By Tedric Garrison
One of my first award winning photographs was a photo with a waterfall in the background and a stream leading from its base right into the foreground. I was standing in the middle of the stream at a fairly low angle, but what made this photo unique was that I had also managed to capture several stars reflecting off the water. I admit it; it was pure luck, but with so many people impressed by those little stars . . . I started looking for ways to be able to do that whenever I wanted. That was when I first started exploring the world of photo filters.
Photo filters are NOT going to change a bad photo to a good one, BUT . . . they may change a good photo into a great one. In other words; filters are like the frosting on the cake, if the cake itself tastes bad, it doesn't matter how sweet the frosting is. For the sake of this photo article we are going to assume you know how to make a good cake (take a good photo), and now you are ready to go to the next level.
Star Filters - these are available in 4 point, 6 point, or 8 point variety. These photo filters add glamour to nature or highly reflective surfaces (like someone playing a trumpet).
Polarizer - this type of photo filter is often thought of for enhancing clouds in the sky, but they also give you more control with reflections on water or glass. They also help with extreme photo lighting situations like snow or sand.
Close-Up Filter Set - not everybody can afford an extra $300 to $400 for a macro lens, this set of photo filters is well worth the investment. This gives you the edge to be able to take advantage of, and photograph the unexpected; whether it is a butterfly on a flower or dew on the morning grass.
Split Field Filter - A Split Field Filter allows you to go beyond the limits of traditional depth of field in photography. Half of the lens is basically a close up filter, half is regular glass. Now you can take an extreme close up photo of a flower at the edge of a vast canyon and still have BOTH sections of your photo look crystal clear.
Split Color Filter - This filter comes in several combinations. Similar to the split field filter, part of the filter is just regular glass, BUT the other half is colored. If half the filter is deep orange for example, you can take a photo of any mountain range and make it look like it was taken at sunset.
Spot Filter - The idea behind a spot filter is that a small portion of your photo will appear sharp (usually a spot in the middle) and the rest of the photo looks soft and dreamy. Often used in Wedding pictures or individual portraits.
Soft Focus Filter - As the name implies this photo filter gives the entire image a soft focus or dreamy effect. Use this VERY sparingly or people will think you can't focus.
Besides photo filters there are some other small items that you should tuck into your camera bag to help you improve photographic opportunities. The cost of these photo gadgets are relatively small but can give you big time (professional looking) results.
Double Sided Poster Board - For many years I carried a 10 inch x 12 inch poster board that was black on one side and white on the other. This can be used to make a small subject stand out from
the back ground. A small tree frog on grass is much harder to see than one against a black background. This can also be used for controlling light like a small photo reflector.
Spray Bottle - having a small spray bottle of water means now you can take a "flowers with morning dew" photo, even if it's the middle of the afternoon. You can make athletes sweat when you want them to; or wet down wild hair that is blowing in the wind for better outdoor portraits.
The last fairly cheap item for big results is a Tripod or a Monopod. Tripods don't have to be built so a man can sit on it to be of good quality. And if you are worried about space as you are taking your wonderful photo trek into the wilderness consider a monopod. It offers stability as well as making a good walking stick.
All of these items are considered photo add-ons. None of them are required to make a great photo, but when the opportunity arises it's good to know you have the right tools at your disposal. Of course there are hundred of other photo gadgets and gizmos that you can get, but I advise sticking with the basics. Far more important than anything you can add to the outside, is the vision you have on the inside. Learn the elements of design. Practice leading lines, balance, repetition, framing and the rule of thirds . . . these are the ingredients of a great photo. All the rest is just frosting on the cake.
Award winning writer / photographer Tedric Garrison has over 30 years experience in photography. As a Graphic Art Major, he has a unique perspective on the Elements of Design and how those elements relate to all aspects of photography. His photo eBook "Your Creative Edge" proves that creativity CAN be taught.
Today, he shares his wealth of knowledge with the world, at: http://www.betterphototips.com
Monday, June 30, 2008
Wednesday, June 25, 2008
Wildlife Photography - Tips For Better Composition
By Andrew Goodall
For a nature photographer, composition can be a daily challenge. In wildlife photography the challenge is even greater. Not only are you trying to satisfy your own creative vision, you also have to deal with a subject which may have no interest in having its photo taken.
I can't help you much with an uncooperative subject. Rest assured that with practice and experience, you will find that you become much quicker at composing and exposing a photo so that you get the shot before the critical moment passes. There are a couple of simple tips that can make things a little easier.
First, practice your photography in places where the animals are used to having people around and are less likely to become jittery at your presence. This does not have to be a zoo or other enclosure. Most national parks have campgrounds and picnic grounds where the wildlife is used to being around people, and may even come closer looking for food. You have a much better chance of a shot if you can get close without frightening the subject away.
Second, try to organise your exposure before you set up the shot. If the light is fairly constant, it is possible to point your camera in the right general direction and work out the best aperture and shutter speed settings for the photo. Then when you approach the subject, you can concentrate on composition without having to waste time working out your exposure.
These simple tips may help to take some of the frustration out of wildlife photography, but what about the composition itself? Many people simply don't know where to start. If that sounds like you, don't be discouraged. Like I said at the beginning, composition can be tough; even for a photographer with years of experience.
Let's start by breaking it down into two categories; close-up and non close-up photos.
In a close-up photo, the subject fills most of the frame. A lot of people get in a tangle over whether to position their subject in the middle or to one side of the composition. In my experience it is quite acceptable to have the subject right in the centre, as long as you allow some head-room so it doesn't appear too cramped within the confines of the composition. A central position is especially suitable when the subject is looking straight at the camera, but often works just as well if the subject is facing a little to one side or the other.
The more space you have around the subject, the more you should consider putting it to one side or the other. In this you should be guided by the way the animal is facing. If it is looking to one side, position it a little towards the other side so it is looking toward the centre of the frame. So, if your wildlife subject is looking right, position it a little to the left. Not too far; you don't want half of your photo to feature nothing but empty space.
In a non close-up, where the photo shows a lot more space around the animal, it becomes more critical that you use that space effectively. In situations where the animal is featured with a lot of background, it may be better to think of the picture as a landscape photograph, and compose it accordingly. Some of the tried-and-true techniques like the Rule Of Thirds (google it if you are not familiar with it) are a good way to help you position your subject within the overall frame of the picture.
For a landscape style photo, it may look quite unbalanced to position your subject in the centre of the picture. It is usually better to position it to one side or the other, and it is now even more important to have the animal facing toward the centre of the picture. The eyes of an animal subject can have a strong effect on the direction in a composition; we tend to look where they are looking. So if the animal is on the left and looking left, the visual flow of the composition will lead out of the picture, instead of into it. If the subject is on the left and looking right, the viewer will follow the gaze of the subject into the centre of the picture.
Naturally it helps if there is something of interest in the centre or to the right to catch the viewer's attention and add interest to the composition. If the subject is looking into the composition, it makes sense that it is looking at something, not just at empty space. Almost anything will do...a tree, a beach, an impressive sky; as long as it adds impact to the composition. If there is nothing of interest to work with, you might consider zooming in closer, so there is less emptiness in the composition.
These simple guidelines are intended to do nothing more than give you some ideas. Nature is not governed by the rules of composition, and a wildlife photographer must be flexible to get the best result out of each situation. Above all, trust your own judgment, your own sense of visual balance, to create a satisfying composition. On the other hand, if you are struggling to get started, think back to these guidelines; if you can position your subject well, the rest of the composition will fall into place.
Wildlife, landscapes, rainforests...t he essentials of good nature photography are covered in "Photography In Plain English," the top selling ebook by Andrew Goodall. Find it at http://www.naturesimage.com.au and sign up to the free online newsletter for even more tips.
For a nature photographer, composition can be a daily challenge. In wildlife photography the challenge is even greater. Not only are you trying to satisfy your own creative vision, you also have to deal with a subject which may have no interest in having its photo taken.
I can't help you much with an uncooperative subject. Rest assured that with practice and experience, you will find that you become much quicker at composing and exposing a photo so that you get the shot before the critical moment passes. There are a couple of simple tips that can make things a little easier.
First, practice your photography in places where the animals are used to having people around and are less likely to become jittery at your presence. This does not have to be a zoo or other enclosure. Most national parks have campgrounds and picnic grounds where the wildlife is used to being around people, and may even come closer looking for food. You have a much better chance of a shot if you can get close without frightening the subject away.
Second, try to organise your exposure before you set up the shot. If the light is fairly constant, it is possible to point your camera in the right general direction and work out the best aperture and shutter speed settings for the photo. Then when you approach the subject, you can concentrate on composition without having to waste time working out your exposure.
These simple tips may help to take some of the frustration out of wildlife photography, but what about the composition itself? Many people simply don't know where to start. If that sounds like you, don't be discouraged. Like I said at the beginning, composition can be tough; even for a photographer with years of experience.
Let's start by breaking it down into two categories; close-up and non close-up photos.
In a close-up photo, the subject fills most of the frame. A lot of people get in a tangle over whether to position their subject in the middle or to one side of the composition. In my experience it is quite acceptable to have the subject right in the centre, as long as you allow some head-room so it doesn't appear too cramped within the confines of the composition. A central position is especially suitable when the subject is looking straight at the camera, but often works just as well if the subject is facing a little to one side or the other.
The more space you have around the subject, the more you should consider putting it to one side or the other. In this you should be guided by the way the animal is facing. If it is looking to one side, position it a little towards the other side so it is looking toward the centre of the frame. So, if your wildlife subject is looking right, position it a little to the left. Not too far; you don't want half of your photo to feature nothing but empty space.
In a non close-up, where the photo shows a lot more space around the animal, it becomes more critical that you use that space effectively. In situations where the animal is featured with a lot of background, it may be better to think of the picture as a landscape photograph, and compose it accordingly. Some of the tried-and-true techniques like the Rule Of Thirds (google it if you are not familiar with it) are a good way to help you position your subject within the overall frame of the picture.
For a landscape style photo, it may look quite unbalanced to position your subject in the centre of the picture. It is usually better to position it to one side or the other, and it is now even more important to have the animal facing toward the centre of the picture. The eyes of an animal subject can have a strong effect on the direction in a composition; we tend to look where they are looking. So if the animal is on the left and looking left, the visual flow of the composition will lead out of the picture, instead of into it. If the subject is on the left and looking right, the viewer will follow the gaze of the subject into the centre of the picture.
Naturally it helps if there is something of interest in the centre or to the right to catch the viewer's attention and add interest to the composition. If the subject is looking into the composition, it makes sense that it is looking at something, not just at empty space. Almost anything will do...a tree, a beach, an impressive sky; as long as it adds impact to the composition. If there is nothing of interest to work with, you might consider zooming in closer, so there is less emptiness in the composition.
These simple guidelines are intended to do nothing more than give you some ideas. Nature is not governed by the rules of composition, and a wildlife photographer must be flexible to get the best result out of each situation. Above all, trust your own judgment, your own sense of visual balance, to create a satisfying composition. On the other hand, if you are struggling to get started, think back to these guidelines; if you can position your subject well, the rest of the composition will fall into place.
Wildlife, landscapes, rainforests...t he essentials of good nature photography are covered in "Photography In Plain English," the top selling ebook by Andrew Goodall. Find it at http://www.naturesimage.com.au and sign up to the free online newsletter for even more tips.
Tuesday, June 24, 2008
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