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1. Camera Shake: Camera shake is the most common cause of blurry photos. The camera will select a slow shutter speed in low light situations where you're not using flash. If you handhold at this shutter speed, you will have camera shake and there's nothing you can do in the post production process to remedy it. So let's look at a couple of ways to prevent it before you take the shot. If you don't want to use flash, use a tripod. Just remember you can get camera shake using a tripod if you press the shutter forcefully. Gently press the shutter down, if you're still getting camera shake, consider using a cable release. If you don't have a cable release, use the timer function on your camera. If you don't have a tripod, place your camera on a stable surface like a table. The general rule of thumb when handholding your camera is to use a shutter speed that is 1/lens focal length or faster, i.e. when shooting with a 100mm lens, your shutter speed should be 1/100th second or faster. The other option is to increase your ISO, but the trade-off is possible loss of quality (grainy/noisy photos). 2. Depth of field: The larger your depth of field, f3.5 as an example, the less of your subject will be in focus. The technique is used to blur certain areas of the image like the background in portrait photos. In group photos that were taken at f5.6, you'll often see the people at the back are blurred while the front row is in focus. Fix this by increasing your fstop, f11 should work well for large groups, f8 for smaller groups. When photographing small subjects like jewelry, it's very difficult (often impossible) to get the full item in focus. The further the lens is from the subject, the more of it will be in focus. This could count to your advantage � play around with subjects like flowers and get in as close as you can to create interesting focus areas. 3. Focusing on the wrong part of the picture: Make sure you focus your camera's focus point on the subject you'd like in focus. If you have a problem with blurry photos, check to see if the background is in focus, while your subject is out of focus. If this is the case, practice focusing on the subject. The more you use your camera, the more comfortable you'll become with it's autofocus feature. Make sure you don't accidentally switch over to manual focus, if you're expecting to use autofocus and the camera's set to manual focus, the image will be blurred. 4. Subject movement: If you're photographing a fast moving subjec...

Digital cameras are great tools. But there is more to it than that. First of all, let's remember that your newsletter or other marketing materials are your company's ambassadors. Everything involved should be the best it can be. Don't lower the quality of your image with low resolution photos! I work with some of the best photographers in the business - 90% of whom now only use digital cameras. Let me share some quick and easy tips that you can use to get some great shots that will make you look great, too. Garbage in - Garbage out There's a big fantasy that any photo can be improved in PhotoShop. I'm a PhotoShop expert and I'm here to tell you that if you're not collecting enough data, or the right kind of data, there's nothing PhotoShop can do about it. If you haven't captured what you need at the start, you're not going anywhere. It might look acceptable on the screen but it won't print well. What are you capturing Your computer's screen is a resolution of 72 dpi (dot per inch) - plus it's 'projecting' light into your eye. That's why colors look brighter on the screen. For print, you'll need at least 150 dpi (at your target size) to print well. Most newspapers print at 150 dpi, so you get an idea of the quality. A glossy magazine is printing at about 1200 dpi. Resolution is a big issue with digital images. The other is light. I mentioned that your screen is projecting light so the colors seem brighter. When you print an image, the colors are represented by ink that's been laid down on paper. Light hits the paper and is absorbed. Only a small part of it is 'reflected' into your eye. That's why images appear to print darker then they look on the screen. Get enough data Here's the simple rule of thumb: Set you camera's setting to the highest resolution possible. Get a larger data card so you can capture more photos at a time. I use a 64MB Smart Card. That lets me get about 15 images before downloading. Do not sacrifice resolution for being able to get more images before downloading. Lighten up The other big piece of data that you need to capture is light. Digital cameras are notorious for not getting enough light, so do all that you can to supplement the light source. Do not rely on the camera's flash! The installed flash only throws light about 3 feet from the lens. It also creates some pretty extreme contrasts and shadows. So try to increase the ambient light in a situation as much as possible. Save it If your camera will allow you to save the image onto...

Wouldn't it be great if you could take sharper photographs and increase your odds of capturing a better number of photographs each time? Are you ready to save money by purchasing products that will allow you to capture the moment instead of being distracted by changing batteries or poor light? Now is the time to take control of your digital camera instead of allowing it to control you. Listed below are some great pointers to help you improve your photographs when using a digital camera so that you will get sharper and clearer photographs, capture truer colors and take a greater variety of quality photographs. � Know Your Resolution How you capture your photograph will determine the maximum size of the final print you can produce. Starting with a higher resolution image will allow you to crop your photograph later and still have a sharp looking final product. Most cameras have an automatic resolution setting that will allow you enlarge them up to 8x10. However, if you were thinking about taking a landscape photograph, it would be a good idea to increase the image resolution to the maximum setting and to use a tripod. � Use a Tripod A stable camera means sharper and clearer photographs. Digital cameras are very sensitive in lower light situations. If you turn the flash off thinking you'll capture some beautiful night scenes, you'll be very disappointed with the blur of the final image. The best way to prevent this is to use either a tabletop tripod or a regular-sized tripod with a remote control or cable release. You will be able to trip the shutter without shaking the camera. Remember; don't forget to turn off the flash each time you power on the camera. � Purchase NiMH Batteries Long lasting batteries will allow you to take more photographs and not miss 'the' moment. An added benefit with rechargeable batteries is that they will save you hundreds of dollars and are good for the environment. The best type is NiMH (Nickel-Metal Hydride) rechargeable batteries and each one lasts approximately 500 times longer than a regular AA or AAA battery! Think of the batteries you won't be throwing out. You'll also need a battery charger too. If your camera only takes proprietary Lithium batteries, then make sure that you have a fully charged spare when the first one runs out of power. Keep your batteries and equipment warm at cold temperatures by putting the spares near your body. � Program ISO Below 200 When you learn how to override a camera's automatic function and s...

It is not uncommon for beginners to make digital photography mistakes when they first venture into this hobby. I used to make those awful photography mistakes and my photos were terrible! Below are five common photography mistakes. You can learn how to prevent them when you shoot and fix them. If you can avoid these mistakes, I can assure you that the quality of your photos will increase dramatically! Red-Eye Red-eye happens because the light from the digital camera's flash reflects off the retina of your subject's eyes. This is a problem that is so common that even the pros face it too! The fool-proof way is to turn off the flash when shooting. However, if it is really too dark and you must use the flash, remember to ask your subject to face towards your camera but do not look directly at the lens. Subject is too far Sometimes, if you subject is too far away, your photo will lack a focal point. You are trying to fit too much into your photo and it will not look great. This mistake is pretty easy to fix. Just get closer to your subject. If you really can't get close enough, use your digital camera's optical zoom. You will realized that your photo and subject will be nicer if they are closer. Blurry Photos If you shake your camera or if your subject is moving, you will get blurred photos. The best way is to use a tripod if your subject is still. But, if your subject is moving, you can use the "action" mode in your digital camera. Different cameras have different terms for this mode. Read your instruction manual. This "action" mode function will optimize the shutter speed to capture the action automatically. Underexposed Photos Underexposed photos are also one of the very common photography mistakes. It means that there is not enough light and your photo is dark. If you are taking pictures indoor, you can get near a window or move closer to your subject. Besides that, you can also manually adjust the shutter speed of your digital camera. Overexposed Photos This means that your photos are too bright. Extreme sunlight or flash can cause overexposed photos. Your photos can have very light or very dark areas. Overexposed photos usually lack detail and can look very washed out. Find a shade when you are shooting your subject on a sunny day. If you are using a flash, do not stand too close to your subject as well. The above digital photography mistakes are pretty common. The best way to overcome them is to learn from them. Shoot more photos and see how they turn out. If they turn out bad, recall how you took them and under what type of conditions. Try to avoid those mistakes in the future! About the Author Johnny Sinclair is a digital photography enthusiast with more than 10 years of experience has taught many beginners how to shoot their perfect pictures. To find out more on how you can access professional picture-taking secrets and capture the best digital images of your life, visit: http://www.DigitalPhotographySpot.com

When someone talks too fast or too loud they tend to dominate the conversation. In photography, dominance is usually a much more positive experience. Dominance leaves no room for doubt; it forces your viewer to look at a subject, usually because there is nothing else there to see. The good points are; you usually see great detail, and the background does not distract. The bad points are; you usually see great detail, and the background does not support. In other words, be very careful filling up the screen with a single subject because this will also bring out any flaws the subject might have. The two most common things that use Dominance on a regular basis are Close-Ups and Portraits. With Close-Up work using dominance also means you loose something else. Depth is the most common. If you shoot an entire field of sunflowers, it gives you one feeling; if you shoot one flower only, that feeling changes dramatically. The only way to make this work to your advantage is to have a large "depth of field" (meaning every detail is sharp from edge to edge.) Usually; although not always, when you move in closer to something you are also cutting down on the amount of light you have available. If you want a large �depth of field� then you are also going to want to give your close-ups more light. This can be tricky. In some cases, using a flash will simply blow away (way over expose) your subject. If you can bracket your exposures, then do it. If you don't have that option, try using a white poster board and work with reflected light. Portraits are the opposite side of the coin. In other words, the odds are that with a portrait, especially if it is going to be a head and shoulders shot you will not want as much depth of field. When shooting women in particular; most portraits want a depth of field that covers from her eyes to just behind her ear. The reason for this is simple. One small flaw on the side of her nose could draw your attention away and ruin the mood of the shot. The nose is already a strong line naturally. Focusing further back decreases the likely hood that it will distract. Remember, the eyes are the windows to the soul, that's where you want to focus. Although portraits of men tend to have more depth of field to show the rugged texture of the skin, always be aware of lines that can distract. In music there is a dominant beat or rhythm. In drama there is a dominant character. In life, there is something dominant that drives you. It could be your mate or ...

The purpose of filters in a camera is fundamentally the same as filters in other tools: trapping dirt or large, undesirable particles. Camera filters, though, help to produce many desirable effects and enhanced looks in photographs. Professional photographers usually have more than one filter packed together with their large lenses. Even for amateurs, it is helpful to have a few different filters on hand. To be effective, a camera filter must be aligned with the lens. A transparent optical element is designed to modify the light that comes through the lens when the shutter opens. As a result, we see improved quality in pictures. Moreover, a filter can also protect the lens, particularly from salt air that with too much exposure would destroy it. Both film and digital cameras use the same kind of filter; though digital have some other considerations. For example, digital cameras have a greater tendency to blow out highlights. As such, polarizers may be helpful to lessen contrast. Additionally, ordinary UV filters are no longer needed because digital cameras are ultraviolet light sensitive. And infrared filters are also easier to use. Some Filter Types There are many types of camera filters, each with their own set of purposes. 1. Ultraviolet (UV) filters absorb ultraviolet light. Ultraviolet is invisible light, and film cameras are more sensitive to it than digital cameras. At elevated locations, ultraviolet light is particularly dense; this density is due to the thin atmospheric layer. UV light produces haze that can cause photo details to regress as the subject moves farther away. The viewing and focusing of images can also be difficult. 2. Infrared filters reduce visible light. When capturing aerial haze penetration and heat effects, infrared filters are helpful. This kind of filter absorbs visible light and transmits only the infrared light to the lens of the camera. 3. Natural density (ND) filters can be used to obtain proper exposure in high intensity lighted surroundings. It is also used to produce a specific opening of the lens for image sharpness and absorbs light evenly from the visible range. In effect, ND filters alter light exposure, even without changing the lens opening. 4. Polarized filters enhance contrast, reflection, and color control. Compared to other filters, they are built on different optical principles. In just one vibratory direction, a polarized filter allows light to pass through. This kind of filter can be aligned in many ways, ...

Composition and cropping are very basic digital photography tools that you can use hand-in-hand to produce stunning results. First you use composition to arrange the main elements of your photo in a pleasing manner. Then you use cropping to fine-tune the image by removing unwanted elements and further adjusting the composition. With practice, you can refine your shots to look as good as you imagined them when you pushed the shutter button. First, let?s take a look at the most basic rule of composition, the rule of thirds: Imagine your viewfinder having a grid on it that looks like a tic-tac-toe game. Then arrange the elements of your shot so that the main element is not in the centre square. This is the rule of thirds in a nutshell and a good starting point for basic composition. Next, let?s consider leading lines: If there is an element in your shot like a fence or roadway, consider using this element to lead your viewer?s eye into the photograph. These kinds of elements work well when arranged on a diagonal to run from lower left to upper right, or lower right to upper left. You could also shoot from the centre of a roadway, and let it take up the whole bottom, tapering towards the upper centre?this breaks (or at least bends) the rule of thirds, but we will talk about that next. Now, you know that rules are made to be broken, so let?s take a look at how to break the rule of thirds. The first thing to remember is to trust your eye and your instincts: if it looks good dead centre, shoot it that way. Certain types of shots lend themselves to centre composition. For example: shots of calm water that perfectly reflect the landscape above?quite often the reflection is just as compelling as the landscape, so why not give them equal billing? Note: If there are any distracting elements in your shot?that you just cannot compose out?try to keep them towards the outside of your shot. This will allow you to remove them with post-shot cropping. Another thing to keep in mind when composing your shots is variety?the more raw material you have to work with, the better. Compose your shots in several different ways: with your main subject in the lower third; in the upper third; left of centre; right of centre; with the camera tipped on its end etc. Digital photography is great in this respect: you can shoot as many photos as you want at virtually no extra cost, so why not take advantage? Now, cropping: Once you have your digital photos home and are looking at them on your ...

When you press your eye to the viewfinder of your camera, a blank canvas is placed before you. Similar to more traditional artists, you can paint a vertical shot or a horizontal shot. That's your first decision in basic composition. "Is my subject up and down, or does it go side to side?" If your subject is up and down, you should be holding your camera in a vertical position. Too often people say, "oh, they can crop that later." Yes, they can. But why let them? This is your masterpiece, why hand them the brush? Second point to consider . . . how big a print do you want? You do realize of course that different size prints have different proportions. In other words, if a group of ten people just barely fit in your 5x7 print and then someone asks you to make an 8x10 print; someone will be missing or cut in half on the larger print. Giving your subject room on either side so that you can enlarge later is NOT the same as letting the lab make up for your mistakes. Third point to consider . . . where on the canvas is your subject going to be? Centuries ago, Greek Artists discovered the eye tends to focus on certain points in any given picture. If you divide your picture into thirds both horizontally and vertically, the points at which those lines intersect are the points where most people tend to focus comfortably. This approach is more interesting than a ?Bulls Eye? type snap shot. This is commonly referred to as the "Rule of Thirds". If you get a nice shot, what usually happens? You frame it and put it on your wall. Why do you frame it? Because it draws attention! In the children's story ?Charlotte's Webb?, Charlotte concludes that people believe what they see in print. Likewise, people believe if something is framed it must be important. So why wait? When shooting, framing means something in the foreground that sets off, or ?Frames? your main subject. Framing helps create a sense of depth by creating opposition. Start framing your shots, while you take them. The last point in basic composition is . . . if it doesn't add to the shot, get rid of it! Get closer. Don't stand twenty feet away and say you're taking a portrait. If your subject consists of one or two main subjects, they should fill up 80% of that viewfinder, not 20%. This takes us back to the beginning. If you?re shooting one person standing and the camera is in the horizontal position, you're wasting 80% of your shot. Turn that camera up on edge, step closer, and fill that frame with your subject. Simply put, shoot from the beginning how you want it to look in the end. This Article Written By: Tedric A. Garrison Cedar City, Utah Tedric Garrison has done photography for over 30 years. In college he was an Art Major, and firmly believes that ?Creativity can be taught.? Today; as a writer and photographer he shares his wealth of knowledge with the world, at: http://www.betterphototips.com

Henry Ford once said ?Whether you think you can or think you can't, you're right.? Although it seems unlikely that Mr. Ford had much time to do anything with photography; truth is truth, and it crosses all boundaries. If you want to become a great photographer; not just a week end warrior, your dominant thoughts need to be on what makes a great photograph. If all the subjects in your image are of equal size, shape, or visual weight, with nothing being clearly dominant, it becomes very difficult for your viewer to know what to focus on. In a great photograph, things that are dominant have the most visual weight. They are the most important, powerful, influential elements in your image. Things that can dominate in a great photograph include: the subject, color, line, size, shape, or texture. The subject is generally the object that you want the viewer to notice most. If you have a field of bright yellow daises for example, that will catch some attention. However, if you find that on one edge a spider has created a huge glowing web; and focus on that, then the daises only become background. By shifting your focus to the spider first, the viewer has a place to start. They may still think that the daises are awesome; but the spider acts as the first page in a great novel. It gives your viewer a reason to want to explore the rest. If you have a dominant color you subconsciously have tapped into the viewer?s emotional reservoir. Depending on their own past experiences, different viewers will have different reactions to different colors. Take red for example; it can be thought of as power, strength, or passion, but . . . it can also be associated with anger, violence, or danger. The emotional impact of a burning building with a woman leaning out the window holding a baby in her arms; will not be the same as a father and son roasting marshmallows over a camp fire. Even though both images may have a dominantly red or orange tone, the history of the viewer will greatly impact the success of the image. Dominant lines help to create depth, but more importantly they lead. Face it, lines lead. That?s what they do. Now if you?re careful they will lead your viewer into your image; but . . . if you?re not careful they can also lead them out of the image. They are your supporting actor or actress. They can actually be the main subject, but most often they are satisfied with making your subject look good. They also have a certain emotional impact. Think of the calm peaceful l...

Beautiful subjects and technical ability are not enough to make a good picture. Photographers must properly compose the photo, too. Composition should be pleasing and harmonious; it should help driving the viewer's eye through our picture as we desire. Elements to consider for an attractive composition are dominant feature, balance and rhythm. Beauty is in the eye of the beholder. A composition looking harmonious to a person might look lackluster to another. So feel free to adapt the suggestions in this article to your needs and attitudes. Besides, try your best not to be stuck into rules and commandments, because they might be the loss of your creativity. Remember: photography is the art of seeing, not the skill of following the rules. Seeing things differently might convey different composing, which is good, because original and personal. Experiment with your creativity and inspiration; try breaking purposely the rules. This means that occasionally you will have to throw away a few shots and this is good, too. Indeed, if you have seldom some shots to dismiss, it means you are not experimenting enough. Having said that, let us list a few concepts we should refine our sensitivity for. Main Subject It should be self-evident that before shooting we should know exactly what our main subject is. We must do our best to convey the viewer's attention to it, without distracting elements. This does not mean that we must exclude everything except the dominant feature in our image. In fact, we have three options: 1) Macro-photography. Show only the main subject and nothing else. This yields the advantage of no distractions to the viewer. 2) Intimate landscape. Show the main subject together with its neighborhoods to give it a spatial placing. This can be useful to make it easier to recognize the subject or to say something more about it. 3) Grand scenic. Show the subject immersed in its entire surrounding. This can be done if the surrounding is meaningful to the feelings you want to convey. In any case, the viewer's attention must be attracted to the main subject first, and only then he can wander around the rest of the picture. If the viewer's eye does not go directly to the main subject as soon as he looks at the picture, the photographer has failed his mission. Here are a few useful tips in order to emphasize the dominant feature. Put your main subject in the foreground so that it appears bigger. Typically, this requires a large depth of field. Another popular met...

Perspective is a part of geometry teaching how to render a three-dimensional figure on a two-dimensional surface, so that, looking at the representation, we have the same impression that we have with the real figure. Therefore, it is easy to see that perspective is very important in photography. This is particularly true in landscape photography. A photographer should know how perspective works and how to exploit it to render reality as he or she desires. Simply stated, perspective relies on two fundamental rules: 1) The nearer the object, the bigger it appears. 2) Parallel lines seem to converge toward a point. Our brain relies on these two tenets to perceive depth and distance. So, getting down to the nitty-gritty, if a photographer wants to create a conspicuous sense of depth, he should make the above-mentioned rules evident. On the contrary, if his aim is to make a picture look flat, he should minimize these two perspective effects. Let us assume we want to produce a strong sense of depth. We can achieve our goal by inserting in our picture a few converging lines. The more converging, the more intense the sensation of depth. Alternatively, or together with it, we can put an object in the near foreground and a far background behind. The object in the foreground will appear bigger compared to the background and, again, this will improve our impression of depth. The nearer the object in the foreground, the higher the perception of depth. For instance, when shooting a landscape picture, have some flowers in the foreground and the panorama behind. On the other hand, if a photographer would like to make a picture look flat, he should remove any object in the foreground or step back from it so as to render it less conspicuous. Be careful when getting closer to an object in the foreground, however, as it may get out of focus. Always keep an eye on the depth of focus of your camera and lens system when taking a picture. Both the foreground and the background should be in focus, unless a blur effect is intentional. So choose the aperture of your camera accordingly. If you happen often to take landscape pictures and then, when looking at them, realize that they do not convey the same feelings as reality, sometimes it may be because of lack of depth. Try applying the rules in this article to give your two-dimensional images a better illusion of depth. More articles about photography at ilghila.com.

The portrait market demand reaches enormous levels especially when the requirement is almost every household across the globe in every civilized country. Think about this from another angle - you could target every building and what is more exciting is that repeat business is almost incalculable. Parents love to have family portraits but some like to have it done annually as the children grow. Then they most often like to have a portrait of each child in addition to that. The opportunities become endless. Portrait photography is also a photography business that can be initiated from home. Often only requiring modest photography equipment, you'll only need several pieces of cloth (backdrop), a camera, some good lenses, two or maybe three lights and let's not forget the tripod. In addition to the equipment being modest by any ones standards, it is all reasonably lightweight and easy to handle should you need to work outdoors. The most important rule to remember is that it is a portrait, not necessarily of just the head, but the person, or group is the focal part of the picture, so it is important to take the photograph without any extraneous clutter. Because you will always be dealing with people with whom you have to maintain control, not as a tyrant, but you have to guide your subjects. Therefore a certain degree of self-confidence is necessary. If you are taking a formal portrait of a group of children it is necessary for you as the photographer to ensure that none of the children are making faces. This brings us to posing. Many photographers underate this essential requirement because posing will make or break your portraiture. There is much value in learning to guide people through various poses. Posing has an ongoing education requirement depending on age, gender, culture, promotion, product, and emotion needed for each piece of art etc. It is such an important and extensive subject that I've provided you with this downloadable guide which I think you should take seriously - Make Camera Friendly Posing Happen! When you have signed up a person for a photographic portrait take a few extra shots, and offer them as wallet or purse photographs at a smaller fee. You already have started the business, capitalise on it, few people can resist the feeling that they have got ?something for nothing?. This may seem a waste of time; they can be important additives for your portfolio. Portrait photography has undergone many changes of style since the introduction of ...

?Never shoot towards the light.? We?ve probably all heard this old photography ?rule,? but, for now, let?s treat it more as a general guideline. If you want to shoot some photos that really pop, that really jump out and grab you?shoot towards the light. Silhouettes are photos where your subject is dark against a bright background. We have probably all taken shots like this by mistake?when taking a picture of a friend or relative who was standing in front of a window, or standing with the sun behind them, etc. But photos like this give us a dark subject with a bright, washed out background?not exactly what we were hoping for. This happens because the digital sensor in our camera cannot accurately capture scenes with such high contrast. However, this ?weakness? can be turned to our advantage. When silhouettes are created on purpose, they can be among the most striking and engaging of shots: Using a sunrise or sunset as the backdrop for your subject can give stunning results?your subject becomes a bold black figure against a canvas of bright and vivid colour. When you use a bright and cloud filled sky as your background, your subject often doesn?t come out pure black, but comes across as dark and moody against a brooding sky. So lets take a look at how you can use your digital camera to create silhouette shots with impact. Here a few tips for getting better silhouette shots: ? You will need to get familiar with your camera?s exposure compensation feature to get the most out of your silhouette shots?your camera manual should contain simple instructions on how to use this feature. ? Most digital cameras have an exposure compensation range of ?2 to +2 that is adjustable by increments of 1/3?don?t be afraid to try them all. ? Use ?+? exposure compensation to make your shots brighter and ?-? exposure compensation to make them darker. ? When shooting these high contrast shots, your camera?s default exposure settings may not give the results that your are looking for?so, shoot, then review, shoot, then review. ? Don?t completely rely on your camera?s view screen either. Taking several shots at different exposure settings will give you the best chance of getting the shot you really want?photos often look very different when viewed at home on your computer screen. Happy shooting, and remember, don?t be afraid to shoot towards the light. For more digital photography tips, visit Jeff Galbraith's web site: http://www.jeffgalbraithphotography.ca

From the very beginning we are all born with an urge to touch, to feel, to experience texture. Spend a few hours watching baby?s and see what they do. Usually, what?s the first thing they do, if they can? Pick something up and put it in their mouth. Did you ever wonder why? It could be because they are hungry, or it could be because the human tongue is at least 10 times more sensitive to touch than our hands. Take a glass bottle, feel it with your fingers. Now take that same glass bottle and touch it with the tip of your tongue. Does it feel the same? That sensation you feel with your tongue, is much more intense, more exciting, and even more gratifying. That?s the difference between someone who is just taking a snap shot and someone who takes the time to create a photograph. When you control the texture of your photos you invite the viewer deeper and deeper into your world. In other words . . . you share your feelings. Admit it; we?ve all seen those pictures of starving children from Africa, and they tug at your heart, don?t they? Of course they do, and that wasn?t by accident. Whether it?s the fluffiness of a newborn kitten or the glistening of a rattlesnake?s skin in the desert heat, you can almost ?feel? the emotion rising within you. The bottom line is . . . these images all provoked an emotional response. Photographs are most often printed on a flat, boring, non responsive piece of paper. Keep in mind that a snap shot is a two-dimensional piece of paper. A photograph is a three-dimensional work of art. What is it that makes the difference? Often it ends up being contrast. The difference between big and little, or the difference between smooth and rough give us the viewer something to relate to. If you can?t relate to an image, no matter what the subject matter, it?s very unlikely to get you to have an emotional response. If you shoot a picture of a rodeo from the very top seat of a huge grandstand, will it have the same impact as the one shot by the clown looking at the bull face to face?? Obviously, contrast can take on many forms: color, size, distance, or texture. But texture helps to add depth. It?s not the only tool in your tool box that can do this, but it one of things specifically designed for the job. It?s like trying to open a can with a screwdriver and a rock verses using a can opener. Can you do it with a screwdriver? Yes. Was it as easy? No. Was it as enjoyable? Probably not. Many photo classes are taught that never even mention the word...

Picture the scene, you are on holiday and having a wonderful time. You want to document the moment for posterity. The best way is to take a picture. There are a few simple rules to travel photography that will allow you to capture those special moments in the best way possible. 1. Have the subject's permission If you find an interesting subject and want to take his/her picture it is not only inconsiderate but can actually go against somebody's belief or faith if you don't get their permission first especially if you are capturing their face. If you want to publish the photo or sell them then you may have to get the person to sign a release form too. 2. Lighting To shoot a good picture, light is very important. Unless you are a shooting a child when using a flashlight shining from below really can capture a child beautifully, but this technique is not flattering on older subjects. Soft light works much better. If they are indoors then daylight coming from a window or light coming from a reflector works best. If shooting outside, it is still advisable to use a little fill flash on the face, or if possible use a reflector (gold ones give a warmer light). If you want to add character to a portrait then using shadow can add a mystical quality. 3. Choosing a lens When choosing a lens, using an 80-100 tele lens (or zoom) works best for most portraits and helps get rid of unflattering details. When using a wide angle lens be sympathetic because this type of lens can really distort a face and really make some one nose appear quite large. 4. Angles Composition of a picture from an elevated position may be dramatic but the general rule is to hold the camera at the same height as your subjects head. Also take your subject into account as shooting from the front with the subject nose straight into the lens can make a big nose smaller. Whilst making a small nose larger can be achieved by shooting from a slight angle. 5. The depth of field In most cases you do not want the background to distract from the subject. If you use a tele lens it reduces the depth of field. You can reduce the field further if you shorten the exposure time and have a wider aperture. Many very good portraits only show the most important part of the face (usually the eyes) in focus. 6. Filters

Don't use a wide angle all the time though. There are times when scenes provide perfect opportunities to zoom in closer. You may be above a village with beautiful roof tops and a church spire above the trees - zooming in would allow you to record the most interesting area, effectively cropping the landscape and recording a scene 'within a scene'. Viewpoint and composition are also important when taking pictures. Try to create depth in the image - using a good focal point 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 footpaths 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. Color can make a landscape image truly work. Try to look for any color 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 color 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 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 day where they cut through haze, increase color saturation and make the clouds leap out of the sky. Graduated filter 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 surefire 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 colors 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. Paul Miguel is a professional landscape and wildlife photographer based in West Yorkshire. His work is regularly used by a number of magazines and publishers. He also runs a range of photography workshops. http://www.paulmiguel.com

While reading some articles and blogs related to d?cor, by the way all written by interior decorators, I became very angry, because the common theme was: "Out with Black and White, and in with Color." I have nothing against color; however, black and white has its place, and it should by no means be ignored. Why would interior designers stress that in our color rich world Black and White has no place? Because, they are interior decorators. Well, I suppose the answer is a little more complex than that. So, let's explore this topic. The World is in Color While walking down Market street in the heart of San Francisco's Financial District, I am continuously impressed with the gamut of color, from white to black and everything in between. Everything is in color. All advertisements, banners, flags, everything is saturated with color. The world is color. Interior decorators and industrial designers know that bright and saturated colors, and bold images naturally draw our attention. This is a big reason why Black and White photography is being replaced. Keep in mind, interior decorators often know nothing about Photography and its influence on arts. Most decorators understand color well, and know how to match color to create themes palettes, and anything else you want to call it. I call it harmony. However, there is harmony in Black and White as well. The Many Shades of Gray Black and White photography has something color does not. It reproduces natural world using all possible shades of gray, all the way from white to black. Whenever I look at a Black and White photo, especially one which I have not ever seen before, I immediately begin to process the image, and paint the scene in my mind. When we cannot immediately tell color, we use our minds to reconstruct the image, as it were in real life. We pay more attention to the intricate details of a Black and White photo for this very reason. We notice very intricate details, which are otherwise lost if the same scene was captured in color. The shades of gray are a very powerful communication tool. These shades can tell us which parts of the image are cool, which are warm, which dark, and light. Shadows become much more interesting and often more intriguing when expressed in Black and White. Tinted Black and White Black and White photos may be reproduced using an infinite number of tints and tones. A tone of the photo communicates its mood, something that color photography, even tinted does not do nearly as well. Sepi...

The final result of your photographic ventures is a roll of film, a handful of prints or box of slides. Other than your choice of lens, the film choice will have the biggest impact on the quality of the final results. Digital Cameras While most of this is irrelevant for digital cameras, "film" speed still applies. In this case the speed affects the noise level rather than grain size but the final result is somewhat similar. Choose the smallest ISO for the required shutter speed, ie to allow hand-held shooting or freezing sports action. Choosing a Film 1. First choice is slide (positive) or print (negative) film. Print greater exposure latitude (some 9 stops vs 5 stops for slide) cheaper easy for prints ideal for cheap compact cameras Slide (also known as reversal or tranparency film) greater colour saturation and contrast (especially professional film) no "middle-man" adjusting colour balance or exposure much easier to digitise requires good camera to obtain correct exposure As slide film has 5 stops of latitude, correct exposure is much more critical than print film. This means the use of a camera with a precision auto-exposure meter such as an SLR (or very good compact) or using a light meter. Black and white film is all negative nowadays. There was a wonderful black and white slide film offering from Agfa called Dia Direct. Now long discontinued. There are some techniques for creating B+W slides from negative film. Slides are also a better choice if you want to take film pictures and then digitise them. Negatives are notoriously difficult to colour correct after scanning. You can look at the slide and compare with the digitised version to get an accurate colour balance. Prints do not give you a valid reference point! Summary: if you want prints go for print film. Slides if quality or scanning. 2. Next choice is film speed. As with everything else in life, choosing the film speed is an exercise in compromise. Slower film speeds (smaller ISO) have a finer grain but the greater light required means slower shutter speeds and could interfere with picture taking. Faster film speeds allow for faster shutter speeds but the increased grain size can be distracting. ISO 100 or slower for the finest grain. Use in good lighting conditions such as bright sunny days. ISO 200 is a good general purpose film for slower lenses such as those found on compact cameras or zoom lenses. In print film this speed has all but replaced ISO 100 as the quality of modern films have gr...

When you are shooting a group of people, you should always make sure to have the necessary depth of field so that important details do not fall out of focus. This is not trivial to achieve. Therefore, you must pay particular attention when using telephoto lenses and when shooting particularly close to your subject, as both cases lead to a reduced depth of field. The same holds true for wide apertures, too. Which is the most critical group portrait as far as depth of field is concerned? Sure enough, the most difficult is the close-up. If you do not have enough depth of field to focus completely your subjects, it is pivotal that you sharp focus at least the eyes and the frontal planes of all the subjects. This means that the lips and the tip of the nose must be sharp. Ears take second place in order of importance: keep them in focus if you can. A good photographer knows that the depth of field of a lens is both behind and in front of the point of focus; besides, it is usually greater behind than it is in front. Therefore, it is an error focusing on the nearest part of the subject. Instead, you should focus between the nearest and the farthest points of your subjects, about one third within. In case of doubt, keep it simple and focus on the eyes. This has the additional advantage of focusing on a highly contrasting region (the eyes), making it an easier operation. As for 3/4- and full-length portraits, it is much easier to focus them properly, as the greater distance from the subject makes the depth of field greater. Anyhow, all the aforementioned recommendations still holds true. If a blurred background is desired, just use a wide aperture. If many people are involved in a group portrait, it could be taxing to fit all the individuals in the same focusing plane, even in full-length portraits. This is where the skilled photographer takes over and through careful posing of the subject and choosing a good vantage point can expertly accomplish the task. The theory to work the problem out is quite simple. Just pose all the individuals on the same plane and make sure the camera is pointing perpendicularly to that plane. Easy, isn't it? Unfortunately putting this prescription into practice is a whole other ballgame. The simplest posing strategy is having the individuals in the back of the group lean forward and the people at the front lean backward. This will reduce the depth of field required for a sharp image. There is a very clever trick to point the camera as pe...

?Always remember the importance of detail?. I can still clearly hear these words that were repeatedly drummed home by my college lecturer. Whilst they seemed unimportant and irrelevant to me at the time, they have over the years taken on a much greater significance and have become ingrained in my philosophy and nature photography. This attention to detail undoubtedly brings wonder and is certainly worth taking a little time for a closer look. Indeed when this attention is applied to even the most commonplace of nature subjects there is clearly an extraordinary display of beauty and orderliness to be found. These combine to create patterns in nature that require only an observant and discerning eye to behold. This vision instils a lasting appreciation of the simplicity and beauty of the natural world and with this understanding and harmony there is everlasting enjoyment. The natural world in all its glory has a myriad of examples for us to photograph but we can start with the common things that we tend to overlook. Simply because of their familiarity they offer the very best opportunity for observation. Here we can find patterns in nature that can be circular, linear and random or indeed a combination of all three. Sometimes they are obvious and sometimes they require a little effort and imagination to search out. Nature is full of patterns that interact and play off of each other that are well worth seeing. They offer a different view on our world, that if we are honest, with our ever-increasing hectic lifestyle we often take for granted. With a discerning eye for detail, pattern and colour we can look at any natural object as simply a series of shapes composed of lines, curves and circles. Then consider ways in which these shapes and patterns relate with one another. Often it is this interaction that provides such a rich and diverse array of patterns that can satisfy even the most inquisitive amongst us and provide the opportunity for unique photo subjects. Finding patterns in nature is not all that difficult. Though to derive the most pleasure it requires an open mind, an almost childlike curiosity and imagination. Let us take for example the ubiquitous nasturtium that is so common in our summer gardens. It is such an attractive plant and yet one that is so often taken for granted. Why not find a little time to take a closer look and consider some of the intriguing patterns that are revealed. In the case of the nasturtium leaf I see it resembling a wheel...

The true art of fashion photography. Do you want to be a fashion photographer? Fashion photography is an extremely tough market to break into, but if you are willing to work hard, have a good imagination and hold the ability to take perfect images you are off to a good start. A fashion photographer must be good in two photography disciplines. First, you need to be a great portrait photographer - second, you need to be able to create images for the advertisement market. You must be able to combine the two if you are going to succeed. To be a successful fashion photographer you must also have a love of fine design clothes - without it you will never achieve the heights that bring success. A fashion photographer must stay up to date with all the latest fashion and have the ability to use his/her imagination to sell new designs. Selling is the key - the fashion photographer must be able to sell his images to the fashion editor. Fashion photography is advertising and selling clothes. To establish a reputation in fashion photography, the first thing you must do is set up a portfolio. Your portfolio should display your best work and be your first selling point. The second, and equally as important as the first, is to set up an online portfolio - your own personal Website. To set up a portfolio you first must hire a model. Contacting your local modelling agencies can do this. You don't need to hire a well-known model for your fashion portfolio - you need someone who will act well in front of the camera. To be very successful you need to build a good relationship with models. Some models can be tough to work with so people psychology will play an important part. If you intend to shoot from your home studio supply a changing room for them. If a model becomes unhappy for any reason the photo session will be a waste of time. Allow your model to make their own suggestions - regardless of how trivial it may be, it will help to keep them relaxed and you may get results that may be useful. Once your portfolio is created you need to get exposure for it. If you have previously published work - use them as a statement with the picture editors. You need to establish a good working relationship with all fashion editors that you'll be working with. So be professional. Fashion photo editors are looking for concise images that clearly communicate an idea. You must, as a fashion photographer, have the ability to create unique settings. When you do gather a large amount of fashion ...

Let???s try to imitate this effect in Photoshop and transform a usual city scenery into a miniature, processed with tilt-shift camera lens.