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Nice Shot of Baby

First, let me advise you never to use a wide angle lens for a baby picture. The foreshortening of a 28mm focal length lens will be sure to (1) make the baby’s nose appear larger, (2) reduce the size of their ears to looking smaller and out of shape, and (3) probably cause an overexposure of the image due to the closeness of the flash to the subject. One the other hand, a short telephoto lens (100mm) will reproduce our angel’s features to a normal proportion, all of his (or her) different parts presented in the proper ratio. Even a small distortion of proportion has a definite (and detrimental) effect on the features.

While I’m not excluding taking pictures at night with a flash, I am recommending that you wait for daytime for that wonderful light coming from your window. Turn off the flash or cover it with two layers of white handkerchief. A setting of 200 ISO should be sufficient for a good exposure. The bottom pane is the one with the most photogenic light, so if

Silhouette Photo

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

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

About Basic Photo Composition

1) Remember, centered photos are boring. Pay attention the next time you’re in a movie theater; nothing is ever centered. Follos the rule of thirds – mentally divide the frame into thirds both vertically and horizontally, and place the center of interest (usually your subject’s eyes) on one of those ‘third lines.’

2) Frame your pictures. If you’re taking scenics of a distant lake or mountain, look for an interesting frame. This is no different from framing a photo on your wall. Your frame can be tree branches, rocks, or some other interesting foreground object.

3) When shooting portraits, use the longest zoom setting your camera will allow (without using the “digital zoom”). Also use the widest aperture (or the lowest f-stop number). This will throw the background into a nice soft focus, drawing your viewer’s eyes right to your smiling subject.

4) Look for distractions in the frame. It’s hard to learn to do this, because your brain naturally filters out the telephone pole growing out of Uncle Joe’s head – but the photo printer won’t. Look

Take Better Photos WhenTravelling

Pack light – don’t bring the entire house with you when you travel. Scale down your equipment to what’s really important and pack only the essentials. This way, you can challenge yourself to improvise during tough shooting conditions. Sometimes a masterpiece could be the result of a fortunate “accident”.

Get up early – capturing early morning routines of the locals and how the place looks like before it gets busy is a great way to start your day and learn more about the place.

Feel the place – it may be exciting to take lots of photos as soon as you arrive at your destination, but taking pictures for the sake of getting things done might hinder your creativity. Find the time to get to know the place by immersing yourself in the small details.

Get off the beaten path – while most photographers need to fulfil standard postcard shots, it’s also good to explore non-popular locations. Who knows what you might discover on your path? Don’t be afraid to get lost and wander off to unfamiliar areas. Just make sure safety comes first always.

Get to know the people – connect with the

Wilderness Landscape Photography

Opportunity for Wilderness Landscape Photography

Well, the desert is fairly flat and quite bland at first glance but that’s not the full story.

With dry salt lakes, myall trees, stone strewn clay pans, and red sand dunes, wilderness landscape photography images clamour for my attention from Roxby Downs to Andamooka and beyond to Lake Torrens.

Getting Around the Desert

But how can I get around? Distance is so vast and the country so inhospitable. It will kill you just for being there if you don’t look out. The family station wagon won’t go far off the bitumen. The tracks are so rough, and when it rains in this six-inch rainfall country, even a 4×4 will bog down or slip in the clay soil. There’s no way I could afford a 4×4 good enough for the trip from the coast to the centre and reliable enough to go out alone into that country. Furthermore, you wouldn’t take a good-looking vehicle on those rocky, desert tracks.

So I decided on an ATV. That’s an “All Terrain Vehicle,” “Quad Bike,” “four wheel motorbike.” I can transport it in a trailer behind the car and go to

Make Breathtaking Photos

Pick Your Spots Carefully

If you take your time to review the stunning photos captured by your colleagues, you will start to discover certain patterns. There is a particular one that emerges from the pile of the miscellaneous others – unique perspective.

You can easily notice that some of the photos of world-famous architectural masterpieces are simply more stunning than others. Why? Because a photographer picked an interesting spot to take photographs from.

Practice Composition

Every great photo follows the rules of great composition. If you are completely unfamiliar with composition in photography, the first thing you should learn is the rule of thirds. You should look at your photo as if were a tic-tac-toe (3×3) board. If you check the work of your colleagues, you will soon discover that they place interesting objects on the intersection of these lines.

This bit takes a lot of practice. Start by using the grid system most DSLRs and smartphones already have. After some time, you will develop an instinct to place the objects of your photography spontaneously in these spots.

Play with Lighting

Lighting is also one of the factors that plays a

Photo Booth

1. They can turn any boring event into a fun:

It can be any kind of party viz weddings, birthdays, New Year bashes, photo booth turn every occasion into fun. Almost everyone in this technology savvy generation is keen on clicking pictures and updating on social medias and what do we do? Give them a chance to showcase themselves. It also makes a social gathering less boring.

2. It requires zero efforts:

It doesn’t require some extra, huge efforts from your side. You can easily let someone attend the booth for roughly three to four hours. Any staff member would be eager for the job as it doesn’t require any effort.

3. Choose some classy props:

You can render these photo booths more interesting by adding some funky props like smiley’s, glasses, a decorated frame and let people revel and click. These props will make it a fun task and the party will eventually be a huge hit.

4. DJ addition:

What can one do more with props? Props and DJ will be a huge merriment for the guests. You can pose as well dance with the props. Some live performances

Pinhole Photography

At its simplest, a pinhole camera is just a light tight cardboard box with a piece of aluminium pie dish containing a pinhole to expose the film or photographic paper.

Of course you need to design a shutter, (your thumb will do), some way to hold the film in place and a system to seal up the opening where you put the film in the pinhole camera.

There is no viewfinder; you just point the pinhole camera in the right direction. You can draw some lines on top of the camera to indicate the field of view.

Exposure times for pinhole photography are usually measured in minutes.

Work out your exposure by the hit and miss method, also known as exposure determination by experimentation. This is where you say “Ooooh. I reckon about two minutes.” Then if it turns out ok, well and good. But if it’s not right, you either double it or halve it for the next exposure, depending on your assessment. Nothing wrong with that method for pinhole photography.

Let’s say you’re using 4″x5″ photographic paper. The diagonal of your paper is about 160mm. If you make the distance from

Get the Perfect Exposure

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

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

Lets take a quick look at the main elements.

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

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

All about Exposure Compensation

Looking at different digital cameras, even temperately costing digital cameras have arrangements for exposure compensation settings. To explain in a bit detail, the exposure compensation allows the users to control the amount of light entering the lens. And thereby the illumination of the photograph is decided. Exposure compensation can be altered manually or by the help of a digital camera’s exposure compensation setting that lets one override the metered exposure set inside the digital camera itself. Strictly speaking, the exposure values provide an expedient line of attack to put a figure on the available light intensity and therefore exposure.

As per general norms of the users of digital cameras, certain standards exist for selecting such values. These values are specifically known as Exposure Values (EV). Selecting an up to standard Exposure Values (EV) helps maintain the details contained in dark areas of a photo, or diminish the more than usually bright areas. Again, looking from technical point of view, the Exposure Values are numbers that refer to an assortment of combinations of apertures of lenses and shutter speed respectively. They have a selective range of values, ranging between -2 to +2 Exposure Values (EV). As a general

Info of Candid Photography

Candid photos are usually simple photos without a lot of technical equipment or any time taken ‘setting up the shot’. Thus they capture some wonderful ‘slices of life’!

Here are some tips for taking candid photos:

– Take your camera everywhere you go! Keep alert for candid situations – they can be found everywhere.

– Some examples of candid shots: A daydreaming store owner; an elderly man sitting beside you; commuters waiting for a train; two lovers on a park bench about to kiss; a child’s delight when feeding ducks; elation of a football supporter when a goal is scored; a city tramp surrounded by clutter; a woman lost in thought staring at the beach.

– It’s rare to get a second chance with candid photography. When you see an opportunity, grab it!

– Don’t use complicated lighting techniques for taking your candid shots. Concentrate on the simple and use your camera’s automatic features. Technical problems don’t matter so much if you have a great candid photo. Most technical problems (like if the image is too dark or too light) can be fixed on your computer.

– Set your camera to “ISO

Flash Photo Albums

Wondershare Flash SlideShow Builder is a powerful easy-to-use utility to create stunning Flash slideshows from your still photo images, complete with music, photo motion & transition effects and special photo album templates. With this Flash Slideshow software, you can take your own digital photos and music, and easily turn them into an engaging Flash slide show or Flash photo album in minutes to share your special memories with your friends and family.

>> Key Features:

1) A wide variety of slideshow transition & photo motion effects for your customization.

2) Real time and flexible preview on every step.

3) Rich and professional templates to make your slideshow more lively. And they are absolutely free for you to download.

4) Integrate with photo browsing function.

5) Reduce Flash File Size.

6) Photo Editing and Optimizing.

7) Publish your Flash slideshows as SWF, HTML, EXE file for easily sharing.

8) Very easy to use, no Flash experience required!

Album Creator Pro is the unique software to create digital photo album in Flash and HTML image galleries. It combines plenty of useful features such as an incredible amount of customization, intuitive

Colors Theory

Primary Colors

Many of us know about the primary shades, we all have learnt about them in school. They are the colors that can’t be made by mixing two colors, they are primary colors of a color wheel. While a standard artist color wheel makes use of red, yellow and blue as primary colors many photographers think regarding RBG (red, blue and green) color spectrum.

Secondary Shades

Secondary colors are a result of the mixing of primary colors. On the photographers color wheel, these shades are orange, purple and green.

Tertiary Hues

Tertiary colors are created by combining the secondary and primary shades. For instance, when using the first yellow, blue and red hues wheel mixing the orange and red or green and blue would result in tertiary hues.

Complementary Shades

One of the most common links is between the additional hues. Complementary colors fall in the opposite from one another on the color board. These colors develop high contrast and grab the viewer attention.

Analogous Colors

Analogous hues are next to each other on the wheel. Making use of similar shades create a more harmonious shade scheme and low-contrast.

Monochromatic Hues

The monochromes are usually referred as black and white; monochromatic shades are made from hues of just one hue,

Peek At Photo Frames

Types of photo frames.

· Wooden frames, these are perhaps the oldest of the available photo frames, they are made of wood that has been joined at the corners to form a shape that acts as a structural reinforcement to a photo. The wooden types are simple and readily available. The other advantage with them is that they are resistance to damages like breakages and abrasion.

· Glass frames, these are the most modern of the photo frames they are made from glass and often are of limited small sizes due to their weight and fragility. Glass frames offer elegant displays due to the transparent nature of glass creating and a seamless illusion that makes the photo to be the center of attraction.

· Acrylic photo frames, acrylic is a synthetic material that produces glass-like equipment used in different manufacturing processes. In frames, acrylic is the best since they are like glass frames only that they are light and do not readily break. This, therefore, means that these frames are

· Metal frames, these are metallic structures, and they are rare due to challenges like weight and cost. Rarely do people prefer metallic frames

Info of Creating Portraits

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

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

Low Light and Night

Well, you will need a camera as well as charged batteries, that’s for sure. Also, a tripod is invaluable for exposures lasting greater than 1/30th second (1/60th in some cases). A torch, a decent lens and think about a remote shutter release – using long shutter speeds means the potential for camera shake and blurred images is even greater than usual (the alternative is to use a self timing mechanism to trip the shutter).

Night time often means scenes lit with artificial light. This will inevitably give a colour cast to your shots although this can be pleasing sometimes. There are many types of lighting (tungsten, halogen, fluorescent) and they will all come out with different colour casts – live with it! Try different white balance settings to see what effect it has on the final image.

This can be difficult. But with modern digital cameras you can see the results immediately and therefore make any adjustments straight away. Your meter may lie! Be ready to change the settings (and give a longer exposure). Night time shots can be very contrasty (bright lights and deep shadows) – the camera won’t be able to cope with the

Overexposing and Underexposing

Ways to correct underexposure:

• Add more light to your canvas. One of the more simple ways of doing this is actually just turning your flash on, that is what it is there for so use it. Another way is by adding a reflector; this will help keep the lighting in the photo in a way that adds more definition to the scene or image.
• Adjusting your f/stop could very well be the problem too. Changing this will allow more light exposure to the photo, so just play with it until you find the right f/stop.
• Or change your shutter speed while keeping the f/stop the same. I only recommend doing this if you have a model that is not moving and you are using a trip pod. Switching your shutter speed from 1/60 of a second to 1/30 can really make a noticeable difference; it might feel like it’s only changing a millisecond but that period of time can make all the difference!

Overexposure is exactly the opposite of underexposure, you are letting too much light be recorded by the camera and that is causing the photo to be ‘blown out’ or ‘white

Get Ready for A Studio Photoshoot

The main light has to be placed in a very specific position in comparison to the model. The angle, height, and distance of the main light are vital to getting the right look. You do not want this light in the models eyes or from a side angle. It also needs to be placed at a good height so you are not casting shadows on the models face. With this light you need to use a diffuser or a soft box to help decrease the darkness of the shadows in the picture.

A hair light is a second light that sits in a specific position. Basically, the hair light is placed behind the model for a few reasons. To use this light correctly attach a snoot to it. A snoot is an attachment to the light that helps direct the light to a specific spot on the model; in this case it is for the hair.

The camera, you need to connect your camera with the studio lights so everything flashes in the right connections. There are a couple of was to handle the camera for a photo shoot. One of the ways is to put

Avoid Or Reduce Red Eye

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

Other factors influencing the red eye are the level of

Pet Portrait Artist to Stand Out

When contracting with the pet lover for the commission, offer extras for a set additional fee. For instance:

1. Offer sale of your original sketches of their pet, or the draft that you worked from for the finished portrait.

2. If you mat the piece, offer a remarque, a bit of original work on the mat–possibly a simple line rendering of the subject in the portrait or of their pet’s favorite toys or pastime.

3. Offer to take a quality photo of the piece, from which you print note cards for the pet owner.

4. If you commission pet photography, offer a matted collage or a small album of all of the proof size photographs in addition to the finished piece.

Offer these options prior to creating the work, but if the buyers refuses, don’t forget to offer them a second opportunity to purchase them when you finish the piece. At that time, they are often so pleased with the result that they are grateful to have the opportunity to own these sentimental additions to the finished piece. I’ve listed just a few ideas to get you started. Now come up with even