the players. I have spoken to one fellow who says a lot of his time is spent on his belly.</span></div>
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<span face=""verdana" , sans-serif">Also, a major piece of their equipment is the Monopod, which I suspect is a little easier to manipulate than a tripod and anyway with everybody rushing here and there in that confined area, you wouldn’t want anyone kicking the leg of your tripod when you are just about to get that favoured shot.</span></div>
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<span face=""verdana" , sans-serif">Other things to take into consideration are:</span></div>
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<span face=""verdana" , sans-serif">To work with autofocus</span></div>
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<span face=""verdana" , sans-serif">Have the camera in continuous shooting mode, so as not to miss any of the action.</span></div>
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<span face=""verdana" , sans-serif">From the camera’s menu switch to centre weighted metering.</span></div>
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<span face=""verdana" , sans-serif">Also check out your exposure compensation facility, because if there is a lot of white in the players’ dress you might need some minus exposure values of say minus 1 to 1-1/2 to keep some detail in those areas.</span></div>
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<span face=""verdana" , sans-serif">To keep everything sharp use your biggest possible aperture setting (smallest number) and depending on the ambient light you should be operating on shutter speeds upward of 1/250 sec. So, the brighter the day, the better.</span></div>
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<span face=""verdana" , sans-serif">Reference:</span></div>
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<span face=""verdana" , sans-serif">'<a href="http://fergiesfabfotos.blogspot.com/2006/09/showing-movement-by-panning.html">Depiction of movement by panning</a>'</span></div>
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<span face=""verdana" , sans-serif">'<a href="http://fergiesfabfotos.blogspot.com/2006/08/shutter-speed-aperture-settings.html">Shutter speed and aperture settings</a>'</span></div>
<div style="text-align: center;">
<span face=""verdana" , sans-serif">'<a href="http://fergiesfabfotos.blogspot.com/2006/08/altering-cameras-exposure-settings.html">Altering the camera's exposure settings</a>'</span></div>
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fergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.comtag:blogger.com,1999:blog-32318569.post-48836518285160097022009-07-14T14:48:00.004+10:002023-02-03T08:21:31.005+10:00Still Life<div style="text-align: justify;">
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<div style="text-align: justify;">
<span face=""verdana" , sans-serif">In most cases Still-Life photography is not too far removed from '</span><span face=""verdana" , sans-serif"><a href="http://fergiesfabfotos.blogspot.com/2009/07/food.html">food photography</a>'</span><span face=""verdana" , sans-serif"> and like food photography, it is best done indoors under natural light, either from a window or open doorway. And unlike food, your subject is not likely to go all stale and withered looking on you.</span></div>
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<span face=""verdana" , sans-serif">But like food, it gives as good opportunity to learn more about subject lighting and composition.</span></div>
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<span face=""verdana" , sans-serif"><b>Equipment</b></span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif">You need a camera with a lens that will allow you to get in close to your subject, depending of course on how small your subject is.</span></div>
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<span face=""verdana" , sans-serif">Here you are using slower shutter speeds, which means longer exposures and a tripod may be essential. Also, a remote shutter release would be an asset, but not absolutely essential. You can use the on-camera timer facility to restrict camera movement</span></div>
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<span face=""verdana" , sans-serif">There are many different coloured backgrounds you could use, but you need to be careful here as the wrong background will no doubt be in detriment to your subject so I would advise you to start with a piece of black or white velvet and get enough to stand your subject on and to use as a backdrop. Velvet is best to start with as it does not reflect light. And the last thing you want is reflections in your Still Life. It will also help to give your subjects that 3D appearance.</span></div>
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<span face=""verdana" , sans-serif">So, we are using natural, but not direct, sunlight from a window or open doorway. You will probably want to fashion yourself a white card or reflector of some sort to bounce light back into the shaded side of your subject, otherwise, the camera could expose the shots with dark featureless shadows. This may even be a feature you can use, but at least be aware of it. Avoid using on-camera flash if you can, it is far better to use natural light as it gives better controllability. If you have an external, swivel type, flash unit, you could probably try bouncing the light from that off a whitish wall or ceiling.</span></div>
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<span face=""verdana" , sans-serif"><b>Composition</b></span></div>
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<span face=""verdana" , sans-serif">This is where your artistic side comes to the fore and you are really only limited by your own imagination. Try one item only at first till you get your camera and the light and the distance right. Then you can start to add other items and mix and match and create a story with your subjects.</span></div>
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<span face=""verdana" , sans-serif">You might like to add some things that belonged to a deceased member of the family or a family pet that had to be laid to rest.</span></div>
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<span face=""verdana" , sans-serif">Think about the colour, shapes, form and surface textures of the items you are photographing. If they include glass items, another reason not to use on-camera flash, due to the reflections. The possibilities here are almost endless and as I said, you are only governed by the limits of your own imagination.</span></div>
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<span face=""verdana" , sans-serif"><b>Viewpoint</b></span></div>
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<span face=""verdana" , sans-serif">It is up to you how you approach your subject, but to start with I would suggest a position just above the height of your items and at an angle of say, 90 degrees to the angle of the ambient light and position your light reflector on the shaded side of the object/s or in the manner in which it will provide you with the best secondary light.</span></div>
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<span face=""verdana" , sans-serif">Treat this merely as a suggestion, but once you have gained your confidence, then you can begin to get adventurous and try other various angles and viewpoints and different lighting angles and strengths.</span></div>
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<span face=""verdana" , sans-serif">At times you will find still-life photography very frustrating when things won’t go right, but it can also be very stimulating so don’t give up on it too easily.</span></div>
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<span face=""verdana" , sans-serif"><span style="color: red;">See also</span> '</span><a href="http://fergiesfabfotos.blogspot.com/2009/07/food.html"><span face=""verdana" , sans-serif">Food Photography'</span></a></div>
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fergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.comtag:blogger.com,1999:blog-32318569.post-73659182627541099612009-07-14T12:17:00.009+10:002023-02-03T08:20:36.061+10:00Food Photography<div style="text-align: justify;">
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<span face=""verdana" , sans-serif">Have you ever seen those Coca-Cola billboard advertisements, where the icy cold can or bottle is literally dripping with condensation that makes you think, ‘Oh, I could just go one of those right now.’ Well, that’s just the sort of response that one would expect to get when viewing food photography.</span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif">When you are looking for a recipe book, chances are you are looking for the one that includes the simplest recipes, but it’s very likely that the book with the better-presented photographs is the one that you’ll purchase.</span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif">I did a similar thing when I was looking for recipes devoted to chicken, but I ended up buying a book that was obviously far beyond my culinary capabilities - but I liked the pictures.</span></div>
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<span face=""verdana" , sans-serif">These are the things you have to accomplish with food photography because it’s what sells, not only the recipes but more importantly, the book itself.</span></div>
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<span face=""verdana" , sans-serif">Food, in a way, should be photographed and treated much the same as '</span><a href="http://fergiesfabfotos.blogspot.com/2009/07/still-life.html"><span face=""verdana" , sans-serif">Still Life'</span></a><span face=""verdana" , sans-serif"> shots, but unlike the vase of daisies or a bowl of red peppers, it has to be able to leap out of the picture at you and on to your table. So, it has to have a great deal of impact. And what is the best way of achieving impact? Getting the right light and as naturally applied as possible to provide the best in whatever colours you will have in your dish.</span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif">If you have never attempted this type of photography before, I suggest you get in some practice on the bowl of red peppers first. For at least you can spend more time fiddling and adjusting with that than you can a bowl of steaming hot soup ready for the table. Then, when you have the set-up and lighting right for the peppers, and your confidence is brimming, only then can you start on the hot fresh stuff. Because if it is going from the stove top to the table, you will want to get the job done in less than a minute or so. Otherwise, you’ll have the family banging on the table shouting, “WHERE'S MY DINNER, WHERE'S MY DINNER?”</span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif">You don’t really need to have a full-on lighting studio for this task, but you will need to set up an area near a window, preferably close by, in your kitchen that allows for lots of good natural light to enter the room. You will also, however, need a camera that is able to be operated at least semi-manually. There are some great point-and-shoot digitals on the market these days that have this option, so get to know your camera well and if you can, use it in 'Aperture Priority' mode.</span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif">So, we are looking for, mid-range apertures, enough to blur the background, but show off as much of what we are photographing as possible. If you do not have a camera that you can manually operate, you may get by as long as you can switch to 'Portrait' or 'Close-up' mode.</span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif">But do not intend to use on-camera flash in this situation, unless you absolutely have to. If you have an external flash attachment, you can use it to bounce light off the ceiling or a nearby whitish wall, to supplement the natural light from the window.</span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif">Or instead, make up a reflector from a piece of white card, enough to reflect and bounce light back into the shaded side of the subject. So that the light is evenly distributed. The direction and quality of which may change, depending on the season and time of day.</span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif">You will also need a tripod and I would go as far as to say a remote shutter release, but it is not essential. All these things at least allow you to have your gear all, ready and set up whilst you fiddle about getting your subject right.</span></div>
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<span face=""verdana" , sans-serif">The correct attitude for your camera on a single plate setting should be just above the level of the food so that you get a good view of the front, side and top of your subject. Try to get as much clarity and sharpness on the main viewing part of the subject with the background almost completely out of focus. This puts all the emphasis on the food itself. Choose an interesting looking plate or platter, but not too interesting that it detracts away from your main point of interest. Try also a couple of props, such as a whitish or plain tablecloth, fork, wine glass or table napkin, which should also be visible, but just out of focus. A look at some recipe books will show how the professionals set up their food shots.</span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif">Try to get a balance of the contents of the plate so that the chicken legs you are photographing are prominent in view and not totally covered in dark gravy or the like. Or do away with the big spoonful of red/orange honeyed carrots at this stage, because their bright colour will surely act as a distraction to draw the viewer’s eye away from the chicken legs. But as a means of drawing the viewer’s attention to where you want it, you could use a drizzle of gravy across the plate and over a lesser part of the chicken. The glistening gravy will also act as a guiding line. Then you can add a couple of other items to the plate of lesser significance. And to add to the authenticity, it looks better if the contents of the plate are still steaming.</span></div>
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<span face=""verdana" , sans-serif">I am sure, in due course, you will look at many various food photography tutorials, but I hope this one helps in providing you with a good start.</span></div>
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<span face=""verdana" , sans-serif">See also '</span><a href="http://fergiesfabfotos.blogspot.com/2009/07/still-life.html"><span face=""verdana" , sans-serif">Still Life Photography'</span></a></div>
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fergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.comtag:blogger.com,1999:blog-32318569.post-21158758199387401802009-07-13T14:57:00.006+10:002023-02-02T12:42:25.662+10:00Photographing Babies<div style="text-align: justify;">
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<span face=""verdana" , sans-serif" style="font-family: verdana;">It’s a fact that we can never take enough photographs of our firstborn. I believe the second born generally also gets second billing. Probably because you are spending most of your valuable time chasing after the firstborn.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana;">Anyway, this chapter of photo tips looks at that age from when you first bring the little darling home till just prior to it being able to scurry off on all fours. That is, it doesn’t need to be tethered yet.</span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;">Where to shoot? Indoors or outdoors, you can probably think of many options for the best place to photograph your child. But outdoors is not always a good option because you can’t always rely on the weather. Too chilly, too sunny, too windy and having to cart everything out and bring it all back in again. It is much easier to do it indoors.</span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;">“What about lighting indoors?” And may well you ask.</span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;">The best overall indoor lighting, whenever possible, is natural lighting, as it is much safer with colours and skin tones. That means choosing the room in your house that has the brightest available light - natural light but not direct sunlight. This is likely to be either in the main bedroom, living room or sunroom. Or even a room where there is a skylight in the ceiling.</span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;">Use your imagination to set up a little area, that is easily dissembled, in the brightest part of the room or an area that you think will best suit the following photography suggestions.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana;">Whatever you intend to use as a backdrop, it is important to at least have one. Preferably of a plain or soft neutral colour, so as to put more emphasis on your little one.</span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;">Place the child in the spot where you intend taking the photos and start with a few practice photos to check how the exposure or quality of the light is. While you’re at it, check for any background annoyances or distractions. If the child’s face is over bright, you may have to move slightly to one side or reduce the amount of light entering the room.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana;">If the child’s face is too dark, you may have to move closer to the window or allow more light to enter the room.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana;">Depending on the type of camera you will be using and I assume it will be digital, so at least you can repeatedly check each shot till you feel that the lighting is right for the child’s skin tones and this is very important for the outcome of your photos. After all, they have to last you and the child a lifetime and believe me, you’ll be glad you went to all this trouble.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana;">When you finally get down to some serious photography, you’ll find your photos will look more natural and come out better if you get down on eye level with the child and at times, even lower. There are just too many of those photos around where the photographer is standing up, looking down at a child whose head looks three times bigger than its body due to camera distortion at that close-in high angle. As I said, get down at eye level or lower and shoot heaps from different angles and various viewpoints. Get as much variety as possible.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana;">If you have a problem getting down on the floor with your child because you might have a problem getting up again, use a higher base such as a bed, high chair or even someone’s shoulders.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana;">Include props like toys, family pets, or even other people or someone else’s baby.</span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana;">Catch the child’s emotions - laughing, crying, eating. Especially eating something new for the first time and watch out for funny facial expressions.</span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;">A great pose is when the little one is either in the bath or has just had a bath and is lying belly down on a towel.</span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;">I am sure I don’t have to tell you how to pose your child, you know what you want and you are only limited by your own imagination. Just enjoy every pleasure that this valuable time with your child can bring. Because pretty soon you are going to have to nail them down to hold their attention.</span></div>
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fergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.comtag:blogger.com,1999:blog-32318569.post-15597459389158844502009-07-12T15:07:00.013+10:002023-02-02T10:51:01.036+10:00Cropping<br /><div style="text-align: justify;"><span style="font-family: "verdana";">Some of you may well know what cropping is, but many of you may not know where to crop for the best or why we crop at all.</span></div>
<span style="font-family: "verdana";"> </span><br /><div style="text-align: justify;"><span style="font-family: "verdana";">Cropping is what we do when we want to emphasise the subject in our photos. By cropping, we can also alter the balance of the image. For example, if our subject is bang in the centre of the frame, by cropping, we can alter the position of the subject within the frame. But why go to all that bother? Why can’t we just leave the subject where it is? </span></div>
<div style="text-align: justify;">
<span style="font-family: "verdana";">For an explanation check out: '</span><a href="http://fergiesfabfotos.blogspot.com/2009/07/rule-of-thirds-explained.html" style="font-family: verdana;">Rule of Thirds Explained'</a><span style="font-family: "verdana";">.</span></div>
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<div style="text-align: justify;">
<span style="font-family: "verdana";">Cropping is also handy for taking out any little nasties or intrusions that we don’t want to include in our photos.</span></div>
<span style="font-family: "verdana";"> </span><br />
<div style="text-align: justify;">
<span style="font-family: "verdana";">But let’s go back to the beginning and I mean right back to even before we actually take the photos in the first place.</span></div>
<div style="text-align: justify;">
<span style="font-family: "verdana";">Before you raise your camera, give yourself a second or two to assess the scene and you really should ask yourself these important questions: </span></div>
<div style="text-align: justify;">
<span style="font-family: "verdana";"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: "verdana";">1) How close can I get to my subject?</span></div>
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<span face=""verdana" , sans-serif">2) What is the background like? Are there any bright areas or anything that does not</span><span style="font-family: "verdana";"> relate to my subject. Can I alter my viewpoint or change to a </span><span style="font-family: "verdana";">better angle to eliminate those things?</span></div>
<div style="text-align: justify;">
<span style="font-family: "verdana";">3) Can I get in even closer still? What about if I turn the camera on its </span><span face="Verdana, sans-serif">side</span><span style="font-family: verdana;"> and take the shot that way.</span></div>
<div style="text-align: justify;">
<span style="font-family: "verdana";">4) I’ll use the zoom to its full extent, then I will get only what I want in the </span><span face="Verdana, sans-serif">frame </span><span style="font-family: verdana;">and very little else.</span></div>
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<div style="text-align: justify;">
<span style="font-family: "verdana";">There are many other things you need to ask yourself when you compose your shots, but here, we are only concerned with cropping. </span></div>
<div style="text-align: justify;">
<span style="font-family: "verdana";">So, now you can really understand what cropping is. It is a matter of eliminating that what you don’t want in your photograph and getting closer to your subject. And all that should be done in your mind as a sort of 'pre-visualisation' before you actually press the shutter button. This will not only help you become a better photographer, but it will save all that extra time working on your photos when you eventually get them all up on your computer. </span></div>
<div style="text-align: justify;">
<span style="font-family: "verdana";">There will, of course, be times when you want to include part of the background with your subject, but at least be aware of what is being included. Because the things you miss, your camera will only pick up.</span><br />
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<div style="text-align: justify;">
<span style="font-family: "verdana";">If you would like to extend your knowledge of this subject, might I suggest you take a look at: '<a href="http://fergiesfabfotos.blogspot.com/2006/08/composition-design-part-1.html">Composition Design'</a> chapters 1 to 7 and don't forget to check out: '<a href="http://fergiesfabfotos.blogspot.com/2009/07/rule-of-thirds-explained.html">Rule of Thirds explained'.</a></span></div>
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<span style="font-family: "verdana";"><span style="color: red;"><span style="color: #999999;">See also</span> '<a href="http://fergiesfabfotos.blogspot.com/2006/09/amputation.html">Amputation'</a></span></span></div>
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fergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.comtag:blogger.com,1999:blog-32318569.post-63986272285440634052009-07-11T15:45:00.008+10:002023-02-02T12:36:33.501+10:00Group Photos<br />
<div style="text-align: justify;">
<span style="font-family: verdana;">If you have had difficulty in getting your voice heard amongst family, friends or workmates, photographing them in a group is one way of being able to acquire that certain voice of authority or assertiveness you have been lacking. Because that is what it really needs when shooting groups as opposed to singular people shots. Like the wedding photographer, someone has to be in control at all times.</span></div>
<span style="font-family: "verdana";"> <div style="text-align: justify;">
Another thing, have some predetermined idea of how you will go about the task and where it will all happen and stick to your plan.</div>
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<span style="font-weight: bold;"><div style="text-align: justify;">
<span style="font-weight: bold;">Let me tell you about my first group assignment</span>.</div>
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It was at the birthday party of an eighty-year-old lady, who had her children, grandchildren and great-grandchildren all attending her special day and I knew at some time or other I was going to have to do a very large group photo. So, I let the MC know of my intentions, but to allow me time to just go about taking some posed and some candid photos of individuals, whilst I looked for the ideal setting for the group photo.<br />
I found an area that had a reasonable background with no visible distractions and taking into consideration, that, due to all those people, I was going to need a high vantage point to get everyone in the shot and luckily, there was a park bench that I could use to stand on. As I had brought a few different lenses with me, I selected one with good a wide angle - 17-35mm, in this case. I assumed this would be acceptable for the size of the group and from where I would be standing. Of course, I also had my flash attachment fitted as well. I noticed also, as my planned time for the shoot would be about 3 pm, the sun would be behind the group and off to the left, so I wouldn't have a problem with backlighting and my flash unit would balance the scene anyway.</div>
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Once I had all the main coordinates fathomed out, I then conferred with the party MC that I would be ready for the group shot in about ten minutes and would she let everyone know. This gave me a bit more leeway and by going around the family taking single subject photos and small group shots, I was getting more and more relaxed with them and no doubt them with me.</div>
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When the time finally came around for the big one, I thought, ‘Well, this is it - do or die.’</div>
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I walked over to the MC and asked her, would she now let everyone know that I was ready for the big family shot. When they were all brought to attention and informed what was happening, I then took control and asked them all if they would follow me to the spot I had chosen.</div>
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It’s strange, but I didn’t have to do much sorting. I just asked them all to form a tight group and stand with whoever they wanted to stand with. Of course, Great Grandma took pride of place up front and they all soon settled into their positions behind her - all smiling with great anticipation.</div>
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I let them all know that I intended to take several shots and would they please not disperse until I gave the OK.</div>
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Well, it all just seemed to go like clockwork. Everyone had a great time and couldn’t say enough about the resulting photos. But I am sure the whole secret to it being such a success, was the planning, knowing full well that even the best of plans can go awry, but fortunately, for me, on that day anyway, they never did.</div>
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There will be many situations in life where you will find the need to take control and if you have full confidence in yourself and in what you are doing, half the battle is won. Makes no difference if you are driving a car, flying an aeroplane or simply operating a camera.</div>
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fergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.comtag:blogger.com,1999:blog-32318569.post-67768948921912414082009-07-10T16:02:00.008+10:002023-02-03T08:26:14.845+10:00Architectural Photography<div style="text-align: justify;">
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<span face=""verdana" , sans-serif">Architectural photography doesn’t just mean the photography of new, modern skyscrapers. It is represented by all man-made structures including, buildings, bridges, lighthouses, dams, etc., etc. So, it offers a fairly broad range of subjects to tempt and challenge our abilities. And due to the subject diversity, there will be many different ways in which we will need to approach each subject.</span></div>
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<span face=""verdana" , sans-serif">Because of this, just about all of your photo equipment could be put to the test - not to mention our ability and expertise. And whatever you have in mind that you would like to photograph will be determined by what equipment you have at your disposal.</span></div>
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<span face=""verdana" , sans-serif">All that taken into consideration, let’s look at how we might approach certain subjects. </span></div>
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<span face=""verdana" , sans-serif"><strong><span style="color: #ffcc33;">We’ll start with modern skyscrapers</span></strong></span></div>
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<span face=""verdana" , sans-serif">It is worth knowing here, that depending on the type of lens you are using, how wide it is, and how close you are to your subject, will determine how much distortion you will have of the subject in your photos.</span></div>
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<span face=""verdana" , sans-serif">It is sometimes best if you can use a long lens, or at least a zoom lens - including one that came as a package deal with your camera, if it allows a range from say, 25 - 200mm. Tilt-shift lenses are great but also quite expensive. By standing well back from your subject and closing the lens down, you will find there is less distortion than if you were closer. Although, at closer range, you can pick out certain parts of the building that might provide some good abstract shots, such as in the framework or the reflections in windows from other buildings. And for reasons of your own, you may want to purposely distort their shapes anyway. You are limited only by your own imagination to look at each structure on its merits.</span></div>
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<strong><span face=""verdana" , sans-serif" style="color: #ffcc33;">Old buildings and ruins</span></strong></div>
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<span face=""verdana" , sans-serif">Old buildings don’t seem to provide that modern architectural abstractness that new buildings provide, but they do convey a lot of natural, old-world charm and character. Such as those in old townships that include churches, government buildings, etc. and the standard approach to photographing these sorts of buildings is generally the norm. They usually come with nice gardens and sometimes other buildings, annexes, etc., that are associated with them. Use the wider end of your lens with these subjects and when photographed in the right context, they can create their own little stories and conjure up memories and emotions of nostalgia in the eyes of the viewer. You may even find a very old building dwarfed by a neighbouring giant skyscraper. These too can evoke emotion in the viewer.</span></div>
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<strong><span face=""verdana" , sans-serif" style="color: #ffcc33;">Best lighting conditions?</span></strong></div>
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<span face=""verdana" , sans-serif">Lighting is a very important consideration with big city architectural photography. Ideally, good, clear, sharp light is preferred for any situation, but the air here can be hazy from vehicle emissions, etc. And dark shadows cast from buildings nearby creating exposure problems. Unfortunately, we cannot turn the buildings into the light, nor do we have the ability to change the weather on the day. Although, for certain scenes, it is always nice to have a bit of interesting cloud to take advantage of. But of course, a perfectly lit building would be one that is lit front on and slightly to the side to create sharpness, but also the extending shadows can bring on that well sought after 3D look.</span></div>
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<span face=""verdana" , sans-serif">As we cannot lighten an entire building, it is not advised to shoot a building that is in deep shadow with the sun ahead of you, otherwise, this will result in an underexposure, which is only useful of course if you wish to make a silhouette of your subject.</span></div>
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<span face=""verdana" , sans-serif">For photographing buildings at night, see my '</span><a href="http://fergiesfabfotos.blogspot.com/2006/09/night-citiscapes-neonfloodlit.html"><span face=""verdana" , sans-serif">Night Light Cityscapes'</span></a><br />
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fergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.comtag:blogger.com,1999:blog-32318569.post-50677734821521638032009-07-10T11:01:00.007+10:002023-02-02T11:04:36.345+10:00Induced Blur<div style="text-align: justify;">
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<span face=""verdana" , sans-serif">There are times when blur in your images can be really useful.</span></div>
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<span face=""verdana" , sans-serif">We have discussed in other chapters, blurring the background to enhance our subject or to disguise any unwanted background elements, such as bright spots, intrusions or other distractions. Working with slow shutter speeds you can also induce blur to create a sense of movement. As with '</span><a href="http://fergiesfabfotos.blogspot.com/2007/02/light-trails.html"><span face=""verdana" , sans-serif">light trails'</span></a><span face=""verdana" , sans-serif">.</span></div>
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<span face=""verdana" , sans-serif">For example, in broad daylight, inner-city street scenes of crowds walking to the subway or traffic stopped at an intersection, whilst other vehicles are speeding away or a train pulling away from the station or subway.</span></div>
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<span face=""verdana" , sans-serif">To achieve these effects, a good sturdy tripod is really quite essential, because of the slow shutter speeds you are working with. I would also recommend a remote shutter release. And because we are working in broad daylight, you may have difficulty in getting down to your required speed, as slow shutter speeds mean wider apertures which means more light is getting into the lens.</span></div>
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<span face=""verdana" , sans-serif">If you can operate your camera manually, set it to 'Shutter Priority' and whatever it is you are shooting will determine the speed at which you set it at.</span></div>
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<span face=""verdana" , sans-serif">There are three main factors to take into consideration: the speed or rate at which your subject is moving, how much blur you want to give and how much light you have in the scene, because obviously, a person who is walking or even jogging is moving much slower than a bus or train and if you photograph the moving vehicle the pedestrian may totally disappear from view. So, you need to find a happy medium there.</span></div>
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<span face=""verdana" , sans-serif">It is with this type of photography that the Neutral Density (ND) filter would be handy. They allow you to get down in speed, they come in various densities and will not alter the colours in your scene. Also, a 'Grey Grad' is handy for street scenes where one side of the street is in bright sunshine and the other is in shadow. As 'grads' (graduated shading), they are shaded at one end, then feather off to clear at the other.</span></div>
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<span face=""verdana" , sans-serif">A polariser will also drop your speed by a couple of stops, but will probably not be enough in bright sunlight.</span></div>
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<span face=""verdana" , sans-serif">A good versatile lens is all you really need for this sort of work. A zoom lens in the order of about 28 - 200mm will do the job admirably.</span></div>
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<span face=""verdana" , sans-serif">So, if your kit fits the bill, before you go rushing off to the big smoke, may I suggest that first, you get in some practice a little closer to home. This will ensure your confidence for the task ahead.</span></div>
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fergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.comtag:blogger.com,1999:blog-32318569.post-62190710780654329122009-07-09T10:40:00.003+10:002023-02-02T12:37:18.519+10:00The Eyes Have It!<div style="text-align: justify;"><span face=""verdana" , sans-serif"><br /></span></div><div style="text-align: justify;">
<span face=""verdana" , sans-serif">I have always found it a bit disconcerting when looking at portrait photos where the subject or subjects are looking out of shot rather than at the camera. This phenomenon is due to the fact that we, as humans, and being part of the inquisitive animal world, like to have eye to eye contact when we look at other beings.</span></div>
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<span face=""verdana" , sans-serif">It’s probably something you never really gave much thought to, but in photography, it is very important to consider where your subject/s are looking when you compose your shots.</span></div>
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<span face=""verdana" , sans-serif">In photographic composition, we can utilize guiding lines, such as pathways, winding roads, fences, tree lines, etc., to draw the viewer’s eye from one point to another. These guiding lines are obvious to us because they are there as part of the make-up of our images.</span></div>
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<span face=""verdana" , sans-serif">However, the invisible line between our subject’s eye and what he/she/it is looking at is not obvious to us because we cannot see it - but it is there nevertheless. It connects with us and it is a very important link as to 'viewer impact' of our images. It can change the focal point (the main point of interest) as well as the mood and/or emotion of the image.</span></div>
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<span face=""verdana" , sans-serif"><b>To give an example</b></span></div>
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<span face=""verdana" , sans-serif">A little girl is posing in the garden whilst holding ‘and looking at’ some flowers. Because she is looking at them, the interest is taken away from her and the flowers become the focal point. There is an invisible line drawn between her eyes and the flowers. This draws attention away from her.</span></div>
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<span face=""verdana" , sans-serif">If the child was looking directly at the camera, the focal point would be placed squarely on her and the flowers would then become a secondary point of interest.</span></div>
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<span face=""verdana" , sans-serif">A different scenario is when she is neither looking at the flowers or the camera but is gazing at some other object out of view, this can become an annoyance because the viewer also wants to see what it is that has grabbed her attention. It would be different if she was just sitting there, gazing into space, because you know that she is not looking at anything in particular.</span></div>
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<span face=""verdana" , sans-serif">A similar case to this is at a wedding and you are taking photos of the bridal party whilst they are being photographed by the official photographer. But I suppose in this case you know where they are looking, but it can still be quite bothersome.</span></div>
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<span face=""verdana" , sans-serif">Now, when you are taking portrait photos of family or friends, you are going to have to make a conscious decision as to how you will portray them. If they are side-on or profile shots, with the subject looking out of frame, at least place them in the frame so that they have plenty of space to look into. In other words, if your subject/s are looking to their right, place them 1/3 in from the right of the frame, so that they have about 2/3 of the frame to look into. Still having both eyes in view with the focus being on the eye nearest the camera.</span></div>
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fergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.comtag:blogger.com,1999:blog-32318569.post-7658748638218034982009-07-08T18:59:00.007+10:002023-02-02T08:43:11.620+10:00White Balance Explained<br />
<div style="text-align: justify;"><span style="font-family: verdana;">The term 'White Balance' originates from the world of video imaging where a device (waveform monitor) was used to match or 'balance' the signals from the camera’s red, green, and blue channels to make accurate whites under various lighting conditions, thus balancing your white. In this article, we’ll use “white balance” for digital cameras in a similar sense: the process of measuring your light source’s colour temperature accurately, based on your lighting conditions and using that information to correctly balance your whites and colours.</span></div>
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<div style="text-align: justify;"><span style="font-family: verdana; font-weight: bold;">Symptoms of poorly set white balance:</span></div>
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<span face=""verdana" , sans-serif"><span style="font-family: "verdana";">If your camera’s white balance is set incorrectly, or if your camera chooses the wrong algorithm for measuring colour temperature, then you will observe a colour cast on your image: it will either look slightly blue, slightly orange, or slightly green. A low colour temperature shifts light toward the red; a high colour temperature shifts light toward the blue. Different light sources emit light at different colour temperatures, and thus the colour cast. Let’s take a look.</span></span></div>
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<div style="text-align: justify;"><span style="font-family: verdana; font-weight: bold;">What is colour temperature and how is it measured?</span></div><span face=""verdana" , sans-serif"><span style="font-family: "verdana";"><div style="text-align: justify;">
Colour temperature is effectively the warmth that is emitted from a light source, and the effect that temperature has on the intensity of any particular colour in the visible spectrum. For example, a 200W bulb has more intensity in the orange/red end and shows purples and blues with very little intensity. This makes your photo appear 'warm'. Daylight has equivalent intensity across the whole spectrum, so you see purples and blues with the same intensity as oranges and reds. But shade or a heavily overcast sky has more intensity in the blue/purple end so your oranges and reds will have very little intensity. This makes your photo appear “cool”.</div>
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<b><span face=""verdana" , sans-serif">"What's colour temperature and degrees Kelvin", y</span>ou ask?</b><br />
Please see the additional write-up below.</div>
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Here are some examples of colour temperatures from common light sources:</div>
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1500 K: candlelight</div>
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2800 K: 60 W bulb</div>
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3200 K: sunrise and sunset (will be affected by smog)</div>
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3400 K: tungsten lamp (ordinary household bulb)</div>
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4000-5000 K: cool white fluorescent bulbs</div>
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5200 K: bright midday sun</div>
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5600 K: electronic photo flash.</div>
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6500 K: heavily overcast sky</div>
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10000-15000 K: deep blue clear sky</div>
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Light sources, such as fluorescent and some other artificial lighting may require further white balance adjustments since they can make your photos appear either green or magenta.</div>
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How does a digital camera auto-detect white balance?</div>
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Your camera searches for a reference point in your scene that represents white. It will then calculate all the other colours based on this white point and the known colour spectrum. The data measured from its R G B sensors is then run through a whole lot of numbers and predetermined equations to figure out which white balance setting is most likely to be correct. Remember, white balance is the automatic adjustment that makes sure the white colour humans observe will also appear white in the image.</div>
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Setting your camera’s white balance to AWB will provide colour accuracy under many conditions. Your camera will adjust the white balance between 4000K – 7000K using a best guess algorithm. Auto white balance is a good choice for situations where the light changes over time and speed is an issue (e.g., animal photography, sports photography). However, you should avoid using auto white balance settings in the following situations:</div>
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1) Your scene is heavily dominated by one colour</div>
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2) Colour accuracy is absolutely imperative</div>
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3) You are photographing particularly warm or cool scenes (e.g., a sunset)</div>
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White Balance Presets</div>
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Most digital cameras come with multiple white balance preset options. These presets work well when:</div>
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1) The light source matches one of the preset white balance options</div>
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2) Your scene is heavily dominated by one colour</div>
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Let’s review the most common preset options:</div>
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Tungsten - Tungsten is the name of the metal out of which the bulb's filament is made. The colour temperature of this setting is fixed at 3,000K. Best Use: indoors at night. Otherwise, your exposure will turn out too blue. Creative Use: Set your exposure compensation to minus 1 or minus 2 and use this setting in daylight to simulate night.</div>
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Fluorescent - The colour temperature of this setting is fixed at 4,200K. Best use: Fluorescent, mercury, HMI and metal halide lights used in your garage, sports stadiums and parking lots. Otherwise, your exposure will turn out too purple.</div>
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Daylight - The colour temperature of this setting is fixed at 5,200K. Best use: studio strobe lights. Otherwise, your exposure may have a slight bluish tinge.<br />
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Cloudy - The colour temperature of this setting is fixed at 6,000K. Best use: direct sunlight and overcast light. This setting will warm your photo by giving it an orange tinge, which is often desirable in landscapes and portraits. Creative Use: sunsets.<br />
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Shade - The colour temperature of this setting ranges from 7,000K - 8,000K. Best use: shooting in shade, no direct sunlight (cloudy), backlit subjects. Otherwise, your exposure will turn out too orange. Creative Use: direct sunlight – it will warm up your photos even more!</div>
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Flash - The colour temperature of this setting is fixed at 5,400K. This is almost identical to Cloudy but sometimes redder depending on the camera. Best use: overcast skies. Otherwise, your exposure will turn out too red.</div>
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<b><span style="background: white; color: #252525; line-height: 107%;"><span face=""verdana" , sans-serif">Colour temperature and the degrees Kelvin explained . . .<o:p></o:p></span></span></b></div>
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<span face=""verdana" , sans-serif" style="background-color: white; color: #252525;">It is highly likely that you may not have heard about term ‘Degrees Kelvin (K)’ that relates to the colour temperature of that produced by your on-camera’s flash output, which is set at about 5600 K; to match that of ‘daylight’.</span></div>
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<span face=""verdana" , sans-serif"><span style="background: white; color: #252525; line-height: 107%;">The Kelvin scale is named after the Belfast-born,<span class="apple-converted-space"> </span>engineer and physicist<span class="apple-converted-space"> </span></span><span style="background: white; line-height: 107%;">William Lord Kelvin<span class="apple-converted-space"><span style="color: #252525;"> </span></span><span style="color: #252525;">(1824–1907) and according to Wikipedia, he wrote of the need for an 'absolute thermometric scale'. Unlike the degree<span class="apple-converted-space"> </span></span>Fahrenheit<span class="apple-converted-space"><span style="color: #252525;"> </span></span><span style="color: #252525;">and degree<span class="apple-converted-space"> </span></span>Celsius<span style="color: #252525;">, the Kelvin is not referred to or typeset as a degree. The Kelvin is the primary unit of temperature measurement in the physical sciences but is often used in conjunction with the Celsius degree, which has the same magnitude. The definition implies that absolute zero (0 K) is equivalent to minus 273.15 degrees Celsius.<o:p></o:p></span></span></span></div>
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<span style="color: #252525;"><span face=""verdana" , sans-serif">The Kelvin scale is often used in the measure of the<span class="apple-converted-space"> </span>colour temperature<span class="apple-converted-space"> </span>of light sources. Colour temperature is important in the fields of image projection and<span class="apple-converted-space"> </span>photography<span class="apple-converted-space"> </span>where a colour temperature that approximates<span class="apple-converted-space"> </span><span class="nowrap">5600 K,</span><span class="apple-converted-space"> </span>is required, as said earlier, to match that of 'daylight'. <o:p></o:p></span></span></div>
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<span style="color: #252525;"><span face=""verdana" , sans-serif">Digital cameras and photographic software often use colour temperature in degrees K, in edit and setup menus. The simple guide is that the higher the 'colour temperature' in K the whiter or bluer the image will be. The reduction in kelvin will give an image more dominated by the reddish or warmer colours.<o:p></o:p></span></span></div>
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<span style="color: #252525;"><span face=""verdana" , sans-serif">We perceive colours in images of sunsets or sunrises as being warm but, in fact, according to the Kelvin scale, they are colours that are rated in the cooler end of the scale.<o:p></o:p></span></span></div>
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<span style="color: #252525;"><span face=""verdana" , sans-serif">To prove this theory, if you study the flame of a Bunsen burner or blow torch, you will notice that the initial part of the flame is in the blue range and the further the flame extends, the colours will change from yellowish to orange or red. However, the hottest part of that flame is the blue part and do we not normally associate blue as being in the cool range?<o:p></o:p></span></span></div>
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fergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.comtag:blogger.com,1999:blog-32318569.post-38366768388937887212009-07-08T14:19:00.009+10:002023-02-02T08:33:13.192+10:00Polarising Filters<br />
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<b style="font-family: verdana;">Circular Polariser</b></div>
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<span style="font-family: "verdana";">I am fully aware that I already have a chapter specially devoted to filters, but I have singled out the polarising filter because apart from the UV it’s probably the most widely used filter on the market to date and will certainly, in time, be another addition to your accessory list.</span></div>
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<span style="font-family: "verdana";">There are two types of polarisers, the circular and the non-circular; however, the circular polariser (CPL) is best for auto-focus type DSLR cameras, but here I will simply refer to it as, 'the Polariser'.</span></div>
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The polariser itself is made up of two pieces of glass within a holder that is fitted either by screwing directly onto the filter thread at the end of your lens or slotted onto a filter holder which is also fitted to the lens via an adapter ring.</div>
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With the polariser fitted, the rear circular glass piece remains stationary, whilst the front piece is turned to polarise the light that enters the lens and therefore creates the desired effect.</div>
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I am not going to go into all the technical side of how the polariser does its job, but it is very interesting and is worth checking out. Just type the words, 'circular polariser' into your browser and see what options are available to you for reference.</div>
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However, there is one technical aspect that I feel you should be aware of, and that is: for optimum best, it must be used at roughly an angle of 90 degrees to that of the sun.</div>
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It is not recommended to photograph rainbows with a polariser fitted as it will eliminate some of the reflected colour and possibly lessen the impact of the image.</div>
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Uses:</div>
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It is probably best known for its ability to really intensify and enhance saturated colours and make blue skies darker and even bluer. But a point worth noting here is, the higher you are above sea level, the darker the skies become.</div>
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It will cut through glare and haze and is ideal for eliminating reflections on glass, water, wet rocks, and most other surfaces that reflect light and therefore ideal for when you are shooting a subject with reflected light distractions in the background.</div>
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It is worth remembering too, that because it will lessen the amount of light permitted to enter your lens by up to two stops, there are times when this could be an asset. Especially when a lower light source is required.</div>
<br />For filters in general? Click <a href="http://fergiesfabfotos.blogspot.com/2006/09/filters-part-1.html">"HERE"</a><br />
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fergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.comtag:blogger.com,1999:blog-32318569.post-50292285476713478392009-07-08T09:38:00.004+10:002023-02-02T09:20:06.394+10:00Fill-Flash<div style="text-align: justify;">
<span face=""verdana" , sans-serif">'Fill-flash' is usually required when one is confronted with abnormal lighting conditions, where a resulting photo may cause dark shadows to appear over the frontal or facial areas of a subject. These conditions are generally brought on by having the light source ahead of the camera lens or behind the subject.</span></div>
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<span face=""verdana" , sans-serif">Problems of this nature can also come about when photographing your subject in a snowy field or on a white sandy beach.</span></div>
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<span face=""verdana" , sans-serif">Photography taken in this manner, against the light, is known as 'Backlit Photography' and/or 'rim lighting', where the subject is being lit from behind.</span></div>
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<span face=""verdana" , sans-serif">When you look at an object that is lit this way, your eyes will automatically adjust to balance any adverse lighting difference, to a point. But your camera cannot cope passed certain levels of brightness, or shadow. If it sees an area behind the subject that is brighter than the remainder of the scene, its inbuilt light meters will read off the brightness in those areas and exposure the scene accordingly. This could then result in an image with a properly exposed background, but your subject is like to be in dark shadow. As well as anything else used as features in the foreground.</span></div>
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<span face=""verdana" , sans-serif">If taking photos of a subject in bright overhead sunlight, shadows will again be a problem under facial features and especially if the subject is wearing a hat or cap. Fill-in flash can also remedy this situation.</span></div>
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<span face=""verdana" , sans-serif">So, without going into bracketing and exposure compensation, fill-in flash is probably the most common way of treating this problem, as it balances out the differences between the bright areas and the shadows.</span></div>
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<span face=""verdana" , sans-serif">Reflectors are also used for the purpose of bouncing light back into the frontal areas of subjects. (Click </span><a href="http://blog.fergiesfabfotos.com/2009/06/reflectors.html"><span face=""verdana" , sans-serif">here</span></a><span face=""verdana" , sans-serif"> for more on reflectors and how you can easily make your own).</span></div>
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<span face=""verdana" , sans-serif">So, it is a matter of assessing the lighting conditions and knowing well beforehand, if they are going to affect the shot or not.</span></div>
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<span face=""verdana" , sans-serif">A lot of new cameras today have fill-in flash as an added feature and for those who were not sure what it was used for, well now you know!</span></div>
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<span face=""verdana" , sans-serif">For those who do not have this feature on their cameras, you may have to manually activate flash whenever the need arises.</span></div>
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<span face=""verdana" , sans-serif">If your camera has a hot shoe, you can fit an external flash unit and one that operates automatically TTL (through the lens), will offer just the right amount of foreground brightness you need for your subject, but also have a manual switch, for when you want extra light or less.</span></div>
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<span face=""verdana" , sans-serif">Today’s modern flash units swivel around as well as up and down so they can be bounced off a nearby white wall or ceiling and they can come fitted with a light diffuser to soften the light that is being directed to your subject, giving a more flattering look. And for even better versatility, you can also get a sync lead as a link between your flash and your camera. This allows you to hold the flash unit with a free hand while the camera is mounted on a tripod. Or as an added optional bonus, you can attach the flash unit to another tripod if you wish.</span></div>
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<span face=""verdana" , sans-serif">If on your camera, auto settings are not available, for fill-flash, the aperture setting flash needs to be set 1-2 stops smaller than with normal non-flash settings.</span></div>
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<span face=""verdana" , sans-serif">It is better to use subtle flash for fill-in - otherwise, there is a danger that double shadows will be produced, and the fill-in might impact on other subtle lighting effects that were wanted from the originally lit scene.</span></div>
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<span face=""verdana" , sans-serif">For example, in modelling, where lighting has already been set up to enhance or soften a model's features, care needs to be taken with fill-in flash - or it could completely ruin the overall soft, flattering effect.</span></div>
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<span face=""verdana" , sans-serif"><b>Note:</b></span></div>
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<span face=""verdana" , sans-serif">The key to using fill-in flash and natural light together - is to keep the flash subtle. If an end photo has evidence of flash light - then too much fill-in flash light has been used, and such shots will look very artificial.</span></div>
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<span face=""verdana" , sans-serif">The aim is to only use an absolute minimum amount of fill-in flash - in order to correct excessive contrast and shadows.</span></div>
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fergiesfabfotoshttp://www.blogger.com/profile/04782379814996938084noreply@blogger.com