fergiesfabfotos - Photo Tips

considerations

2011-07-22T15:42:00.005+10:00

Tin Can Bay

Photography Tours

Things you need to consider prior to your photo tour

It is important to first have a good knowledge of how your camera works. All cameras are designed and built to ultimately achieve the same result and that is of course, to produce pictures. However, as we all know, each camera has its own individualness with, more often than not, as technology advances, unique features and menu functions. Although I can assist with some of the difficult aspects of your camera's operation, it would certainly be a time-saver advantage for all concerned, if you had those problem areas sorted out beforehand. However, and by all means, please allow me to help wherever I can and if you are having trouble understanding your camera's manual, and that is the sole reason for contacting me, I can't make any promises, but I will certainly do my best to help where I can. But when all is said and done...“Where all else fails, read the instruction manual!”
My tours do not discriminate. I must point out however, that neither are they a simple stroll in the park - so to speak. There is quite a bit of walking involved, over various types of terrain. Areas which could include rough or marshy scrub land, as well as soft or wet sand. Therefore, some of this terrain is really not suited to those who are wheel chair bound or possibly incapacitated in such a way that their mobility could be hampered. I also need to point out too, that I also do not discriminate against the type of camera you wish to use. I always maintain, “The camera does not make the photographer, just as the kitchen tools do not make the chef!” Obviously, a simple compact or “point and shoot” model is going to restrict you somewhat, but no matter the type of camera you wish to use, it is for me only to provide assistance where it is needed and to offer advice, which in turn should help in producing a more pleasing and presentable image. If you do happen to have a SLR type camera and you are unsure as to what accessories or lenses you should bring with you, might I suggest a zoom lens that includes a 20 to 50mm range to cover most landscape situations, but one that allows for both wide and closer in shots. A Macro lens or one that also has a Macro facility would also be an asset. As far as other lenses and/or accessories, I generally advise to bring whatever you can, as you never really know what may eventuate on the day. I can provide a tripod if necessary and a small torch.
Consider what you will need to wear on the tour. This should include long pants and a pair of hiking boots or similar. A pair of rubber or waterproof ankle boots would also help. Sun protection is important and as there are sandflies in this area, please remember to bring a reliable insect repellent. Also, hat and sunglasses are essential.

The Glory Of Morning

2011-04-28T07:17:00.013+10:00

(Click on the photos to enlarge them)

The Glory Of Morning

How To Shoot A Better Sunrise
By Ken Ferguson

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 cosy 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.

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 less people about in those early hours.

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 cool and 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.
Incidentally, the general phases of sunrise and sunset are pretty much the same, only in reverse of each other. So, with that in mind the following article will refer mainly to sunrises.

Some "so called" composition rules and essentials

of both landscape and sunrise photography

Before I proceed I thought it would be appropriate at this time to make you aware of a few, "so called" rules of composition that I think you should be aware of when it comes to composing your sunrise or general landscape/seascape images. Especially if you intend entering them into photo competitions. These rules by 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, then you can make that conscious decision regarding their application.

Composition rules were originally put in place by the classic artists for psychological and aesthetic reasons and 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.

As I stated earlier, 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.

1. The rule of thirds

Sometimes an image can look quite boring when the main subject is placed bang in the centre of frame. The rule of thirds can relieve some of that boredom.
It is basically about the placement of focal points and other points of interest when we composing an image in the camera's viewfinder or on our viewing screens.

The best way to put this rule into practice is to imagine your viewfinder, or 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 on or near the area where the intersecting lines meet that we place our points of interest.
So we have four intersections in our grid. And all four of these points are just off centre. How do we know on which of these intersections to place our subject/s? This is dependent on how you wish to configure your subject within the frame. Whilst we are on the subject of sunrises, we will look at how our sunrise could best be placed within the rule of thirds grid.

Firstly, do we have a horizon line running through the scene? If so, we do not 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 the concious decision as to where we place this line. That decision is generally made for us after we have looked at the sky.

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.

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 position on either the left or right bottom intersections. It is up to you on what side you place it.

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.

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.

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 a large object running vertically through the scene. This will then take much of the emphasis away from the horizon.

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.

It all makes for a better composition, but it also makes it more pleasing on the eye of the person viewing the completed image.

2. The level horizon rule

Whilst we are discussing horizon lines, there is also the rule that insists on a level horizon line. I remember once judging some photos in a competition, when I came across a particular photo that had a horizon line that was quite obviously not level. It was unfortunate, but because of this, it was immediately obvious to me that this photo should not be awarded a place amongst the winners, but when the fault was pointed out to the owner, the person was so surprised and had no idea the horizon was not level, but would certainly make a point of checking it next time.

3. The less is more rule

Keep it simple! When you view an image and there is too much material in it, or it is too busy or cluttered, that's where it becomes difficult for your eye to settle on any particular spot, so you soon become bored and disinterested with it.

We should construct out landscape composition like that of a good book – with a beginning, a mid section and a great ending or background. Incidentally, this can also create a strong sense of depth or give a third dimensional effect to our images, but it should also have a simple story line, with one major player and just a couple of subordinate players.

Keeping this in mind, along with the “rule of thirds”, this will also help your creations hold the interest of viewers, who will want to see them time and time again.

4. The where to amputate rule

This is one rule that may not always apply directly to sunrise photography, but it is one worth knowing because it will sometimes help you get things into perspective.

What it applies to is this, 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 you must amputate, try to do it half way between joints of the anatomy and not at the joint itself.

Where this may apply to sunrise photography, is when you look through the viewfinder and 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.

5. The landscape focusing rule

When I look at a good landscape vista image, I expect to see all of the shot in clear, sharp focus. From the immediate foreground, all the way 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 sets a small aperture (large setting number), of between say, f-11 to f-22, to allow for this type of shot. With a DSLR, switch to Manual focus and turn the focus ring on your lens till it is set on infinity (that's the little emblem that resembles a figure eight laying on

its side) and while in aperture priority, set the reading to about f-16. Your camera will automatically set the correct shutter speed for that aperture setting.

6. The fill the frame rule
Unless you are shooting your sunrise to have it as a feature in a "Minimalism" image, try to fill the frame with your scene. A zoom lens is ideal for getting in closer 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 on the computer in your photo editing program.

More ideas

to help create more interest

in your sunrise images

Portrait or landscape mode?

It is obvious that most cameras are designed and constructed in a horizontal fashion. It is therefore, 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 that is within the scene, from where you are standing, right up high into the sky.

If you are not used to using your camera in portrait mode, here is an excellent way to allow yourself to become more familiar with it:

Each time you take a landscape shot, take the same scene 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.

When one is never enough

Even 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, or your shots. That colour and light won't last long, so get all that you can, while you can, because you may never get the chance again for a while to come.

Try to keep your image distraction free

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.

Always keep in mind, your camera sees and records every little thing within the viewing range of its lens. Where as, 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?

These little annoyances could be anything at all – anything that is, that you don't want to have included in the shot. Distractions in photography will only draw the viewer's attention away from the main point of interest and that is definitely one thing that we, as photographers, do not want.

Some of these unwanted elements could be obvious ones like bright colours or, shiny reflections, but they may also be parts of things just intruding 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!

Framing

No, we are not being confused here with the framing we purchase to mount and show off our finished pride and joys. Right? The framing I am referring to here is that of which we find at the scene of the crime, to frame our subject/s with. Things like tree branches, doorways, arches, bridges, pipes, etc.

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 it, but we have to be very careful; in that we don't develop a habit of it, but also that it does not end up drawing the attention away from the very thing we are attempting to emphasise. Again, “keep it simple”.

Composition Elements

that will help you create more impact

in your sunrise photos

In the transition from true novice photographer, to enthusiast and eventually going 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. As do the great artists, musicians and famous novel writers.

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 you will try to emulate them, as you become more and more proficient. Then, like a fledgling bird, that is no longer dependant on its parents, you will ultimately become an individual and as you find your own wings, you will also develop your own personal photographic style and others will surely recognise you by it.

To help speed up this transition, the following ideas can also be used when constructing and composing your sunset or even landscape images.

Emotional values

I mentioned earlier about developing your own individual style. Well, like you, 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 is truly in the eye of the beholder and that same strong emotion that aroused us to create what we consider to be a photographic masterpiece, also needs to be conveyed in the same way to the average competition judge, but ultimately to those of whom we wish to sell our work to.

The following should help to build emotion or to “convey a story” into your images.

Believe it or not, the use of simple shapes can stir up psychological and emotive feelings subconsciously in the eyes and minds of those who view your images.

Shapes, such as squares, circles, or triangles, flat lines, vertical or angular. In fact, a circle or a square are really just lines joined at both ends. These elements can often be found, for instance in parts of churches or buildings. For instance, steeples, windows, doorways, etc., triangular sails on boats, even letters of the alphabet like the A's and H's, we sometimes find in bridge construction.

In landscape photography we have many of these emotive elements at our fingertips. Earlier, in composition rules, I talked about the decision you need to make about

taking the shot in landscape mode (camera held horizontally), or portrait mode (camera held vertically).

Landscapes are best seen in 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 usually drawn from that are of restfulness, peace or serenity. This is what convey in our sunrise images and we can even increase those emotive values by using elements like boats laying 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.

On the other hand, we can use portrait mode (camera held vertically), to evoke emotions of heavy action, drama, power, strength and dynamism.

It is worth remembering too that we can also use angular lines or leaning elements to create a sensation of movement.

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, a water rill or run-off perhaps meandering down to the ebbing tide line. This meandering line may even be used to draw the eye of the viewer into our scene or perhaps you could even use the tide line itself. In all of this we are only limited by the extent of our own imaginations.

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.

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 about the sensation of comforting warmth.

This is where sunrises can really impact on the viewer, with strong and dramatic colours in the sky and dark heavily silhouetted features in the foreground. You will 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.

Don't discount that human element

People can be very usefully when placed in the making of an ideal composition especially where we need to provide a sense of height 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 see our resulting photographs?

There are also places where you would expect to find people and it can be emotionally disturbing if they are not there. I know a photographer who tries to always include people in his photographs. His work is also recognisable by the constant use of “guiding lines” (as mentioned earlier) in his compositions.

You can conjure up feelings of desertion and 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 sun bathing on it or even an often frequented, but empty, beer garden.

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.

Equipment

Firstly let's take a look at what you have on hand as tools for the job. Incidentally, I might just say, if you are concerned about the inherent characteristics or quality of your camera, let me say, the camera does not make the photographer, just as the scalpel does not make the surgeon. But if you want to shoot a great sunrise and have it mounted on a large canvas in your living room, then you are going to require, for obvious reasons, something a little better than the camera you have in your mobile phone.

I have really been impressed however, by some of the compact cameras coming onto the market these days and although they do not have all the bells and whistles that SLR cameras can offer, some of them do allow manual operation or at least semi-manual. Including options of manual focusing or flash operation. 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 exposures. That is, from the time you press (open) the shutter, until it closes again.

For these long exposures, you will also need to stabilise you camera and for that I recommend a good, sturdy tripod. Because at these low shutter speeds, the slightest movement of the camera will cause your photo to come out blurred and even if you have a built-in anti-shake facility, it will not help under these extreme conditions. I also use a remote cable shutter release, so that when I activate the shutter I am not touching the camera at all. 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 will also assist in the elimination of camera movement.

What can also be a problem, is if you have your tripod standing on soft terrain such as wet boggy sand, during long exposures the tripod can slowly sink and you will not realise it until you view the results. Just be aware of this and you may be able to improvise.

So, we have the right sort of camera for the job as well as something to keep it stabilised - preferably a good sturdy tripod.

Now, I mentioned above, why I think it is that a lot of sunrise photos never seem to be as interesting as they could be and tend to be a bit lack-lustre, then I stated that I thought it was due to equipment and/or lack of knowledge. Well, most sunrise photos tend to be taken on the spur of the moment, in the heat of the excitement so to speak, with very little planning involved. In anything you do, you simply cannot expect to get a good result without a plan and planning is just as important with sunrise photography, as it is with any other sort of photography.

Your 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 the day prior 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.

Let us assume you are planning to shoot an ocean sunrise and you already have an idea of what time and of where on the horizon the sun is likely to appear. 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.

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 parts of your images will be lacking somewhat and remember, it will still be reasonably dark when you arrive on scene, so you really can't be sure at this stage just what the 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 be prepared to get whatever images you can or simply pack up and do it 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

little disappointments.

It is mainly the clouds, or the light which is reflected from them, that provides 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 a lot on where in the world you are situated. Down here in South East Queensland, Australia, you generally can't go wrong if you allow yourself a good hour before the sun breaks the horizon.

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 to dissipate. Also as it is constantly changing throughout that time, you need to work fast to get as much out of it as you can.

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.

What we have to do now, is look for something that will complete our scene in the way of a foreground feature 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, beach umbrellas, the ideas are endless really, but it has to be right. This is what will make or break our sunrise photos!

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.

Another part of the planning is to look at the scene now in daylight and try to pre-visualise what it will look like 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 all these things 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.

There is nothing more annoying when one is looking at silhouettes in a photo and you cannot make head nor tail of what the shapes might be.

Once you have found the ideal foreground feature and you are happy with how you imagine it will look in the semi-darkness, make a note of where the site is so that you will not encounter any problems finding it again.

Before day's end, make certain you have all that you need for the shoot.

Firstly, your camera. Make sure it is fully charged or if it takes normal batteries, have some fresh ones ready, just in case.

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 on f-16. You may have to alter this to an even smaller aperture during the shoot, but f-16 is a good place to start and you will at least be prepared.

If on the other hand, you are using a DSLR camera, have ready any lenses you think you will want to take with you, but have the one you think you will be using mostly already fitted to the camera and check the battery level.

If filters are being used, such as sunset filters, it is probably not a good idea to have it fitted to the camera yet, but wait till the morning light improves a little after you have arrived on the site.

Ensure that your tripod is fully functional and be sure to pack your cable release – if you have one. A pair of rubber boots (and plastic ground sheet) would be 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 place where it will be easily accessible in the morning. You may need it to go from the car to your preselected site.

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.

You are probably now thinking, 'Is all this really necessary?' And I say, from experience, “Yes it is!” 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 it will be “okay on the day” and you will not get half way to the site and realise you have forgotten something and have to come back, thus missing out on half the action.

The next morning, everything should be going nicely and according to plan. It should still too dark to see what the sky is doing, but at least be thankful if it is not raining!

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.

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 only stop off places for the eye when you are viewing the resulting image, but remember what I said if the sunrise itself is a complete fizzer!

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-16, 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.

The resulting shot will help you determine whether or not you should change your position. This could be a simple matter of moving slightly to the right or left or shooting from a higher or lower angle. But what you are looking for in the way of a good composition is, and I assume you will have the camera mounted horizontally on the tripod, with your lens, if it is a zoom lens, set at about 45 to 50mm.

You should next determine whether or not it is worth including the sky in your shot. If there is no visible cloud, then you will have an uninteresting sky if you include it. If this is the case, observing the “Rule of thirds” by placing your horizon line 1/3 of the way down from the top of the frame and see that it is “level” and the lower two thirds of the frame will then be taken up by the land features you have already chosen. This is where your bright flash light can come in very handy.

If you would rather see some detail in your foreground feature/s, press the shutter

button again whilst shining your flash light on them. Sometimes, depending on how close in you are to your chosen foreground, your on-camera flash or external flash unit may be enough to cast light on them, but you should definitely be able to get closer in with your flash light.

With the composition of your foreground features, and again observing the “Rule of thirds”, try to place the one showing the most interest, 1/3 of the way in from the side of the frame and the still yet to come sunrise on the other side.

So, in this case, you should have the straight horizon line approximately, although there is no need to be absolutely precise with this, it is only aesthetically correct, 1/3 down from the top of the frame, the foreground feature/s 1/3 of the way in from the side and the sunrise 1/3 of the way in from the other side.

On the other hand, if your sky shows a lot of interest and you want to use it as the main feature, then it should take up about 2/3 of the top of the frame and the land features, 1/3 up from the bottom.

If, at this stage 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 ever changing colours can still bring many surprises.

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.

However, if you change your position entirely, you must realise that your composition and the elements you can include in it have also changed.

So again, just be aware of what you are including in your shot as your foreground content is just as important as your background. As I stated earlier, in the composition rule “less is more”, construct your landscape or seascape as you would if you were writing a good book.

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.

The light is really different now as it takes on a golden hue, but this is the time when you can get some great landscape or even cityscape photography as you will no doubt soon discover, when taking a good look around.

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 a 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 in the texture of their surfaces.

As the golden hour passes, the sun should now be well and truly up, as it starts its slow journey across the sky, the wind has got up and the light has become much more whiter now, so it is generally about this time when I think about starting to pack up and make my way home, wondering at the same time, what tomorrow will bring.

No two sunrises will ever be the same. Each and every morning is totally different. And just as every morning is different, no two photographers will ever photograph the same sunrise, or any scene for that matter, in the same way. We are all individuals - and anyway, it simply wouldn't do for us all to see things in the same way.

My other photography services...

2011-04-14T07:55:00.008+10:00

My fergiesfabfotos home page

My photography services include natural light portraits of you, with a friend/s or family, new car, your Mum and/or Dad, your Mum with her favorite flower or pet crocodile or even just your pet. And with very low overheads, it won't cost you a bundle either. (examples) Please email me for more information.

I also do real estate/property photography, as the equipment I have allows me to get a better, more technically correct image than your average compact camera will give you. My camera has a built-in distortion correction facility, which is integrated with my wide angle, 14mm 2.8 lens, specially purchased for this particular purpose. Normally, the wider the angle of the lens, the more distorted vertical and horizontal surfaces will appear. This gear eliminates that, giving a much more pleasing result.
(examples)

With all that, I am also a very keen Nature photographer and conduct walking, Nature photography tours that are both inspirational and educational in and around this beautiful area where I live in Tin Can bay, Queensland, Australia.
My sunrise tours begin pre-dawn and take in the amazing early morning sunrise, then the many varieties of shore birds, some migratory, but many others that remain all year round. Then there is the feeding of the Dolphins, which is a daily regular occurrence, photographing coloured reflections on the water at our local marina and to finish up along the wildflower walk, where the tour concludes around midday.

Please see my Tin Can bay photo tours site for more details and how well these low cost tours fit in with your holiday budget.

Shooting Indoors

2011-02-05T15:20:00.003+10:00

Challenges of shooting indoors

(real estate photography)

I have found shooting indoors can 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 for the bright window.

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 to the outdoors, make certain it is a clear view and one without any annoying or distracting elements either.
Another problem with indoor photography is distortion cause 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 some mid range SLR cameras now have a built-in Distortion Correction facility to alleviate these problems.
All these things can not only detract dramatically from our main point of interest, but also give shots a very unprofessional look.

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.

In real estate photography you would normally shoot both inside and out, so outdoors will need almost the same amount of scrutiny, care and consideration as inside.

Obviously, a SLR camera is best suited for this type of photography. Mainly due to the fact that if you need to use flash, 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 attached to a SLR 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.

A slave flash mounted atop a tripod would also be an asset in large rooms.

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.

It all depends on the equipment you have and how proficient you are with its use.

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.

On a SLR camera, 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 not including vertical door frames, etc., in the shot.

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.

One thing that I consider is important with 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.

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 this shoot that you may want for future reference.

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.

All these things considered can only help you become more professional in what you do and how you accomplish it.

Ken & Jackie's Wedding - 10/04/2010

2010-05-06T09:35:00.010+10:00

Local Celebrant extraordinare, Bev Travis, doing her thing. Excellent, couldn't have wished for better!
And thank you Peter Holt of HoltiesHouse for taking the photos.

Ceremony held at Alford Park duck ponds, Gympie and later at the Phoenix Hotel.

Make my Photo Tips page your page...

2010-02-25T08:49:00.017+10:00

I do hope my Photo Tips will soon become a part of your everyday, photographic routine.

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 "HERE" to contact me.

To keep my Photo Tips handy and at a moments notice, here's how you can make my Home Page your favourite page.

It's easy, just follow thes instructions:

Open your internet browser and from the main menu select "Tools".

Click on "internet options",

Then, in the URL "Home Page" address box,

Type in: http://blog.fergiesfabfotos.com/

Then click "Apply" and "OK"

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Balance

2009-11-14T08:31:00.006+10:00

Another important composition rule, or principal, which I have briefly mentioned in my "Composition Design" tutorials is "Balance" - getting the elements in your photos to achieve the right balance.
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.
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 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.
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.
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 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.
Balance can also relate to subject perspective, or if your subject is side on to you and, for instance, looking to your left, place the subject on the right 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 right part of the frame.
An un-level horizon line can also cause a photo to look unbalancd, so just be aware of that too if you are shooting a scene which includes a horizon line.
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.

Shooting Panoramas

2009-08-29T16:07:00.006+10:00

I really cannot say that I am over-joyed with excitement for panorama photography, but I suppose there is a niche for it somewhere in photography annals. Some newer cameras are even equipped with their own built-in stitching program, mine program came with my printer of all things, but there are programs available freely on the net.
Admittedly, panoramas are fun to do and can require a certain amount of skill to get a reasonable result.
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.
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.
For best results, your equipment should include a good stable platform for your camera. If you do not possess a tripod, might I suggest at least a small bean bag which you can rest on a fence post or the roof of the car and mould your camera firmly into it. But I still recommend a sturdy tripod with pan head if possible. A remote/cable shutter release would also be an asset, but not essential. If it is a windy day and you are concerned about camera movement, you can always use your camera’s timer facility.
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 wide angle. Or, on the other hand, if you are using a SLR type camera, a 50mm (standard) lens or 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). Focus control set to infinity. This should allow you to get good clear focus throughout the scene, availability of light permitting. You may have to make minor adjustments till you get exposure settings right.
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.
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.
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.
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.
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.
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.

When one is never enough

2009-08-19T12:58:00.005+10:00

They say a picture speaks a thousand words, but I also think, 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.
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!
If you are shooting a bird or an animal, you will want to get in as close as you possibly can and one shot maybe 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.
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.
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.
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.
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.

Photographing Lightning Strikes

2009-07-17T15:57:00.005+10:00

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 shooting lightning strikes, you should no doubt be aware of the risks and possible dangers involved.
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.
Your equipment should include a good sturdy tripod, remote or cable 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, your chances of catching it will be next to none.
You could say that photographing lightning strikes was not un-akin to fireworks 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 one frame.
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.
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.
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.
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 have 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.

Pets Photography

2009-07-17T10:54:00.004+10:00

Photographing your pets, whatever they may be, requires, as you may have already discovered, not only a certain amount of skill, but lashings of patience and a very mild and even temperament.
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.
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 juvenile age.
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. It is important that your pet is familiar and comfortable with the room and its surroundings, but if you are unsure, I suggest you set up the planned area with whatever you intend to use in the shoot, such as props, favourite toys, etc., a couple of days before hand. That will at least put the animal at ease.
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.
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.
Apart from the props you use, you really need a tripod and a cable or remote shutter release would be an asset but not essential.
Your camera and its lens needs 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.
It is important that the animal has had a recent bath to ensure the eyes and face are clean, as this will be the area 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.
A classic shot to get is when they show sudden alertness such as, when have been playing quietly with something for a while and you suddenly whistle or clap your hands.
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.
Life is too short - even more so for our pets. And even more reason to make the shoot worth while.

Sport and Action Photography

2009-07-15T15:51:00.004+10:00

Sports photography, which comes 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.
For the NOVICE, sport or action photography does not require specially 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 by reading this, those people will see where their limitations lie.
I say the SLR is preferable because of the option for manual operation, to change lenses and fit various filters whenever the need arises. The point and shoot is fairly useless too when your boy has possession of the ball but he’s right over on the other side of the field. So you are also restricted where distance is concerned.
I suppose distance can be a bother with the SLR too, unless you are prepared to spend big money on a long telephoto lens. And that can run into many thousands of dollars.
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.
It would be favourable too, with your SLR to have a good knowledge on 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).
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 will allow). This will give your subjects sharpness and clarity, but plenty of isolation, with a blurred background.
Also take a look at "Panning". (reference link below).
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.
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.
Another aspect about 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 from below eye level. In fact you have probably seen at football matches how the photographers on the side-line are actually sitting down. It’s not because they are lazy, but that is their chosen 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.
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.
Other things to take into consideration are:
To work with auto focus
Have the camera in continuous shooting mode, so as not to miss any of the action.
From the camera’s menu switch to centre weighted metering.
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.
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.

Reference:

Depiction of movement by panning

Shutter speed and aperture settings

Altering the camera's exposure settings

Still Life

2009-07-14T14:48:00.003+10:00

In most cases Still Life photography is not too far removed from food photography 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.
But like food, it gives as good opportunity to learn more about subject lighting and composition.
Equipment
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.
Here you are using slower shutter speeds, which means longer exposures and a tripod is a must. Also a remote or cable shutter release would be an asset, but not absolutely essential. You can use the on-camera timer facility to restrict camera movement
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 velvet and get enough to stand your subject on and to use as a backdrop. Black 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.
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.
Composition
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.
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.
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.
View point
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.
Treat this merely as a suggestion, but once you have gained your confidence, then you can begin to get adventurous and try various angles and viewpoints and different lighting angles and strengths.
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.

Food Photography

2009-07-14T12:17:00.008+10:00

Have you ever seen those Coca Cola billboard advertisments, 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.
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.
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.
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.
Food, in a way, should be photographed and treated much the same as “Still Life” 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.
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?”
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.
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.
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.
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.
You will also need a tripod and I would go as far as to say, a remote, or cable, 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.
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 table cloth, 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.
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.
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.

Photographing Babies

2009-07-13T14:57:00.005+10:00

It’s a fact that we can never take enough photographs of our first born. I believe the second born generally gets second billing. Probably because you are spending most of your valuable time chasing after the first born.
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.
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.
“What about lighting indoors?” And may well you ask.
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.
You should use your own 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.
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.
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.
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.
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.
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 who’s head looks three times bigger than it’s 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 view points. Get as much variety as possible.
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.
Include props like toys, family pets, or even other people or someone else’s baby.
Catch the child’s emotions - laughing, crying, eating. Especially eating something new for the first time and watch for funny facial expressions.
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.
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 your going to have to nail them down to hold their attention.

Cropping

2009-07-12T15:07:00.012+10:00

Some of you may well know what cropping is, but a lot of you might not know where to crop or why we crop.
Cropping is what we do when we literally want to emphasize our subject in the photo. By cropping we can also alter the balance of the image. For example, if our subject is bang in the centre of the frame, if we crop in a little from the right and up from the bottom, our subject then will be a little of centre on the right and closer to the bottom of the frame. But why go to all that bother? Why can’t we just leave the subject where it is? Alright, alright, for an explanation of that, check out my:
"Rule of Thirds Explained".
Cropping is also handy for taking out any little nasties or intrusions that we don’t want to include in our photos.
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.
Before you raise your camera, give yourself a second or two to assess the scene and you really should ask yourself these important questions:
1) How close can I get to my subject?
2) What is the background like? Are there any bright areas? Anything that
does not relate to my subject. Can I alter my viewpoint or change to a
better angle to eliminate those things?
3) Can I get in even closer still? What about if I turn the camera on its
side and take the shot that way.
4) I’ll use the zoom to its full extent, then I will get only what I want in the
frame and very little else.
There are many other things you need to ask yourself when you compose your shots, but here, we are only concerned with cropping.
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 later.
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.
If you would like to extend your knowledge of this subject, might I suggest you take a look at my: “Composition Design” chapters 1-7 and don't forget to have a look at: “Rule of Thirds explained”.

Group Photos

2009-07-11T15:45:00.007+10:00

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 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.
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.

Let me tell you about my first group assignment.

It was at the birthday party of an eighty year old lady, who had her children, grand children and great grand children all attending and I new 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. 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 shot and luckily, there was a park bench that I could use to stand on. As I brought a few different lenses with me, I selected my old non-digital 17-35mm wide angle. Wide open it gave me a maximum digital equivalent of about 52mm. I assumed this would be acceptable for the size of the group and from where I would be standing. Of course I will have my flash attachment fitted too. 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 back lighting and my flash unit would balance the scene anyway.
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.
When the time finally came around for the big one, I thought, ‘Well, this is it - do or die.’
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 a the spot I had chosen.
It’s strange, but I didn’t have to do much sorting. I just asked them all to form into a tight group and stand with whoever you want 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.
I let them all know that I intended to take several shots and would they please not disperse until I gave the OK.
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.
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 is no difference if you are driving a car, flying an aeroplane or simply operating a camera.

Architectural Photography

2009-07-10T16:02:00.007+10:00

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.
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.
All that taken into consideration, let’s look at how we might approach certain subjects.

We’ll start with modern skyscrapersIt is worth knowing here, that dependent 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.
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. 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 frame work 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.

Old buildings and ruins
Old buildings don’t seem to provide that modern architectural abstractness that new buildings provide, but they do convey a lot of natural, old worldly char 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.

Best lighting conditions?
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.
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.

For photographing buildings at night, see my “Night Light Cityscapes”

Induced Blur

2009-07-10T11:01:00.006+10:00

There are times when blur in your images can be really useful.
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 “light trails”.
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.
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 cable 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 in to the lens.
If you can operate your camera manually, it is best set to “Shutter Priority” and whatever it is you are shooting will determine the speed at which you set it.
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 at 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.
It is with this type of photography that the Neutral Density filter will really come in handy. They allow you to get down in speed, come in various densities and will not alter the colours in your scene. Also “Grey Grads” are 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.
A polariser will also drop your speed by a couple of stops, but will probably not be enough in bright sunshine.
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.
So, if your kit fit’s 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.

The Eyes Have It!

2009-07-09T10:40:00.002+10:00

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.
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.
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.
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 the viewer impact of our images. It can change the focal point (main point of interest) as well as the mood and/or emotion of the image.
To give some examples of this:
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.
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.
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.
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.
Now, when you are taking portrait photos of family or friends, you are going to have to make the 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 is looking to their right, place them 1/3 in from the right of frame, so that they have about 2/3 of frame to look into. Still having both eyes in view with the focus being on the eye nearest the camera.

White Balance Explained

2009-07-08T18:59:00.006+10:00

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.

Symptoms of poorly set white balance:
If your camera’s white balance is set incorrectly, or if your camera chose 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.

What is colour temperature and how is it measured?
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 200 W 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”.

Here are some examples of colour temperatures from common light sources:
1500 K: candle light
2800 K: 60 W bulb
3200 K: sunrise and sunset (will be affected by smog)
3400 K: tungsten lamp (ordinary household bulb)
4000-5000 K: cool white fluorescent bulbs
5200 K: bright midday sun
5600 K: electronic photo flash.
6500 K: heavily overcast sky
10000-15000 K: deep blue clear sky

Newer light sources, such as fluorescent and other artificial lighting, require further white balance adjustments since they can make your photos appear either green or magenta.

How does a digital camera auto-detect white balance?
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.

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:
1) Your scene is heavily dominated by one colour
2) Colour accuracy is absolutely imperative
3) You are photographing particularly warm or cool scenes (e.g. a sunset)

White Balance Presets
Most digital cameras come with multiple white balance preset options. These presets work well when:
1) The light source matches one of the preset white balance options
2) Your scene is heavily dominated by one colour

Let’s review the most common preset options:
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 -1 or -2 and use this setting in daylight to simulate night.

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.
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.
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.
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!
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.

An article from www.picturecorrect.com

Polarising Filters

2009-07-08T14:19:00.007+10:00

I am fully aware that I already have a chapter especially 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.
There are two types of polariser, the circular and the non-circular. The circular polariser is best for auto-focus type SLR cameras, but I will just relate to it henceforth simply as, “the Polariser”.
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.
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.
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 it out. Just type the words, “circular polariser” into your browser and see what options you have for reference when you bring it up.
However, there is one technical aspect that I feel you should be aware of, and that is: to use it at its optimum best, you must use it at an angle of 90 degrees to that of the sun.
It is not recommended to photograph rainbows with a polariser fitted as it will eliminate some of the reflected colours and possibly lessen the image impact.

Its uses
It is probably best known for its ability to really intensify and enhance saturated colours and make blue skies even bluer and the higher you are above sea level, the darker the sky becomes.
It will cut through haze and is ideal for eliminating reflections on glass, water and most other surfaces that reflect light and therefore ideal for when you are shooting a subject and there are reflected light distractions in the background.
It is worth remembering too, that because it will lessen the amount of light permitted to enter your lens by up to about two stops, there are times when this could be an asset. Especially when a lower light source is required.

For filters in general? Click "HERE"

Fill-Flash

2009-07-08T09:38:00.003+10:00

Fill-in flash is normally used 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.
Problems of this nature can also come about when photographing your subject in a snowy field or on a white sandy beach.
Photography taken in this manner, against the light, is known as Backlit Photography and/or rim lighting, where your subject is being lit from behind.
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 built-in 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.
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 wear a hat or cap. Fill-in flash can also remedy this situation.
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.
Reflectors are also used for the purpose of bouncing light back into the frontal areas of subjects. (Click here for more on reflectors and how you can easily make your own).
So, it is a matter of assessing the lighting conditions and knowing well beforehand, if they are going to affect the shot or not.
A lot of new cameras today have fill-flash as an added feature and for those who were not sure what it was used for, well now you know!
For those who do not have this feature on their cameras, you may have to manually activate flash whenever the need arises.
If your camera has a hot shoe, you can fit an external flash gun and one 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.
Today’s modern flash units swivel around as well as up and down, so they can be bounced of a nearby white wall or ceiling and they can come fitted with a light diffuser to soften the light being directed at your subject to give 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.
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.
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 original lit scene.
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.
Note:
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.
The aim is to only use an absolute minimum amount of fill-in flash - in order to correct excessive contrast and shadows.

Cable Release

2009-07-07T18:59:00.008+10:00

Cable Releases or remote shutter releases are mechanisms that, when attached to the camera, allow photographers to operate their cameras from a distance. They generally consist of a length of cable or lead with a plug on one end connected to the camera and a switch lock and release button on the other.
After investing in one, you'll wonder what you ever did without it!
They perform two main tasks:

1) In low light situations, where the shutter is required to be kept open for long exposures, for example, photographing star trails where the shutter may need to be open for two or three hours and longer.

2) To assist in close-up photography or when the operator is concerned about possible camera movement as a direct result of manually operating the shutter.

The switch lock/button end of the lead is held by the photographer and once the photo is composed the button is then pressed to release the shutter. If the shutter is required to be kept open (as with the star trails) the photographer presses the button and locks it down with the switch lock and then after a predetermined time the switch lock is released and the shutter closes.

Depth of field Explained

2009-07-07T10:13:00.003+10:00

Depth of field relates to the depth of an area, from beginning to end, within a scene that is in clear focus and the area which is not is obviously the out of focus area. It is determined by three factors - the size of the aperture opening in the lens, the focal length of the lens ( EG: 50mm, 200mm, etc.) and how far you are away from your subject. So basically, the “depth of field” is the area of a scene that appears in focus.
Assume you have your camera on auto, but you have chosen Portrait Mode on the mode dial. When you depress the shutter button half way the auto focus kicks in, after which, we finalise the shot.
Depending on how far away you were from your subject when you took the shot, will determine how much of the area around your subject is in focus. But also how much of the area in front of and behind your subject is blurred, or out of focus.
Let’s have a look at the three determining factors, as mentioned earlier:
1) Aperture size:
The size of the aperture opening determines the amount of light permitted into the lens and the greater the amount of light, the lesser the amount of depth of field you have at your disposal.
By opening the aperture, that is, selecting a larger aperture setting, for example, f5.6, f4, f2.8, etc., or when you select Portrait Mode on the mode dial, you create a large aperture opening, therefore you will have a narrow depth of field.
On the other hand, by selecting a smaller aperture setting, for example, f11, f16, f22, or by choosing Landscape Mode on the mode dial, you have created a smaller aperture opening, providing for a greater depth of field.
Note: The focus control can only adjust the focus within the area that the lens aperture is set at. It cannot control your depth of field.
2) Lens focal length:
A short focal length lens, for example, 20mm or 40mm, will allow for a broader depth of field than a longer focal length lens. EG: 100mm, 200mm, etc. So the depth of field in this case, is measured by how much or how less your lens focal length magnifies the scene.
3) Distance from subject to camera:
The closer you are to your subject, the narrower your depth of field. In doing close-up photography you depth of field can be reduced down to a matter of a few millimetres.
So, to be in relative control of your depth of field, simply remember:
To have an increase in depth of field you need to use a narrow lens aperture, a shorter focal length lens and possibly move away from your subject. And the opposite applies if you wish to decrease your depth of field.

Tripods and why

2009-07-05T15:11:00.009+10:00

The monopod can at times be just as important, but I'd rather stay with my tripod.
To some the tripod is looked on as a necessary evil, but I really don’t believe there is anything evil about it at all. Very often it will get taken out on a photo shoot, just to be left in the car boot (trunk). But tripods should never be underestimated, there are times when you simply cannot do without it. So if you think you have too much to carry and there is a long trek from the car to the shoot, I’m sure the little wife will only be too happy to carry your tripod (says me, looking gingerly now over my right shoulder).
Yes, they are heavy and can be cumbersome at times too, but don’t look on the tripod as an extra burden. It should be the first thing on your list to pack - not the last. Apart from the camera of course!
I find, that once I have the camera mounted on the tripod, it gives me the freedom to move about the scene and mentally compose my shot. All that is then required, is to make the necessary adjustments and shoot and my hands are free again to contemplate the next viewpoint or a different angle.
When using slow shutter speeds or shooting in low light, you cannot do without your tripod. I know, you can always lean it on the roof of the car or on the side of a tree, but these surfaces can only restrict and limit your shooting angle or view point.
If you wish to shoot waterfalls and achieve that dreamy, misty look to the water like the pros, where your shutter speeds need to get down to at least ¼ - 1/3 of a second and slower, you will definitely need a good sturdy tripod, because the risk of camera movement is greatly increased at those low speeds. Also, if you want to take panning shots of a moving vehicle and have the vehicle in sharp focus whilst the background is all streaky in the depiction of movement, a good sturdy tripod is also essential.
While you have the ability to use slow shutter speeds this then allows you to set much smaller apertures, allowing greater depth of field in your pictures. You can in fact, shoot at any aperture you wish and with small apertures, coupled with your tripod, you can produce some great accurate panorama shots as well. Although with these shots you will need to ensure that your tripod is level.
If I have finally convinced you now to go out and buy a tripod, give some serious thought to spending a few more dollars on a good heavy duty type. I’m not going to mention any brands here, but you don’t really have to go over the top. Simply explain to the sales assistant that you want a good heavy duty one. You need to consider weight and strength, but you don’t want to pay more than you can afford. If it is too heavy you are not going to be encouraged to take it anywhere, but on the other hand, if it is too light, it’s not going to support your camera properly.
I have seen one that converts into a monopod by removing the centre stem, which then telescopically forms into a monopod/hiker's stick. very ingenious!
I use a heavy duty steel one to put the heavy gear on, although I am still able to carry it to most places. I also have a light weight one that I mainly use for a added lighting support. With an adapter, I can fit the external flash unit onto it, by the use of a sync lead.
A few quick tips to help you get the best from your tripod.
Always spread the legs fully. Common sense really, it's going to be more stable the further you spread the legs. Some tripods, like mine, allow you to spread the legs past the normal stops to get you out of trouble in tight situations. Only use this facility when it's really necessary.
Use the minimum height you need. Don't go higher than you have to, the higher you go the more wobbly the tripod will be.
Extend the legs rather than the central column. The central column should only be used for fine adjustments, it is not as solid as the legs.
Adjust the height of the legs before spreading them. It's the only way to make sure that the legs are all the same height. This will give you the best chance of the camera being level. However you still need to check it by eye or with a spirit level.
Here's a tip:
If you are a bit light on in the ready cash department and you only possess a light weight tripod and you are off on a field trip this coming weekend, fashion a piece of strong fencing wire into a hook that you can attach to the centre stem of your existing tripod and take along with you on your shoot a fairly strong plastic shopping bag or similar, so that when you get to your destination, you can attach the hook and suspend the bag from the hook with some rocks in it. This will weigh down your tripod and provide a sturdier base for your camera. Especially if it is windy where you are going and you can never be too sure that it won't be.

Rule of Thirds explained

2009-07-05T12:16:00.003+10:00

The rule of thirds is quite a common and well known part of photographic composition design and although some of you may have already heard the term mentioned, you may not be brave enough to admit that you know of it, but nothing about it.
Well, I hope this will put you in the picture. Pardon the pun!
The Rule of Thirds is one of those tools that can really change the entire perspective of an image. The simple act of altering the position of your main focal point and subordinate points of interest in the frame can create added interest and give a novel professional touch to your photos.
The use of photographic composition rules can also help you win prizes.
The Rule of Thirds is about trying to assume, when you look through the view finder of your camera, or your digital camera screen, that you see an imaginative grid in the shape of a Naughts & Crosses game, with a vertical line 1/3 of the way in from the left and 1/3 in from the right and one horizontal line 1/3 up from the bottom and another 1/3 down from the top. Where these lines intersect near the centre the centre of the frame, is where you arrange to place your focal point. Not in the ‘dead’ centre.
If the photograph you are composing incorporates a wide horizon, a sea scape or desert landscape, for instance, if you have a very interesting sky with a featureless land, grant the sky prominence by allowing it 2/3 of the frame and the land only 1/3. On the other hand, if the sky is plain blue or grey and virtually boring, allow the land 2/3 of the frame and the sky just 1/3. All the time remembering to keep your horizon line level too.
If you are doing a portrait, you can fill the scene with the head and shoulders, but place the eyes or at least the eye nearest the camera, on one of the upper ROT intersections. For example, if the head of the subject, be it person animal or bird, is facing toward your left, place the eye/s on the right upper ROT intersection. This will provide space in the frame for the subject to look into. And as the eyes are the focal point, be sure to concentrate your focus on them. It doesn’t matter if other parts of your subject are out of focus, the eyes are the focal point in any portrait and for them to be placed on one of the ROT intersecting lines can really give your image great impact.
The benefits of using the Rule of Thirds was first discovered by the great classical artists, long before photography was even thought of. It was then know as the Golden Mean and those guys certainly put it to its best potential.
There are many other rules for photographic competition and as with anything else, rules were made to be broken, but it is a good idea to find out about them, practice them and then make up your own mind as to when, how and if you will apply them.
But in photographic competition, if it gets down to the wire, if you have followed the rules correctly, it might just get you over the line.

Fungi Hunting

2009-06-28T15:31:00.004+10:00

Of all the fascinating roads one might take on the trail of their most photographic fantasy trip, Fungi hunting would have to be up there amongst the favourites.
They include fungal growths, mushrooms and toadstools and it’s where you are likely to really “get down and dirty” with nature. But the rewards you can reap far out-weigh any cursed or calamitous catastrophe that might befall you in the pursuit of your goals.
Fungi hunting is another one of those pastimes that requires quite a bit of research and it is important, in my opinion to do a bit of study on the subject, or at least perhaps try to find someone at your local camera club perhaps who knows a bit about it and what species of fungi you are likely to find in your locale and the best times to go looking for them. I know there are only certain times of the year when they are about, but a good time is during and immediately after a good wet and/or in the cooler months of Autumn and Winter.
There are a variety of shapes, sizes and colours that are very striking at times and some very tiny ones with hair like stems that look as though they will blow over at the slightest breeze. And they may only last for a short part of the day, so it pays to get in early, before the warming sun starts its work on them.
You need to look off the beaten track a bit, but keep the track in sight or you are very likely to get lost wandering about in the bush.
Shooting Fungi is, in a way, like bird photography. The more exotic types are generally the ones that are harder to get. You can either be content with a few shots of a couple of sparrows in your back garden or you can go to extremes to find the more lesser known exotic types that hardly anybody ever comes across. That’s the challenge with Fungi.
So it is a good idea also to find out what are the more common and lesser common varieties. And how difficult it is likely to be to track down the latter. A good eye and patience are the order of the day, but after you have found a couple of the same variety, they seem to get a little easier to spot.

Anyway, apart from all that, how about your equipment?
You really need a good fast Macro lens for this. The faster the better, because of the dismal lighting situations you might find yourself in. You may be looking into or under dark logs and thick undergrowth.
A zoom lens with Macro attachment may suffice in certain circumstances, but it will restrict you.
A remote shutter release is definitely a must.
Also a do anything, go anywhere, fully flexible tripod is mandatory.
I would even take along a miniature one, for when it is necessary to get closer to the ground. So you also need a plastic ground sheet and rubber boots, as it does get a bit boggy in those places.
When the Fungi come up through the mulchy ground they tend to bring up half the forest floor with them, so a small pair of plastic tweezers or scissors are ideal for tidying them up a bit before taking their photograph.
But do it with great care, they can be very delicate.
As for lighting, on-camera flash will work okay sometimes if it is diffused in some way, but a secondary light, such as a slave flash, placed to cover the side or rear, can give an added 3 dimensional appearance to your subjects.
If the Fungi you are photographing are on the forest floor, they are often attached to a piece of woody litter just under the surface and can be carefully extricated and placed in a sunny spot, so they can be photographed more easily. But be sure and return them to how and where they were when you found them. If you set them on a log or large rock, you can then get underneath and shoot up from down below. Giving them a taller appearance with the shapes and textures of their under sides showing.
Yes, it can be a very rewarding experience and one that you could easily get hooked on, but don’t forget to take along all the necessaries for your own well being too. Such as, wear long trousers, take your mobile phone, more than enough fresh water, binoculars, torch, compass, some energy food and warm clothing and don’t forget the extra batteries for the torch and your camera.

Reflectors (on the cheap)

2009-06-27T14:35:00.005+10:00

One of the downsides to photographing subjects outdoors on a sunny day can be shadows just where you don’t them. Especially when you’ve got half sun and half shade, this is not a problem for our eyes, they will adjust accordingly, but it can cause some exposure problems for your camera’s metering system. And as photographers, we must always strive to get the “right” light, in all situations.
If your subjects are people, you can always move them to a different location, but some subjects you can’t move and it’s always handy to have some apparatus with you that you can use as a reflector to even out the light to shade ratio.
The size of the reflector you need is determined by the amount of light you will need to reflect onto your subject, but you really shouldn’t need anything bigger than about 1 metre x 1 metre (3’x3’). For small objects like flowers, etc., one or two say, 15cmx15cm (6”x6”) should suffice.
You may need a second pair of hands to hold and adjust your larger reflector, but you may be able to lean the smaller one against something to get the right angle of light reflection where you want it most.

Now, I did say, “Light reflectors - on the cheap”. And I said that because you can make them yourself, quite easily, or find other things around the home that will work just as well.
Things like the sun shields you have in the car that fits against your windscreen to block out the sun. You can get oval shaped ones and square ones that fold up in gold or silver.
Sometimes even a small mirror will help.
To make reflectors yourself, all you need to purchase (and you may have this at home anyway), is a piece of double sided white board. “Core flute” is excellent. It is stiff and thick and yet very light. You can pick up a piece as an off-cut from your local photographic/framing shop and get another couple of smaller pieces while you’re there.
When you get it home, cut it down to suit your size requirements. Then, go to your pantry and grab the roll of cooking foil, (while the wife’s not looking), and run off enough to cover one side of the board.
Lightly scrunch it up a bit, flatten it out again, just enough to retain that slightly crumpled look and attach it by tape or construction adhesive to one side of the board. And that’s all there is to it. The plain white side is for very light diffused reflection and the foil side is for much brighter reflections. These will allow for a natural bounced light, but for added warmth to your subject, you can duck down to the newsagent’s and pick up a sheet or two of gold gift wrapping paper and do the same will that.

Nature/wildlife subjects

2009-06-26T13:23:00.005+10:00

Please note: This tutorial relates to natural indigenous fauna, but for birds specifically, see “Bird Photography (made difficult)” and for native flora, see “Wildflowers”
Photographing Nature is indeed another very popular pastime. But here we are not addressing the family pooch or moggie, or for that matter any other domesticated animals.
Although, if these are the subjects you are wanting to photograph, then these guidelines will help with that too. But a true Nature photo competition will not normally include them unless it states otherwise, so please read the competition guidelines before committing yourself.
In photography, when we relate to Nature, it is only about indigenous plant, animal or bird species. Exotic animals from countries other than your own are also accepted, providing that nothing whatsoever to do with the hand of man is visible in the scene.
For instance, the obvious - buildings, fences and fence wires, power lines, bird boxes, bird baths, any cultivated or hybrid flora, etc. And the not so obvious - Freshly moved lawns, cleanly cut tree branches, bird leg rings, clipped wings, etc.
The only exemption, as far as I know, are Barn Owls. You are allowed to include parts of the barn as that is now accepted as part of the natural habitat of the species. (See “Bird Photography (made difficult)”)
Anyway, as I said in the beginning, we are not going to be discussing birds here - just animals. Although some animal competitions will include birds as part of that subject. Once again - check the guidelines.
So, photographing animals can be as easy or as difficult as photographing people. The main difference I suppose is that you can ask a person to stand still. Whereas animals are generally on the move and some can be pretty darn timid too. So in most cases you don’t have time to set up your tripod and adjust the settings in your camera. You just have to get what shots you can, while you can.
If, for instance, you are stalking a dear, you know how timid they can be, so you have your camera all set with auto focus and ready to shoot at a moment’s notice. With luck, you have seen the deer before it has seen you. Without taking another step, you slowly raise your camera, you have already adjusted the zoom to get as much of the subject in the frame as possible, preselected what you think is the right aperture setting and you now actually have the subject in your sights. You make a couple of adjustments with the lens, depress the shutter half way so that auto focus kicks in and….shoot!
Well what do you know? He didn’t here the sound of the shutter going off and he is still oblivious of you and continues to graze. So you slowly take another couple of stealthy steps forward and go through the whole process again.
That’s what it’s all about - patience and learning to accept what you get while you can. Even if it is just one far off shot. It’s still a wild deer. You could go to the local zoo and get a full frame shot, but then, the challenges aren’t so great are they?
You may be lucky enough to know someone who has a pet Grizzly Bear - hypothetically speaking of course, then you should have the ability of getting some full frame shots of an animal that most people could never get that close to.
But, if you can, try to make your animal portrait just as you would a human one. Get it doing something, not necessarily chewing the leg off its keeper, but you know what I mean.
Use a wide aperture of say f2.8 or 5.6 or go for “portrait” mode on the mode dial and focus on the eyes.
The wide aperture should allow you a fast shutter speed to cope with subject movement, depending on the quality of the light source.
If the light (we’ll say, the Sun) is low, try to get the sunlit side of the face. This will help enhance texture and form and possibly provide a glint of light in the animal’s eye - an important feature.
If it is a full body portrait you are after, use a slightly narrower aperture to lightly blur the background and try to include something that will provide a sense of scale in relation to the size of the animal.
I have seen images of baby lizards, but its babyness was only obvious to the photographer - to the viewer, they look to be exact clones of their parents. So you couldn’t very well put one in a competition where the topic was “New Life”, because without it sitting next to one of its parents, you couldn’t really tell that it was “New Life”.
Undoubtedly, this kind of photography is much simpler at a zoo or wildlife park, as the animals are more used to having humans around them and less likely to go scatting off into the brush.
But you really need to pick your times when entering these places. The animals seem to move about much more just prior to and during feeding. This, in my opinion, is the better time to photograph them, rather than later when they just lay about looking bored, as that’s exactly how they appear in print - boring.
Again, if you are photographing animals at a zoo or wildlife park, be sure not to include any man-made objects. I find it very difficult not to under these circumstances, but a wide enough aperture can disguise most backgrounds. If unwanted backgrounds are unavoidable, at least wait until the animal is doing something interesting or really funny and that should take viewer interest away from what’s in the background.
You have at least, in these places, time to be more selective with your shots and have patience to wait for that decisive moment, but by planning your shoot and by knowing what to expect, half your battle is won.

Bird Photography (made difficult)

2009-06-26T12:59:00.006+10:00

One of the most challenging and rewarding photographic activities one can involve themselves in is, in the wild, bird photography. Challenging being the operative word for most novices and you could perhaps also throw in frustrating, disappointing and the desire to give up and go home.
Bird photography, in the wild, regrettably can be all of those things and more. It requires a lot of dedication, can be very time consuming and quite heavy on your pocket. And on occasions it can also demand a good head for heights and a certain amount of agility.
It is exceptionally challenging and frustrating attempting to photograph small birds, as they are constantly darting about and on the move.
For this, you need to be extra patient, do some research about the birds you are going for and where you are likely to find them and their habits. Your equipment should include a long 600 to 800mm prime “fast” lens (“What’s that?” You ask, see “Lenses”) with an extra sturdy tripod. I say a fast lens because you are shooting under low light and sometimes dark forest like conditions. Not to mention the possibility of a hide and you may need to set it up a couple of weeks before hand, so that the birds get used to it and you being around. There may also be guidelines you need to follow if your location is in a state run forest.
Then, after all that, if you happen to locate the birds you are after and they just happen to be a nesting pair, you cannot disturb anything around the nest that might question your ability of getting a clear shot at the birds whilst on the nest or feeding their young. Such as an overhanging branch, for instance. The birds might have built their nest in that particular spot because that branch will shelter their young from the sun and if removed or even bent out of the way, the young birds could fry in the hot sweltering sun.
So, with all that, I have probably put you off the whole idea of bird photography for life. But, if it all does seem a bit daunting, you may want to consider taking it up more earnestly a little later in life and meanwhile, spend some time visiting the local wildlife centre or bird sanctuary.
Some of these places have a walk-in aviary, but you might have to ask one of the attendants about taking photographs or using flash.
Also if you are hoping to enter the photos into a nature competition some competition guidelines are such, that you will have to try and eliminate any man-made objects from the background. Including bird wire, breeding boxes, sawn-off branches, bird leg rings, etc. It may take some time for you to get the right shots in, but it will be worth the wait.
Another thing to look out for in the background is other birds and in particular brightly coloured ones getting into shot. Try to have only one kind of bird at a time unless they are a mating pair, of course.
Here, you won’t need that enormous, expensive lens, but you will still have to fill most of the frame with your subject, who, although will be more at ease with people being around them, could still be a bit scatty, so a zoom lens up to 300mm or at least 200mm, with fast shutter speeds and wide apertures are also the order of the day.
If there is a lack of light you may need to up your ISO rating a couple of stops.
It is disappointing that you can’t get these small birds so easily in the wild, but you can get some pretty good results photographing larger birds like Pelicans, Storks, Egrets, Herons, Cormorants, etc. And if you can’t fill the frame with your subject, at least include some of its habitat. Like the Pelican on the jetty by the sea or the Heron fishing on the edge of the leafy lagoon.
You can even set up a bird bath and feeder to entice local birds into your own garden and photograph them as they perch on a nearby tree branch.
Native flowering trees will also entice birds into your garden. Particularly the nectar and insect eating species.

BetterPhoto.com Competition Guidelines

2009-06-25T09:12:00.013+10:00

I have borrowed these guidelines to enable you to understand what is expected when you submit your photos for photography competitions. Every competition is different, but this should give a general idea of what to expect.

As quoted by BetterPhoto:
The following is intended to help budding photographers understand why some photos win photography contests and others don't. These guidelines consist of a brief introduction into the judging criteria that we use here at BetterPhoto and are by no means comprehensive. But they should give you a start in the right direction.
Our judging process is composed of multiple stages and calls upon the evaluations of a panel of skilled photographers and judges. So many excellent entries are submitted to the contest each month, we have to be brutal. The voting process unfortunately eliminates many good images.
The winning photographs you see posted on our site at BetterPhoto feature a strong combination of the assets we seek in an image. These include: thoughtful attention to lighting, eye-catching colour; balanced composition; sharpness; correct exposure; and a host of other elements. An explanation of our judging criteria - used as a guideline during the voting process - follows.
First and foremost, read the "terms and conditions" of the competition, paying especially close attention to the "Additional Contest Rules" section. These rules reveal much to the discerning contestant. For example, our brief and simple terms state that only one image can be entered into the contest per day. Therefore, if you enter many images consecutively, only the first is judged in the contest. We regretfully pass over many great images each month because the contestant obviously had not read this part of the rules.
Secondly, we evaluate the image against traditional standards of sharpness. The picture, above all, needs to be in focus (or, if the picture features some blurriness, it has to be a clearly intentional, artistic use of blur by the photographer). Photos that suffer from camera shake or other focus mistakes are often eliminated very early in the judging process.
We generally notice two levels of blur in the images submitted:
Some photos are obviously, and unintentionally, blurry. If the blurriness is detrimental to the photo, the image is usually eliminated early on.
There are many other photos which are just slightly out of focus, or soft. When this appears to be unintentional and dissatisfying, the picture receives a lower score. Only when other elements of the photo - such as its uniqueness - are remarkably strong do we continue to leave it in the running.
Remember: sometimes softness is an attribute and not a problem. A perusal of the winning images will show you that some photos can excel with a careful use of blur.
Picture Perfect Exposure: We understand at BetterPhoto that images look different from one computer to another. What may be dark on a PC may appear extremely light on a Macintosh, for example. Therefore, judging exposure takes a back seat to judging sharpness. But it is still important.
Is it underexposed? Is the snow blue instead of white? Is the image faint and hard to see? Does it look like it may have been a nice image before it was poorly scanned?
Does the photo show pleasing colours with clarity and correct exposure? Can you make out the details in the shadows. Clarity and resolution of the photo - being able to enjoy the details of an image - mean a lot to the judges. They look at how well exposed the image is and, unless the photo is black and white, how well colour is captured.
Get Digital, If Need BeAt times, a photo looks blurry after being captured with a digital camera or scanned. That is one reason why, whether you are a traditional film photographer or a digital photographer, knowing your way around a simple software program such as Adobe Photoshop will likely help you win.
Learn how to do a slight amount of digital sharpening after you scan, with a image-editing program such as Adobe Photoshop; investigate the "Unsharp Mask" or "Smart Sharpen" functions in your software.
You should especially be careful to not overly compress a JPEG file when saving. We recommend uploading images with the least amount of compression as your connectivity can allow - if you are on slow connection, you may not be able to wait for a big file to upload. In any case, settings above 8 (or 80% or the equivalent in your software) are generally safe.
If you shoot film, learning the art of scanning is essential. The image must look excellent on the Web. Dust, scratches, hair, and any other distracting elements need to be eliminated. If your software features a Rubber Stamp (or Cloning) tool, learn how to use it. You will also benefit by learning how to keep contrast from increasing too much during the scanning process. If the lights get too light while the darks get too dark, you have a problem and need to take steps to increase colour range (Hint: you may be able to salvage many photos using the Curves, Levels or similar functions of your software.)
Also, make sure that you scan the area of your image and not its surrounding borders. Try to not be overly concerned about getting every single square millimetre of your picture, to the point where you actually end up including white or dark lines around the photo. If you do, crop them before submitting the photo.
Get Creative / Be Artistic When the judges vote, a few questions they ask include:
Does the photographer show an artistic eye?
Do they seem to notice the unique and the unusual and make the most of it?
Did the photographer use creative techniques to make an interesting effect?
This is all about the art of seeing - of being able to creatively notice the right moment - as well as artistic treatment. A high voting score here represents an artist who is aware of the unique colours and qualities to be found in light, as well as noticing graphic elements such as lines, patterns, shapes, and forms.
Noticing and capturing the comical and humorous can also be helpful. Finding an interesting, unique and original choice of subject, and going out on a limb, will often result in some of the best pictures.
For example, an original use of the sepia tone effect, creative lighting, motion blur, etc., will cause a photo to score higher. Framing the subject is another effective way to treat it artistically.
Consider the overall clarity of meaning and focus of statement. When the photographer's intention is clear and the main subject obvious, this can help make the photo a winner.
Lastly, the photo should be balanced in composition (e.g. by use of "Rule of Thirds" or another compositional principle). Move in closer if you need to. Make sure the horizon is level. Whenever possible, eliminate any extraneous elements - such as an annoying spot of glare, an unwanted tree branch or camera strap.
Name and Describe Your Photos
Sometimes it can be very difficult to figure out what to call a photo or what to write in the description field when you upload. Although these words are nowhere near as important as the image itself, we thought we would offer you a few tips on titling and describing your images.
Don't Distract the Viewer
If you have read this far, you deserve a reward. Here are two things most people don't know:
1) The judges have generally learned to dislike borders. Borders are all too often placed around mediocre photos in an attempt to "dress them up". If you are considering a border, do what the judges do: examine the photo itself, critically and exclusively. Hold up your hands and use your fingers to temporarily hide the borders. If the photo does not stand on its own - without borders, then don't add a border.
2) We certainly support putting your own copyright symbol on your photos. However, if you are going to do this, try to keep the signature and copyright symbol from becoming too distracting. One trick is to colour your font so that it works harmoniously with the other colours in your photo. Help your viewer keep his eye on your main subject.
Study the Winners and Keep Your Chin Up
If you are still uncertain about what makes a winning contest photo, carefully review the winners again and again. Ask yourself, why was this photo selected? What are the top qualities about it?
Remember that you have a lot going for you at the BetterPhoto contest. Our judges are dedicated to three things:
Judging images exclusively on quality rather than on the name, skill, or equipment of the photographer.
Being open to all kinds of excellence, and
Refraining from photo snobbery.
That means that we do not judge a picture poorly just because some photographers would consider it a "less professional" subject (i.e. your cat, your kid). At the same time, we do not punish good photographers for working hard to becoming great (no handicaps, no separating the pros from the amateurs). We also do not hold it against you if you artistically and skilfully employ digital tools.
Overall, we are looking for beautiful, truthful, and creative images. Unquote

http://www.betterphoto.com/ would have to be without doubt one of the best sites for up and coming photographers. There are many great photography courses available, have your own gallery or look at the options of purchasing your own web site or even join one of the many BP Clubs. Or for that matter start your own - they're free!
Do it today, while it's fresh in your mind.

Lenses

2009-06-24T15:16:00.003+10:00

Generally, when you purchase a camera these days, it will have some sort of lens attached. To offer some versatility, it will more than likely be a zoom lens, with an average range in the vicinity of 17mm to 200mm.
In the old days, well before digital came along, cameras generally came fitted with a fixed 50mm “standard” lens. It was called that because the picture it produced had much the same perspective as to how the human eye would perceive that same scene.
However, There were many thousands of great private, commercial and historical records made with this little lens, but today it is considered uninteresting to say the least, compared to some of the modern and versatile zooms now available on the market.
So, the 50mm became known as the “standard” lens (excellent for wide landscape vistas) and anything below that became the “wide angle” lens, on down to the “fish eye” at around 15mm, which will give an extra wide angle of view of around 180 degrees.
These extra wide angle lenses are very expensive and will probably only get used on the very odd occasion, because of the way-out looking perspective they can have on subjects and especially facial features.
On the other end of the scale, there are the “narrow” angle lenses. These are known as “telephotos” and they enable you to get closer to your subject without having to alter your position. They can range from 200mm to 800mm and beyond and are also very expensive. The ideal lens for portrait work is one that has a focal length of about 135mm. Also known as the “people” lens.
Then there is the Macro lens for close-up work, but that’s another chapter.
So far we have been talking about “fixed” or “prime” lenses. That means that they are of only one focal length. They do not zoom.
The focal length of a lens can be defined as the distance from a point within the lens to the film plane or digital sensor, when the lens is focused on infinity. Focal lengths are normally found on the lens barrel and stated in millimetres.
Your camera was probably fitted with a zoom lens, as they usually are these days. Also available are wide angle zooms and telephoto zooms.
The term “fast Lens” relates to the actual size of the maximum opening of the diaphragm or aperture of the lens and allowing the maximum amount of light to enter the lens. And the more light that enters your lens the faster the allowable shutter speed and that is where the term derived from.
So your zoom lens might have a maximum aperture of f5.6, but a fixed 50mm lens could have a much wider aperture of f1.4.
Remembering of course, larger number - smaller aperture.
And you should also remember, for a f1.4 lens you will pay 3 or 4 times as much than you would for a f5.6 lens.
But apart from a little bit of light loss, with the quality of zoom lenses being manufactured today and through the magic of photo editing programs, it takes a very keen professional eye to find any difference.

Understanding the ISO rating

2009-06-23T19:40:00.006+10:00

In the beginning, the US had laid down certain standards which applied directly to the quality and graininess of photographic film. The grain was caused by the chemicals on the film’s surface that produced the image when subjected to light. Therefore they were “light sensitive“. The less sensitive to light they were, the lower the number given in the standard and the less graininess the film. Resulting in a clearer and sharper image.
You only relate grain with film, on digital cameras you get what is called digital noise. Like when you turn up the sound on your radio and the louder you go, the more hissing and buzzing you get, but it shows up on your prints as minute little coloured dots and the higher the ISO rating the more obvious it becomes. Which in some cases you may not even notice, until you have your prints enlarged.
The ASA (American Standards Association) numbers would range from say, ASA 25, ASA50, ASA100, ASA200, ASA400, ASA800, etc. These numbers also coincide with the camera’s shutter speed and aperture settings, but that’s another story.
The body now governing these standards is known worldwide as the International Standards Organisation - hence the ISO rating. ISO400 is accepted as a standard speed, below that are slow speed settings and above ISO400 are known as fast speed settings.
Some higher end of the scale cameras will go up to ISO3200. although the default setting on most domestic quality digital cameras is usually ISO100.
When you use your camera in auto mode, it will automatically select the correct ISO rating for the type of photography you are doing.
For instance, if you select “Sport’ on the mode dial, depending on the brightness of the available light source, it will set a higher ISO number, to enable a higher shutter speed, which is required to freeze the action of your fast moving subject.
Some photographers however, don’t really mind the grain, but the higher number can also flatten colours somewhat.
Now, if you were to select “Portrait” mode, it will set a smaller ISO number to produce better skin tones and saturated colours, and without the grain (noise).
If your camera allows, you can manually alter the ISO setting to fool your camera into thinking it has more or less light to play with, depending on how you wish to adjust the exposure. For more light choose a smaller number, for less, a higher number.
In an ideal situation, the smaller the ISO rating the better quality your photos will be. That is, after taking into consideration all other factors. Your digital camera‘s default setting is probably ISO100.

See also "The correlation between shutter speed and aperture settings"

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Better People Pics - Outdoors

2009-06-23T12:52:00.010+10:00

People truly make fascinating subjects. Regardless if they are only 2 hours old or bordering on 100, there has always been and always will be that certain event in someone’s life that requires a special photo to record the occasion. Or it might just be a case of wanting to get a shot of, ‘that face’. And as we all know, a picture can speak a thousand words. But it can also hold a thousand memories.
So, for whatever reason you want to get that special people portrait photo, I hope the following will be helpful to you.
Unless you are interested in what the person is wearing, you don’t really require the full body in the picture. A lot of photographers make this mistake. And that is accentuated when you hold the camera in landscape or horizontal fashion.
For example, there is your portrait - a standing, full body picture, in the centre of the frame, camera held horizontally and a whole heap of unwanted stuff on either side of the subject and unless you knew who the person was, their face is so small it is almost unrecognisable.
So, Select “Portrait Mode” on your mode dial or use aperture priority and put it on a large setting of say, F2.8 (to blur the background).
Turn your camera on its side, get in close, and fill the frame with your subject. After all, you only need what you want to see in the shot.
Be sure to focus on the eyes and if the subject is a child, get down on one knee to be at eye level or even lower for that matter. Try to as many varied points of view and settings as you can till you are satisfied you are getting the right kind of shots. If the child is busy doing something interesting include that in the shot as well. It could provide fond memories later in life.
The ideal lens focal length for portraits is around 130mm, wide angle lenses will only distort facial features at close range. So if your camera has a zoom lens, try to operate it in the 110 - 130mm range.
Select a neutral outdoors background, like a plain wall or green bush, with the sun behind you and to one side. Your subject should then be placed about 2 metres out from the selected background.
Other than the standard straight on look, ask your subject to stand at a slight angle away from the camera, but with the head turned in facing you, slightly tilted up or down. Use a bit of imagination with your posing. Anything is better than the plain straight-on look.
You could also choose the shade of a building overhang where there is a darkened background, with your subject facing out into the light. Providing the light is not harsh enough to cause squinting.
Slightly overcast days are also good for portraits and sometimes preferred, as there is less likelihood of getting heavy facial shadows. But a bit of fill-in flash from the camera or a reflector may also fix this problem, if and when it occurs.
If your subject is standing in the shade of a tree, it is better if it is all shade and not semi-shade or dappled light, as this causes a distractive mottled look, which can result in exposure problems.

Composition - "Framing"

2009-06-19T16:23:00.002+10:00

When we are really happy with a particular photo, we might decide to have it enlarged and framed. We may even select a coloured matt to go between the photo and the frame. And we will choose a matt of a certain colour to enhance the colours in our subject, thereby drawing viewer’s attention to it - but no, this is not the type of framing we are going to be dealing with on this occasion.
Here, we are going to be looking at what elements we can use for the framing of subjects within our photographs and why there is a need for it.
There are many different elements we can have at our disposal for framing our subjects, but we have to choose wisely, because like choosing the wrong coloured matt, it can either make or break the image.
Some of these elements could include:
Windows, doorways, gates, tunnels, bridges, pergolas, archways, overhanging branches, etc. You could even use people to frame a subject, by photographing between their head and shoulders.
Like the overhanging branch, it is not necessary for your framing to go all the way around the scene. Maybe just at the top or the two sides perhaps.
The benefits of using framing in your photos can include:
Adding a sense of depth to an image and providing another dimension.
Example, your framing is in the foreground, your subject, in the middle area and whatever you select for your background. There, is your sense of depth.
Your framing can also offer a hint to the viewer as to where the photo was taken or at what time of the year.
It can be used as a device for guiding the viewer’s eye toward your main subject and keeping it there. After all, is that not what we long for, prolonged interest in our photos?
So, with future photos, don’t be afraid to try this concept, but just ask yourself, when you are considering it - ‘Is this going to add to or detract from the quality of the image I am composing?’
Remember the “Keep it Simple” rule. If your not careful, framing can add extra clutter to a photo. On the other hand, it can be useful in hiding background clutter.
Lastly:
You will need to make the decision whether or not to have your framing out of focus or sharp. An out of focus framing can give you a moody look and put more emphasis on your subject or an in-focus framing can add more context to the image.
Framing your subject is not something you are going to consider every time you go out to takes photos, but this may help add another string to your bow.

Depiction of Movement - Water

2009-06-19T15:55:00.004+10:00

How would you like to create that soft, smooth, sensual and silky look when you photograph water in motion. I am referring to waterfalls, running streams and waves, rolling up onto a beach or crashing over rocks, etc.
It’s not really difficult to do, but you do need some of the right equipment to carry it out successfully.
To achieve that look, your camera needs to get down to shutter speeds as low as ¼, 1/3, 1/6 of a second and possibly slower and you will also need a good sturdy tripod to give your camera a solid base.
If the available light does not permit you to get down to those low speeds, and you are using a SLR camera, you could get by with a Neutral Density (ND) filter. There are various grades available to suit different situations. You may also use a polarizing filter. Slowly rotate it until you get the desired effect. Polarizers can also drop the speed and lower the light by up to a couple of stops. As a last resort, find some way of attaching your sunglasses to the front of your lens. Desperate means - desperate measures!!!
So, after reading the above, and you still feel confident about the situation, there are some exposure difficulties that could arise and do need to be addressed. That is, that rushing water can and does reflect a lot of light and if the scene consists of dark areas as well, the camera could expose for these dark areas and the water will take on a washed out appearance lacking in detail. On the other hand, it could expose for the bright water and the rest of the scene will be in darkness. Assess the brightness levels in the scene and if you think there are some extremes and you have a camera that allows you to operate it manually, take a light meter reading of something in the scene that is a neutral colour. Such as a grey rock, a patch of green foliage or even Caucasian skin colour will give a neutral tone. Take a note of that reading (shutter speed and aperture setting) and set it manually into your camera. This should provide for a better shot, but don’t rely on that, get lots of shots at various settings, till you feel you have it right.
See "Altering the Camera's exposure Settings"
If it is a waterfall you are photographing, make sure you take ample shots at different angles and viewpoints. If you have to return at another date and time, it may have all dried up.

How's the confidence?

2009-06-18T13:30:00.005+10:00

Confidence is a huge asset to have in the production of good images and the first road to attaining good confidence is to have a total, comprehensive understanding of all that your camera is capable of by studying its Operator's Manual. Only then, can you be confident enough to go out and shoot subjects, without having to go back and check "the book". However, you should keep it close by, if not just for reference.
You want to have the ability to use every switch and button at a moment's notice. Only then too, can you begin to learn the finer points of putting together a good compositional design with correct exposure.
Get used to using your lens and focusing system. Take your camera with you wherever you go. Let it become an extension of yourself and you of it. Only then can you think about getting serious.
Before you go rushing off like a bull out of a gate, there are a few home truths about photography that you should also understand.
You can't expect to become proficient at it over night. Like anything else you take on, you have to be able to crawl before you can walk and there will be a lot of upsets along the way. Your successes and failures will resemble a giant roller coaster ride, with lots of ups and downs, but expect more downs than ups.
You don't have to be gifted to learn photography, just very patient. And the word patience will soon become very familiar to you. Adopt your own unique style but take time to listen to others. Follow their advice, get it right first, then adopt your own way of doing things.
To help you gain more knowledge of the many diverse sides to photography, you can't go wrong in joining your local camera club. There you can mix with people with like-minded interests, be encouraged to shoot all different subjects in various projects and you'll learn a lot from just talking to people and attending their work shops and field trips, or just having a chat on the side. Don't be afraid to ask questions. Most qualified photographers, professional or enthusiast, love what they do and they love to share their experience with those who also express a common interest in this great pastime.

Accessories - suggestions

2009-06-18T13:09:00.009+10:00

If you have a SLR camera and it has a UV filter fitted to its lens, that's the first important accessory that you need to consider. If not only for the safety and protection of the front element of your lens.
There are many photographic accessories you can get for your camera, but you need to think about your budget and what you really need in the short term.How about your lens? Is it the one that was supplied with the camera as a package deal? If so, it probably has a good zoom range. The closer you zoom in on a subject, the more likelihood you have of getting blurred images as a result of camera movement. So a good sturdy tripod should be your next consideration.
See "Tripods and why"
When you study the manual that came with your camera, you will find there are a few optional accessories available for your particular model. The accessories that are usually supplied with it, are a cap for the end of your lens, where it fits onto your camera and one for your camera body, for when you remove your lens. If, when you do remove your lens, waste no time in attaching your body cap. The last thing you want is foreign bodies inside your camera.When you need to clean inside your camera, please refer to your manual for important cleaning instructions. There are appropriate cleaning kits available at good camera outlets that won't break the budget. (Please see “Camera Cleaning”)
One of the optional accessories will be a remote (cable type) shutter release. This, along with a good carry bag, should be your next consideration.
There are many other little bits and pieces that you could buy in the short term, such as a pocket torch, for night shooting, battery charger, extra rechargeable batteries, a large piece of plastic to cover yourself if it rains, or for a ground sheet for when you get down and dirty, or the more expensive extras like a flash unit and possibly a slave flash, and you will probably be tempted to acquire another lens for one reason or another, but I would advise you to get as much use and experience out of the one you have, before you even think about getting another.
However, later on, down the track, you might consider a Macro lens, for close-up work, or a longer lens for drawing your long distance subjects closer, or even an extra wide-angle lens for getting more of the scene in the shot.
For now, be content with what you have and work it to the bone!!!

What sort of camera to buy?

2009-06-18T12:36:00.009+10:00

Have you purchased your camera yet or are faced with the dilemma about what to buy?
To start with, there are many brands and models of Digital cameras on the market and if you are just starting out in photography, but hoping to get serious, it is entirely up to you, but I would strongly advise considering a SLR type camera. Some of the newer digital "point and shoots" have much to offer, I know, but sometimes just for the sake of a few extra dollars you can have a camera that will not only allow for full or semi-manual operation and the ability to interchange lenses, but it will also allow you to have more control over the photos you produce.
When you go out to purchase your camera, make sure it is from a reputable photo equipment dealer and not just an electrical store that sells cameras on the side. You might get it for a few dollars less, but you'll find the after sales service leaves a lot to be desired.
Let the sales assistant know that you are just starting out and that you are not necessarirly looking to buy the top of the range SLR, but something of quality, but more suited to a novice photographer. Get them to give you a brief run-down on the benefits of the camera they suggest and at current rates, you should not have to pay more than $750 to $1000 for it.
If you have decided on a SLR type camera, make sure you also purchase a UV filter and fit it onto your camera, for no other reason than for the protection of your lens. This will eliminate any scratches, dust, salt spray or finger marks from contaminating the front element of your lens. Keep it fitted to your camera at all times. It is far cheaper to replace a broken filter than a new lens. Remove it when you want to fit other filters.
Generally, the lens fitted to cameras these days are of a zoom type and could be in the range anywhere from 17mm to 200mm. This is a reasonable range to play with. It is not a "fast" lens, but it will still allow for many photographic situations and will be quiute okay for anyone just getting a feel for this great pastime.
What's a fast lens? See my chapter on "Lenses"

Flower/Wildflower Photography

2009-06-18T10:58:00.008+10:00

Just because you’re a big strong manly type of guy, doesn’t mean you are restricted with the subjects you photograph. In fact, you will find that lady photographers really appreciate a bloke who can produce an exceptionally good flower study. Of course, that’s not the reason why I enjoy photographing flowers. I find them just as challenging and rewarding as any other subject and they really go out to test the artistic imagination. Providing you have one in the first place of course.
I hope this may offer some inspiration……
Why do we photograph flowers?
Not only do flowers have great emotional value and we as blokes can use them to our advantage as either peace offerings or as gifts to show our women how much we love and appreciate them. But, in photography, because of their bright, bold colours, they can also be used to our advantage as foreground elements to draw attention to a background subject. Such as in landscapes or mountainous scenes, in wedding photography bridal bouquets and corsages can be used to draw attention to the bridal party. Collectively, they can produce an overwhelming array of patterns and shapes, from filling the scene with acres of wildflowers to getting right in close and personal Macro shots of single flower heads.
To photograph flowers, you are only restricted by your imagination and of course the equipment you have at your disposal. But even some of the current digital point and shoot cameras will allow you to get in very close. But remember, the closer you get to your subject, the more susceptible you become, to, not only light loss and loss of depth of field, but also camera shake and even the best built-in anti-shake facilities are restricted to a degree, so a tripod is vital in these close-up situations. Including a remote shutter release, but if you don’t have one, you can get by with the camera’s timer facility.
One piece of equipment I couldn't do without whilst photographing flowers, is a little pair of scissors. They help with the removal of any dead leaves or petals so they can't spoil the shot.
If your camera is fitted with a polarizing filter, I would suggest you remove it, because it is not advisable to photograph flowers with a polarizer, as it tends to alter the natural colours of the flowers. if you are concerned about reflections from leaves, etc., in the background, simply alter your position.
It is important too, for obvious reasons, that there is no wind. The longer the flower stem, the more they are susceptible of movement. The manner in which you photograph flowers is virtually limitless and from whatever angle and/or viewpoint you choose.
From a mouse’s eye view, looking up the stems to an interest sky, to a bird’s eye view, looking down to the patterns they produce within the landscape. Or, to an ant’s eye view, (Macro photography) from a petal looking back at the stamens and deep down the throat of the flower.
Composition is also up to your imagination. It all depends on how you wish to portray your subject.
If, for instance, you are looking straight down onto the head of a daisy, keep the subject tight, but not too tight. So that all of the petals are in the frame, there are no distractive elements in the background and the inwardly pointing petals draw the viewer’s eye into the scene. But for other examples and ideas, I would advise you take a look at some gardening books to see how professional photographers portray their subjects.
There is no real best time of the day to photograph flowers, however, wind-wise I find it better, early to mid morning. It is preferred not to do it in the height of a bright, sunny day. It is far better if you have some light cloud cover. This diffuses the light source somewhat and allows for a more acceptable, even lighting effect on the subject, with very little or no contrasty shadows, which can act as unsavory, secondary interests and draw attention away from where you want it most. And as the surface of some flower petals can be smooth and shiny, bright sunlight can cause them to have unwanted, washed out areas. A reflector could be used to bounce light back into the shadow areas of the flower.
Please see "Reflectors on the cheap"
I said earlier that photographing flowers can be challenging, but also a very rewarding and addictive experience.

Wildflowers:If you are shooting wild flora for a photo competition, part of the competition rules probably state, they cannot include any cultivated or hybrid plants, only those which are growing in the wild and/or indigenous to a certain region.
It pays to thoroughly check the competition guidelines. Pretty much the same attention applies to wildflowers, but this is a little different to shooting in your own garden. You may have to drive for miles till you get to where your subjects are. And then, there could also be quite a bit of trekking involved, so you have to go prepared.
Check beforehand with your local tourist information service. It's amazing what they can inform you about your own locale, more than you'll ever know.
With brochures and leaflets that explain the best times of the year to view certain flowers and how accessible they are, And take the brochures with you, so you can identify which flower species is which.
What about the terrain? Is is it hilly or flat? Is it boggy or dry? You have to also ask these questions so that you will know what sort of equipment you need to take. That might not only include your general camera and bits and pieces, but what about a plastic ground sheet, in case you need to get down on the boggy ground? And your rubber wellies of course. You'll find some of the best blooms can be found in the most unreachable boggy places, accessible only to those who spent a little extra time in planning and organizing their trip.
You should also wear long trousers or jeans to guard against scratches, etc.
I have listed below, in order, some of the things you will probably remember to take, but also some that you might not normally consider. Especially if you are going a long way from home. But some you may not have anyway.

1. Camera and bag/backpack, usual lens and/or Macro, any other close-up gear, filters. You do not need a polarizer to shoot flowers. As mentioned above.
2. Tripod
3. Remote shutter release
4. Check Media Card, or film
5. pre-charged batteries plus extras for.....
6. Flash unit
7. Fold-up reflector
8. Rubber boots or waders
9. Compass/GPS
10. Binoculars
11. Bottled water. You can quickly dehydrate wandering about in the sun.
12. Mobile phone..charged
13. A white handkerchief or tissues to cover and diffuse the flash
14. Small note book and pen
15. A small pair of scissors. (as mentioned above)
16. A roll of adhesive tape.

A guide to sharper photos

2009-06-17T11:51:00.005+10:00

To begin with, sharpness in photography, relates to the clarity of our subjects and the edges of the subject’s surfaces are clear and sharp even when the photo is subjected to enlargement. Sharpness is just one of the many attributes we must strive to achieve in our photos if we want them to “pop” or have that “wow” factor. You can always add more sharpness to an already sharp photo, but a blurred photo is simply destined for the delete button.
So, if you are having problems with the lack of clarity or sharpness in your photos, then perhaps the following tutorial will help.
One very simple, but obvious way you can achieve sharpness and clarity in your photos is by keeping your camera as still and as firm as possible - and the only way to do that successfully is with the versatility of a good quality tripod.
A remote shutter release would also be a great asset, but not always essential.
You can also rely on the camera’s timer facility for steadier shots. That coupled with your tripod is very handy on windy days.
Select if you can Manual Focus (MF) on your camera, to manually choose the area that you want in sharp focus and your camera should provide with a signal and/or an audible bleep when that point is found. Depending on the situation, one cannot always use MF, but I prefer to use it whenever I can. Please see...Controlled FocusingSome point and shoot cameras will suffer from a problem known as “Shutter Lag”.
This refers to the time from when you depress the shutter button to the time that the camera actually takes the shot. This action can transpire in milliseconds, but still be slow enough to result in blurry pictures for the unwary.
Be mindful, when you proceed to take a photo depress the shutter button only half way at first. This allows the camera time to focus. When it is fully focused, then you can complete the shot.
Sometimes the cause of blurriness in photos is due to “Digital Noise” (graininess in film). You should always have your camera set to the lowest possible ISO rating (film speed number) for the light conditions your camera is working in. Some cameras have ratings as low as 100 or even 50 ISO. A low ISO rating also provides for better saturation of colours, but up to 400 ISO can still be acceptable.
Higher shutter speeds will also produce “noise”, so be sure you only use these higher speeds for when you are shooting real action shots.
The trade-off of course with low ISO and low shutter speeds, means on occasions, the loss of light. But you can remedy this with extra lighting. Such as, shooting outdoors, using a flash unit or reflectors or studio lighting.
I presume your camera came fitted with a lens, as they normally do, and it was more than likely a zoom. If you were to take about 10 shots of the same scene from when your zoom is closed down to where it is fully open, you will notice (with a good eye) that the best quality pictures were taken when the lens was about half way open. This is usually between f8 and f11. That doesn’t mean to say that you have to use these settings every time, but you are likely to suffer a certain amount of blurriness with the lens being fully open. There will certainly be times when you need to use wider apertures as well as narrower apertures, but it is still good to know that the lens will work better in the mid range numbers. Better known as the lens’s “sweet spot”.
With all that in mind, you may have actually had a perfectly sharp photo to begin with until you started doing things with it in your photo editing program. Each time you subject it to editing there is a chance you will have some loss of definition somewhere along the line. So it could well be there where the problem lies.
I always say, “Finishing the job at the coalface means less work in the office”.
And it’s very true.
Anyway, I hope there are some things here that you are not doing, so that after reading this and putting them into practice, they do work for you, resulting in clearer and sharper photos.

Adjustable Metering Modes

2009-06-15T10:40:00.007+10:00

You may have come across “Metering Modes” whilst reading through your camera’s operator’s manual and thought at the time, ‘That sounds a bit technical, I think I’ll leave that one alone.’
“What does it all have to do with anyway?” You might ask.
Well basically, the in-built “light metering” system in your camera takes a reading from different areas of a scene and then determines a correct exposure from that reading. And hopefully, you will not end up with a photo that is too light or too dark.
Most DSLR cameras today, and even some new point and shoot digital cameras, come with a user friendly, adaptable metering system and these things are made adaptable for good reason. It’s not as though you are treading a mine field, expecting the camera to blow up if you try out the different modes to see how they affect different exposures. And they really are - user friendly!
It is just another thing you need to be concerned about when composing your shots. You really need to assess the brightness levels of a scene and act accordingly. Anyway, isn’t it good to know there is something else we can have a certain amount of control over?
So, if you have manually adjustable metering modes on your camera, the following are the three metering modes that you are likely to have, but not necessarily in this order:
First, we shall discuss the “Spot” Metering Mode.With the camera set on this mode, whatever there is in the small area, directly in the centre of frame, will be metered for.
This is very handy for when you want to take a meter reading for a certain area in the scene. Such as an overly bright area or a particularly dark area. If you did not meter for these areas, chances are they will be either washed out or silhouetted.
(See "Altering The Camera's Exposure Settings")
Also, when you are photographing a sunset or sunrise, you will get a more favourable exposure if you meter for the brightest part of the sky, but not the sun itself. Simply aim the camera at the area in question, depress the shutter half way to get a reading, make a note of that reading, then go into manual mode, set the new reading ( shutter speed and aperture setting) into the camera and recompose the shot.Second is “Centre Weighted” Mode.In this mode the camera takes into consideration a much wider area than the spot meter. It will take readings from numerous other points, but is still more concerned with the centrally weighted area of the frame.
As with the spot meter, it is handy for when you need to get a special reading from a certain area other than throughout the scene.
Last, is the “Multi Segmented” Mode.
This is generally the default setting on most cameras and it meters for the entire range of the frame. One camera I know has up to 35 metering points in the frame.
Most people tend to keep their camera set on this mode without ever thinking, at times they may need to adjust it. I prefer actually to keep mine on the centrally weighted mode, but I am ready to change that if I feel the need arises. Especially after assessing the brightness levels of a scene or of the subject I am photographing.

More on Landscapes

2009-06-14T14:18:00.008+10:00

It is a fact that landscapes are one of the most popular subjects that people prefer to photograph, apart from their kids and sunrises of course. And I’m sure there’s no doubt that some folks will photograph landscapes just to get away from the kids anyway!
However, you may be satisfied enough with the shots you come home with, but I am certain that after reading this tutorial and with lots of practice, you will be coming home with some truly inspiring shots in the future.
As with any photography, no matter what, lighting is the first and foremost consideration and with landscape photography there is certainly no exception.
The most obvious and natural light source for landscape photography has to be none other than the good old sun, but its best properties for this type of photography are either in the early hours of the morning till about 9am or from about 4pm in the afternoon till dusk.
During these times, the light is more direct and third dimensional like, creating long shadows, shape and form, surface textures and great colours. It is not advisable to shoot landscape scenes during the hours between 9am and 4pm, because the sunlight, particularly in the height of summer, is bluer and as a result your colours will be flatter. At midday, the sunlight is just too strong, no longer allowing for good saturated colours and is much too contrasty.
However, in saying that, at midday in the middle of winter, the sun is not quite so high in the sky, which means that the quality hours for taking photos will be extended somewhat - depending on where you are in the world, of course.
In the actual composition of a landscape shots, you should look at creating a wide vista and therefore use a wide angle (40-50mm) lens - to achieve approximately the right perspective, if you are using a zoom lens, work from the wider end. This 40-50mm setting allows for a vista as near as possible, as to how the human eye would perceive that same scene. Also allowing for distant objects to appear further away and closer objects even closer.
If you have a zoom fitted, whilst you’re there you might find some interesting parts of the scene worth zooming in on. Like a rocky bluff or even some wildflowers or an odd shaped tree.

Viewpoint and composition are also important when taking Landscape pictures. Try to create depth in the image - finding a good focal point to put in the foreground is ideal to do this, such as a tree, boulder, or perhaps a bridge or stream. Consider the height you're taking the picture from and think, would this look better if I was lower down or higher up? Don't just settle on taking all your shots from head height - try some variation. Try to include the most interesting parts in your picture, look for lines such as streams and pathways which act as 'lead-in lines' and help draw the eye in to the frame. Diagonal lines tend to work best as they create more impact. See "Composition Design - parts 1-7"

Colour can make a landscape image truly work. Try to look for any colour you can, whether it be bright flowers, a bracken covered hillside, or perhaps a stone wall covered in vibrant green moss. Even a red telephone box might work, if it fits in nicely with the surroundings. In winter, there is less colour around, but watch out for cold mornings where frosty areas that still remain in shadow, create a lovely cool blue shade, adding another dimension to your image.

Depending how far you want to take it, there are a number of additions to your kit that will help improve your landscape photography. A tripod or monopod (see "Tripods and why")will make sure that all your images are sharp, and also slow you down, helping you concentrate on composition. Filters are also useful - a polarizing filter is ideal on sunny days where they cut through haze, increase colour saturation and make the clouds leap out of the sky. Graduated filters are also popular, used to effectively darken the sky where the sky is too bright - this evens up the otherwise high contrast which all cameras struggle to cope with.
If you really want to do the landscape justice then there is no substitute for doing your research. Walking a route, or even driving round an area is a sure way of finding where the best pictures are. Think about returning at a better time of day, and try to judge where the sun will be. Also bear in mind the seasonal changes - one location may look pretty dull during late summer, but it could be completely transformed once the autumn colours arrive. All of this comes with experience, but the more time you spend out there, the more likely you are to bag some truly rewarding images.

Sunsets (Sunrises)

2009-06-13T15:24:00.014+10:00

Perhaps the two most common subjects photographed today, would be either “the kids” or “sunsets“. And let me tell you, “No two subjects could be further apart from each other, in my books!”
One can be full of stressful boisterousness, where at times, during a family shoot, you just have no idea where to turn, so you simply give it all away and think, ‘Maybe tomorrow they will be better behaved.’ Tomorrow???
The other most commonly photographed subject, in case you’ve lost the plot already, are those sometimes serene and sensual, but sensational - “Sunsets”. Sunrises have the same appeal, but it is highly likely that unknowingly, a viewer will look on a sunrise photo and automatically accept it as a sunset, so “Sunsets” are what we will refer to, as there is little difference in the actual photographing of either.
There are literally millions of sunsets (or sunrises) photographed throughout the world every day.
“I know, I know, there is only one sunset per day, but you know what I mean!”
Almost everyone of those people who photograph this great phenomenon are of the opinion that their sunset photo would have to be the best ever.
Why? Because they get swept up and carried away with the moment, the colour and the emotion brought on by such a spectacle. But the average sunset photographs, in my opinion are simply two a penny. In other words, you will not get a winning sunset (or sunrise) photo unless yours is very different to everyone else's and you really need to plan and work at it.
The main thing is not to get simply swept up by the moment. You may just get lucky on the night, but chances are, without organizing and planning your shoot, it will turn out just as drab as all the others.So here’s what you need to do…..
If you live (or are on holiday) by the sea and when you stand on the beach, you are facing an Easterly or Westerly direction, the possibilities are fairly high that you will get a reasonably good sunset or sunrise at some time or other, but it is not “just” the sunset that we are concerned with here.
Do you often wonder why your sunset photos lack lustre? More often than not, it is simply due to the lack of other interesting content! They need another point of interest, other than just the setting sun.
So.....

Go for a stroll along the beach. Take a note of anything there that could be used as an interesting foreground.

For example, an outcrop of rocks, sand dunes, that odd shaped Palm tree, anything at all that might draw or attract interest.

It would be a good idea at this point to also have prior knowledge of where on the horizon the sun is likely to set. I usually have a compass with me for just such occasions.

Once you have found what you would like to add as your foreground feature, stand behind it, as you would be behind your camera and try to visualize what it will look like, half silhouetted, in the dimming light before (and after) the event.
If you are happy about how you will compose your photo/s, keep that picture in mind and you are ready to start shooting.

After finding out what time the sunset will be, you must plan to be there, set-up and ready, at least an hour before that time. During which, you will not be idle. It gives you breathing space to make subtle alterations and adjustments to your position and practice various shots in the diminishing light, working up to when the sun finally starts to fall onto the horizon. At this point turn around and look behind you or to your far left or right. See how the light has suddenly changed your surroundings. Most times folks are so involved with what’s happening in front of them, they tend not to think of what might be happening elsewhere in the sky and/or on the land.

How does the sky look? If it is interesting enough, include some of it in your shot. And remember, after the sun has gone below the horizon, it is not yet time to pack up - there are many more photo opportunities to be had even after the sun has actually set.

Now you can plan to go out and do it all again the following morning and there will probably be some things you thought about that you should have put into practice during the sunset that you can now put to good use in the sunrise.

All this planning and organizing provides you with a readiness and the confidence to get out there and carry out the shoot. With that in mind and the right equipment, the job is as good as done.

Equipment:
You don’t really need a special camera to take very good sunset photos, but least one that will allow you to use it in low light situations. If your shots are interesting enough, this will surely compensate for any lack of professionalism on your part of your camera.
I would also strongly suggest you get yourself a good tripod. This is because of the low-light situations and slow shutter speeds you will camera will use to get the right exposure in these conditions.
If you own a SLR type camera and you can interchange your lenses, then the faster the lens the better, but if you just have the standard zoom that came with the camera, that is okay too. But I would work on aperture priority and set the aperture to between f11 and f16. Depending on what you want or don’t want in focus.
You will also need something to stabilize your camera in these conditions. As well as the tripod, a remote shutter release would also be an asset, but this is not essential. You can always use the camera’s timer facility or mirror lock-up facility to reduce the possibility of camera movement.
A small pocket torch would also be handy and some spare (pre-charged) batteries for both camera and torch.
You should have a good half hour

Here's a tip:
If your camera is sophisticated enough to have a spot meter facility, at the highlight of your sunset and you really want a top shot, take a spot meter reading for the brightest part of the sky which does not include the sun and reset those meter readings into your camera and recompose the shot.
Please see Adjustable metering modes
If you can manually adjust your White Balance, try different settings to get different exposures, between "daylight" and "cloudy".

Portraiture on the cheap

2009-06-12T15:53:00.008+10:00

I am not a person who would normally look at doing things “on the cheap”, but portraiture can be, in more ways than one, quite a costly side to photography.
Also, if it is a side of photography that you are likely to do on a limited basis (like me), it may not be one of the things on the top of your photographic budget list.
So I can offer a few pointers that should help you without having the need to spend “too much”.
Firstly, I would advise you to read my “Portraiture Discussion”. Not for any particular reason of course, other than to put you in the portraiture picture, so to speak.
Once you have read up on the subject and you decide you would still like to have a crack at it, the following items are what I use and you will find them also useful for some of the other types of photography you do.
First and foremost, you really need a good sturdy tripod and a second, not so sturdy, that you can attach a flash unit to.
Speaking of which, you will also need an external flash unit. A TTL (Through-The-Lens) operated one for ease of use and one that also swivels in all directions, enabling you to bounce the flash, either off a ceiling or nearby wall.
Of course, your camera should have a “hot shoe” facility and you will also require a sync lead about 2 or 3 metres long, to go from your camera to the external flash unit. Also an adaptor fitting, which screws on to the top of the second tripod and has a “hot shoe” attachment for the fitting of the flash unit.
On the adaptor fitting there is also provision to fit a photographic umbrella, you can use a white or gold one to bounce light onto your subject, or a black one to provide shade, if out in the sun.
“Why do I need all this equipment?” Do I hear some of you ask? “Why can I not simply use my on-camera flash?”
The main problem with your on-camera flash, is that when used to take portrait shots, there is always a black shadow behind and/or to the side of your subjects created by the bright, direct light of the flash. It also has very limited range and if used too close, it will produce a washed-out look on faces and/or facial features - induces "red-eye". With a bounced flash however, from an external flash unit, the light is bounced from surface to surface, resulting in a softer, more even diffused, natural light with very limited or sometimes no shadow at all - and no "red-eye".
I also use a little "Slave" flash. This unit is automatically fired when the main flash goes off and is very useful for a bit of side light, for instance, when and where you need it.
As far as a backdrop goes, if you are shooting indoors, a plain white or neutral coloured wall with no distractions is great, but position your subject, about one metre out from it and take the shots about two metres back from your subject.
You may need to adjust the angle of your flash until you get it right, so don’t be expecting miracles on the first day.
Use the timer setting of your camera a take as few self portraits till you get a feel for it, or to get some practice in, use a friend or family member to be your sitter. That way you can also have a bit of fun while you’re learning.

Backgrounds

2009-06-12T11:46:00.013+10:00

I have mentioned briefly in other chapters about the importance of looking out for clutter and other unwanted elements that could be lurking in the backgrounds of the scenes and subjects we photograph.
Generally, I find a lot of “happy snappers” are not aware of background gremlins until they see their photos in print or when someone else points them out.
Some of the more common things you might see are light poles or trees protruding from the tops of people’s heads, the clothes line in the backyard displaying Dad‘s Y-fronts or Mum's sexy lingerie for all to see, shiny reflections or coloured objects, or someone with a bright red shirt has just walked into shot as you unknowingly press the shutter.
All this stuff can detract attention away from your main subject or focal point and because this is such an issue, I have decided to do an entire chapter on the subject.
I once viewed a photograph that was taken by a "professional" wedding photographer, of a lovely bride to be, in her wedding gown, in the garden, just prior to being driven off to the church along with her father.
It was a beautiful shot of her, but what instantly drew my attention away, was a red garden hose, snaking its way from the tap, across the lawn, to finish up just behind where she was standing. I don't know for the life of me why this photo was kept or why the photographer did not see it. Perhaps it was the only one of her in the garden or the only one worth keeping. And no other colour stands out more in photography than red - it's food for thought.
Your backgrounds should take just as much consideration as your main subjects themselves, or any other part of the scene for that matter.
Another common mistake made with backgrounds is unlevel horizon lines. If you are taking a photo that includes one, make sure it is not only level, but that it doesn’t run across the centre of the frame. This can sometimes cause the image to appear as though it is split in two.
Although it sometimes works well when doing mirrored reflection shots on water. Consider the "Rule Of Thirds". See "Composition Design Part 2"
Every element in an image should act as a feature of the image, and not as a distraction from the main feature.
Another point to remember…in photography think about less being more. Take on a “Minimalist” approach when composing your photos. The less you have in a scene the more emphasis you can put on your main subject/s.
To eliminate unwanted elements from the scene, look at your screen or through the viewfinder and a small step to the left or right or higher or lower angle will easily remove anything you do not wish to include in your shot.
If you want to get rid of any annoying sunny patches, use a black umbrella or your jacket perhaps to shield out the sun.
You can use the zoom to get in closer to your subject. This will also eliminate bright areas and other things you don’t wish to include, whilst enhancing your subject even more. Or simply move your subject to a different area all together - if permissible course.
More advanced users could fit a polarizing filter onto their camera or a Neutral Density (ND) filter, to screen out bright areas. Even a wider aperture setting could be selected to blur out an uninteresting background. If the light factor is important, try even attaching your polarizing sunglasses to the end of your lens. It has been known to work.
So if you are wondering why some of your photos are not as interesting as they could be, it might be that you are not checking your backgrounds thoroughly enough when composing your shots.
Yes, it is food for thought!

Cleaning your camera

2009-06-09T15:40:00.010+10:00

If you own a digital camera and you need to change your lenses from time to time, the chances are, you will eventually acquire some degree of dust particles on and/or around the interior of your camera. For this reason it is important, that when you change the lens, you do so as quickly as possible, in a sheltered, out of the wind area, with your camera body facing down, so as not to allow any foreign bodies to enter. And you don't want to be spending half an hour looking for your replacement lens or body cap whilst your camera is exposed to the elements. For safety reasons, have it so that the task will be done within a couple of seconds at least. Even then, it is inevitable that some dust particles will manage to some how find their way in.
So, how do you know when you have dust particles inside your camera and in particular on your CCD/CMOS sensor?
You will probably first notice it after you have taken a photo that contains a lot of clear blue sky or a whitish wall, for instance. The dust particles will show up on your prints and/or on your computer screen as pale fuzzy little objects. You may see little black particles when you look through the view finder of your SLR, but they are not on your sensor. They will more than likely be on the mirror, which is situated just in front of the sensor. These particles, although they don't look too good, will not affect your photography.
"DO NOT", I repeat, "DO NOT" attempt to clean the inside of your camera on your own, unless you have had full instructions on how to do so. Without proper knowledge you can do a lot of damage with a minimum of effort. It is always advised to have the camera cleaned professionally, but if the situation is such that you cannot wait for that, if you have your camera's operator's manual, that should tell you how to do it safely, but follow those instructions implicitly.
The particles could be dust or they could be airborne pollen. If they are dust particles, a couple of blows with a photographic puffer (and "NOT" the pressurized aerosol type), could be enough to remove them. If they remain, then there is a strong possibility that it is pollen and you will have to call in the experts. Pollen will actually stick to the sensor and no amount of blowing will remove it successfully.
The CCD sensor is actually the bit that processes your digital pics, so the last thing you want on that is scratches or finger marks as they will definitely show up on all of your photos.
When you know you have debris on your sensor.
When you clean the front element of your lens you should also do it with great care. The lens element is coated with material that is also quite sensitive, but with care you can clean them very effectively.
It is advisable to go to a reputable camera dealer for all your camera accessories, as they can not only advise you on the best suitable products, but also explain properly about how to use them.

Doing a Self Portrait

2009-06-09T14:04:00.005+10:00

There could be many good reasons for wanting to produce a self portrait. Excepting of course passport photos, as they will need to be done by a qualified operator. But you may want one for your web site profile or blog mini-pic or simply to pass on to your best girl or boy friend.
It is essential, before I go any further, in order to have any sort of successful photograph of yourself, you really need to purchase or borrow a tripod. There is no use in simply relying on hand-holding or placing your camera on the table top or the back of the lounge chair.
With your camera firmly attached to a tripod, you can get into all manner of situations and it will always be there, right in front of you, ready for action and hands free!
A great thing with digital photography, is that you can do it when no one else is about. Meaning, that you can get into all sorts of silly, interesting or outrageous poses and there is nobody around to laugh at you or put you off. What’s great too, is if you don’t get it right the first time, you can simply delete it and try again. However, I really should try many different poses, angles and points of view before you called it a day. Even the best of photographers never get it right the first time.
It is very important that you choose your background and props wisely and if you are shooting indoors, try not to use on-camera flash, but set up in a well lit room or by the light of an open window or doorway. On-camera flash can produce very harsh shadows behind you and also can give your facial features a washed out appearance.
Again, make your photos interesting. Show yourself doing something you enjoy, like building that model boat or adding something to your scrap book, or just lying back in the tub.
Many cameras operate differently and you will have to fiddle about with the settings until you get them right. If you are using your camera on auto, set it to portrait mode, or at least and try that first.
You will probably need to set the camera on timer, to allow yourself plenty of time (about 12 seconds) to get into position for your shots.
Taking your own photograph is also good therapy and a good self portrait will also make you like yourself better, but you have to work at it. Fill the scene with you and with whatever it is you want to display, but make sure your backgrounds are clear of any bright areas or distractive elements and with you being the focal point, make sure too that your face and in particular your eyes are sharp and in clear focus. Above all else, have fun doing it.

About - Friends for Finer Photography - my Internet photo critique group

2009-06-08T06:34:00.019+10:00

There are many photography clubs or groups available on the internet, for anyone with an inclination to join. Many of them also have quite an extensive membership, but they carry a lot of inactivity as well. Our numbers are smaller in comparison, but only due to our membership participation requirements, in that, any member who shows no sign of involvement or participation in any way with the group over a 3 month period and provides no reason for their lack of involvement, will have their membership withdrawn. As it will be assumed, they are no longer interested.
By participation, you are asked to view and discuss other member's of the group's photos, by way of critique, via the Club's "Discussion" facility, just as they will be viewing and discussing yours. If you have difficulty with this, there is ample assistance available if and when needed.
Over time, your own photo and camera skills will definitely improve through this process. And of course, by way of our Monthly Theme, our in-house monthly photo competition, we can encourage all members to stay active and get out there, learn new camera skills and simply get involved with things that they probably wouldn't even normally dream of.
This is not a club that sits on its hands. If you want to improve your photography, then you need to get involved and participate.

Involvement incentive:

All members are encouraged to get involved in our monthly in-house competition, Monthly Theme (MT), where you can gain points each month from the photos you take of a chosen theme or topic. These topics are carefully considered, so that all members have the opportunity to get involved. Then, the points you earn from your winning photo will gain you a place on our MT Scoreboard Ladder.
You are also asked to help out with the judging of the MT. This is not a difficult task, but there is help if and when needed.
You don’t need to be an expert to do a photo critique or judge, simply give an opinion as to what you would do to improve it if it were your image. Unlike the kind of lack luster comments one tends to get from other club sites - "Awesome!", "Top shot!", "Cool photo!", etc., etc. We don't want those sorts of comments here. What we want, is not only to know that we have taken a good photo and why you think so, but also some good old constructive criticism that can only help us improve our photography and camera skills. Not forgetting of course, that the critiques are simply personal and collective opinions and should not be taken to heart or taken offence of.
Of course, if you have an image that you are particularly proud of, it is advisable not to put it up for public scrutiny, as the result could bring about so many conflicting ideas as to how you can improve it, you will probably have second thoughts as to how you really feel about it.
Wherever possible, the topics of our MT are thoughtfully chosen, so that all members have a chance and an ability to get involved.
The FLASH, as mentioned above, is our own club Blog, it offers many interesting tutorials along with our MT archives and their reports, links to member's web sites, etc. and as a member, it is definitely worth spending a bit of time browsing through the Index. You never know what you might find or where it might lead you.
No, this club does not sit on its hands, nor are you expected to be at the coalface 24/7.
But like anything else, the more you put in - the more you get back in return.
Therefore, if you are interested in improving your photo and camera skills, then why not “get down and dirty” with us? You will improve your camera skills and possibly make some lifelong friends in the process.
Please let me know via my contact facility if you are intetrested in joining this friendly but dynamic group. You'll not be disappointed!
Last amended: March 10th, 2011

Backlight (Contre Jour) Photography

2009-06-06T19:53:00.011+10:00

Backlit photography can bring drama and dynamism to an image and yet, it can also enhance the transparent subtlety of a subject like a leaf, insect or flower petals. It can also be used to provide rim lighting and give a certain moodiness to all kinds of subjects and enhance texture, form and shadow where needed and create powerful silhouettes.
Backlighting will enhance mist, rain and haze adding creativity and atmosphere to landscape images.
It’s obviously not the type of photography you will choose for every shot you do, but there will come a time when you will need to think about using it for certain shots and with a bit of practice, you will be prepared.
Backlighting means that the light source is actually behind your subject and not behind you and from time to time you may just need to use a bit of fill-flash, or reflector, to balance the exposure.
Backlight photography is not without its challenges and two of the most obvious ones would be: 1. Getting the exposure right and 2. (because you are shooting toward the light source) eliminating the possibilities of lens flare.
In many backlit situations using a designated lens hood will greatly improve the chances of eliminating flare.
Having taken the above precautions a final visual inspection of the image through the viewfinder, preferably with the lens stopped down, will show any remaining areas of softness or highlights resulting from flare. This may only require a slight repositioning of the camera to eliminate it.
The other challenge in photographing backlit subjects is how best to handle exposure. Overexposure is a common problem, as the brightly-lit background will overly influence the camera's meter this will turn the subject very dark indeed, almost silhouette like.
Exposure compensation is the answer and it is best to give between one and two stops extra exposure from the 'normal' exposure suggested by the camera. Alternatively, take a spot meter reading from the shadow area and expose the shot for that meter reading. As exposure for backlit subjects is tricky it is best to try shots at various exposure readings until you are comfortable with the situation.

See also "Silhouettes"

Welcome fellow photography enthusiasts!!!

2007-06-30T08:18:00.028+10:00

Welcome to my Photo Tips. And no, there is nothing to join and no fees, but simply for the love, the joy and the unending pleasure that photography brings me, please allow me to share some of that pleasure with you.
l do hope this site is helpful to you. If so, first tell me, then tell your friends!
As yet, I do not consider "my" photographic work to be of high professional standard, but I would say that at least I know enough of the theory on the subject to get by on. If there is one major thing I have learned about photography, it is like most things, you have to be prepared to start at the beginning and the most important thing of all is to have a complete grasp of your camera's operator's manual. it is no use trying to learn the finer points of photography, if you don't have a good knowledge of how your camera works. Before you start, please be aware that these tips do not go into the depths of photo editing programs, although I would like to recommend one here if you don't have one already. It's FREE, it's by Google and I find it to be extremely helpful for most of the essentials of photo editing - pretty much all you will need in fact. It is called Picasa 3 and it is available through Google.
I don't intend to blind you with science either. However, there is a small degree of technical jargon, but nothing I am sure the average photography enthusiast will have any problems with.
The tips, or tutorials, are designed to assist those wanting to learn the finer points of how to create and compose an image.
They cover some of the manual workings of your camera as well as many different shooting situations, as you can no doubt see from the index listing.
If you do not find something that you are looking for today, then please look in again some other time, as I am continuously building the site and more tutorials will be added to it from time to time. You can also contact me for advice...FREE!
I do not profess to make you a better photographer. It is only through your own commitment and the time you are willing to give that will determine how well you proceed. I have merely provided some of the tools that should help build your knowledge on the subject. Like most things - you can only expect to get back from that which you are will to put in. Again, I do hope these tutorials will help in some way, but if you have any problems or issues with any of the content, or would like to know more about a particular topic, I may be contacted HERE via my personal web site home page. I will be pleased to assist where possible (NO STRINGS "OR SPAM" ATTACHED). In the meantime, be my guest, enjoy the read and "GOOD LUCK" with your future photography!
Ken Ferguson of: http://www.fergiesfabfotos.com.au

Post script: You are more than welcome to print any of the material written on this Blog, providing it is not being used for commercial or monetary gain.
Please observe copyright laws.

For me, all I ask is that you let me know if these tutorials have assisted in improving your photography and camera skills. I understand how difficult and frustrating it can be, when you feel you have found your niche in life, but just can't seem to improve or get anywhere. I discovered that there were two ways I was going to learn how to produce reasonable images, spend a lot of money on lessons or start buying or borrowing some books in the hope that by studying this great pastime I might improve my camera skills. So I opted for the latter and I've studied and studied and still study now, and my photography knowledge, has grown out of sight. I also joined a local camera club and would fully recommend that for beginners. You'll find it to be a great confidence booster. GOOD LUCK!

Story creating portraits

2007-05-10T06:43:00.013+10:00

As photographers, we should always strive to create more interest in our images and what better way of doing that than by capturing our subjects as they would be seen carrying out some task or other at their place of work or perhaps a hobbyist seen diligently putting the final touches to another masterpiece.
This type of photography is better known as, "Reportage" and can even border on "Photojournalism". Unlike the standard portrait, where your concentration is centred on the main subject alone, in "Reportage" portraiture, you are creating a story about your subject and the more information you can include in your image, the more you will build your story.These portraits can be posed or impromptu. If posed, you may have time to prearrange the shoot and organize lighting, etc., but with impromptu, or candid shots, you sometimes just need to accept pot luck on the day. With candid shots too, the subject is not always looking in the direction of the camera, so it is advisable to at least show in the image what his/her gaze is fixed on. See "The eyes have it"
Your subject must be in clear focus of course, but because the immediate area surrounding your subject includes relative material, it too must be in focus when you compose your shot, or made to look just slightly out of focus to put the emphasis on the main subject.
To put you in the picture, so to speak, if you were photographing a Blacksmith at his place of work, for instance, hammering away at some red hot piece of iron on the anvil and there, around him, are his tools of trade and certain implements and items that he himself has proudly manufactured.
You may well want to include as much of this material as possible, as it is all relevant and helps add detail to your story. Also, take down some notes about your subject, as these too will help complete your goal.
If you have a mind to include his company logo, you may have to ask his permission and then perhaps offer to send him a copy of the resulting image.
You have created your story. "Here is the Blacksmith, here is his trade, this is what he does and around hims is what he makes". You should also portray him in his rugged dress or manner, but try to show his true character.
The simple point and shoot camera, or one used in auto or programme mode, is quite adequate for these candid shots, but that's not to say you can't use your camera manually, if you so desire. This way you can try a range of camera settings, change lenses, try with fill-flash, or without, but remember, you want to include as much other relevant material as possible, so mid-range or smaller apertures will be in order. From about f5.6, f8, or you may even have to go to f11, but you may also have to adjust for shutter speed or ISO rating due to the ambient light conditions.
Look for brightness and colour for impact. A balloon blowing clown you may sometimes come across at the local farmer's markets can make a great subject for this, but try to include some of the children and their transfixed gaze, as they eagerly await the results of what will be produced from the seemingly endless supply of colourful, twisted balloons. I hope this has inspired you to try a little "Reportage" photography. Simply use your imagination and who knows where it may lead you?

"Here's another bright idea!" A way to fix shutter lag.

Shutter lag refers to the time it takes from when you press the shutter button, to the time the camera actually takes 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 when taking "Reportage" photography, when your subject is constantly moving about. Or, when you are waiting for that decisive moment.

A way around this is, if your camera allows for manual focusing, set your focus at a distance that is comfortable for you. Say, 6 or 8 feet (about right for this sort of photography) from your subject. This will then help speed up the process and allow you to get on with composing your shots.

Spiderwebs

2007-03-20T18:54:00.007+10:00

It's during the cold, wintry time of year, that we tend to want to stay in bed that little bit longer, unwilling to brave the cold, frosty air. And rightly so. I agree whole heartedly. That is, of course, unless you're keen enough to get out of bed nice and early in order to get the best photos. Then you'll stop at nothing, right?
Anyway, winter has got to be the best time of year for photographing spiderwebs. Especially if it gets a bit foggy or frosty, or at least, if there has been a heavy overnight dew. It's also at this time of year that the sun rises a little later, so you don't have to get out of bed as early as you do in summer and it takes a little longer for things to thaw out, in the cool, damp, frosty air and there is also more chance of the air being quiet and still. Another good point is that during the colder months the sun isn't quite as high in the sky, providing for a more favorable light source.
Spiderwebs come in all shapes and sizes and generally, the spider will stay in the same area for a few days, if it gets a regular enough meal. So, if you see one when you're out and about, then return the next morning, chances are it will still be there and hopefully in reasonably good condition.
You don't need any special equipment for photographing spiderwebs, but it would be ideal to be able to fill the frame with it. So, to be able to get quite close, would surely be an asset and if you have a lens that will enable you to get even closer, that would be better still.
The best time of the morning is just as the sun rises. You should have up to a good hour after that to get the best light. Once you have found the spiderweb you want to photograph, you must then look for the position and angle where you can get the best light for your subject and that's when the entire mesh of the web is suddenly lit up with sparkling little beads, that shine like a necklace of tiny little gems.
A dark, out of focus, background is ideal for this, as it will make your spiderweb come alive, but try if you can (if you are setting a large aperture), to keep your camera on a parallel plane with your subject, or you could send one end of it out of focus and your shot may not turn out the way you planned.
If you are shooting in the direction of the light source, be aware of the possibility of lens flare. If you can get really close, like Macro close, try photographing single stands of beads. You'll be surprised just how magical they look.
As I said earlier, it is a bonus if you find a web in good condition, without a lot of broken strands and even better if the spider is sitting on the web. Golden Orb spiders usually sit in the centre of their webs, waiting for a victim, whilst others will find a curled up leaf or choose some other place to hide during the day, till they again venture out at nightfall.
Like most other subjects, it is the amount of effort you put in that determines the result, so don't rush things. Take as many shots as you can, from various view points and angles. If your camera allows for manual operation, switch to aperture priority and select different aperture settings. As a general rule of thumb, I would advise that you work on settings from about f4, f5.6 and f8. But, as always, planning is very important and the more planning you put into it, the better the result. But above all, enjoy it!
For your information, the two spiders I have featured here are the Golden Orb Spider. They were named the Golden Orb Spider because the web they spin is actually golden in colour. The first image (top), shows an immature spider. It is difficult, in a photo, to tell that it is a juvenile, because they resemble direct clones of their parents. In this view is about 1 to 1 1/2:1 magnification. In other words, it's about one and a half times its normal size . The little one (above), is about the same magnification.
Some spiders are nocturnal, mainly feeding at night then hide during the day, but these guys remain on their webs and continue to feed throughout the day. When they are not feeding, to relieve the boredom, they quietly go about repairing any holes in their webs and are not too concerned about the odd human who passes by and stops for a look.
They can inflict quite a nasty bite, but I haven't as yet heard of anyone being bitten by one and yes, they can grow to the size I have represented here.

Rules for the rules

2007-03-09T06:21:00.015+10:00

If you have only just recently taken up photography as a hobby, or perhaps you intend making a career out of it, you have no doubt by now, found that there are certain rules to the actual making of a photograph. If, at this stage you are not aware of them, might I suggest you start reading up on the subject, (here's a good place to start) otherwise your images will somewhat be lacking in what is accepted as certain criteria needed for good image production.
Unfortunately, there are rules for whatever we do in life and if we stick to those rules, we will succeed, eventually!
Photographic rules are laid down, not only because of the competitiveness in the industry, but also for those novices wishing to improve on their image making skills. I might also add here, that most of these rules were handed down and used by many classic painters, long before photography was even thought of and no doubt these fine artists became famous, because they knew how to apply them to better their trade.
Most photographic rules are psychologically based. In other words, they are incorporated into the making of the image to encourage the emergence of certain emotions felt by the viewer when seeing the photograph for the first time. This is where the phrase, "A first impression is a lasting impression", takes on real meaning.
Have you ever wondered why some photographs appeal to you more than others?
Do you prefer to look at landscapes, sunsets or seascapes? The choice and preference of art is a personal and psychological one and no two photographers will see or photograph the same scene the same way, but there will always be just that certain something that stirs the mind when viewing an image, that releases and brings out that "WOW" factor.
A very obvious psychological aspect of photography would be the correct use and placement of light and colour. Light and its many attributes are the very essence of image making, and without light, colour would not exist and neither would photography. Or us, for that matter!
But light can also make or break an image, and taking that into consideration, certain rules apply in order for you to use light wisely and to ultimately achieve a reasonable, if not better result.
Other rules, such as, the "rule of thirds", the "rule of odds", the "level horizon line" rule, the "keep it simple" rule, the "Balance" rule, the "get in close" rule, the "fill the frame" rule, the "negative space" rule, the rule where you make the decision as to whether you should shoot the scene holding the camera horizontally (landscape mode) or vertically (portrait mode).
In composition, the use of the "elements" of composition design, such as, leading lines, shapes, form, texture, etc., all of which can be explained to you in full detail in my chapters on "Composition design" part 1 - 7.So, whether you take photography very seriously, or you just want to take better photos, if you have a broad knowledge of these rules, and you put them to good use when composing your images, your family and friends will praise you on what you have taken and will always want to see more of your work.
Think of that as your inspiration and accept that the rules are there for your benefit and ultimately, the benefit and pleasure of those who view your work.

"Here's another bright idea" . . .

Well, not so much an idea, more an anecdote, but I think you'll get the idea!
A wedding photographer was going over some preview shots with the bride to be and her mother. They were both very impressed with his work and the mother of the bride to be said, "Oh, what lovely photos, they're absolutely magnificent, you must have a really good camera to take photos like these!"
The photographer showed no sign of being the least bit put out, but instead, just nodded, smiled politely and said nothing.
As it was getting on in the evening, the bride's mother asked the photographer if he would like to stay and have dinner with them.
"That'd be lovely." He said. "Yes thank you, I'd love to stay!"
After the meal had been dished up and he'd taken a few mouthfuls, he looked up at the woman and said, "I've just got to tell you, this meal is absolutely tops. Everything is cooked so well. You must have a magnificent stove."

I suppose, if there is a moral to this, it would have to be, "Your camera doesn't make images, you do."
Just as, your stove doesn't actually do the cooking. . .

Buying the latest digital camera will not make you a better photographer.

2007-03-07T19:05:00.008+10:00

For the sake of being accused of plagiarism, or copyright infringement, this article was handed to me by a friend. I don't know where it came from, but if the author would like it removed, I will do so without hesitation. However, I did think it appropriate and quite relevant and something that may be of interest to all.

The article reads as follows:
It frustrates me that we have allowed technology to be the sole arbiter when it comes to the selection of a digital camera.
We've been sold "megapixels" as the sole criteria. But you also have to look at ergonomics and the ease of use.
There is at least one 3-megapixel camera that delivers substantially better image quality than more than one of its 5-megapixel competitors. It's sharper, the colour is truer, the dynamic range is better.
There are cameras that have been designed with their lens and flash positions placed so as to defy the human hand to get a grip on them. Some of the menus on these cameras are laid out to confuse all but the Nerds amongst us.

Considerations when purchasing a digital camera should be:-

Optical zoom range
Ergonomic design
lens quality
Capture size (megapixel)
Dynamic range
Ease of use of the menus

Cameras don't take pictures, people do. So remember all of this being said, a digital camera will not magically turn you into a good photographer.
There is only a handful of basic rules in photography (I didn't say that!) that if you understand, will have you taking very satisfying photos on any type of camera.
These rules are not hard to learn (I didn't say that either!) and your photo Specialist (that's me!) can teach them to you.

I for one, would surely agree with that. Please don't go out and buy a camera just because you've seen it advertised. Read camera reviews in photographic magazines like "Australian Photography". They go all out to try these new additions to the market and really put them through their paces.
Visit your local camera club and ask some of the club members what they use and why. The same applies with lenses. You can really get disheartened when you pay several hundred dollars for a lens and find it just doesn't work for you the way you expected it to. And that however, is not good enough grounds for a refund!

Repetition

2007-03-05T18:27:00.005+10:00

What's the first thing that comes into your mind when you think of the word repetition?
A piece of music perhaps, that just seems to go on and on with the same sort of boring uninteresting rhythm? Or an unimaginative child is colouring in a picture, picks out a nice blue for the sky, but also uses the same colour for the grass and for the entire family picnicking on it.
I suppose if you photographed a piece of cloth that was white with red polka dots all over it, that would not only be repetitive, but also very boring.
But repetition in photography can also be dynamic and exciting.
Take for instance, a line of coloured beach bathing boxes, although they are all pretty much the same shape, strung out along the same bit of beach and shore line,Their redeeming feature, photographically, is the repetition of their vibrant, alternating colours. This makes their repetitiveness very dynamic and exciting!
Another example of repetition could be a photograph of rocks in a dry river bed. Nothing but rocks! But rocks are never the same shape, nor are they likely to be exactly the same in colour or texture, so the pattern they form, their shapes and colours make for interesting viewing.
Footprints disappearing off into the distance on an otherwise undisturbed beach. The beach scene itself may be boring, but the repetitive line of footprints add interest and impact, particularly if they all head off in the opposite direction to the photographer.
So, unlike some music, or some web sites for that matter, repetitive elements in photography don't have to be boring. They can also be used as leading lines that draw the eye of the viewer into the scene. Like a line of trees, a line of fence posts, or even a line of footprints in the sand.
You are only limited by your own imagination. Have I said that before?
I hope you don't think my site is repetitive and boring!

Grasses - Lens Flare

2007-02-24T17:35:00.010+10:00

When out photographing in the fields or on a hillside, grass is usually something most of us trample over to get to whatever it might be that we want to shoot. So most of its photographic qualities go totally unnoticed. With an exception of course, to those who generally take the time to slow down and appreciate all the wonderful creations at their disposal, that means taking into consideration things that don't always provide us with instant inspiration, or those objects which are blessed with far less prominence than those we are always fully aware of, in the overall scheme of things. But once you take an interest in grasses, you will soon learn of its magical properties.
No, it is not your everyday run o' the mill subject, but nevertheless, grasses can provide for some very interesting image making indeed - in the way of patterns and playing with light. Particularly when photographed at the right time of day, year and at the right angle to the sun.
The right time of the year is generally when the various species start to flower and/or go to seed. Yes, believe me grasses do flower, if you've ever taken the trouble to notice and when viewed at the right angle, in the late afternoon or early morning, they can tend to take on an almost efflorescent appearance. I have included one of my own examples below.
There is a particular variety in the area where I live and generally, its appearance is just like any other grass and it also grows like any other grass, in the form of a tussock to about 30 or 35 cm high (around 12 inches). When it's ready to flower, it sends up a long, straight stem to about 45 or 46 cm (about 18 inches), or higher, depending the size of the tussock and each individual plants struggle to gain height and clearance from its surroundings.
When the flower forms at the top of the stem, it is usually cone shaped, tapering off at the peak to a length of 10 to 15 cm (4 to 5 inches).
The flower head is made up of many individual flower segments, each with its own separate stem and each with the capability of developing one seed.
At this stage, the entire head is the colour of straw, until that magic moment when it turns to almost terracotta, or orange/tan - this is the best time to photograph them.
A long lens or telephoto is best for this kind of subject, as it can be used to isolate each tussock and blur the foreground and background elements.
The best light is definitely either in the early morning or late afternoon.
For the right shooting angle, you may have to assume a low position and have your subject almost in a line between you and the sun, but you will need to be aware of the possibilities of lens flare, so have your lens visor fitted.

Lens Flare:For those who are not aware of what lens flare is, it is a phenomenon brought about when shooting against or toward the light source and the light's reflection hits the front element of your lens and is then further reflected off other lens elements within the lens itself. And thus, the flare then becomes a feature in the resulting image - and a major distraction. You can't always know when your shot is going to be affected, so if in doubt, fit your lens hood. There is a good chance this will help to avoid this problem. Having filters fitted to your front lens element will also accentuate the problems that can occur when shooting against the light. Lens flare is generally looked on as a major fault in a photograph, particularly when seen by photography judges. Some may deliberately use it for artistic reasons in photos, but it is sometimes difficult to tell when simply looking at an image with flare, to ascertain whether or not it was intended.
I have included below an example of this. However, in this example it was intentionally done. Lens flare can be used to produce a very creative image - in this case, as a leading line to the small boat engulfed by tall buildings. Note how that leading line draws the eye down to the boat. You can read more about leading lines in my chapters about
"Composition Design" parts 1-7.
Meanwhile, back on the prairie - ah yes, we are looking into the light.
What you need to do is find the best position that allows you to see the grass flowers being picked out by the sun, in the manner which appeals to you best and try to include a darkish, but not black background, as this will enhance your flowers even more.
As I suggested earlier, use a large aperture, Portrait Mode, or your zoom to isolate the background and foreground and this will provide you with the main subject matter and a clear centre of interest.
If you can manually operate your camera, use aperture priority and set the camera at f2.8 or f5.6, or change your ISO rating to a higher setting. You may also need a tripod if the shutter speed is less than 1/125 sec.
As with all my setting suggestions, treat them mainly as a starting point and play around with other settings till you get it right.
I do hope this provides you with a bit more insight and something else to work on. At least it keeps the old grey matter active and healthy. Good luck!

Images such as these can evoke emotions of peace and calmness.
Intentional lens flare used to provide a leading line to the tiny boat surrounded by towering buildings. And yes, sometimes it's okay to break the rules too!

"Here's another bright idea!" . . .
When changing lenses on your digital or film SLR , always find somewhere out of the breeze and do it quickly to help alleviate potential dust problems that could occur within your camera body. And be sure to turn your digital camera off first. If you need to clean your camera's interior, it is imperative that you follow the instructions set out in your camera's manual.

Landscapes and/or seascapes - The Facts

2007-02-13T18:26:00.008+10:00

I have included two of my images here. I know they are not the best in quality, but I have included them nevertheless. The landscape's background shows popular Mount Barney, situated in the far South East, on the Queensland/New south Wales border. Forgive me, this was taken many years ago on an old Pentax point 'n' shoot, but that was before I really got interested in photography. The second was taken at Coolum, about an hour and a half's drive South of Gympie, on my pentax MZ50 film camera shortly after dawn one cloudy morning.

For this topic I have combined these subjects for a very good reason and that is, sometimes it is necessary to include some part of the sea, or coastline in a landscape, just as you will sometimes combine part of the land in a seascape. But in order to break the barriers, so to speak, there has to be some obvious rule that marks the division between the two.
A landscape can include part of the coastline, provided the amount of land in the image dominates the scene.
For example, you may see an image taken from a high vantage point of sheep grazing in undulating fields, leading on to a background of steep cliffs and coastline in the distance. That is a landscape that incorporates part of the coast, but you still look on it as a landscape.
The same applies with the seascape. Providing the image predominates the sea and its coastline, it doesn't matter if there is a bit of the land included, you can still regard it as a seascape.
Sunsets and sunrises, by the way, do not fall into the category of landscapes or seascapes. They are a breed all their own and they can occur anywhere on land or sea, or even over the rooftops of buildings, for that matter.
If a landscape or seascape is photographed in the early morning or late afternoon, it may include part of the rising or setting sun, but because the image includes only a small part of the sky, it is still accepted as a landscape or seascape image.
Landscapes can also take on the classification of townscape or cityscape. This is when the image is dominated by urban sprawl or high rise buildings, but if there is only a small amount of these intrusions say,in the background of your image, then it is still classified as a landscape.
Another example, if you were standing on board a ship and you were photographing the sea, if 90 percent of the image was filled with parts of the ship, you couldn't really call it a seascape.
However, like landscapes, seascapes need to include some other elements than just sea. You can imagine standing on a beach taking a shot straight out towards the horizon with nothing else in the image but sea. It would be totally boring and uninteresting. So you need to include some foreground elements as well as a bit of sky as a background.
The Composition:
When composing a full vista landscape or seascape, switch to the Landscape icon on your mode dial or, if you can, manually adjust your camera to Aperture Priority mode and set your aperture for a small aperture, at about f11 or f16. (Small aperture setting - large number). This allows for an image with clear sharp detail from the immediate foreground through to the distant background. This is a technical requirement of landscape/seascape images when being judged at competition level. Another requirement is that your horizon line, if you include one in the scene, must be level.
Landscapes and seascapes would have to be the most photographed subjects, apart from our kids that is, so we need to know how best to define them in order to present them properly. I hope this has helped.
Please see "More on Landscapes"
Reference: Composition Design

"Here's another bright idea!" . . .

Don't be afraid to use people in your landscape shots. They can provide a sense of scale to images that include waterfalls, canyon walls, tall trees, large rocks, etc., but think wisely about their placement within the scene and with particular regard to the brightness of their clothing. Their role is merely a secondary one, so be careful that they don't become the main centre of attraction!

HOW DESPERATE DO YOU HAVE TO BE TO GET THE RIGHT SHOT?

2007-02-12T06:38:00.005+10:00

I don't think anything could make me this desperate . . .It's downright scary!

This is a case of photographer photographing a photographer. The following photographs were taken by Hans Van De Vorst at the Grand Canyon. The descriptions are Hans' own. The identity of the subject photographer is unknown.

I was simply stunned seeing this guy standing on this solitary rock in the Grand Canyon. The Canyon's depth is 2,700 feet where the photograph was taken. The rock on the right is the edge of the Grand Canyon where all the normal people stand behind the established guard rail! Watching this guy in sandals, with a camera and a tripod I asked myself three questions:

1. How did he get onto the island rock in the first place?
2. Why not take the picture from that rock to the right, which is perfectly safe?
3. How is he going to get back?
After the sun set behind the canyon's horizon, he packed his things and prepared himself for the jump. This took about 2 minutes for him to make the jump.

He has a camera, tripod and a plastic bag, all on his shoulder or in his left hand. Only his right hand is free to grab the rock. He landed low on his jump and his right foot slipped away as I took the last picture. He waited for a few seconds, threw his stuff on top of the rock, climbed up and walked away.

DELUSORY ILLUSIONS

2007-02-09T19:07:00.003+10:00

AND NOW FOR SOMETHING COMPLETELY DIFFERENT.....

WARNING ! . . . . Do not view these images if you are on strong medication, or if you have consumed more than 2.8 litres of full strength beer within the last 20 minutes.
No.1 It appears that this brick wall is very hot. Would you not agree?

No.2 Is this a real spiral, or concentric circles? It's really just concentric circles.
This illusion is so powerful, it can even cause your finger to trace in a spiral.

No.3 Here vertical or horizontal edges seem to appear distorted. Other areas seem to move.

No. 4 The lines look as though they are tilting, but are parallel.

No. 5 These circles seem to cross over one another, but your wrong!

No. 6 The vertical lines appear to be bent, but they are parallel.

No. 7 Watch how the intersections in this image scintillate and move about.

No. 8 Can you see the grey angled bars move from side to side?

No. 9 Which of the brown bars is longer? They are both the same.

No. 10 red appears to be magenta or is it orange?

No. 11 Is the grey surround in this image lighter than the centre square?

No. 12 Are all the vertical lines the same length?

No. 13 Stare at the centre, are the blue rings rotating? Which direction are they going, clockwise or anti clockwise?

No. 14 Watch this image as you move your head closer and away. It should rotate.

No. 15 This one is self explanatory.

Fireworks and fairgrounds

2007-02-07T18:49:00.010+10:00

Of course, the main requirement with all this type of low light, long exposure photography, is that your camera is able to be set manually in both shutter speed and aperture setting and have the "B" (bulb) setting facility. You may also find the need to operate your camera's focus control manually due to these light conditions. A remote shutter release is fairly essential too.
Have a low ISO rating of 100 - 200, but for creativeness you may want to set it higher.
Firstly, we'll take a look at fireworks.
You will need, with your manually adjustable camera, a wide angle lens, or zoom anywhere in the range of 25mm - 200mm, extra fully charged batteries and a torch, just in case, tripod, cable release, if possible and a piece of black velvet material. I will explain later.
Arrive on the scene early, preferably in daylight, so that you can ascertain where the fireworks and rockets will be launched from. Check out the breeze, so that you can set yourself up down wind of the smoke.
You may find it easier if they are to be launched from just the one site, but if there are multiple sites, you may have to check which site will be best to work off then determine your best vantage point.
If you can talk to the organizers and explain that you are on a special assignment, I am sure they will only be too happy to advise you of the best viewing area, and so that you can see, even in the dark, where they will be launched from. It may seem to you that it is a lot of messing around, but it's best to prepared on all fronts.
Once you have yourself all set up and fully established in the right position, it may be a bit of a wait till it all starts to happen. Go through everything with your camera, even take notes if necessary. These events don't happen every day, so you want to be sure all is in order.
When the event is about to get under way, go through everything again in your mind to be sure you are ready.
Camera's on the tripod, cable release is fitted, torch is handy. Make sure camera's on "B" setting, aperture on f11, lens at its widest angle, piece of black material at the ready, stay calm.
As the first rockets are launched, treat them as test cases. Look through the viewfinder or at the viewing screen as the firey streak shoots skyward, with your hand on the lens, ready to adjust the composition when the rocket bursts. If you are using a zoom lens, adjust it quickly for the best results. Depress the shutter half way to ensure the auto focus kicks in, and if so, take the shot. If not, you'll probably have to wait for the next burst using manual focus.
In stead of just doing a lot of single exposures, you can if you want, do 3 or 4 exposures on the one frame. This is where that bit of black material comes in.
Once you've had a couple of practice shots and you're happy you've got your composition and focus in order, place the black cloth over the lens and open the shutter with the cable release and lock it open. Then, the moment you see the firey streak of the next rocket being launched, uncover the lens, but as soon as the sky goes black after the burst, re-cover the lens again.
Do this for the next couple of bursts and then close the shutter again, by unlocking the cable release. So now you will have 3 or 4 bursts on the one frame and hopefully all different colours. This tends to look better than just the one burst per frame. But that's up to you and I'd encourage you to experiment taking shots in other ways to come up with with different results. By all means use your own imagination.

Fairgrounds

Before we go any further, I might just mention, that if you intend taking photos in public places, and especially places where children are prevalent, and they are quite prevalent at fairgrounds, you just might get questioned by security, in reference to your activities. So I'd advise you to take a couple of friends along, then you won't look so conspicuous and they may not bother you.
Fairgrounds can provide a veritable smorgasbord of colour, bright lights and facial expressions, both during the day and especially at night.
Your gear should include, again, a camera that is suitable of being set manually, a zoom lens anywhere in the range of 25 - 200mm, cable release and tripod. Also a torch and extra batteries, just in case.
During the day, you can get a bit of practice in with all manner of exposures. Playing with aperture priority. Blurring the background or having it clear and sharp. Using shutter priority, 1/125 - 1/250 second to keep images sharp or getting down to 1/30 - 1/15 for induced blur on spinning rides (using tripod of course), or get in some panning practice at the Dodge'm track. But when the lights come on that's when the fairground really starts a-jumpin'.
You are now in the twilight zone and for the next twenty minutes or so, you can take shots of the lights in that half light, but now you will need to start using that tripod.I think the best time is at night. You can then get those spinning rides at really slow speeds that become just coloured blurs. Use the "B" setting here with exposures of around 5 - 10 seconds, aperture about f11, but try all sorts of things. Forget the rules and just have fun that's the main thing, after all your there to enjoy yourself too.

Light trails and Zoom Technique

2007-02-06T06:14:00.008+10:00

Images of light trails can be made quite easily by photographing the headlights and tail lights of any moving vehicles including cars, trucks, motorbikes, etc.
This subject does not include star trails or those from lighted sparklers or fireworks, but can include a zoomed image of heavy vehicles at a busy intersection. I will explain more about that later.
To photograph vehicle light trails, it is best done with a camera that is capable of being set manually on the "B" or "T" setting and after sunset obviously, but particularly before the sky becomes black, so that there is still enough light in the sky to allow surroundings to be seen in the image. This is important, as it eliminates blacked out areas and negative space around the image.
The light trails themselves should be of reasonable length, of a minimum of 5 seconds, but exposures of up to 10 seconds may be needed, depending on the distance you are from the light source, or how long it takes for the vehicle/s to travel from one point to the other.
Bridges, buildings, hilltops, or any high vantage point should be suitable for getting a fair result.
Suggested sites might include traffic lit intersections, from bridges over motorways, speedway meetings, or night motor cross events, or any place where there is a lot of activity with moving vehicle lights.

For best results, your equipment should include:
A sturdy tripod, or some device for stabilizing your camera through lengthy exposures.
A camera that is capable of taking exposures of 5-10 seconds or more, with a zoom lens in the range 25-200mm to cover most situations.
A remote shutter release would be an asset, but not essential.
A suggested all purpose film for this would be Kodak Max 400.
Digital users could set their ISO ratings at 200 or 400, as an example.
A small torch and extra batteries would also be handy.

The zooming technique:
This is best done with the camera fully stabilized at a location where there are a lot of lights of various colours. Like for instance, a major traffic lit intersection that has a heavy flow of traffic. A high vantage point would help.
In contrast to photographing light trails, this is best done when the sky and outer surrounds are black.This will accentuate the light's colours as they are zoomed out across the image.
Using the "B" or "T" setting and aperture set at f16 or smaller. Aim the camera at the centre of attraction with the lens at its shortest focal length.
Work on an exposure of about 5 seconds and as soon as you release the shutter, very carefully zoom the lens out for that 5 second period, then immediately close the shutter. There is no need to use a stop watch for this, it is not critical, but that time is merely set to give you an idea. After a bit of practice you will soon get the hang of it and find your own way of doing it and it can produce some pretty unique results too. "Good Luck!"

I have included some of my light trails below and some zoomed exposures.
For those who are unsure about how to find the "B" setting on their camera:
Firstly, you must be able to set your camera manually. Turn your mode dial to manual "M", then adjust the shutter speed right back till you can go no further. You should be on the "B" setting. Now you can adjust the aperture setting "Av", to what ever you want. For light trails, about f16 should do. this would also apply when photographing fireworks.

The street in the image below is where I did my bomb bursts. Looking straight down the centre into that group of lights in the centre background, using a 28 - 200mm zoom starting at 200mm, opening the shutter for about 5 seconds, whilst zooming back to 28mm. Manually set on "B" or "Bulb" setting @ f16.
The following are some of the results. A few of them I have touched up in Photoshop, others are original shots, but all taken on the above exposure settings.

Now a couple of vehicle light trails from a different view of the same intersection. It's a great pity that it hadn't been raining, or that would have increased the light reflections. But it can't always be perfect.

Abstracts

2007-02-02T18:30:00.006+10:00

Abstract art has been a popular and well accepted art form for centuries and many artists including painters, sculptors, architects and the like have become very famous with the work they have produced in their specialized field, but there have also been many world class photographers through the years, who have also taken up the challenge and made their mark with those famous people in that chosen category.
Unfortunately, abstract art, including abstract photography, is not accepted terribly well with those who do not understand its qualities. Some will find it very difficult to comprehend, to a point where they deem it an absolute and utter waste of time, to even allow it the briefest of glances at galleries.
I really do pity these poor misguided and uninitiated individuals, for they know not what they see!
A definition of the word abstract would probably go something like, "That which possesses no real meaning or reference to any specific thing".
Therefore, an abstract painting, sculpture, or indeed, photograph, doesn't have to have a given title as such. You are viewing it for its abstractness, not for what it should represent and because abstract art doesn't sometimes allow you to decipher its meaning, you are expected , however, to appreciate all of the qualities of shape, light colour, pattern and texture the author has utilized to produce the resulting image, because these are the qualities that really make abstract art tick!
Abstracts can help you overcome familiarity and allow you to see things in an entirely different context. To accept this, you need to re-tune your senses so you become more receptive and responsive to all that is in the world around you.
To appreciate this, you really need to look into and beyond what you are looking at. As Henry David Thoreau said, "It is not a case of what you look at, but more of what you see". It is both very meaningful and significant.
Look at the shapes and form in things around you. Take a common cup for instance, the one you use every day. Forget if you will that it is a cup, it is a mere object. Examine it slowly and thoroughly. See it just for what it is. Examine its shape, its colour and form. Does it have a high glaze? What other shapes and forms can you see in its shiny surface?
Do this with as many other different objects as you can. You'll not only find it very relaxing, but after a while you will begin to learn and appreciate the apparent inner beauty of certain objects and you will then understand why some people actually go to the trouble to paint and make photographs of abstract things. It is because they can see that hidden, beauty that others would probably never take the time, nor have the inclination to discover.

"Here's another bright idea!" . . .
If you're considering purchasing a tripod, take a tip, save some extra dollars and get a good, heavy quality one. Particularly if you use long lenses or zooms that extend from 200mm +. Even the slightest breeze can result in a slightly blurred image. Plus the fact, the heavier ones are a bit of a status symbol! When size does matter!!!!

The Self Critique

2007-01-30T18:39:00.008+10:00

People who take photographs do so for different reasons. Whether it just be Mum and Dad taking record shots of their children, to help fill the family photo album, or football fans at the match, getting some trophy photos of their hero players to stick into their scrapbooks, right through to the professional portrait photographer, who is mainly interested in seeing what sort of gain they will get out of it, not only for their hard work, but also to help cover some of the cost of all that expensive equipment.
Cameras come in all shapes and sizes and have been readily available for the general public for well over a century, although they were much more cumbersome and expensive back in the early days. Since then, they have become more user friendly.
In more recent times, in almost revolutionary fashion and in explosive proportions I might add, with the advent of digital cameras, mobile phone cameras, that are easily downloaded into the home computer and results printed out somewhat as good as, you might get at a photo lab or after spending a couple of days working in a darkroom.
So where do you fit in? Are you a mere enthusiast, or do you inspire to become a photographic artiste in the field of portraiture, landscape, nature, etc.?Have you set any goals, or are you merely taking each day as it comes? Either way, you must have a certain amount of interest, or you wouldn't be reading this. How do you rate yourself as a photographer? How self-critical are you of the images you produce? And how do you go about critiquing your own work? Do you know what to look for in an image, or do you just go on what your gut feeling tells you? With all the technology we have today, with viewing screens on cameras and the like, you still don't really know what you've got till you have your prints, either uploaded onto your computer, or set up on the digital prints machine at your camera shop.
I, for one, still maintain that whenever you go out on a shoot or photography field trip, you should have already in your mind, a "pre-visualisation", or at least a good idea, of what you should expect to achieve. Use that as your plan and try to stick to that plan. That is, unless conditions change in the meantime.
Get to know your camera's ability to interpret certain scenes and conditions, because invariably it will see some scenes differently to how you see them.
For ideas on how to design your composition, you can take all the time you need to study what I have written on that subject. You can copy and paste it if you wish.
If you are a little over-critical of your own work, as I am, and it's not such a bad thing, because when you do something good, you will know it, but don't expect that lucky break to continue. Photography can be quite a roller coaster ride, you have to expect a lot of lows with the highs as you go along.
As with anything you do, be it the chief surgeon of a hospital, or just one of the cleaners, as long as your are happy and adopt a passion for what you do and put your all into it, you will succeed and reap the benefits.
So, I have listed below eleven important questions, that you could ask yourself when you are out there designing your next image. The answers of which, should give you some indication as to how your image will stand up, or stand out from the crowd.
Ask yourself:
* Is my image sharp (if that is the intention)?
* Is my image exposed in the best manner to convey my intention?
* Does my image have a clearly defined subject?
* Have I eliminated all distractions and unimportant details?
* Is the subject in clear focus?
* Will this image have a clear centre of interest?
* Have I created the illusion of depth?
* Is my perspective the best for the most impact?
* Does my image convey strong emotion (if that was the intention)?
* Is this image best taken vertically or horizontally?
* Have I used light and colour for the best effect for this image?

In photography, the word "perfect" does not exist. You will always have the opportunity to make a correct image, but never a perfect one. Simply because, there is no such thing. Every photographer will see and take the same scene differently. If you ask yourself the above questions and say yes to each one, then you will have every reason to be happy, because you will have succeeded in making the so called "correct" exposure and a satifying image. And then, will you have at least a chance to stand against your peers.

* To succeed or suck eggs!!! *

2007-01-28T16:30:00.004+10:00

Before you can produce a photograph you need to consider at least four things in order for it to be a success.

1. Appropriate light for the subject. If you don't have light that really works with your subject or scene, you simply do not have the basis to begin your composition design.

2. Your main subject matter must be clearly defined. The subject must be apparent. If it can be simply described and is made obvious to the viewer, you are home and hosed! If not, it may not be clear or obvious what your intentions are for the finished image.

3. Your foreground and background must be used as effectively as possible. They can be either clear and sharp all the way through or put out of the scene by changes in aperture setting or focus control. Either way will bring about a different interpretation in your image and you must make that choice.

4. Make sure the weather conditions are right for the intended image you are about to produce. If your intention is photographing close-ups of flower heads and it is blowing a gale outside, then obviously conditions are not okay.
So, before you consider your big shoot, just review this list and be sure it is befitting your photographic situation. Is my subject clear and defined? Is the light right for the subject at hand? Am I able to control the foreground and background to ensure my image is effective? Are the current conditions for me or against me?

The facts on colour

2007-01-16T18:50:00.006+10:00

I did state earlier in this work, that I would not get too technical here, but for those whose images are not turning out as expected, colour or light wise, perhaps a little knowledge on this subject may give you an understanding of what can go wrong, and frequently does, as far as the colour and brightness of your images is concerned.

But first, a little bit of history. It was Isaac Newton, in 1666, who demonstrated that light is the source of all colour. This was determined after he passed light through a glass prism.
It was, however, not hot news in those days, because there had been demonstrations of the like prior to this, but until Mr Newton's experiments, it was deemed that the colours came only from the glass itself.
What Mr Newton did that was different was, he added a second prism, which he found re-formed the light and the resulting conclusion was, that light was made up of all the colours in the spectrum. Thereby adding all the colours in the spectrum to get white light.
You can look at colour as being warm or cool and the actual warmth and coolness of the colour is given a temperature rating. This temperature is in degrees Kelvin
(Don't ask me who Kelvin was, that's another story).
When we look at a sunrise or sunset, we tend to accept that the light is producing a "warm" glow, when in fact this warm yellow/orange colour is actually at the cool end of the spectrum. Whereas, the blue colours are at the hottest part of the scale. That may sound odd, but remember, the blue part of the flame from a gas jet is the hottest part.
When you fire the electronic flash on your camera, it gives off a white light of around 5500K, which is about equivalent intensity to the light you would have outdoors at about midday.
At the bluest, or hottest end of the spectrum, is at about 12000K and the very opposite red end is around 2000K and the light from a generally cloudless sky at midday, which is known as "white" light, is usually about 5500K, but this can vary according to time of year and atmospheric conditions.
During the night, or in the very early hours of the morning, before the sun rises, most of what we look at is in black and white. Then as the sun slowly peeps over the visible horizon, its rays pierce the densest part of the atmosphere, where the blue end of the spectrum is filtered out, leaving that warm looking colour cast on all exposed surfaces.
The shadows will take on a bluey look, but this should be burned off as the day progresses, causing them to turn black around midday.
It is at this time of day, when the sun is at 90 degrees and directly above, your polariser will be working at its optimum best.
Midday light doesn't have a particular colour cast, but it is deemed by photographers not to be the best time of day for image making, because of its potential to create deep, contrasty shadows and flat, hazy colours in landscapes and outdoor portraits.
As the afternoon progresses, the light begins to warm up again, making it more desirable for photographers.
Even though the human eye cannot detect these subtle differences in colour temperature, the camera sees it as it is and will show it in the resulting images, when you will look at your photos and think that all is not as it should be, but the camera doesn't lie and two different people will not see the same colour in the same way.
Being involved with paint sales, I have come across this problem many times.
Nowadays however, you can make these colour adjustments simply by putting the images on a computer and subjecting them to a little Photoshop treatment.Just think of all the images that have either been tossed away, or just left at the bottom of the heap, because they didn't have the right colour or light consistency. Hmmm, perhaps I could make a start.....No, on second thoughts.....But maybe one day!
It is now possible, on some of the newer digital cameras, you have the option of adjusting the colour and/or lightness of an image, by utilizing the in-built colour correction filters. I can do this with my camera and it also has an automatic white balance (AWB) built in, which will correct fluoro, or incandescent light to white light automatically, if you have that setting enabled.
If anyone needs to know more on colour correction or any other "Filters", please see my chapters on that subject.
Well, I trust this has enlightened you to some degree and I do hope it wasn't too technical for you.
"Here's another bright idea!' . . .

When viewing an image, the eye can be drawn away from the main subject by the inclusion of unwanted elements and colourful or bright parts in the scene, so when composing your shots, be aware of any inclusions and/or intrusions that may be distracting to the eye. A slightly different angle of view can eliminate such distractions.

Give new life to the old timers

2007-01-04T18:44:00.004+10:00

One photographic subject that has grown in popularity and interest in recent years is old, rusting vehicles and farm machinery and the rustier they are, the more appeal they have.
They're easy enough to find. All you have to do is just go out for a Sunday drive in the country and if you keep your eyes open, you're bound to find something worthwhile to photograph, but be sure and get permission from the land owner before you go tramping over someone's property.
One sure fire way of gaining their approval is to make them an offer of mailing them a print from your resulting images.
I had a lucky break on three occasions to come across some of this old stuff without even trying.Whilst on an inland travel excursion, we spent a night in a country town caravan park and across the road was an old house which had quite a number of old interesting bits and pieces, that the elderly gentleman who lived there had been hording over many a past year.
There were all manner of odds and ends, that were quite probably someone's pride and joy at one time.The next morning, before hitting the road, we noticed how that special early light (the "right" light), was bringing new life into some of this old stuff.
So, light, cameras, and action. It was too early in the morning to knock the old guy up, so we just leaned over his waist high fence and went for it. Filling our little media cards with all and sundry, till the light finally turned against us, but by then, we were fully satisfied with what we had taken, photos, that is!
The second opportunity was the following night, when we stayed again, in another caravan park. Adjoining the park was a bit of an open museum, which had numerous pieces of old, antiquated farming equipment, including tractors, plows, headers, etc., all in various stages of decay, or workable restoration.
Some of these pieces would have required the use of steam power to operate them, such as huge circular saw blades, steam driven pumps, chaff cutters and the like.There was also equipment there that would have been hauled by beasts of burden, that have long since departed this world as we know it.
So, happy to say, many a photographic trophy was also taken on that occasion.Then, on the last weekend of old 2006, we spent a couple of days visiting family out at Dalby, about 3 1/2 hours drive west of Gympie (just down the road), and it was on that property where I found about a dozen or so aging trucks that closely resembled the old Blitz Buggies they used during the second world war.They were totally exposed to the elements, so you can well imagine what sort of condition they were in. All practically devoid of paint, covered in rust and generally looking a little worst for wear. But I had a ball photographing them all in the morning light, including a lot of other related items, too numerous to mention. Everything was in some stage of decay, but well worth photographing.
You don't need any special equipment to photograph these sorts of subjects, but the more options you have at your disposal, the more differing results you are bound to achieve.For example, interchangeable lenses would be an asset, for those long, intermediate or close-up shots. Also a wide angle lens, for that different perspective and for when you want to get close up, but also get it all in.
There are no hard and fast rules. Try anything and everything, but these types of subjects are definitely better taken in the early morning light, when the air is clear and clean and when the rich colours are more enhanced. And even more so with a polarizer fitted.Furthermore, because your shots will be numerous and varied, it's a good time to get in some practice at altering your depth of field.
By setting your camera to aperture priority (if that's available to you), choose a small aperture (large number), of around f16 or f22, if you want to have all of the scene in sharp focus. Or, on the other hand, a large aperture (small number), of about f5.6 or f4, if you'd rather have your subject's background blurred.
In most instances, it is preferable to keep your composition simple, without too much clutter and to hold the emphasis on your main subject, but you may notice in one of my images relating to these subjects, that I have quite a bit of clutter in the foreground. I think it is acceptable in this case, as it is all related to the main subject and I feel it adds interest.Look up to see if the sky has any interest to add to the mood of your composition, or, if a gnarly old tree can be suitably placed in the background.
Above all, take your time and make the effort well worth your while.
Just as a point of interest, the little mauve coloured flowers you see in some of my images is called, "Patterson's Curse". And certainly a curse it has proven to be for some.Apparently, as the story goes, long, long ago, an immigrant, whose name by the way was Patterson, came to Australia from England. In his infinite wisdom, he brought with him this little plant, which he thought would give him solace and remind him of his homeland, far away.Well, this little plant has since made quite a name for itself, spreading its little seeds far and wide across this broad land, throughout Queensland, New South Wales and beyond and now, has been considered for some time, a totally noxious weed and should be dealt with in the harshest possible way!
I must admit though, and of course, you didn't hear it from me, that it does look quite pretty growing along the roadside as you drive through the country.
Anyway, I thought it quite fitting to be used as a bit of added foreground interest, as something small and delicate in stark contrast to these over-shadowing rusty hulks.

Be A Skyscaper

2006-12-16T14:12:00.010+10:00

You won't find too many a landscape that doesn't contain a certain amount of sky in it. Some with a little, some with a lot. The amount of sky would depend on how interesting it looks on the day, and how much impact it will have on the overall scene.
You may have seen landscapes of the great Australian Outback, or Monument Valley in Utah, USA, depicting red sandy deserts with wide, deep blue, cloudless skies and very little else.
To the viewer, these images show the isolation and the emptiness of these great lands and they do that very well on a tourism point of view, but throw into the foreground some interesting rock formations and a few whispy clouds in the sky and you instantly add character and interest to the image.
Generally, if the sky is featureless, don't use it. It will become negative space and provide less room in the scene for more important subject matter.
When you are out looking for that great landscape shot, give the sky as much consideration as you do the land. You'll find the best time for this sort of image, is in the early hours of the day, when the air is fresh and clean, especially following an overnight rain.
When you photograph the sky, you will need a good wide angle lens somewhere in the 20 - 45 mm range, if you want to get it all in, so to speak. It is best to include a little bit of land at the bottom of the frame, as this will give your image a base to sit on, but with the bright sky in the early morning, this little bit of land will probably appear quite dark, so try not to include too much of it, then your camera can meter for the sky alone.
A polarising filter would be a handy gadget to take along with you, as it really enhances blue skies and will emphasise the whites in clouds, but while using it on the wider end of the lens, you may encounter some vignetting. (darkening in the corners of the image) For more information on these and other filters see my chapter on "Filters" .
Let's say you have found an interesting sky to photograph, what can you use to add interest in the foreground? How about a silhouette? There are any number of subjects you could use; fences, windmills, dead trees, light houses, palms, grave stones. Just look around you and use a bit of imagination.
There are many types of clouds that will help you produce a stunning and memorable photograph. They include the ever-changing shapes of high strata, cirrus, or jet stream cloud. Excellent just before sunrise and especially if you have a bit of low, dark, scuddy cloud to add some extra interest to the lower part of the scene.
Cumulonimbus, or storm clouds, can make very dramatic looking images. For a good glimpse of these, visit Extremeinstability.com "Great storm photos!"
The anvil, or thunderhead of storm heads can sometimes glow pink and/or orange in the early evening, as they reach up to incredible heights and can continue to glow well after the sun has gone down over the horizon.
Lightning can also be fun to photograph, if you are able to be in an open area, sheltered from the rain, of course.
For greater impact, it is done best at night. You will need a tripod for this and a cable release (remote shutter release) and a wide lens.
You will also need to have the ability to set your camera manually on the "B" setting and set your camera's aperture to about f8 of f11.
Point the camera in the direction of the approaching storm and manually set the camera to the above settings. Using the cable release, open the shutter and lock the switch, allowing the shutter to be left open. You can close it again after the first lightning strike, or keep it open to get several strikes on the one frame. Be sure to take extra batteries with you, as they are likely to run down fairly quickly using the camera this way.
The sky is the limit. Go and take advantage of what it has to offer. But at least wait till morning! See also photographing "Lightning Strikes"

I took this in the very early days. I can now see things that I could have done better, but I thought I'd include it here to show you the colours of early morning. I suppose I could include it as an example of what not to do. For instance, the horizon line is right bang in the centre and I straightened that up whilst cropping. Anyway, it is colourful, even though the composition could have been better.