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Monthly Archives: January 2018

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, for example, several different tones of blue. Monochromatic shades are low in contrast and usually create a soothing look.

 

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 unless they intend to display photos outside where weather elements are a factor and require larger displays like billboards.

· Other types of frames include those that are temporarily used as photo frames, such as, the plastic and reed woven structures.

Ideal Frames for Photo Display

From the above-detailed classification, the perfect photo frames are the acrylic frames. This is because they are a classical way to have your photo display as well as they have superior merits over the glass frames. These frames are available in different shapes and different sizes making them the most ideal.

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 repeated pattern or item, or the play of light and shadow along an edge. Where possible choose components with care, preferring meaningful items which play a part in the life of the subject, rather than an object chosen solely for its shape and color. For instance, if the subject is a potter, choose an attractive urn instead of, say, an antique doll which has no place in the subject’s interests.

The light that falls on the subject can be used to support the mood. Natural window light suggests an old master genre and the sharp golden rays of a small source of light created the highlights necessary for a mood with a positive spin. Any available light can create a beautiful portrait if the direction and ration of light to dark is controlled. Reflectors add light to a dark, shadowed area, scrims or shades can tone down a too-strong source. The direction or the main source of light should enhance the features by sending light into the eyes, outlining the jaw and cheek, and finding the proper areas to highlight. Additional highlights are supplied with back or side-back rays of light, as long as their effect does not invent unwanted facial highlights or block up needed detail. Pure rim lighting is fairly safe if used with care.

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 extremities of exposure so just change the settings yourself until you are happy with the results! You may need to use the “B” or “Bulb” setting to hold your shutter open for long periods.

Virtually anything! The choices are almost limitless. We suggest you consider:

Buildings

Lights

Signs

Bridges

Cars / vehicles

Lit houses / pubs / shops

People (motion blur can be a useful effect)

Street illuminations

Fireworks

Bonfires

Fairgrounds

Reflections in lakes, pools

Look around for other ideas. Don’t forget if there is any light at all, it can be turned into an image.

To calculate exposures you can use a rule of thumb – see below for rough examples of exposure times. However, each circumstance will require a different approach so you can expect to adjust things frequently!

Night (assume f16 ISO 100)

Town / City 20 sec

Signs / Lights 2 secs

Streets 20 secs

Streets 20 secs

Churches 30 sec

Fairgrounds 10 – 15 secs

Candlelight 60 secs

Fireworks 1 – 60 secs

One interesting aspect of night photography is the recording of moving trails of light. Cars, buses, trains, bikes will have bright headlights and tail lights which will record as trails across your image if you shoot them whilst they are moving with a slow shutter speed of anything from 2 – 20 seconds. Try it! The same goes for fairground rides. And don’t forget that you can create your own trails with statically lit objects by zooming in or our during a long exposure or even panning the tripod head.

Bracketing

By taking a shot of a scene with, say, as stop of under exposure and a stop of over exposure, you will be more likely to capture an image that is correctly exposed. Bright lights tells the camera to underexpose. Many cameras will have automatic exposure bracketing to allow this to be done with minimal fuss! You are trying to record some detail in the shadows without burning out the highlights. If you take an image of a scene at 4 second exposure, take the same scene with 8 seconds and 2 seconds. In this way you will be likely to get the exposure you are looking for.