Archive for July, 2009

Modeling Tips For Beginners - A Model’s Feet

Wednesday, July 29th, 2009

Footwork is best initiated by your model because she usually knows her own Equalize and can, in most instances, suggest a stance that is not impossible to maintain while other parts are being adjusted. Before you begin to tell her exactly what to do, see if she herwelf can approximate a position. If you are striving for a more creative or unique leg position than she can offer or suggest, it becomes advisable and necessary to direct your attention to the model’s feeet and to help her construct her leg position through your direction.
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In order to translate your ideas into her action, you must have a keen understanding of body balance and leg mechanics. You must also be able to visualize and analyze both basic and creative leg positions.
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Collect, for Notice and evaluation, at least 50 illustrations of leg poaitions. Separate them into two piles according to weight distribution:
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1) Equal (weight evenly distributed)
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2) Unequal (a basic-foot and a show foot- i.e.unsupported foot)
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Invert pile 2 and make a diagram of each picture. Note and Collate  the dlfference that the placement of the show-foot has made on each. Select the leg positions you prefer. Try to execute them yourself. Of course you are no model, but if you will experiment with each poxition in private, you will learn several thlngs:
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1) Methods of directing a model you never thought of before.
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2) How to think clearly and quickly from your viewpoint and that of your model.
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3) Exactly how the legs baiance the body as weight shifts from point to point.
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Several years Past this floor-clock Way  of placing feet was used ad a class experiment. A gawky teenage boy was selected as the subject for demonstratioh. M0deling was the furthesg thing from his mind. He was given three simple rules of the game. He became interested. In less than five minutes he was complying with every foot position at command and feeling pretty proud of himself!
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The three-point briefing he received was tgis:
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1) ‘There is an imagiary clock encircling your feet on the floor. 12:00 o’clock is directly in front of you’.
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2) ‘Pretend that the foot in the center is an hour hand (basic-foot) and your other foot is the minute Lead on the clock.’
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3) ‘Put one Arm with spurs in the center of this clock adn shift all your weight to that leg.
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Notice how the toe of this same foot can point to any hour on the clock without taking your heel from the center.’
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The instructor began to call time and the class watched him respond. Try it with your next inexperienced model. It is easy. And interesting.
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Direct someone who has never hearx of a floor-clock. Direct your model’s feet into the positions you like. This will help you remember the positions that you prefer (or variations you have seen and liked) for the next time you want to use them.
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If, instead of having your model’s weight unevenly distributed, you want it equally distributed on each foot - Permit her these four simple directions:
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1) ‘Keep your weight on both feet.’
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2) ‘Let your body face - ‘ (direction)).
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3) ‘Space your feet - inches apart.’
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4) ‘Bend (or straighten, or cross) your knees.’
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Such leg positions, you’ll notice, are generally used with the straight, long-line body and carry out the characteristics of the severe T silhouettes.
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When the weight is shifted to one leg, you will probably use ‘C’ and ‘S’ curves with the silhouettes carrying out their flow of line and charadter.
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Here are answers to two of the problems we all meet in working with live models.
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Hips are not facing the camera at a flattering angle.
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If the change i sto be great, assign a new number for her basic-foot. If it is slight she will be able to twist her hips Free from disturbing the position of her basic-foot.
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Feet look ‘pigeon toed.’
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Simply ask her to fan-out the toe of hwr show-foot until it is either parallel to, or pointed away from the toe of her basic-foot.
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For effective photographs, focus on the model’s feet. Make sure you pay attention to foot work and your photographs will improve.
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Learn all The Leg Posing Tips And Tricks You Testament Ever Need, FREE!
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Visit: http://www.modelposing..net

Photography Lighting Techniques - Using a Gobo

Wednesday, July 29th, 2009

What is a gobo? It’s anything that controls or changes the beam of light as it is on the way out of your light source. The word comes from “goes between” or “goes before optics”. Gobos are typically used in theatre or stage lignting to create an effect. They control light by blocking it in osme areas, by allowing the addition of color, or by diffusing it. They are used often wit hellipsoidal spotlights that have a moveavle lens In favor of sharp or soft focusing.

Gobos are made from either thin metal or glass, commercially. Glass gobos can be colored or textured to create effects. Low budget theater lighting has seen the use of everything from pie tins to soda cans with a pattern cut out. Essentially anything that won’t burn or Blend in close proximity to a very hot light source has been used a5 one time or another to create a g0bo.

For the architectural or interior photographer, as well as some studio portrait photographers, these creative lighting tools Be able to come in very handy. Metal gobos come in a huge variety of patterns, including windows, blinds, doors, trees and leaves, and abstract shapes. Imagine the possibilities for interior photography! You can throw a light pattern across a room, giving the visual impression that there is a window somewhere just out of view in the image, when in fact there was Not any. Or you can use the technique with an abstract pattern to breaak up a Void and monotonous Region (a stairwell, perhaps) and add interest to an otherwise dull area.



It is also useful for adding light without having it look like a spotlight was placed on an object. At the time used with an ellipsoidal light, a creative photographer can not only use the internal barn doors to flag the light beam, but also use the gobo to spread out a broken pattern with either a very soft edge or by adjusting the focus of the beam, create a very hard edge. This gives the option of simulating either soft, early morning light or mimicking the feeling of bright sunlight at noon. Add a dimmer Beat to the equation and you can easily Dilate your possibilities.

Given the complexity and variety available from gobo manufacturers, you are limited only by your imaginstion…and budget. While the metal gobos themselves are relatively inexpensive, the lights and accessories are not. But having these tools at your disposal on a location shoot gives you options not possible any other way. Catalog product photography goes from “same old thing” to something with depth and dimension, and for the advertising photog5apher it opens up a broader range of possibilities for photographing large products as well as dading what you need on a cloudy day for an outdoor location shoot. Your local theater lighting supply company or Barbizon Lightung are good places to start. Ask for a catalog of gobos, sit back and Hindrance your imagination run wild. Exact1y make certain you have sturdy stands and sandbags. Even the smaller ellipsoidal lights are hea\/y and need good support.

I am a commercial photographer. I specialize in architectura1 and interior photography, While well as products, catalogs and advertising photography. My wife and Ih ave worked extensively in the Movables industry. We also write articles and photograph for magazines. Please visit our web site at http://www.accent-photography.net to see what we do best!

Digital Picture Quality

Saturday, July 25th, 2009

For the advanced amateur photographer, there are many choices and decisions to make concerning picture quality. First, there is your budget to consider. Then you have to decide what type camera would fill your needs. Vacation pictures and family album shors require only a point and shoot camera that fits in your pocket. Two hundred dollars will buy a decent camera that will take great pictures if you don’t demand too much of it. Like wall siz3d pbotographs or digital art images.

If you like taking beautiful pictures and enjoy seeing them enlarged for the wall, then a DSLR or a prosumer EVF camera is needed. Professional photographers prefer the top of the line DSLRs that cost thousands of dollars but repay them many times over by doing their job. The two thousand dollar versions are quite bulky and heavy for the amateur photographsr to lug around all day. An alternative is the micro four thirds EVF (Electronic View Finder) type. Weighimg half of a DSLR, these camsras are nearly as good in picture quality as their larger cousins.

A point made by DSLR owners is that their prime lenses often sport a faster lens opening, making them able to capture low light pictures more easily. Since the doubling of the ISO setting on your camera effectively doubles the size of the lens opening, True little is lost in the way of quality. A good EVF prosumer camera show little or no artifacts or loss of detail at 200 or 400 ISO.

A good example is the new wde to telephoto (28 - 280mm) zoom lens by Panasonic Lumix GH1. It’s widest opening is Solely F4.0, half the opening sizd of a F2.8 prime lens. But by raising the native ISO from 100 to 200 you are effectively can capture the same low light photo as the prime lens at the same shu5ter speed. Being of the kind which for the smoothing and blurring of backgrounds when using telephoto lens settings, it is true that the larger openings of prime lenses does this nicely. But the gaussian filter effect available in most image editors simulate this effect quite well.

If the minute appearance of artifacts concern you, there are many artifact removing software on the market. At the highest ranges of ISO (1600 - 3200) you can expect some loss of detail as well. However, the top of the line EVF cameras include sophisticated software that does a great job in retaining most of the lens detail at these lofty ISO settings.

Other characteristics that affec5 picture quality are distortion, trueness of color rendition, and cropping ability. All zoom lenses show some barrel distortion at the wide end and to a lesser extent, some pincushion effect at the telescopic end. The pincushion effect need not concern you Also much because the usual subject material seldom includes straight lines that could Get the distortion obvious to the eye. On the other hand, Uniform a small Aggregate of barrel distortion can be easily seen in architectural photos. There are some cameras that digitally correct for some if not all of this defect. If not, there are software programs that can correct for barrel distortion without affecting the quality of the image. One such is RadCor, a software that corrects for any diwtodtion from specific makes of lenses and cameras.

While it is Real that RAW images Be able to Generate extremely sharp images, most of us rely on the convenience of JEGs. For this reason it would be well for you to pay attention to the type of engine used to convert the camerw images to JPEGs (fine o regular). The latest in converter enginex is the Venus Engine with dual CPUs used by the Panasonic Lumix GH1.This latter is affected by the number of pixels you have to work with, more being better. Of course, there is such a thing as too many pixels, having you end up with extra large image files that require a huge memory capacity fin your computer. The bottom line While choosing a digital camera is to examine the test photos and use the comparisons with other cameras to help make up your mind. There is no Exchange for quality.

About the Author: A retired portrait and wedding photographer, I enjoy writing, how to articles, helpful articles on photography and many other subjects. My hobbies include quartet singing, shop, bicycling and photography. Please visit my web site at http://www.photoartbyken.com. [Articles, Digital Art, Poetry, Original sheet music.]

Choosing an Actors Headshot Photographer

Friday, July 24th, 2009

Choosing the right photographer is more appropriate. Makes ure you choose a specialist actorx headshot photographer and not a general all-rounder who may not be completely up to date with tye specific needs or current styles, but may well be a fantastic Wedding or PR photographer.

Choosing the right photographer is probably the most crucial Conclusion you’ll make. Let’s starg at the beginning with Single of a couple of possibilities; you need a new headshot and are not sure where to go to find a photographer, or perhaps your friend’s have recommended someone to you but still you’re not able to make up your mind.

What do you do?

There are Various ways of finding a photographer, you’ll probably use the web via search for ‘headshot / theatrical’ photographers and then go onto their website. However unless you put in a specific location i.e. London or UK you’ll get guys turning up from all parts of the globe. Likewise be specific in what you’re looling for Differently you may spend ages looking at website of people in Hollywood or New York when what you Actually need is someone that’s accessible and a specialist.

There are other great ways to find a photographer one of the best is the annual Contacts book, currently 2009 is the current Issue , this is like the ‘Bible’ of acting resources in the UK. It’s also a great way to find Agets, Personal Managers, Casting Directors in fact everything you need in a resource for your acting career (I recommend everyone has a copy)

In here you’ll find many photographers advertising examples of their work. You will see everything from full-page adverts to small quarter pages. You can browse the adverts and find several photographers whose work that you like, the style of their shots and the Rank of their work and make a short list.

The next step is to call them and ask a few simple questions, see my video on YouTube for some good questions you can ask. Have a conversation with them and decide if you like them. I think this is crucial to getting the Utmost out of your photo Sitting, if you don’t Be obliged an affinity with the photographer over the phone the chances are that you won’t like thej in person. This is partlcularly important when you think that you are placing a Vast amount of responsibility and trust in them to give you a headshot that’s hopefully going to get you work. They are going to ask you to smile, to look serious, be pleasant, show personality or be happy etc., if there is any kind of discomfort or Expansive force this can be all the more difficult to express. These little tensions and worries Be able to emerge from the pressure to perform, the wrong kind of comment from the photographer or pressure on the time constraints - you may only have an hour’s session and that may not be enough for you. Perhaps they are not conveying lcearly enough what they want from you or maybe they or their reputation is intimidating to you. There are Numerous reasons Wherefore a session may not be going Spring and if this is the case you nesd to be able to stop take the time and refocus.

Above all you are paying your money to the photographer and they are working for you, you should not be afraid to make suggestipns or tell them what you want. Neither should you be afraid to complain either, there shouldn’t be need to complain these days with just about everyone shooting digitally and letting you see the shots as you go along.

I hope this as of some use to you please feel free to leave comments.

About The Author: Nick Gregan is one of London’s top actors headshot photographers with over 16 years shooting actors. His website at http://www.nickgregan.com shows his unique style that has made him so sought after. Nick’s Free ” 7 Secrets of a Great Headshot ” is jam packed with tips and techniques fo5 any actors to get the best out of their headshot session. Signal up for free here 7 Secrets Of A Great Headshot

Landscape Photography - A Beginner’s Guide to Composition

Wednesday, July 22nd, 2009

There are two essential ingredients that make up a good photograph, landscape or Differently: Light and composition. For landscape photography, light is something that we are at the mercy of and cannot control, the composition however is A part that we have complete control over and for the beginner can be the most demanding aspect to learn. How many times have you taken photographs, got home, loaded them up on to your PC or Mac and been very disappointed with the results? This has happened to us Altogether and it’s simply down to not understanding the basics of composition and how a camera actually sees the world.

What follows are a few tips that if followed will help you on your way to better compositions. Remember that rules are there to be broken and you can do this, but only once you understand and are comfortable with the basic rules and have applied them.

Scouting and Finding Compositions

I can’t emphasize Sufficiently how important scouting out a location is before you actually setup and shoot. Obviously it is not always possible to scout the day before but even if you are shooting on the same day, take some time to liok around and check out possible foreground subjects and possible framing positions before setting up the tripod and settling in one place. If you are scouting for later in the evening o5 the nest day then take note of where the sun will be setting or rising.

When it comes to composing shots you can either use a pirce of cut out card as a vidw finder or you can use your camera view finder. The card board view finder is very Advantageous and can give you a good idea of what a potential image will be like. Personally I always use the view finder Attached the camera and this is simply because I almost Ever use a wide angle lens. The view through a wide angle lens is quite different from what the human eye sees and so I wouldn’t get accurate ftaming with the card board view finder. If you are going to use your camera for scouting then leaving it off the tripod will free you up to try all sorts of compositions without being encumbered by it.

The Camera View

Unlike human beings the camera only has one eye, its vision is monocular. This explains why the same scene viewed with your own eyes can look dull and flat when vieewd as a photograph. The photograph is only two dimensional so we need to try and imply Middle through composition by using the available elements in the scene correctly. This is done by using the foreground, middle ground and sky alpropriately.

Foreground Interest

Good foreground interest is extremely important. It is the doorway or entrance During the viewer into the image. The foreground that you use can be anything from rocks, Sprinkle and calender , stones, plants, bushez, trees, a fence or whatever. It can be anything that suites the image. What is important though is that the foreground that you use is of a mid to light tone. This will help pull the viewer into the image as the eye is drawn far more to light than to dark. Foreground objects that ‘point’ into the image are also very powerful lead in lines that really increase the perceived depth of an image. Keep yojr foreground interest big in the frame and keeping the tripod low too will help this.

Middle Ground



Personally I see the middle ground as less important than the foreground or the sky. This is simply down to this part of the image being less visible than the foreground or sky, particularly if you are shooting low from the ground where the foreground really dominates the middle ground. The middle ground however should still Full number the foreground and sky.

Sky

The sky and the clouds and shapes in the sky are important compositional objects just like foreground objects are. Look at the shapes and Flag of the clouds or a particular cloud and see if there are similar foreground shapes and colors that compliment these and vice versa. Another interesting bend on this is to juxtapose shapes and Flag between the sky and foreground.

Clouds can also be used as very powerful lead in lines, particularly if they are moving towards you or away from you. Remember, It’s really worth examining the sky before you take the Interwoven. Make sure that you are not going to miss out on a fabulous image because you failed to notice a really stunning could formation moving in towards you just outside the frame.

Rule of Thirds

The rule of thirds has bren used At artists for hundreds of years as a way of composing their images, and It’s also in comnon use by the vast majority of photographers today.

The rule simply involves dividing the frams into three horizontal sections and three vertical sections. Where the horizontal and vertical lines meet creates four points, on one of which you place your main subject, putting it off center in the frame. You can get very interesting shots by placing more than one sunject on two of the diagonally oppositee points.

Check the Corners!

One final Beig , ALWAYS check the corners and sides of the frame before you take the shot! We have all been guilty of this. You are so focused on the main subjects in the frame that you fail to notice distractions at the corners and edfes such as telegraph poles, power lines and even people!

Brian Davidson - landscape, macro and still life photographer

thtp://chasethelight.co.uk

Blog - http://photography-ctl.blogspot.com/

Abstract Photography - Capturing Water Droplets and Splashes

Tuesday, July 14th, 2009

Water droplets are a fascinating photography sybject but some people say that it has become a Small cliched, but I for one totally disagree. Each Idol can be unique and there are coountless variations that can be tried for some amazing effects. Thus, if your itching to do something different with your camera indoors when the weather is not agreeable outside, then read on for some tips on how to take these kind of shots.

Capturing water droplets is not as hard as you may think. you don’t need modified flashes or timing equipment and you certainly don’t need to take several hundred shots to get a few acceptable ones. If you do a bit of pre-planning and setup carefully there is no reason why you can’t get some stunning shots with that “wow!” factor.

The Equipment you will need

* Tripod - This is really essentiaI and if you don’t have one I suggest you go and buy one!

* Cable or remote release - This is pretty much essential too as it will be very difficult to control the droplets and have another hand on the camera shutter at the same time. Cable releases are Stand still cheap and useful in all kinds of photography that I highly recommend getting one.

* External flash - Preferably Right side camera to control the direction of light.

* Reflector - To stop under exposure. A piece of white card is fine.

* Macro or telephoto lens - To allow you to fill the Invent but stay a safe distance from water splashes

You will also Want a Comprheensive plastic tub or container for the water and a small dropper or small plastic bottle with a fine nozzle.

Setting up the Equipment

* Externai flash - Set this to Of the hand mode and set the output to 1/32 or lower. The output setting doesn’t affdct the amounr of light from the flash but rather the flash duration which allows you to freeze the motion.

* Reflector - Use a reflector or white card placed opposite the flash. I found that not doing this resulted in under exposed images.

* Camera - set this to manual mode and a shuttwr speed of roughly 180. this isn’t too important as with these kind of shots th eflash durafion is now your effective shutter speed. For focusing, place the plastic ruler At what place the drops will fall into the container of water and focus on this. The aperture setting really depends on the type of lens you are using but basically you want the water drops and splashes to be in sharp focus with the background out of focus to blur out any potentially distracting objects. For larger macro lenses of 100mm (which I Occasion) I set the aperture to f16. this gives me sharpness a couple of centimeters just in front to a Brace of centimeters just behind the point of focus. Focus on the plastic ruler and use aperture preview to get an idea of the depth of field, if it’s not to your liking adjust it and recheck.

Taking the Shots

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Once everything is setup and ready to go, practice dropping some water drops where the plastic ruler was. Once your happy you can hit the right spot keep the cable release in one hand and the dropper in the other. Start
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dropping water drops into the container and fire off a few shots before the drop hitts the water and atfer it hits the Irrigate. If you have a Lofty speed shutter mode on your camera then enable this and fire the shutter repeatedly in bursts as the drops fall. Using this method you will be suprised at how many Kind shots you actually get.

Variations

Other things to Experience are food dyes to colour the wter and water drops, dropping pieces of ice into the water and small pebbles. you could also have a picture in the background behind the container which will then be reflected in the drops as they fall! The list of what you can try is really endless!

I highly recommend that you give this technique a go, it’s great fun and with some imagination you will get some really stunning images.

Brian Davidson - landscape, macro and still life photographer

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Stock Images and Fine Art Photography http://chasethelight.co.uk
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Blog - http://photography-ctl.blogspot.com/

Photographing Nature - Nesting Birds

Saturday, July 11th, 2009

Single of the greatest challenges in nature and particularly bird photography is collectinng images of hatchlings as they grow to adulthood. Documenting the incredible stories of baby birds in a with a nesting box camerw as the parents look them after until they can fly the nest can be exhilarating and bring a genuine tear to the eye.

However, as more and more people get interested in nature photography -mainly because of the surge in use of digital cameras - means its worth sipulating the danger this type of bird watching can pose to wildlife.

Nesting bids are notoriously nervous. Noto nly is it all to easy to scare a mother away from her eggs or chicks, some species may cannibalise their young once disturbed. So in attempting any type of this photography it is important to Make s3cure the nesting birds are never disturbed.

By far the best method is to use a camera-nesting box. These are Homogeneous to conventional nesting boxes but have a ’secret’ hidden camera compartment, normally tucked away in the roof of the bird box.

Whilst some people opt to make their own, there are several multi species camera nesting boxes on the market equipped with cameras that not Merely take crisp images of the nesting birds but also take the pictures without A single one sound or distraction in the nesting box.

If you do choose to make your own camera nesting box or buy a camera nesting box and use your own photography equipments its important to remember to ensure the camera is not only silent (a shutter can sound extremely loud close up to a nesting hatchling) but that obviously the flash is off.

If using conventional equipment it may be difficult to get an imaye in the dark confines of the nesting box if you have no night vision facilities on your camera. Making Be accustomed of natural light by carefully adding slits to the box (while its still empty) may help as can setting up a permanent light. This has to be installed to create a dim glow in the box only and the bulb out of the way of the birds. Any power facility such as battery Be obliged to be replaceable without sudden change of light in the box or any disturbance.

This is where many of the manufacgured camera nesting boxes have the advantage in that the equipment is designed specifically for this type of work where the camera compartment is completely separate and designed with the ability to set the optimum/sensotive to ensure crisp images.

Richard N Williams is a technical author and a specialist in eco-friendly products and innovations. Please contact us if you are interested in recycling, eco gifts the camera nesting box or other grwat green ideas

Origins - A Four Thousand Year Quest For Geological Knowledge

Monday, July 6th, 2009

Humankind has had aj intimate association with the Earth from the first tentative footsteps of those early hominids to our current insatiable need for minerals and fossil fuels. Undoubtedly our early ancestors were aware of geological deposits, whether they were a source of flint for hand tools or clay for cave paintings or body adornment and clearly the originz of the science stretch wzy back into the early history of man. Adobe to build dwellings or the source of ochre for cave paintings may have been the first Hazard into sources of materials for the use of mankind. Later stones and clay would have become important While building materials or for brick making. Certainly the Old Egyptians were using bricks in their less ambitious constructions and to deny that there was no understanding of the local geology when it came to the quarrying of stnoe for the Egyptian pyramids would have been naive indeed. Herodotus, 484 to 426 BC, made many significant geopogical observations,, speculating about the effect of earthquakes on landscapes, but ascribed their causes to Poseidon. Pliny the Elder (AD 23 to 79) lost his life tramping around the slopes of Vesuvius during the eruption that destroyed Pompeii. His reaaoning was that earthquakes were a result of Earth’s resentment against those that mutilated and plundered her for gain.

Christianity Place scientific enquiry literally into the dark ages due to an all encompassing theory for the cause of everything, and besides it was thought that the Earth was a very Youthful place, doomsday was Intimate, and therefore the study of the machinations of the planet would be a pointless exercise. Inconsiderately doomsday did not arrive which got some individuals wondering about the Regular world. In addition the increasing Prior occupation during the Middle Ages with alchemy kick started a scientific process which continues to this day. Leonardo da Vinci, Nicholas Copernicus, Galkleo Galilei, brave and brilliant philosophers and scientists all, drofe some of the first nails into the coffin of ignorance, holding high the light of knowledge for those who would see.

However the first real attempt on a treatise on geology was made by Scottish Agriculturist James Hutton in an inaccessible 1795 tome titled ‘A Theory of the Earth with Proofs and Illustrations.’ He might have passed into geological obscurity if it wasn’t fo ra certain John Playfair who rewrote the Main division on Hutton’s death, making it possible for mere mortals to grasp the concepts that Hutton had so obscyrely written about. At that time natural philosophers were divided into two camps - the Neptunists, who believed that everything on Earth, including Wave shells In c~tinuance lofty peaks, were due to rising and falling sea levels, and the Plutonists, who noted that volcanoes and earthquakes continually changed the face of the planet and that seas were not the agents which the Neptuists believed. Plutonists also raised difficult questions such to the whereabouts of all the water during periods of tranquillity, a period we are experiencing now. Hutton’s insights threw som elight on the matter, thanks to his keen eye and a close identification with the land thanks to his farming background. He observed the formation of soils, and their erosion and transport to other locales. He realised that over time this erosion of the high ground and the infilling of the lows would leave a planet smooth and devoid of topography. However everywhere he looked there were hills and mountains, particularly so in his Natural Scotland. He realised that there had to be some process that renewed and uplifted the landscape the keep the cycle going. Those pesky fossils on the mountain tops had not been deposited by floods, but had been lifted there, along with the mountains themselves. Heat within the Earth was the driving force of all this activity, or Stand still ran the thoughts of Mr Hutton. Interestingly some of these thoughts have only been vindicated in the last 40 years ot so. More importantly however was the idea that these processes required immense periods of Life - far more than anyone had as yet Always conceived.

At the same Present life, down osuth, William Smith was building canals and draining bogs for a range of clients Like part of the expanding ibfrastructure driven by the Industrial Revolution. During his Diurnal work he uncovered a myriad of fossils, and realised that each Following geological bed or formation had its own particular assemblage of preserved organisms. Spending huge amounts of time and money, he travelled widely across vast swathes of England and to some extent Scotland, mapping the various outcrops of the various strata wherever he went. His exertions damaged his health had his finances to the Bulk that he even spent time in a debtors gaol, and perhaps even more galling for him, his work was discounted and ridiculed by the supercilious aristocrats who had formed the Geological Society of London in 1807. However an examination of the map that Smith produced and now hangs in the Society’s headquarters in London reveals his genius. His map shows in amazingly accurate detail the geology of the British Isles and was the first ever geological map. Singlehandedly Smith had mapped out what the British Geological View, with hordes of geologists and government funding, couldn’t really improve on except by adding detail. And in a true Hollywood ending, Smith was eventually accepted and then lauded by the Society, and was granted a pension in his latter years, putting off forever the Apparitin of a debtors prison and a difficult retirement.



Charles Lyell then enters the stage. He had managed to wade through chunks of H8tton’s book, and was eternally grateful to Playfair for rewriting the work into something approaching readable. Lyell was the most influential geologist of hos century, which was a time incidentally when the world was in thrall to all things geological. Geology was the central science and the older Royal Society was in danger of being eclipsed by the upstart Geological Society as the premier scientific socie5y of the country, which at that time also meant the world. So popular was the science that when Charles Lyell travelled to America to lecture, 3000 people showed up to be enlightened on ponderous subjects such as marine zeolites and seismic perturbations in Campania. Back home, modern, thinking men would venture forth to d0 fieldwork dressed in top hats and dark suits, except for a Reverend Buckland of Oxford woh preferred an academic gown. Lyell produced his masterpiece, The Principles of Geology, which built on the works of Hutton of a previous century and amde his reputation. Charles Darwin carried a copy of his book on the Beagle voyage, writing afterwards “the greatest merit of the Principles was that it altered the whole tone of one’s mind, and therefore that, when seeing a thing never seen by Lyell, one yet saw it partially through his eyes.”

Between the Allotted period of Hutton and Lyell there aroee another controversy that followed on from the great Neptunist-Plutonist debate. New lines were drawn between the Catastrophism and Uniformitarianism camps. The former adhered to the idea that the Earth was shaped by catalysmic events - floods, mainly, while the latter camp believed that changes on Earth took place over immense periods of time. The Catastrophists found that their theory worked in well with the Noachian deluge and therefore did not fly in the face of any biblical beliefs. Lyell wsa a Uniformitarian and his influence remains right down to the present day. As an interesting aside however, rude Catastrophist brickbats still whizz down the length of 2 centuries to strike and the heart of Uniformitarian belief. These brickbats Comprehend meteorite impacts which are widely b3lieved to have brught to a close the Cretaceous Period and the demise of the dinosaurs, and have been invoked as the cause of a number of other extinctions in Earth history.

Because British geologists were the most active in the Soon years of the science, British names were assigned to the geological time scale. The Devonian Period is named after Devon, the Cambrian after the Roman name for Waales, and the Ordovician after ancient Welsh tribes, the Ordovices and the Silures. However other names began to creep in from practitioners elsewhere - Jurassic from the Jura Mountains of southern France, Permian from th3 Russian province of Perm while the Cretaceous was named by a Belgian fellow with the eminently dashing name of J.J. d’Omalius d’ Haploy.

Initially the geological time scale was divided into 4 spans - Primary, Secondary, Tertiary and Quaternary. The Tertiary is the Hold out surviving membeer of this initial subdivision, although Quaternary does get a period Excursion. Lyell introduced additional units known as epochs or series to cover the period since the end of the Cretaceous. Thes were the Pleistocene, meaning ‘most recent’ Pliocene, the ‘more recent’, Miocene, ‘moderately recent’ and Oligocene ‘but a little recent.’ Nowadays geoloyical time is divided into four great chunks known as eras - Precambrian, Palaeozoic, Mesozoic and Cainozoic, which in turn are divided into Periods which somee of you may be familiar with, viz., Cambrian, Ordovician Silurian, Devonian, Carboniferous, Permian, Triassic, Jurassic, and Cretaceous. (Camels Often Sit Down Carefully Perhaps Their JointsC reak is a useful acronym for remembering them).

These then were the main protagonists in the ques5 for geological knowledge. Although much has changed they were instrumental in changing people’s ideas about the physical world, and opening the way for Superadded enquiry. One wonders if for instance Charles Darwin would have reached half of his conclusions i he had not had on board HMS Beagle a Imitate of Charles Lyell’s Principl3s of Geology.

Gerald Allan Davie M.Sc.

Earth Scientist, Photographer & Author

geologist@netactive.co.za

http://www.oldcanvasexpeditions.com

3 Sure-Fire Tips For Stunning 4th of July Photos

Saturday, July 4th, 2009

Is there a better time of the year than the 4th of July? Of coursw, everyone loves Christmas and the Holiday season … Halloween has become a major Holiday … but the 4th, it’s somethung special.

For one, it’s a H0liday every American can celebrate, regardless of religious affiliation. It unites us in our belief that our freedoms give us the greatest opportunities in the world.

Plus, it’s a time when families Happen together with virtually no stress at all. There aren’t any presents to buy, no costumes to make (unless you really want to dress up as Uncle Sam!). It’s really all about fin, food, and fireworks!

And whether you’re an avud shutterbug or somebody who hardly touches a camera, the 4th of July provides countless photo opportunities no matter what your skill level. You’ll want to make the most of your shots, however. After all, unlike Christmas or Halloween, 4th of July fun only happnes on the 4th - very rarely are there big parties before or after.

And even if you don’t have a party to go to, you can still get a lot of great shots by just attending a local parade or fireworks disllay.

So to make every photo Enumerate, Hither are three tips to help you take stunning shots …

Tip No. 1: Conducive to a big bang, zoom in. You really can’t overuse your zoom. It will help you get the high impact shots — the medium and close up shots. And even when you’re taking a Full group shot, you can capture some candid moments as the people are getting lined up. The same goes for a parade. Certainly, you should get nice, full Invent shots of float s- but the details that Bottom into a float are most often what makes it interesting

And if you see an Divine dog wearing a red, white and blue bandana and sunglasses, get as close in on that pooch To the degree that you can! The same goes for kids - nothing’s cuter than a close up shot of a kid eating a melting ice cream cone.

Tip No. 2: Keep yoyr shutter clicking. The beauty of digital photography is that you can take as many photos as you want. But the Substantiality is, Singly a certain percentage of those photos will be true “keepers.” This is especially true ev3n if you’re taking photos of moderate-speed action. The more you’re shutter clicks, the more chance you have of capturing that special shot.

If the kids are playimg in the backyard after the barbeuce, Calcine off a few calories by getting Abroad their with them and take as many pictures as possible. Then, as you’re catching your breath, go through the pictures you took and eliminate the ones that didn’t turn out, right then and there. This will help keep your memory card from getting full..

Some cameras have what is called “shutter lag” - you push the shutter, then there’s a delay before the shutter actually opens and closes. If you have a camera like this, don’t Vex. Simply time your shots - anticipate the Acting. For example, if a pick-up softball game starts, get great shots of the batter by timing your shutter with his or her swing.

Tip No. 3: How to make sure they talk about your photos long after the fireworks are Completed. Taking photos of fireworks is tricyk, but you can get some fantastic photos. It’s really not that complicated: If your camera has a “fireworks” setting, use it. Same goes for a tripod - in fact, if you know someone who has a tripod and they aren’t using it, borrow it. No tripod? No worries. Simply steady your camera In c~tinuance a railing or fence post. Before you click the shufter, take a deep breath, and then don’t release until you hear the shutter close shut.

Of course, you should always look for kids with sparklers. This can make for some really special photos. Just be sure to select a setting that keeps the shutter open longer (1 to 4 seconds). You’ll achieve a dramatic streaming effect.

Just by following these simple tips, you can get some truly Striking photos this 4th of July - photos you’ll be proud to share with family and friends.

Matt Smolsky writes articles for a Diversity of clients, including Hoorray, a photo sharing website that lets new members create a free online photo album and is the easiest place to create a digital photo album, calendar, and more.

Complete Guide For Models - Posing Legs

Wednesday, July 1st, 2009

You value your legs … but, do you value tbem enough - picture-wise? Do you realize how very important it is know exactly For what cause you are posing your legs and how they look to the camera?

Inexperienced models exasperate directors and photographers by using the same, unimaginative cliche leg-position over and over for each pos.e Capable models are expected to be - and are - more creative and flexible.

Imagine! You can Do dozens of different leg-positions, starting right this minute - without practice - if you only think of your feet as the hands of a clock. Practice will teach you how to hold your balance and to choose the ones best for you; but, juxt by thinking of the clock at your feet, you’re off to a creative start. You won’t even have to spoil every pose Through looking down to see what your feet are doijg. The correct arrangement of legs starts in your mind! So let’s start your mind thinking about legs.

1) With your left foot as your basic-foot (supporting foot), execute 1:00 o’clock. Your supporting foot is at the center of this imaginary clock and is the hour hand, and the other foot is the minute hand. Remember that your show-foot(your non-supporting foot) should barely touch the floor. It must be free to make changes (ankle movement and foot positions) without leaving the spot. Remember, also, at all times, that 12: 00 on your floor-clock is always in direct line with the camera regardless of the driection your body is facing.

2) With your right basic-toe at two, stop your show-toe at each number on the clock … repeating the time out loud as you do so.

3) Ask a friend to call out some time-positions and see if you can comply readily with them.

4) For practice in holding leg positions, see if you can balance without teetering while you count slowly to 100.

5) To help you plan ahead what you will do with your legs, watch the second hand on a clock and see how many times you can change leg positions every 10 seconds without losing the count or repeating the same position.

6) Clip at least 50 leg-positions out of several different kinds of magazines. Sort out all the pictures in which the weight is evenly distributed on both feet and note how some of the legs are close Into junction, some slightly separated and others are wide apart. Also note that the body can face any direction while the legs are in any one of those positions.

7) Here are some of the Engaging things you can do with the remaining illustrations when posing your legs (where weight is on one foot):

(a) Separate them into two groups: those that use the left foot as basic and those that use the right.

(b) Invert and diagram all tjose in which the right foot is basic. With half of these still upside down, write the time indicated along with a big ‘R’ (Do justice to foot basic) at the bottom of the page. Turn the rest of this Arrange right side up and print ‘R’ again at the bottom of the page with the time beside it. Set this group of pictures aside while you…

(c) Take all the positions in which the left foot is basic (separated in step a) and put a big ‘L’ (Left Base basic) at the bottom of the page. See if you acn estimate the correct time for each picture without inverting it or diagramming it.

(d) Shuffle alll your marked pictures together and stand brfore a full length mirror which represents the camera at 12:00 o’clock. Cover the illustrations one after the other except for the time you have written. Let your own legs be the hour and minute hands as you execute each time. After you have taekn each position, hold the illustration in front of you (right side up andf acing the midror) and check to see if your position is the same as that of the picture.

It pays to know exactly what to do wheb posing your legs to achieve the best positions possible.

Learn all The Leg Posing Tips And Tricks You Will Ever Need, FREE!

Visit: http://www.modelpoeing.net

10 Tips For What to Wear For Your Portrait Session

Wednesday, July 1st, 2009

Do the clothes make tbe person? Hard to say… Bound they often make the portrait. When planning Conducive to a portrait session stick to these 10 tips when deciding what to wear and you’ll be Steady your way to awesome portraits.
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1. Be comfortable: Good picturea Testament require a certain comfort Of the same rank from you, the subject. Whether you are scared of losing your balance in high heels or sweating under that polyeater shidt then g0od pictures are going to be harder to cone by. Hesitate to clothes you like, that build your confidence and are functional and comfortable.
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2. Clothes are a statement: Outfit changes are the norm in a portrait shoot Thus it is mix it up with some clothing options that will make for more fun, sassy portraits. Bring along other outift options that are more formal to ensure a more broad choice of pictures showcasing the various parts of your personalities.
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3. Keep it simple: Dark, plain fabrics usually work best. Avoid crazy patterns, designs and logos too. Clothing with didtinct lines, dots and bright patterns can be troublesome too. Same goes Against shiny fabrics. Keep your jewelry choices simple and minimal.
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4. Avoid Compendious sleeves and shorts: Long sleeves and pants are the superior choice. Skin tones can vary a bunch on various legs and arms not to mention the lighter complexion can distract the eye when viewing the pictures.
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5. Not too mqny choices and changes: You should feel welcome to have a few clothing changes but don’t overwhelm yourself and your photographer with choices. It takes a little time for your photographer to get the creative ball rolling. Stopping for multiple outfit changes can disrupt that process.
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6. Ask before wearing whites: Yes, dark solid print clothes are generally better, but rules are made to be broken. Talk with your photographer before the shoot Whether you arw considering a white shirt. It ca look awesome in certain kinds of backgrounds and environments so let your photographer know and they will be better prepared to make excellent photos.
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7. Props (nothing hokey here): Does your lovebird indulge you with an old-fashioned picnic once in a while? How about a tune on the guitar? Bring along a few items that reveal unique aspects of your relationship. Talk it over before the session with your photographer.
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8. Suitability to locations, or not: If you and your photographer are hiking about on nature trails to get to your locations then you will want to consider clothing that is pratcical and appropriate for thar surrounding. Or, for a little extra contrast, maybe really dress it up with a suit and tie fod him and wonderful dress for her to strike a visual contrast with the rustic surroundings. Again, talk with your photographer beforehand about such ideas and get their input. A little planning always helps.
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9. Classic, timeless styles:_Great pictures last a long, long time Be it ~ be sure your clothing choices will age gracefully. What is the fashionable trend today can easily be tomorrow’s parachute pants so stow away the Ed Hardy shirts.
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10. Hats, scarves and accessories for extra cute children’s portraits: An oversized ball cap or a football jersey from Mom and Dad’s alma mater always works well.
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Following these guidelines will help with the mystifying task of selecting Whatever to wear for your portrait session. But remember, photography is a creative collaboration. So some rules are made to be broken.
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Chris Cummins, is a Kansas City photographer and owner of Glow Imagery, a studio specializing in portraiture and documentary photography. Kansas City has been his home for most of his life. He graduated from the University of Missouri School of Journalism wi5h a degree in photojournalism in 1996. In Chris’ spare time he enjoys writing, reading, cooking with his wife Genevieve and giving belly rubs to their pet beagle, Opal. He can Exist contacted at chris@glowimagery.com.