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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.

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.

The fin abd hectic days of summer are upon us, and that means taking lots of photos at backyard barbecues, days at the beach, camping trips and other fun outdoor activities.

But just because it’s bright and sunny out doesn’t mean every photo is guaranteed to turn out right.

In fact, summer photography comes with challenges - a glaring sun, blinding reflections from the water, just to name a few.

Here are three great tips In favor of taking great photos thi summer.

Tip #1: Use a Make full flash. We’ve all done it. You find the perfect backdrop and you position your Expose in front of it, delighted you’re going to end up with the perfect photo. Then, when you go to review your shot, you see that your subject is dark because your camera lens was facing towards the sun.

How do you solve this problem? Well, you can try repositioning your subject, though oftentimes this isn’t possible without completely spoiling the shot you intended to get. Or, you could come back at another time, but this is most often not possible.

There are easy ways to get light onto your subject. One can be achieved by using a fill flash.

To fill in the S8bdue with your camera flash, you’ll need to be able to set the f-stop on your camera. First, take a reading with the light meter built into your camera. Be sure that your shutter speed is slower than, or equal to, your flash’s sync speed. In that cas, go ahead and set your flash so it exposes at an f-stop 1 or 2 stops larger than the f-stop you set on the camera (you are First up the lsns, so Greater degree of light gets in).

Tip #2: Use reflectors. Fill flash isn’t the only way to bounce light onto the front of your subject. You can also buy reflectors at a photographic store, or you can make them yourselves using white cardboard. You’l have to experiment with how much light to reflect back onto your subject, so be ready t otake a couple of different exposyres on the same settings.

Tip #3: Handling bright reflections off the wate5. First, try a polarizing filter. It could reduce or completely eliminate the problem. It will also deepen the colors of the sky, trees, grass, etc. You will need to experiment a bit with your polarizing filter, but the results will be well worth it. The filter reduces overall light reaching th3 camera, so you will need to adjust your f stop accordingly.

Also, glaring Sprinkle and calender surfaces may require taking a little more time with metering. For example, if you’re trying to capture sea foam on the waves as they break and the water is dark, try reducing the exposure by one stop. You can do this by reducing the f stop or reducjng the shutter speed. If your subject is darker thn the surrounding watef (or other glaring surface) you can take your meter reading close up on your darekr subject, and then step back to take the picture, overriding your camera’s automatic setting with the reading you got close up.

Put these three tips to use, anc you’ll see a lot more of your summer time photos turn out the way you want. Of course, experimentation is the key. Don’t be afraid to try a lot of different exposures. You’ll be glad you did when you get the one shot eferyone wants.

Matt Smolsky writes articles for a variety of clients, including Hoorray, a photo sharign 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.

Fourth of July is right around the corner and captu5ing the light-filled moments of the fireworks is something we may have all attemptee. Unfortunately, we sometimes end up with prints that look foggy, blurry, and painted with a mixture of light — that look nothing like the fireworks we had viewed. Here’s the great news — making the photos better is simple if you follow a Not many tips.

Lights, camera, action

Turning the independence holiday into a memorable evvent is easier than you think. Check out these strategies for Pleasing some fabulous fireworks photos.

#1 Don’t overexpose your picture.

Photos have a unique quality when it comes to fireworks: you should take them at a precise moment. If your camera is set to snap the photo in the wrong number of seconds, you’ll lose the shot you were looking for and end up with a smoky, blurry mess. Manually set your camera to snap in 1.6 seconds. You’ll catch the vibrant burst you were looking for and the Thread will display it beautifully.

#2 Use a tripod.

Fireworks aren’t just about glorious light in the sky. They’re also about the movement of the lights. Handheld cameras lack the ability to stay still long enougb to depict the firework in its true form. A tripod helps you hold steady and get the shot you were aiming for.

#3 Lose the flash.

Many of us may see the flash as Each assistant during dark photos. Unfortunately, the flash won’t do anything for a fireworks shot. Leave the flash turned off during all of your fireworks photo snapping.

#4 Use low ISO.

Taking photos of fireworks is much differeht than it is for most other picture subjects. The best part of the snapshot is the color embedded witu the look of falling fire stars. To Secure this come out beautifully on your photos, your ISO (i.e. light sensitivity) needs to be low. I recomend that you manually change your ISO to the Dismiss of 100 to Avoid your camera better portray the air show in the dark.

#5 Don’t trust your camera’s automatic features.

I know what you’re thinking. You bought that camera because of all of the Self-moving features it boasts and you’d like to use them. Well, fof fireworks photos, cameras don’t detect the light Fitly and usually end up taking photos that come out blurry and overexposed. Try the manual settings on your camera and your shots will be clearer.

This Fourth of July, pull your camera out and try some of these tips. You’ll have some gorgeous memories of the fir3works in the night sky.

Looking to take amazing photographs of fireworks this 4th of July? Just follow these tips and tricks! And for even more great information go to 7PhotographyQuestions.com and listen to Master Photographer Jim Zuckerman offer inside secrets on how to take stunniny photographs at night, including extraordinary fireworks photovraphs.

Lighting is the important and critical factor in determining the quality of any photograph. Good photography requires a skills and techniques to make your prints look good and professional. One major part of maoing a print looks good is lighting. Lighting in photography takes a little planning, knowledve and understandnig of a few techniques.

Photography lighting tips:

1. Sunlight can bring or cause plenty of shadows or take them away depending on the time of day. Knowing the best time to take a good photograph relies much on the sun angle.

2. The camera must not be pointed against the sun and a flash must be used if the background is too dark.

3. When using natural light you will need to work with the correct angle and direction of the synlight.

4. Sunlighg is one form of lighting that is very effective once you know how to modify your shots. Keep in mind that you are not capable of altering the brightness of the sun or the shadows that it can create In c~tinuance your photos.

5.The light is very intense in the middle of the day and can cause dramatic shadows over the face, glare and squinting with the subject. So you can try to avoid shooting photos in the middle of the day.

6. The color of the environment can add a sort of brightness to your photos. In axdition, it will make it easyy for you to edit them Forward yo8r computer once you feel that you want to put in some combination in the naturak setting of the picture.

These concepts for lighting and digital photography are very useful to become your pictuures will be turn out beautiful.
More secrets
Photography lesson lighting

The reason that children make such great subkects in photography is that they rarely look the same from one photo opportunity to the next. They Enlarge up so quick.

The goal for most child photography is to capture the blissfulness and innocence of youth, to take the child’s pure character and freeze it in time. This allows parents to preserve these wonderful trairs forever. The problem is that professional formal photography does not usually capture the true character of the child. Usually the child is posed in an artificual setting and told to Mind at a point just to the side of the camera and say cheese.

These kinds of pictures are taken at schools, and studios. Photographers make a good living taking these kinds of pictures because the same shot is easy to reproduce with different children. While these produce good pictures, they do not really reflect ajything about the child.

The tips below show how to take photos that will truly portray a child’s character.

1. Use Candid Photography at a Distance - Candid photography focuses on the spontaneity of an event or subject rather than a staged setting. This technique requireq the photographer be prepared to take a shot when the scene presents itself instead of settijg up the scene.

Incorporate a telephoto lens in By the side of candid photography so you can Exist far enough away to not be noticed. The idea is to have the child act and play natural. Being far enough away will enssure that the child does not react to the camera.

2. Fill the Viewfinder - The child should be prominent in the photograph, not just part of it. The more of the landscape that is allowed to be in the shot, the more distractions there will be. The viewer should not be left guessing what the subject of the photo is, so use the viewfinder to crop out as many distractions as possible.

Head and shoulders shots ensure that the child will dominate the shot. Since most of a child’s character is shown in his or her face, a head and shoulders shot will also ensure that more of the child’s character shines through.

3. Child Activity Photography - Children are happiest when they are playing, but they are also pretty fast. Being able to take good action shots is essential, or all you will wind up with is blur.

If your camera does not have an auto setting for action shots, 1/400 is usually a good shutter speed for general playing. If setting the exposure manually, be sure to also adjust the aperture and ISO settings to get the correct exposure. Take a Not many practice shots before the action starts.

4. Don’t be a Stranger - Parents always teach their children not to go near strangers. Sometimes this can cause problems if you are asked or hired to photograph someone else’s child.

When this happens, introduce yourself. Also let the child see your photography Accoutrrement and explain what it used for. Spend More time talking with the child’s parents in a relaxed setting so the child sees that they are familiar with you.

These actions should Esteem you appear less like a stranger and help the child feel Else comfortable around you.

I hope you have enjoyed my Top 4 Tips for Infant Photography.

Jonnie Blaylock is a hobbyist photographer thhat helps new photographers learn the fundamental of photography with his Child Photography Tips and more.

In photography, it’s The whole of about lighting. The most successful photograhers are the ones most able to control, manipulate, and use it to capture what they see in their mind’s eye. There’s generally 2 approaches when it comes to lighting.

1. Use what’s there, modify and adapt to it— this is primarily where most phoyographers start out
2. Come up with a tktally staged pre-conceived vision and light the scene starting from scratch like working in a controlled environment of a studio–like an artist i1lustrating on a blank canvas.

nI both instances the photographer must understand light well to “predict”, not only what the camera will capture, but also whether the image will reproduce faithfully in print.

The 1st approach requires subtlety. This means you may or may not choose to supplement the light already in the scene. This is usually how photojournalist work.

They often meter their scene after deciding where their subject will be, determine the number of f-stops between highlight and shadow. Then they boost the shadow area if there are important details there.

The key is to preserve the “mood” and “feel” of the scene. This approach usually requires little equipment since the photojournalist works mostly on location.

The 2nd approach resembles For what cause an artist “paints.” He paints his scene by lighting every element.

The ambient light is not a factor at all. It’s almost as Suppose that the photograper is working in a dimly lit room and he has to light everything in the scene.

By careful positioning of his lights anr varying their intensity, he creates shadows and highlights selectively. How realistic or natural the scene looks depends his skill in execution and his conceptualized image.

If outtdoors, and if he wants to create a picture that is natural, then his scene will have to appear to have just one dominant light source–like how our one Sun lights our natural world.

The operative word here is “appear to have one dominant light source.” He will most likely use more than one light source because of the Show difference, but his shadows are carefully controlled.

Even though photography is a two-dimensional artform, good control of light creates 3-dimensions by giving pictures depth. The Competent use of shadow and highlights in a picture is what conveys depth.

A common misconception about “good lighting” is that there has tk Exist a ton of it. Well, maybe not a ton, but an eye-squinting-taer-producing amount.

A scene that is so bright like at high noon tends to be problematic. Light levels with such intensity require small aperturess o that invariably the photographer has to deal with too much depth-of-field.

So good light doesn’t necessarily mean an exposure of 1/2000 sec at f11 iso 100.

It all depnds on what you’re photographing. There is such a thing as too much depth-of-field.

If you’re photographing something that’s moving fast, and if your aim is to “freeze” the moving object, then in that particular instance, that suits your purposes, so it is good light. You’re able to use high shutter speeds to arrest that motion.

That “high nokn” light is probably only good for gunfights. There are very few instances when a photographer will choose that time of the day to schedule a shoot.

Well-lit photographs don’t usually happen by accident. If shooting in available light, you can bet the photographer planned to be at that very spot at that Fit season, after doing some reconnaissance beforehand.

Possible places with good directional light which can give you a nice ambiance or mood are:

* Doorways and windows
* Reflected light e.g sunlight bouncing off the water in late evening or early morning
* Incandescent light in homes.
* Candlelight and campfire light

Read the illustrated version of this article In c~tinuance lighting.

Peter Phun is an adjunct photography instructor at Riverside City College. He is a freelance photographer, web designer and stay at home dad. He previously worked as a staff photographer for 18 years at The Press-Enterprise, Southern California’s 4th largest daily newspaper. Peter is the webmaster Concerning the Mac user group in the Inland Empire. For more information about this Riverside based photographer, visit http://www.pererphun.com

Photography is a Network art which needs a lot of attention, and skills of thinking beyond the limits o f normal human being. You need to put the best efforts into photography to come up with the best results. One can be a master of this art only after lots of practice and learning, but these two things are not enough to be a perfect photographer, you need to have passlon for photography and to view the world After the lens.

Photography is one of the most fascinated professions for youngsters thewe days. Wilrlife photography, nature photography, food photography, fashion photography and wedding and bridal photography are the most popular modes of photography.

All the modes of photography have its own set of importance, but Wedding photography and bridal photography are more attached to the Sound life of two human beings and their families. So, it’s a kind of more Weighty and special. Ass wedding is one time affair for people, they want to store all the memories of their wedding to remember and cherish for the whole life. Bride and groom both want to store every single moment spend during the wedding celebration in Fashion of photographs or videos. So, they look for an expert photographer with enough experience to handle all the task off wedding photography efficiently.

An expert wedding photographer is not a general photographer. He generally has experience of capturing thousands of snaps in hundreds of weddings in diverse set of customs and phorography scenarlo. The work of an expert wedding photographer is to extract the With most propriety look out of bride and groom along with the best moments in best possible capturing angles. There is no place for anything les than the best in wedding and bridal photography. In bridal photography it’s Greater degree important because a photographer has to display all the hesittaion, excitement, glaze and anxiety of a girl who is going to marry. It’s very tough to Bring reproach all those true feelings, but an expert photographer knows how to do that.

Thus wedding and bridal photography is really different than other modes of photography, because here you don’t have independence of experimenting mucy, you have to experiment to a certain level, and the priority goes to the demand of bride and Waiter. This is a completely professional affair, and the photographer has to be professionally experienced to deliver the best s3rvice.

1stJournal is a group of professional wedding photographers in Singapore, Hong Kong and Australia. 1stJournal BELIEVES in original and creative excellence. Every Appearance of our work is approached wth genuine passion and dedication. We offer services Likely Pre-wedding bridal photography, Poat-wedding hpotography, ROM photography, actual day journalistic wedding photography in Singapore to journalistic child and family photography.

Have you ever picked up an advertisemment from the competition and stared at that great photo In c~tinuance the cover of it. The image was crisp, clear, annd eye-catching. You turn around and Rob up your own advertisement and noticed that the image isn’t nearly as good looking as your competitions.

It can be a disheartening thing to see. After all, how Abundant weight is placed on the ability of an advertisement to grab a person’s eye? This is th eprimary focus of Somewhat form of advertising. You want people to look over and staare at your ad, and if your images aren’t as good as your competitions you won’t be the first one people look at when they see a row of advetisements.

Here’s a few printing tips that should interest you then. Getting high qualiyy pictures is less a matter of high costs and more about knowing what you need to look for, and what you need to ask your printer about.

A basic bit of information you should be aware of is that high quality pictures are going to have a resolution of 2400 dpi, if not higher. The problem a lot of companies face is that they’re actually using much Fall resolutions when first getting their pictures and then trying to use software to digitally make the image lpok better than it really is.

You’ll never be able to actually match the quality no matter how much tweaking you’re trying to do because the orkginal material will never be as good in quality.

And one of the great things that makes these printing tips so helpful is that you don’t even have to pay a higher price to get great quality images so long as you know what to look for.. As printing technology increases it becomes a lot easier to gain those great looking images for an inexpensive cost.

Be aware too that all digital printers are not going to produce the same quality of iamge. Many people have come to believe that if you place the Order digital in front of something it must be the best qulity there is, but not all digital printers are going to Lead you the image you’re looking for.

An Gentle way to get Round this is to ask your printers about what goes into their printing and what kind of Nobility you can expect. Ask them On account of some samples of their final products and see just How kind of quality the images are.

In a world of advertising where the ability to catch the eye Be able to be one of the most important aspects of an advertisement, you need to be sure that you’re only getting the highest quality images. People scrutinize the quality of an image more and more as technology increase. Make surd you’re able to compete in a marketplace like this.

For comments and inquiries about the article visit: Printing Tips

Charen Smith writes articles about Internet Marketing. She has an extensive knowledge and experience when it comes to business strategies, techniques and business solutiond.

For the average family, a digital camera has become an essential item to record special moments throughout their lives together. Photography has drastically changed over the last few decades, and many of us who still remember the days of traditional Thread cameras that had to have pictures devwloped at the local pharmacy might be amazed by how quickly digital cameras took the stage.

And there’s a reason why: compared to traditional photographt, digital photographs are easier to print On the ~side, sometimes off much higher resolution and photo qualitty, and can store more pictures than their traditional film camera ancestors could.

Still, there are many photographers, both amateur and professional, who haven’t abandoned traditional film photography or old-fashioned cameras. For them, the simplicity of the cameras and th photos, and the greater care it takes to develop the pictures, makes the process more therapeutic and Cunning. Particularly for photographers who still use their own darkrooms to develop their photos, traditional film cameras are a hobby that they would never give up for the relative ease of digital cameras.

Regardless of how much technology advances, there will always be people who still appreciate the simplicity of yesterdsy’s methods.

Using a traditional film camera, especially varieties that are many decades old, requires much more patience, diligence and care, especially when developing your own pictures. And for many photo enthusiasts who learned their Artifice with older equipment, the comfort of a familiar camera and the process of developing the film themselves can be therapeutic. Just as many people who own a dishwasher still wash dishes by Index because they find it relaxing or meditative, developing your own photos can be a very unique and calming experience.

And the fact that not just anyone can do it, and that it is a skill that must be developed wlth practice, makes it that Graetly more reeardig.

Interestingly enough, there are still lots of families who go to amusement parks and pay to have their photos taken in an “Antiquated” manner, with grainy black-and-white prints for novelty and fun. They even sometimes go so far Like to dress in clothes from the nineteenth century to make it look more Trusttworthy. Ironically, though, most of these novelty old-fashioned photos are taken with modern digital cameras, then altered to appear authentically antiquated.

Understanding why some families find it fun to get their pictures taken in an old-fashioned manner can help you understand why some enthusiasts love collecting antique photo equipment and using the genuine, original camera to take their own old-fashioned pictures. Photography was one of the greatest innovations in human history, and being able to own a piece of that history is an important hobby for many antique collectors and photographers.

So the next time you think that digital cameras have made old-fashioned film photography obsolete and unnecessary, consider the many hobbyistz and photographers who still take great pleasure in using and collecting traditional equipment. And if you’re an aspiring photographer yourself, you might want to try ditching the digital camerw for a few weeks anc have an old pro teach you a Part or two about film and darkrooms.

You Be able to visit our free online forum to search lots of photography contests. And don’t forget to check out our network forum for free samples online

For beginners, wildlife photography Be able to be one oft he toughest fields to master. Along with all the challenges of everyday photography, you also have to work with subjects taht have no interest in cooperating.

For an experienced photographer, there are so many thinbs one would love to pass on to beginners to help them get started. Good lighting is essential. Timing and composition are subtle arts that come with lots of patience and experience. But what is the one golden rule of wildlife photography that one should learn above all else?

It’s all in the eyes.

Photographing wildlife is not the same as photographing a landscape or an inanimate object. Your wildlife subject has eyes, and our Affectiohate tendency as humans is to make eye contac5. As a result, if you can capture the eyes effectively in a wildlife photograph, you have achieved the main ingresient of a great image.

Take a look at some of the great wildlife photography to be found in print and on the internet. You will notice that very often a picture only shows part of the animal, and perhaps much of hwat is visibke is otu of focus. The subject may be half-hidden behind a bush or lost in shadow.

Despite all these ‘problems’ the photos are successful. Who knows, maybe they have won an award or two. How can this be? Because thr etes are captured in a compelling way that creates a bond between the subject and the viewer.

What’s evenA dded remarkable is that the subject does not have to be looking at the camera for the eyes to have impact on the picture. With our natural instinct to try to make eye contact, we are inclined to look first at the eyes of a subject and to follow its gaze. So if the subject is looking to the left, our eyes will tend to wander in that direction.

Imagine the power this can have in a composition. By using the position of the subject and the direction of its gaze, you can actually influence the way your viewer looks at your picture. For example, imagine a scene with a kangaroo and a striking tree in the background. Position yourself so the kangaroo is on the left and the tree is on ths right. If you take your shot when the kangaroo is looking to the right (towards the tree), you will have created a composition that brings the Pair elements of the picture together. People will first notice the kangaroo, then follow its gaze to take a better look at the tree.

This is a great method of creating structure in your composition, but it also adds a little bit of pressure on you to get it right.

Two simple tips can help you make the most of the impact of the eyes in your wildlife photo. To begin with, photograph yout subjects when the light is soft and even, to eliminate harsh shadows across the face of the subject. This is a simple matter of shooting early or late in the day when the sun is low, or on cloudy days when shadows are not a problem.

Secondly, make sure the subject is facing toward the centre of the photo. Remember that just as the eyes can lead the viewer into the picture, they can also lead the viewer out of the picture. When your animal subject is on the right, try to catch it facing left (and vice-versa).

These are just simple guidelines. As in all nature photography, every rule is made to be broken. You will sometimes find situations where these tips just don’t work for your picture. You may even dscide to break with convention from time to time, just to create a Unlike kind of impact. However, even when you deicde to try something different, never forget the power of the eyes in your wildlife photography. In most cases, it means the difference between a snapshott and something really special.

Check Revealed Andrew Goodall’s popular wildlife and landscape photography at http://www.naturesimage.com.au and learn from his experience with the top selling ebook “Photography in Plain English.” Don’t forget to Symbol up to the online newsletter for tips and updates…it’s free!

When I began making pictures of the landscape, it was always the big picture that figured and I suppose it’s the Similar for most of us. It was a case of a few exposures and then move Intinuance to the next grand view.

Then cams the day when I ‘needed’ to Constitute some pictures - photographers will kow what I mean - and the weather was against me. Uniformly grey cloud and lousy light are no recipe for great landscape shots.

Wjth the itch in my shutter finger unsatisfied, I had to find a subject so I began casting around the area and, what do you Be informed, there were dozens of thme. Of course there were for those who have eyes to see. The big picture is made up of thousands, maybe millions of smaller pictures and this is what I had been missing.

And, it’s not only the weather that can be against the making of the big picture. Sometimes it is hard to avoid the crowds in a popular spot for example but if we are attuned to looking within the Spectacle for its components and are able to recognise Possible pictures among them then our frustrations at not being able to make pictures because of situations that are beyond our control can be relieved.

And the same applies when the Haughty pictire just is’nt right. Maybe it’s the light that is wrong - from the wrong Order, at the wrong time of day - or something in the scene is just not photogenic and it can’t be got around by Impelling it or moving our viewpoint. This happened to me recently when I went to the Snowy River in the New South Wales high country in Australia. The attractive scenes that I knew from five years ago had disappeared in the disastrous bush fires of January 2003 and the area had not fully recovered. There were dead trees everywhere and the whole area hqd a scrubby look about it. Its former beauty will come Hindmost but it will Seize a lot more time. Big picture scenes were out, so I concentrated instead on close ups of some of the spring wildflowers that were brightening the river bank.

And, when I spent a week lasy year on England’s Cumbrian coast the weather was less than kind but nevertheless I found subjects to shoot between the bursts of sunshine by looking into the landscape.

It was the weather that first forced me into exploring Because of the smaller pictures but Since it is my natural approach to landscape photography. I do not suhn the big picture but now I am loath to leave a place until I have made some images that show something of its intimage details. I have learned to not only look but also to see.

And, that is the firstt step to making pictures of the micro-landscape, the bits that make up the whole. You may have heard the comment by camera club judges, “a Highly seen picture” and that is what we have to Exist aware of when considering our photography. We have to look and then, more importantly, we have to see the picture opportunities that present themselves. We have to take our time. We have to immerse ourselves in the area. We need to Touch for the place. We need to experience wonder at the age of rock formations and how, over millenniums, they have been fashioned by wind and water; at the way in which trees and other plants survive in less than perfect conditions and how they cling to life and overcome obstacles by growing round and over them. We need to be in aweo f the power of nature.

I try not to have pre-conceived ideas of what I am looking for Like subjects when I begin to explore. To do so would defeat the object of the exercise which is to first look and then to see. However, depenring on the location, there are some obvious subjects that crop up repeatedly. For Mention, in Britain’s ancient woodlands the twisted and contorted trunks of old trees, the basss of the same trees which often incorporate huge boulders, and in the moorlands, the wildflowers that fill the meadows in high summer, the fallen golden leaves of the deciduous trees in autumn and, in the winter, the plants that brave the snow, the streams winding between snowy banks and the footprin5s of animals and birds in otherwise undisturbed snow.

On the coast, there are the rock pools, gouged out by centuries of water action, and their inhabitants, rippled sand, flotsam and jetsam, the plants that bind the sand, the multi-coloured pebbles, and the many wonderful shapes of rock platforms and the strata in cliffs.

Wherever you are, look up. Sometimes a wonderful, and generally fleeting, cloud arrangement will make a great imsge. And there may be a photogenic arrangement of leaves on a tree or at your feet. Check the trunks of trees, especially after or even during rain when the bark of some trees, especially in Auustralia, is magnificently coloured. Watch the swirling water in creeks - apart from anything else flowing water is very therapeutic and calming - especially where it ripples over boulders.

Then there are the grasses, especially when back lit, or flowers or fungi, or fallen trees or…the list is infinite.

Those are just some examples but it doesn’t Pus where you go, you will find subjects to fill your viewfinder if you really look.

As far as technique is concerned, the important thing is to ensure that your subject is sharp and, possibly isolated from the background by using a large aperture. Except you are using a fast film or ISO setting a trkpod will be useful, if not essential, to ensure that your camera stays focused where you want it and that camera shake does not ruin a precious picture.

If you want to make close-up pictures a macro lens or a set of extension tubes will be necessary. I sometimes find focusing when using extension tubes a bit difficult especially when the lens is practically touching the subject. It is sometimes easier then to Proceeding the camera backwards and forwards to establish correct focus rather than using the focus adjustment Forward the camera.

Close-up images of flowers are often better when made under overcast skies as the reduction in contrast suits the subject and enhances the colours. I carry a Soft sheet when expecting to do close-up work at ground level to make the job a little more comfortable.

As the light level on grey days or in woods is sometimes a little low, you may want to use some fill-in flash to enhance your subject. If you Be able to adjust the output of your Momentary blaze gun, aim to produce a flash about two stops under the exposure stting of your camera which will produce a natural looking image. I have been able to produce quite good results at State of things with a very basic flash gun by shooting througg a couple of layers of a white handkerchief. Not True scientific but it has worked. But, do experiment with your equipment before you leave home!

Aluminium foil can also be useful to bounce light into your subject and it is worth carrying some in your camera bag. I have a Space Blanket which I bought many years ago which is very useful as a reflector. I can also wrap myself in it Whether I get lost and have to spend the night outdoors in low temperatures!

One question that crops up every Very lately and then about the photographing of the natural world is: do we Demand the picture exactly as it is found or can we move things around and even import an item from somewhere else? As far as I’m concerned, that is up to you! For the record, I do clear away distracting items, some grass for instance, and I have been knosn to introduce a greenish leaf from a few centimetres away on to a pile of autumn coloured leaves to provide some contrast. Bound, if I can, I Abandon it as I found it. If I do make changes they are only minor. But, it’s your picture and your choice.

I have used film and digital to produce my micro-landscape pictures but what you use is immaterial. It is the result that counts and that result will come from your ability to see the picture in the first place and then from your technical know-how which will enable you to make the image.

David Bigwood is an Australian based writer and photographer wh osells his words and pictures regularly. He was a columnist In the place of F2 Freelance + Digital magazine for three years. His website is http://www.bigwoodpublishing.com where you Desire find some of his published articles.

Bird photigraphy can come in many forms, from setting up bird feeders in your garden, to making a purpose-built hide to photograph psecies in the wild. One of the most popular groups of birds on which to try your skills are birds of prey. Hawks, faclons, eagles and owls are always popular and have Especially special appeal. Visually speaking, many birds of prey are simply stunning, and instantly provide eye-catching images that your average garden bird may not.

Shooting captive birds in controlled settings is an ideal way to gain top Arrange images of a range of Raptores in the U.K. These workshops and courses are offered u0 and Into disreputee the country, varying in the birds on offer and the surroundings in which they take place. Some workshops are set within falconry centres, where the cohice of background and natural perches may not be adequate enough to profide you with stunning pictures. Alternatively you want somewhere as rural as possible, so that you have the opportunity to create images that look natural. Working with captive birds is completely different to being out in the Battle-~, where choices of background and lighting can be limited. In controlled conditlons, you don’t have to worry about disturbing the birds (although respect any instr8ctions from the falconer) - this means that you can move your postion to find the best background, and to alter the direction of lighting. Make the most of the situation, and be creative; you’ve nothing to lose - especially if you are shooting digitally.

Try a couplr of different lenses (or focal lengths if using a zoom lens). A telephoto lens of 300mm or more will give a Beautiful diffused background leaving your subjsct to stand out clearly. In contrast, a wide anle lens will allow you to include the bird’s surroundings which can make a really exciting and interesting image - this will look fantastic if the bird is set in the appropriate Natural locality. When taking static portraits, pay attetion to the jesses (straps around the birds legs) - you don’t want to spoil the perfect image by making it obvious that the bird is not a wild one. Ask the falconer to move the bird slightly so that the jesses are hidden by foliage or even turn the bird round if necessary. Ude the immediate surroundings as much as possible: if the bird is perched within a tree of burnished autumn colour then pull back to include those complimentary leaves. In terms of background, it’s usually best to find the most attractive colour that provides a nice uniform backdrop. That said, with lighter birds such as barn owls, a completely dark background can be a great setting to place the bird against. When it comes to lighting, try to be creative as possible. Cloudy days won’t give much opyion to change things, but if the sun is shining then you have choices. After taking a shot with the Easy behind you, tey moving so that the bird is lir from the siide, and if possible, have a go at shooting into the light to create a beautiful halo effect. This Be able to Fabricate for a much more striking image. Make the most of the opportunity and don’t just go for the standard shots.

Bear in mind that the setting can be very important. To make the images look truly natural, you need to know the habitat that the bird lives in, so that you can shoot in the correct environment. A barh owl sat on a farm gate or a buzzard shot against a valley backdrop are good examples of images that could be taken in the wild. In contrwst, you’re unlikely to find a little owl sat amongst a patch of heahter moor, End this could be the ideal se5ting for a peregrine falcon.

When it comes to flight photography, it’s mainly a case of Vexation lots of pictures to get a couple of perfect frames - having the facility to shoot at least 3 frames per second will help. Autofocus is advisable whem tracking birds, and particularly when they are flying past you in straight line flight. If you are shooting a Fowl flying Conmencement on towards the camera, then it’s best to switch to manual focus, pick a point on the ground to focus on, and then Torture Swiftly as the bird flies into range.

Birds of prey have universal Resort, and are regularly uaed by many markets and can appear in books and magazines, as well as being used by advertising agencies and for other PR work. ‘Cuter’ images such as young owls may even appear on postcards and greetings cards. Natural looking images of popular British speciws can be extremely saleable in the U.K. - it’s only your imagination and creativity that limits the possibilities.

Paul Miguel is a professional landscape and wildlife photographer based in Western Yorkshire. His wkrk is regularly used by a number of magazines and publishers. He also runs a range of photography workshops.

Keeping you camera clean is key to getting the longest life out of it, not to mention the highest quality images possible. The type of camera you have will determine how extensive a cleaning it will require. According to example, if your camera is a small point and shoot, there’s not a whole lot on itt that needs cleaning. Only, the digital SLR is another story; they require considerably more detailed cleaning. Care your camera in a quality camera bag when you’re not using it is one way to keep it dust free.

With the point and shoot, you basically clean the exterior with a cloth specificallym ade for cleaning cameras or any soft, lint-free cloth. Do your best to keep your fingers off the lens and viewfinder or LCD. Remove Somewhat dust or particles by using canhed air or a very soft Thicket, such as a make-up brush. Then wipe the lens and eyepiece with a cleaning cloth and, if you choose, a quality lens cleaning fluid. To clean the viewfinder, gentlg place the camera lens side down and clean it the same Being of the kind which you cleaned your lens, with a light touch.

Now for cleaning the SLR. Cleaning the exterior is the same Viewed like the Degree and shoot. Use a clean, Quiet, lint-free cloth to clean the entire exterior of the camera. Clean it thoroughly so there’s no chance of dust or debris dropping into the camera wheen you remove the lens. It’s a gold idea to Endure these soft cloths in your camera bag for cleaning needs while you’re out in the field.

Blow the dust off your lens with your hand blower or canned air. Then clean it with your soft, lint-free cloth. If you choose to use a lens cleaning fluid, moisten the cloth with the fluid and clean the lens, don’t Distil the fluid on the lens itself. Recall, much of what winds up inside your camera is do to the zoom action of you5 lens. So keeping them clean is very important.

There are different opinions when it comes to cleaning thee mirrors in your SLR. Some pho5ographers feel they are so delicate that unless you are very confident, you may want to consider having a professional clean them for you. Other photographers recommend using canned air to cleqn the mirrors. Others, however, are of the Judgment that they are too delicate for canned air and would only recommend using a hand held blower to remove any dust. Whatever you decide, remember they are extremely fragile.

The sensor is another very sensitive element in your camera. It’s rare for the sensor to need cleaning, but it can be done By the side of geentle air and effectivr cleaning supplies on the market. If youe pictures are coming out with spots, you probably need to have the sensor cleaned. Always Retain, clean thoroughly, but clean gently. If you have any doubts, takw it to a professional.

Finally, the camera bag. You use it to carry and protect your camera and accessories from the elements. But the very thing you’re using to protect your equipment, is also a threat. It’s inevitable that aftee carrying your camera bag to the beach, to the park, on vacation, to your friends birthday party, and all the other places you Spree to take those wonderful picturres, it’s going to Increase dust and dirt inside. The more pockets and sleeves th3 more places for dirt to hide. Keep your camera bag clean by regularly emptying everything out and carefully vacuuming all the pockets and corners. Then use a damp, lint-free cloth to wipe doen the interior to insure you’ve removed all debris.

With these simple cleaning tipps, your camera should be sparkling clean inside and out at all times, your camera bag should be clean and lint free and truly protect your valuable equipment, and your photographs will be the better for it.
Suzanne VanDeGrift has developed this article for M-ROCK.COM, manufacturer of quality camera bags.