Sony Celebrates World Photography Awards with Free Seminar

To celebrate Sony’s sponsorship of the World Photography awards, Sony UK will be hosting a free photography seminar on 18th April. Taking place from 7.30pm – 9.30pm at The Wellcome Collection, 183 Euston Road, London, NW1 2BE, the seminar features a panel of experts who will share their insights into the intricacies of the art of photography. The panel will include Fiona Shields, Guardian Picture Editor, Elizabeth Roberts, Editor of Black and White Photography and Celia Henderson, a Sony advocate photographer who uses her photographs of the natural world to create contemporary wall art on print, canvas, metal and acrylic.Sony is also giving one lucky photographer the chance to have their photograph displayed at the Sony World Photography Awards 2012 winner’s exhibition at Somerset House. All you have to do is take a picture themed around your interpretation of ‘Now’ and send it to Sony UK via email. Places will be allocated on a first come, first serve basis, so be quick!  Lucky attendees will be notified on Wednesday, 11th April.
Sony Press Release
Sony celebrates World Photography Awards with free seminar
Budding photographers and semi-professionals are invited to learn the tricks of the trade at an exclusive photography seminar in London
To celebrate Sony’s sponsorship of the global photographic event of the year, the Sony World Photography awards, Sony invites anyone with a passion for photography to attend a free seminar on Wednesday 18th April 2012 from 7.30pm – 9.30pm at The Wellcome Collection, 183 Euston Road, London, NW1 2BE
Now in its fifth year, the Sony World Photography Awards celebrate the very best in photography from around the world, from the next generation of emerging photographers through to the established masters of the art.
To encourage and inspire photographers of the future, Sony is hosting an exclusive Photography Seminar featuring a panel of experts who will share their insights into the intricacies of the art of photography.
The panel will include Fiona Shields, Guardian Picture Editor, Elizabeth Roberts, Editor of Black and White Photography and Celia Henderson, a Sony advocate photographer who uses her photographs of the natural world to create contemporary wall art on print, canvas, metal and acrylic.
Attendees will get the chance to learn first hand what it’s like working in the industry, how to frame amazing pictures and also get the chance to test the latest Sony Imaging kit, including NEX and Alpha camera systems. 
Sony is also giving one lucky photographer the chance to have their photograph displayed at the Sony World Photography Awards 2012 winner’s exhibition at Somerset House. All you have to do is take a picture themed around your interpretation of ‘Now’ and send it us via email.  The expert panel will select the winner and the best 20 images will be displayed at the seminar.

How to Create a Successful Photography Business

How to Create a Successful Photography Business by award-winning pro photographer Elizabeth Etienne is a new book from Allworth Press. Covering everything from expenses, pricing, and profits to client relations, branding, and marketing; the author reveals a number of insider tips that can help you build a flourishing photography business. The 240-page paperback is available for $19.95.
Press Release
A JAM-PACKED GUIDE WITH SECRETS TO CREATING A PROFITABLE PHOTOGRAPHY BUSINESS!

“A great read for any photographer who’s serious about making a go of it in today’s competitive marketplace. Elizabeth reveals the kinds of crucial insider tips that have helped make her stunning photography a real business success.”
—Audrey Jonckheer, worldwide public relations director, Kodak

Whether you’re a seasoned pro or a weekend enthusiast, this book will show you How to Create a Successful Photography Business (Allworth Press, March 2012). Carry it in your back pocket or stash in your camera bag, the chapter titled “The Ten Commandments of a Successful Photography Business” will not only change the way you operate your business, but also the way you live your life.
Award-winning pro photographer Elizabeth Etienne cuts to the chase with straightforward, informative, inspirational information. Etienne reveals everything from expenses, pricing, and profits to client relations, branding, and marketing. These are the “cliff notes” to a successful photography business that other photographers don’t!
Additional topics include:
·      Negotiating and closing the deal
·      Establishing your area of specialization and personal style
·      Prepping, directing, and shooting
·      Assistants, agents & partnerships
·      Recycling your images into stock, fine art, or décor products
·      Dialing in to the “success frequency”
·      And much more!
If you’ve ever dreamt of turning your passion for photography into a profitable business, How to Create a Successful Photography Business is for you!
About the Author
Elizabeth Etienne has made her way around the world and back, from the cobblestone streets of Paris to the sandy beaches of California she now calls home. An award-winning photographer endorsed by Nikon, Kodak, and other industry providers for her trademark style and diverse subject matter, her work can be found in many magazines, blogs, websites, ad campaigns, stock libraries, and fine-art galleries. A passionate educator, she counsels photographers of all levels through her private photo-coaching business, workshops, guest speaking events, and books. She is the author of two acclaimed books, The Art of Engagement Photography and Profitable Wedding Photography, and teaches everything from shoot production planning and technical tips to portfolio presentation and photo business negotiations.
Allworth Press publishes business and how-to books for artists, graphic designers, photographers, and interior designers, as well as for filmmakers, performing artists, and authors. In addition, Allworth Press also publishes legal and personal finance guides for the general public. Books from Allworth Press are distributed to the book trade by W. W. Norton and can be found in better bookstores.

Abstract Photography: Learning the Essentials

Abstract photography can create very impressive photos. However, people tend to perceive abstract images differently than other images. This is because abstract images rely more on form, color, and curves than they do on image detail. On the other hand, most photographers tend to think more about detail when considering photographic subjects. To recognize abstract photography opportunities, one must learn to look at our world differently.
Definition of Abstract Photography
Abstract photography does not have a universally accepted definition. At first, this may seem odd. On the other hand, it is not easy to create a precise definition of an abstract concept. Nevertheless, for this article, it is important to create a definition so that there will be some borders around the topic. The definition makes it easier to decide what falls within the realm of abstract photography. For our purposes, abstract photography is defined as any photography that:
* Does not represent the subject in a literal way.
* Communicates primarily through form, color, and curves rather than image detail.
Why Shoot Abstract Photography
Before we start creating any images, it is important to understand why we should even consider creating abstract images. After all, there are plenty of other photographic opportunities out there.
There are two primary reasons. First, as was previously mentioned, abstract photography can create very impressive images. This is really all the justification that is needed. Then again, there is another reason. Opportunities for abstract images can be found just about anywhere. So, we can create abstract images at home and around our neighborhood. It isn’t necessary to travel to other locations to capture images (as is the case with many other types of photography such as landscape photography).
Essentials
Abstract photography has three essentials: form, color, and curves. To create impressive abstract images, it is important to think in these terms.
Form: Form refers to the shape of objects. Form functions as the structure upon which an abstract image is created. Fundamentally, form creates the heart of an image while color and curves add enrichment. Consequently, it is very important that an abstract image begin with good form. This can be accomplished by selecting objects with pleasing, interesting, or dynamic shapes.
Now, it might be tempting to want a definition or list of what makes for good form. However, it must be remembered that abstract photography is an instinctual art form — people react to it emotionally not logically. Thus, it is essential that form be approached in the same manner. It is necessary to find objects with forms that create an emotional reaction. When one looks at an object and immediately reacts, “Wow, look at that”, a strong form has probably been found.
Color: Color grabs the attention of the viewer and stimulates the viewer’s perceptual system. Not only does color grab the viewer’s attention, it also serves to hold the viewer’s attention for an extended period of time. If the viewer’s eyes do wander, the color tends to bring the attention back.
Using a saturated or intense color is one approach to using color. Another approach is to use colors that contrast.
Curves: Curves can help to spice up an abstract image. That is because curves control the movement of the viewer’s eyes. There are a couple of ways that curves can be used. First, curves can add interest by helping to guide the viewer’s attention to an image’s center of interest. The result is a stronger center of interest and a better image.
The second way that curves can add interest is somewhat more subtle. In this case, the curves don’t point at the center of interest. Instead, the curves course through the image in an elegant or dynamic way. Despite the fact that the curves do not point toward the center of interest, they nevertheless function to control the viewer’s eyes. With this approach, the viewer’s attention will travel back and forth along the curves. Consequently, the viewer’s attention has been focused on the image.
In Summation
Once you master the use of form, color, and curves, you are on your way to capturing some great abstract images. On the other hand, there is a lot more to learn about abstract photography.

How Lines Can be Used to Create Great Photo Compositions

A very powerful method of improving the composition of photos is the use of lines. Properly used, lines can significantly increase the impact of images.
Lines serve to affect photographic composition in two ways. First, they serve to create a mood. Second, they lead the eye through the photograph. By affecting mood, lines add emotional content to images. By leading the viewer’s eye, they keep the viewer’s attention focused on the image. When dealing with lines, the subject can be broken into the following types:

• Horizontal lines
• Vertical lines
• Diagonal lines
• Jagged and irregular lines

Horizontal Lines
Horizontal lines tend to indicate a sense of homeostasis (lack of change). This use in an image often projects a feeling that an image, or part of one, is somehow frozen at a point in time. Horizontal lines should be used when a photographer wants to impart a sentiment of timelessness or lack of change to an image. In addition, they can serve to provide a contrast with more dynamic parts of an image. Examples can be found in buildings, horizons, and fallen objects (e.g. trees).
Vertical Lines
Vertical lines can project either a mood of stability or peace. When projecting a mood of stability, they often function similarly to horizontal lines. This can convey an implication of substance or permanence. Examples of vertical lines used to impart a mood of stability can be found in rock formations, power line poles, and vertical lines of buildings.
Proper use of vertical lines can also impart an impression of peace and tranquility. Examples of this use are trees in a fog shrouded forest, old fence posts on an isolated prairie, and a figure on a secluded beach in the early morning.
Diagonal Lines
Diagonal lines can convey a sense of action or make an image more dynamic. For this reason, diagonals are a very powerful tool. Their power resides in their ability to grab the attention of the viewer. The viewer’s eyes tend to travel back and forth along diagonals. Diagonal lines can be formed not only of objects such as streets or sidewalks but also of color. For instance, a diagonal section of color can add drama to a flower image. Examples of diagonals are plentiful: roads, streams, waves, and branches are but a few examples of objects that can be utilized in a diagonal manner.
Jagged and Irregular Lines
Jagged and irregular lines take us one step further on the continuum of emotion and feeling. While diagonals move us into the area of the dynamic, jagged and irregular lines often impart a sense of unease, tension, or fear to the viewer of the image. Heavy use of jagged and irregular lines can cause a negative feeling in the viewer (which may be exactly what the photographer intended). Therefore, they are the tools of choice for the photographer who wants to create a feeling of disquiet or agitation in the viewer. Examples can be found in roots, a crocodile’s teeth, stark mountain peaks, and the twisted metal of an automobile wreck.
Leading the Eye
As powerful as lines are in helping to create a mood in an image, they become even more powerful when they are also used to direct the viewer’s attention. When using lines to direct the viewer’s attention, two rules need to be followed. First, make sure that the lines always point toward the most important object in the image. This will direct the viewer’s attention directly to that object. Second, make sure that the lines never point outside of the image. Lines that point outside the image will make the viewer’s eye leave the image. This weakens the image and may result in the viewer losing interest in the image entirely.
Summary
Since lines are such a powerful compositional tool, we should learn to think of the effect of lines when we compose our images.
However, lines are just the start. There is much more to photographic composition.

Using Color To Create Strong Photo Compositions

Color is one of the most obvious elements of composition. Everyone knows that intense colors make people take notice of your images. Ever wonder why there are so many sunset and flower shots? Color is the reason.
Color has a couple of functions in photographs. First, color grabs the attention of the viewer. Perhaps, because this function of color is so palpable, many photographers miss the more sophisticated function of color: color sets the mood of an image. Since color is such an important compositional ingredient, we should use color to its fullest extend — incorporating both functions of color into images.
Grabbing the Viewer’s Attention
Utilizing color to grab attention is often rather straight forward. Generally, what is required is a saturated or intense color (or colors). This type of color tends to grab the viewer’s attention and focus it on the area of color. Furthermore, the color tends to keep the viewer’s attention for an extended period of time. When the viewer’s eyes do wander, the color tends to bring the attention back.
There are a couple of primary ways to use color to grab a viewer’s attention. The first way is to use very bold colors. An example of this approach would be a dramatic sunset. The second way to use color to grab a viewer’s attention is to use a mix of contrasting colors. An example of this approach would be an image of fall colors where there is a combination of red, orange, and yellow leaves.
Mood
Setting the mood through the use of color tends to be a more subtle application of color than when color is used to grab attention. However, that does not mean that it is any less powerful.
Different colors elicit different moods. Since there are a huge number of colors, it is not possible to cover all of the colors and their impacts on viewers’ moods in an article such as this one. Instead, a few colors will be reviewed in an effort to convey how colors affect viewers’ feelings.
Blue
Blue tends to bring forth feelings of calm or cold depending on how the color is used. This is a reflection of how we perceive the color in nature: the deep calm ocean is blue, peaceful cloudless skies are blue, and large amounts of ice have a blue tint. Therefore, when we wish to create a feeling of calm in an image, we should include blue objects in the image such as a peaceful blue stream or a blue lake.
Green
Green often communicates a feeling of lushness and vibrancy. Again, our feelings about this color are tied up with how we frequently experience the color in nature. We tend to associate green with spring and new growth. Green is frequently used in landscape photography. Green meadows, plants, and fields can be used to convey the mood of a flourishing scene.
Yellow, Orange, and Red
The last colors to be evaluated are the warm tones: yellow, orange, and red. These colors are associated with feelings of warmth and comfort (again the colors are tied to how we experience them in nature). Sunsets are a perfect example of how these warm colors create a comfortable feeling. When we wish to take advantage of these colors to create a feeling of comfort in our images, we can include objects such as flowers, plants, food, and rocks that contain these colors.
Light
So far, we have looked at using color to create mood in photographs by means of including objects, with the appropriate colors, in an image. However, there is another way to use color to create mood in an image – the use of light. Early morning and evening provides us with colored light which can be used to powerful effect in images. Before sunrise and about twenty minutes after sunset, everything is bathed in a soft blue light. This light can be used to create a calm mood such as an early morning shot of a beach bathed in the cool, blue light.
Just after sunrise and before sunset, the light is often very warm with red, orange, or yellow hues. This light can be used to create feelings of comfort such as a beautiful mountain peak bathed in a soft, warm, golden light.
Summary

When properly utilized, color can be one of the most effective methods of grabbing attention and conveying mood in an image.

Understanding Depth Of Field To Create Great Photos

When we, as photographers, plan a shot, one of the fundamental decisions that we must make is what we want to be in sharp focus. What we desire to be in focus can vary radically from one image to another. For an expansive vista of the Grand Canyon, we may desire that everything from the foreground to the farthest recesses of the canyon be sharp. For a macro shot of a flower, we may want a very narrow range of focus so that the viewers’ attention is concentrated at a specific point in the image.
The issue of what is and is not in focus is referred to as depth of field. From a practical point of view, depth of field can be defined as the nearest point to the farthest point that appears sharp in an image. So, the question now becomes, “How can we control the depth of field?” Actually, there are several factors that we can control that will affect the depth of field.
Aperture
The camera aperture has a very large impact on depth of field. Basically, the smaller the aperture is, the greater the depth of field that will result. So, if you want a large depth of field, you should use a small aperture. For a small depth of field, you will need a large aperture.
Focal Length
Increasing the focal length reduces the depth of field. Conversely, decreasing the focal length increases the depth of field. Thus, long lenses typically have small depth of fields, and wide angle lenses have large depth of fields. This is one of the reasons that landscape photographers often use wide angle lenses. A wide angle lens combined with a small aperture produces a very large depth of field.
Distance
The greater the distance is from the subject, the greater the depth of field that will result.
Lens Sharpness
Lens sharpness has an impact on depth of field. Sharp lenses are sharper throughout the field of view. This increases the depth of field.
Sensor or Film Size
Okay, this one is a little bit more complicated. In one way, larger sensors in digital cameras or larger film in film cameras produce greater depth of field because the image from a larger sensor or piece of film does not need to be enlarged as much in order to create a print. The less an image is enlarged, the sharper it will appear. This increases the depth of field. On the other hand, cameras with larger sensors or film tend to use longer lenses which decreases the depth of field. So, what is the overall impact? Usually, the larger sensor or film cameras will produce a smaller depth of field. However, that is not a guaranteed thing as much depends on how the camera is used.
Print Size
The general, the larger the print is, the smaller the depth of field that results. This is because the print has to be enlarged more from the original size of the sensor or film in order to create a large print. This softens the print detail and reduces the depth of field.
Focusing Distance
When it comes to the focus distance, there is one very special focusing distance called the hyperfocal distance. The hyperfocal distance is the shortest distance from the camera such that everything from approximately half that distance to infinity will appear sharp. Focusing the camera at the hyperfocal distance results in the greatest depth of field possible for a given combination of aperture and focal length.
There are a number of ways to determine the hyperfocal distance. Probably, the most common method is to use a depth of field guide. A depth of field guide is an inexpensive, small device that allows a photographer to determine hyperfocal distances as well as other depth of field parameters.
In addition, photographers that have older lenses may find that their lenses have depth of field scales engraved on the lenses. To set the hyperfocal distance, one simply aligns the infinity symbol with the color coded depth of field lines. Unfortunately, most modern lenses no longer have depth of field scales.
Summary
With the above information, you should be ready to head into the field with full control over the depth of field in your images.

How to Create Dynamic Wildflower Photos

Wildflowers really attract attention. After all, they offer beautiful colors, graceful pedals, and dynamic color contrast. Just watch next time you pass a field full of wildflowers, and you will almost certainly see photographers nearby. On the other hand, while wildflowers are so beautiful, capturing that beauty in a photo takes some skill. In that light, this article looks at seven things that you can do to capture beautiful wildflower photos.
Start with Pristine Flowers
In order to create great wildflower images, one must start with the proper components. In this case, the proper components are the wildflowers. However, not just any wildflower will do. The wildflowers must be in pristine condition. Wildflowers that are not perfectly fresh, have marks, or have been partially eaten by bugs should not be used.
Identify a Center of Interest
Next, it is necessary to identify a strong center of interest. The center of interest is the part of the image that draws the viewer’s attention. A couple of examples are a ladybug on a wildflower pedal or a wildflower center that stands out from the rest of the wildflower. The center of interest is very important because it not only draws the viewer’s attention but also helps hold the attention on the image. Viewers quickly lose interest when an image has a weak center of interest.
Composition
Great composition (the way the images are arranged with respect to each other in an image) creates great photos. Now, there are many ways to compose an image. However, one very easy to use method that produces very good results is the rule of thirds. The rule of thirds requires the photographer to mentally divide a scene into thirds (both in the vertical and horizontal directions). Then, the center of interest is simply placed at one of the intersections where the lines cross.
The rule of thirds can create some create compositions. These compositions usually have a balanced yet dynamic feel to them. Conversely, placing the center of interest at other points in the image can sometimes create weaker compositions. As an example, when the center of interest is placed at the center of an image, the result may be a weak image that has a static or less dynamic feel.
Subtract to Improve
With the center of interest properly placed within the image composition, the rest of the image objects should serve to draw attention to the center of interest. In other words, the other objects should direct the viewer’s eye toward the center of interest. The art of subtraction becomes very important at this point.
The art of subtraction involves removing every object from an image that does not help direct the viewer’s attention to the center of interest. For instance, if a stick is along the edge of an image and does not help the center of interest in any way, the stick should be removed from the image. This may require that the photographer recompose the image.
The art of subtraction is one of the best ways to strengthen an image. This is because any object that does not support the center of interest will distract from it by drawing the attention of the viewer from the center of interest.
Move in Close
When you move in close to the center of interest, the center of interest becomes larger and stronger. Moving in close also removes uninteresting detail that may be located along the edges of the image.
Contrasting Colors for more Dynamic images
Our attention is strongly drawn to color contrast. Furthermore, this is not just a psychological phenomenon. It is actually build into our sensory/perceptual systems. In other words, we are hard wired to respond to color contrast. As photographers, we can use this to our advantage by seeking out wildflowers with high color contrast. Thus, wildflowers with two or three contrasting colors make great subjects for photos.
Leading Lines
This is a very powerful technique. In an image, leading lines point toward the center of interest. Leading lines actually do two things simultaneously. They strongly direct the viewer’s eye to the center of interest, and they emphasize the graceful nature of the wildflower in an image. Leading lines can be formed by the edges of the wildflower pedals, by colors of the wildflowers, or any other line or object that points toward the center of interest.
Summary
With these seven techniques, you should be on your way to creating great wildflower photos.

Secrets to Creating Dynamic Waterfall Images – Part 2

Now that we have completed setting up for a waterfall shot in Part 1 of this series, we are ready to look at actually taking the shot.
Composition
Identifying and capturing strong composition is an extremely important part of creating powerful waterfall images. While the purpose of this article is not to carry out a thorough review of composition, a couple of aspects of composition (curves and environment) will be covered.
When used properly, curves can really strengthen an image. There are two types of curves that can be used to improve waterfall images. The first type of curve is formed by the water itself. When the flow of the water forms curves as the water flows toward, down, or away from a waterfall, the waterfall is much more interesting than a waterfall where the water just flows in a straight line. Basically, this type of curve adds some elegance to a waterfall image. The second type of curve that works well with waterfalls is any object that forms a curve that points toward the waterfall. This type of curve serves to direct the viewer’s eye toward the waterfall. This reinforces the waterfall as the center of interest and strengthens the image.
The other component of composition that we will cover is a waterfall’s environment. A waterfall’s surrounding environment can really spice up a waterfall image. Sometimes, the falling water alone just isn’t all that interesting. However, when the falling water is placed within the surrounding environment of rocks, trees, and vegetation, the waterfall can come alive. In essence, the surrounding environment can add character to the waterfall.

Shutter Speed
What shutter speed should be used to blur the falling water? That seems to be the first question that people usually ask about shooting waterfalls. However, there is no such thing as one correct shutter speed for shooting waterfalls! Rather, the proper shutter speed is a function of five factors:

1. The amount of blur desired
2. The volume of water
3. The speed of the water
4. The distance between the camera and the waterfall
5. The direction of the water flow with respect to the lens

So, the best shutter speed for one waterfall is different than the best shutter speed for another waterfall. That may seem a little bit disappointing. However, if you are using a digital camera, it is actually pretty easy to determine the best shutter speed for a particular waterfall situation. All you need to do is take a few test shots (each at a different shutter speed) and check the results on the camera monitor. Zooming in on the monitor will allow you to examine the image detail to determine if the water looks the way you want it to look.
Of course, it is nice to know where to start testing. When photographing large waterfalls that have significant volumes of turbulent water, 1/100 second is a good shutter speed with which to start. This shutter speed will capture the fierce nature of the water fairly well. Smaller waterfalls that have less water tend to use longer shutter speeds. When it is desired to create a blurred look to the water, a shutter speed of 1/2 second to 2 seconds is a good place to start.
Proper Exposure
As with all images, it is important to get the proper exposure when photographing waterfalls. Probably, the biggest risk that you will encounter when determining the best exposure for a waterfall is the potential clipping of the water highlights. If this occurs, the detail in the water is lost and can not be recovered. As a result, the water becomes a featureless area of white. This degrades the quality of the image. Luckily, there is an easy way to deal with this problem. All you need to do is take a test shot and look at the histogram on the camera monitor. If you see the histogram cut off on the right side, the highlights have been clipped. In this case, you need to reshoot the image with less exposure.
Summation
With these tips, you should be on your way to capturing some great waterfall images.

Secrets to Creating Dynamic Waterfall Images – Part 1

Waterfalls seem to grab the hearts and minds of people. Go to any location that has one or more waterfalls and it is pretty much a guarantee that they will be a major attraction, if not the main attraction, of the area. However, as beautiful as waterfalls are, it is not always easy to capture that beauty with a camera. It is easy to produce pictures of waterfalls; it is not so easy to produce powerful images.
Waterfalls provide their own unique set of problems which requires a unique set of solutions. This article is about those unique problems and the solutions that allow photographers to produce images that communicate the power and beauty that is inherent in the waterfalls that stand before their lenses. Part 1 of this two part series concentrates on setting up for a waterfall shoot. Part 2 concentrates on capturing the waterfall image.
Waterfalls and Weather
One of the most important factors in waterfall photography is the weather. The problem is that waterfalls do not photograph well in nice weather. Conversely, the best weather for waterfalls is actually overcast weather.
Some waterfalls photograph best in light overcast. Light overcast produces a light that is gentle but still has enough power to bring out the colors in a scene. Other waterfalls photograph best in strong overcast. Strong overcast can produce a very moody image with a power to convey that sense of mood. In fact, very powerful waterfall images can even be produced in rainy weather (during a break in the rain).
Keep Your Old Filters
One of the major challenges in photographing waterfalls has to do with water getting on the lens (or the filter in front of the lens). Powerful waterfalls can drop huge amounts of water which produces a mist. In other cases, the weather may produce fog, drizzle, or rain that gets on the lens. All of this can be exacerbated by wind (which always seems to be pointed directly toward my lens).
While there is no perfect solution, a partial solution can be found in an old filter. Just put the filter on the front of the lens before the equipment is set up. This filter should stay in place while you determine your composition and settings. Once you are ready to take your shot, the filter is removed.
Tripod
I know, it is tempting to shoot a waterfall with a hand held camera. It is so quick and easy. Unfortunately, the quick and easy way will, very likely, not produce a great shot. This is because a large part of the waterfall experience is the large amount of water that goes down the waterfall. To produce a nice waterfall shot, a slow shutter speed is required to properly capture the sense of flow of the water. The slow shutter speed requires the use of a tripod.
Manual White Balance
Light that illuminates waterfalls often has a color cast. In overcast or rainy weather, the light will tend to be a bit blue. Waterfalls that are located in a forest may be illuminated by light that has a green tint that the light picks up as it filters through the leaves. Consequently, it is necessary to adjust for the white balance (i.e., color) of the light. The auto white balance option on your camera is not the best choice under these conditions as it may not produce accurate colors. The preset auto white balance options may also produce less than perfectly accurate colors. Your best choice is to perform a manual white balance (also known as a custom white balance) to get accurate colors. The manual that came with your camera should explain how to perform a manual white balance.
Polarizer
Objects that are wet tend to produce glare. This glare is often polarized. This is particularly an issue with waterfall shots because the rocks and vegetation near the waterfall will be wet and will almost certainly have a certain amount of glare. A polarizer will remove the glare. In addition, a polarizer has a secondary effect. By removing the glare, the color saturation will improve.
Bubble Level
The human eye is good for a lot of things. However, one thing that it is not very good for is judging whether a camera is level. So, in order to get images that are level, it is best to use a bubble level for leveling the camera. Bubble levels are fairly inexpensive, small, and easy to use. They fit into the hot shoe of the camera. They work just like a carpenter’s level. All you have to do is to center the bubble in the level and the camera will be level
Summary
Now that the camera has been properly set up for the waterfall shot, Part 2 of this article will cover the capture of the waterfall image.
If you are interested in learning even more about waterfall photography.


Infinite Depth of Field

Depth of field (DOF) is a very important issue in photography. In many cases, a very large DOF is desired. For instance, this is often the case in landscape photography.

However, this immediately causes technical problems. The usual solution is to stop the lens down to its smallest aperture. This maximizes the DOF, but the small aperture also significantly degrades the quality of the image due to diffraction.
Wouldn’t it be nice if it were possible to get an extended DOF without any lose of image quality? Well, with a little bit of planning, an infinite DOF is possible. The trick here is that several shots of the subject are taken (preferably with the camera on a tripod). Each shot is focused at a different distance. That way, every point in the scene is in sharp focus in at least one of the images. This can all be done at apertures that suffer little image degradation due to diffraction (the middle apertures for most lenses). When using this technique, it is important to lock down the exposure and white balance so that they are the same for every shot.
At first, it might appear that it would be difficult putting all those images together, carefully aligning the images, figuring out which image is sharpest for each point in the scene, and creating a final image. Actually, this is a very simple workflow. Photoshop will do almost all of the hard work.
The Process
The process of combining the images in Photoshop is a six step process.
1. Each image is opened in Photoshop (if using a raw converter, each image must be processed in exactly the same way).
2. All of the images are moved into the same file. This can be done by dragging and dropping the images into one of the open files. The result is a single file with each of the images as a separate layer.
3. Next, it is necessary to make sure that all of the images are perfectly aligned. If the images were shot on a tripod, it might be tempting to think that the images are already aligned. However, this might not be the case (especially if the camera was touched for manual focusing). Luckily, Photoshop can align the images. To do this, the layers are selected by pressing Control+Alt+a on a PC or Command+Option+a on a Mac. Then, the layers are aligned by choosing Edit/Auto-Align Layers (the Auto option is used).
4. The images are now ready to be blended. In this step, Photoshop will analyze the layers to determine which layer is sharpest at each point in the image and will create masks for each layer based on the analysis. With the layers still selected, choose Edit/Auto-Blend Layers and choose Stack Images. It is also suggested that Seamless Tones and Colors be left unchecked. Yes, it does sound like a really good thing to check. However, if this box is checked, Photoshop will try to match the colors of the layers on an area by area basis determined by the masks that get created. In other words, areas that are not masked out get affected but the other areas are not affected. This may create localized color shifts that may cause color problems later. So, it is best to leave the box unchecked.
5. After the blending, there may be a bit of white along some of the edges that is a result of aligning the images. Consequently, the next step is to crop the image. This can be done by fitting the image on the screen by pressing Control+0 on a PC or Command+0 on a Mack, drawing a rectangle around the image with the Crop tool, and hitting the Enter key.
6. The last step is the cleanup. This is necessary because, while the Photoshop blending is pretty good, it is not perfect. There may be a few places where the image detail was not taken from the sharpest image. When this is the case, the best way to clean up any problems is to identify the layer with the sharpest detail in the problem area. Then, paint white on the mask of this layer in the problem area. It will also be necessary to paint black in the problem area on the masks of all of the higher layers. One other point is that it is usually easiest to determine which layer has the sharpest detail for a problem area by first disabling all of the layer masks. Then, the layers can be clicked off and on until the sharpest layer is found.
There are a few caveats with this technique. Obviously, the technique can only be used with objects that are not moving. Also, the camera will need to be manually focused for each of the multiple shots. The last caveat is that it is better to take several shots, each with the focus point moved only slightly from the previous shot, rather than take only a few shots with significantly different focus points. This will guarantee that there will be no out of focus points in the final image.