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.

Photography ideas: Center of Interest

As photographers, we all like to create images that grab people’s attention. The question becomes, “What are the characteristics of these types of images?” Once we know these characteristics, we can use them to capture strong images.

Emotion
One of the most important characteristics of strong images is that they communicate an emotion to the viewer. For example, the image of a firefighter saving the life of a young child, an image of a beautiful sunset over a tropical island, and an image of a war torn village all communicate strong emotion that rivets our attention on the image.
Communicate
That being the case, the next question becomes, “How can we communicate emotion in an image?” Well, one of the best ways to communicate emotion is to create an image that has a strong center of interest. The center of interest is the most important object in an image. It is the object that, when properly composed, draws the attention of viewers.
Being the most important part of an image, the main role of the center of interest is to communicate the emotion in an image. Thus, the stronger the center of interest, the stronger the emotion and the image will be.
Creating Strength
So, the last question becomes, “How can we create a strong center of interest?” Five of the best ways to do this are: identifying emotion, single center, brightness, color, and contrast.
Identifying Emotion: Of course, the most important thing is that the center of interest must personify the emotion that the image is to communicate. As an example, if it is desired to communicate the emotion of the love of a parent for a young child, the center of interest could be a mother tightly holding an infant. In other words, you must first identify the emotion that you wish to communicate. Then, you must find a scene, object, or person that personifies that emotion and make it the center of interest.
Single Center: For most images, it is generally best to have only a single center of interest. This helps to focus a viewer’s attention. If there is more than one center of interest, the viewer’s attention is split. In many cases, this can weaken an image.
Brightness: Great, you now have a single center of interest that personifies an emotion. The important thing now is to make it stand out. An excellent way to do this is by managing the brightness in an image. The eyes are drawn to the brightest part of an image. By making the center of interest the brightest spot in an image, it will naturally draw and hold a viewer’s attention. As an example, the mother and infant previously mentioned could be well lit, but the rest of the image could quickly fall into shadow.
Color: Another way to make the center of interest stand out is to make sure that it contains saturated color. Since saturated color naturally draws the attention of viewers, saturated color can strengthen a center of interest. Another way this can be done is to create a center of interest composed primarily of one color, and surround it with a background of a contrasting color.
Contrast: Like brightness and color, contrast also captures the attention of viewers. With this approach, the center of interest should be high contrast. The rest of the image should be moderate to low contrast. With this method, viewers will naturally be drawn to the high contrast center of interest.
Photography Project
So, why not start a project centered on creating images with strong centers of interest. The goal of this project would be to create images where each image has a single center of interest that communicates an emotion. Then, use brightness, color, and contrast to strengthen the image.
Summary

Photography Ideas: Color

Color is a very good place to start to improve images because color grabs people’s attention. For instance, a couple of the most popular photographic subjects are sunsets and flowers, and the primary reason that people like sunset and flower images is because of the color. Thus, the utilization of color is one of the most effective means of creating impact in images. However, to use color effectively, one must understand a little about color.

There are three aspects of color that can be used to create dramatic images: hue, saturation, and contrast.
Hue: Hue is what we normally think of as color (technically, hue is determined by the wavelength of the light).
One of the biggest reasons that hue has such a large impact on photography is that our visual system has different degrees of sensitivity to different hues. With respect to the three primary colors (red, green, and blue), the human visual system is most sensitive to red, is moderately sensitively to green, and is much less sensitive to blue (approximately two thirds of the eyes’ color detecting cones detect red, one third detect green, and only one percent detect blue). As a result, images with a lot of red (or related colors such as orange) tend to really grab people’s attention. So, one way to create eye-catching images is to start with subjects that contain these colors.
However, there is more to hue than just its affect on the human perceptual system. Hue also has an emotional impact. In many situations, the warm colors (e.g., red, orange, and yellow) bring feelings of comfort. The red glow of a fireplace, a gorgeous orange sunset, and a beautiful yellow flower are all examples of the comforting affect of the warm colors. However, in some instances, red can bring feelings of alarm or excitement (that is why stop signs, stop lights, and fire trucks are painted red). Green often brings feeling of newness or freshness (as in a lush, green, springtime meadow). Blue tends to create feelings of calm as in a peaceful ocean as dusk approaches.
So, what does this mean for a photographer? Basically, it means that the predominant hues in an image should be selected carefully to match the mood of the image. As an example, the proper use of green could enhance the mood of a landscape, but it might detract from the mood of a romantic image.
Saturation: Saturation refers to the “pureness” of a color. For instance, a saturated red is perceived as a very intense red while a less saturated red is perceived as a diluted or washed out red. Saturation is important because it helps determine the strength of response a person has to a color. Highly saturated colors create strong reactions in the human perceptual system while poorly saturated colors create a much weaker reaction. From a photographer’s perspective, this means that saturated colors will create a stronger reaction to our images.
Contrast: Color contrast refers to using two or more colors that are different enough that they contrast. Using color contrast is one of the most effective ways to create powerful images as the human visual system is highly stimulated by contrasting colors (in other words, our visual system is set up to respond to contrasting color). So, why not use this to create great images by looking for subjects that have contrasting color.
Photography Project:
Your assignment is to create a portfolio of images that uses color to draw the attention of viewers. Use your knowledge of how hue, saturation, and color contrast can be used to enhance images.

Photography Ideas: Triangles and Composition

One great way to grow your photography proficiency is to begin a photography project. Most likely, you will want to choose an idea that can serve as the basis for the project. The use of triangles as a compositional technique is one idea that you may want to try.

Triangles and Composition
There are numerous compositional techniques that a photographer can select. Whenever there are numerous objects in an image, the use of triangles is very effective as a composition technique. The technique requires composing an image in such a way that three or more objects form a triangle.
Three objects are required to form the points of the triangle. The sides of the triangle are formed by imaginary, diagonal lines that join the triangle points. Whenever objects are placed in this fashion, they create a very dynamic composition. A viewer’s attention will tend to journey back and forth over the diagonal lines from one triangle point to another. If there are more than three objects in the image, the additional objects will need to lie along the diagonal lines.
There are a couple of ways that triangles can be used: single center of interest and multiple centers of interest.
Many successful photographs have a single center of interest. In cases like this, one of the objects that resides at a point on the triangle will function as the center of interest. Of course, the other points on the triangle likewise have a function. They serve to strengthen the center of interest. Now, it is crucial that the other objects be subservient to the center of interest. This can be done in many ways. For example, these objects may have a decreased sharpness, saturation, or contrast.
Obviously, there are occasions when there are several objects in an image, and all of the objects are equally important. This is frequently the situation in group portraits.
In the case where there are multiple objects of equal importance, the result is that there are actually multiple centers of interest. When an image is composed with multiple centers of interest, it is important to set up the image to ensure that all the objects have an equal weight or presence in the image. Another way to say this is that no single object should be allowed to dominate the image. This approach is often utilized by photographers that take group portraits. The photographer arranges the heads of the group members in a triangle. Now, each of the group members is of equal importance. So, each individual should be given equal weight in the image.
Triangles have another function. They serve to set the mood in an image. Triangles with the base towards the bottom and the apex at the top are inclined to produce a feeling of stability. A more dynamic image results when the base is placed across the top or side of an image.
Launching Your Photography Project
The purpose of this project is to make a portfolio of photos which use triangles for the composition. You might want to create a portfolio composed of images of different subject matter such as buildings, landscapes, and people.
In Summary
If you would like to check out several additional photography ideas.

Photography Ideas: Negative Space

Are you searching for a few photography ideas for a photography project? As long as you will be investing some time on a photo project, why not pick a project that develops your photography skills. Not surprisingly, there are many skills from which to choose. One skill that will help you develop your photography abilities, negative space, is presented in this post. Negative space is a compositional method that can be used to produce eye-catching photos. Therefore, let’s take a look at the technique?
Using Negative Space
At a fundamental level, any image can be broken down into three components
Frame: The border that defines the perimeters of the image.
Positive Space: The positive space is the subject of the image. This is normally the item on which the camera is focused.
Negative Space: The negative space is the rest of the image. It is located between the positive space and the frame.
Any photograph is formed, in varying proportions, of the frame, positive space, and negative space. In order to create impressive images, it is necessary to manage these components.
When composing photos, some people tend to think mostly in terms of the positive space. Put simply, they think primarily about the main subject of the photo. Little thought is put into the negative space. It is treated almost as an unimportant part of the photo. This is not the best way to compose an image! This is because, if managed properly, the negative space can do a couple of important things.
First: The negative space can function to define the positive space.
Second: The negative space can surround the positive space in a way that can make it more conspicuous.
So, exactly how can the negative space help to define the positive space? Basically, the negative space supplies additional detail that improves the story of the positive space. Consider the following example. An image might display a blooming plant. However, we may not understand a lot about the plant (e.g., such as where the plant is located). Where is this subject located? Maybe, it is situated in a garden. On the other hand, maybe not. The positive space of the photo can only be better defined with additional details. If the photographer were to show some of the terrain around the positive space, this would create some negative space that would certainly help to much better define the positive space.
Now, there is one extremely important point that should be remembered. The positive space should never be overpowered by the negative space. For this example, the photographer might render the negative space somewhat out of focus so that it becomes subservient to the positive space.
The main issue to keep in mind is that the function of the negative space is to help support the positive space rather than to compete with it. This acts to strengthen the image.
Making the positive space stick out is the other way that the negative space helps to strengthen images. This is due to the fact the negative space can help to control the eye of a viewer. This is accomplished because the negative space guides the attention toward the positive space. Obviously, all unproductive detail must be removed from the negative space in order to make it effective at focusing the attention. Otherwise, the viewer’s attention will be on the distracting detail.
In short, both spaces need to be taken into consideration when figuring out how to best compose an image. In simple terms, photographers need to pay as much attention to the negative space as they do the positive space.
The Photography Project
So, are you geared up to create a photography project? For this project, you should concentrate on capturing images that have carefully thought out negative spaces.
Wrap Up
Hopefully, this article served to get you started on a photography project. If you would like to check out several additional ideas, just click Creative Photography Ideas.

Texture Photography: Logs, Plants, and Trees

Texture can be used to enhance images. This article shows how texture can be used with logs, plants, and trees to create impressive images.
Logs
Logs are one of the easiest objects to use for creating texture images. This is because they have two characteristics that lend themselves to texture photography: contrast and curves.
The first thing to look for when scouting out logs for texture photography is the contrast. It is necessary to start with a log that has enough contrast to grab a viewer’s attention. This usually means that a log must have a grain that has contrast. The second thing to look for is a set of curves. These can be either leading or non-leading curves. The important thing is that the curves add to the image in some way.
An image of a log can frequently be enhanced by including something from the environment that surrounds the log. The most likely objects for this will be flowers or vegetation.
Often, side light works well to help emphasis the contrast in the grain. However, side light is not always necessary. This is particularly true if some drama can be added to an image in some other way. For instance, when old logs get wet, the wood can sometimes become darker and take on a more moody feel. This works great for texture photography. In addition, when objects (such as the flowers or vegetation already mentioned) contrast in tone or color with the wood, this may add all the drama that is needed.
Plants
Plants are great for texture photography because they are everywhere. That means that you don’t need to travel someplace to get some great shots. All you have to do is visit your backyard.
There are so many characteristics of plants that can be used to create interesting texture images. Of course, the first thing to look for is good texture. This is usually pretty easy to find in a garden. However, you don’t want to stop there. After some plants that have good texture have been found, you should look for other aspects of the plants that can be used to create an even better image.
One of the things for which one should look is any interesting curves. Often, this comes in the form of curves formed by the edges of leaves or curves that result from plant stems. The next thing that should be considered is color. Color demands a viewer’s attention. Thus, the more saturated the color, the more interested people will likely be in an image. Even better than color is contrasting color. Contrasting color can really make an image come alive.
The best light for plant photography is usually a diffuse light. That means that great plant shots can be captured on overcast days or early/late in the day when the garden is in shadow.
The seasons play an important part in plant photography. Spring produces beautiful, lush greens. Autumn can produce stunning fall colors (depending on where you live). Unfortunately, summer and winter are less ideal for plant photography as the plants are less vibrant at that time.
Trees
Trees provide a rich variety of texture photography opportunities. Great texture images can be created from the leaves, bark, or roots. When using the leaves as texture photography subject matter, the guidelines pretty much follow those covered in the Plants section directly above. In other words, one should look for interesting curves, color, and color contrast. Furthermore, the best light is often produced by overcast conditions that create a soft, diffuse light.
The bark of trees often has great texture. Furthermore, the texture commonly forms an irregular pattern. This can create some great subject matter for texture photography. Of course, in this case, it is necessary to move in close enough to concentrate on the bark. However, there is one problem that can occur when photographing the bark. As mentioned in Part 1 of this series, while patterns can often capture a viewer’s interest, simple patterns can sometimes fail to hold that interest for very long. Consequently, it is best to figure out a way to add some interest to the pattern. This is often fairly easy with tree bark. All that may be necessary is to break the pattern. This can be done by finding some irregularity in the bark (such as a knot).
With some trees, roots can be the most interesting part of the tree for texture photography. This is because of the interesting patterns that roots can form. The key here is to find a tree with exposed roots. These roots can form jagged, irregular curves that can add a sinister or menacing mood to an image. Side light may help to strengthen this mood. However, this sinister/menacing mood can sometimes be captured even with diffuse light.
Summary
If this article gave you any ideas, it is time to grab your camera and held out to capture some eye-catching, texture images. For more information on texture photography.

The Essentials of Creating Texture Photography

The point of any photo is to draw the attention of the viewers. Now, there are numerous ways to achieve this. Some images depend on dazzling color. Another method that is very popular is the use of leading curves. Other images rely on dramatic scenery. On the other hand, there exists a method that is quite often overlooked. That method is the use of texture. Thus, the purpose of this article is to cover the fundamentals of texture photography.
Let’s start off with a definition of texture photography. For this article, texture photography is defined as any photography that uses texture to add impact to images.
Types of Texture Photography
There are three principal types of texture photography that will be dealt with in this article: detail, drama, and information.
Detail: With this type of texture photography, the detail in the surface of the object being photographed is the most important aspect of an image. The actual object is of lower value. When this technique is employed, the image is often taken as a macro shot in order to move in very close to emphasize the detail or as a partial object shot where only a section of the object is photographed. An example of this type of texture image would be a close-up of the patterns observed in aged rock formations.
Side light usually works very well with detail texture images as it improves the detail.
Drama: With this second approach to texture photography, the texture is utilized to add drama to an image. Here, the texture is not necessarily the most significant element of an image. Rather, texture is just one aspect of an image that helps to enhance the image.
A key point is that, typically, the contrast or color of the texture serves to seize the viewer’s interest. So, it is essential to select a subject that has good color or contrast.
Images of cliffs along the beach offer one example of this type of texture photography.
An important point is that side light works well with these images.
Information: The third type of texture photography utilizes texture to help communicate information about an image. In an information texture image, the texture tells part of the tale of the image by communicating something about the image. For instance, the aged, weathered wood in a ghost town building clearly communicates the age and history of the dated structure.
When creating information texture images, it is important to compose the photo so that the texture can properly convey the story of the image. This will help to create a stronger image.
One last point is that the texture in an information texture image should help support the center of interest not overwhelm it.
Synopsis
The subject of texture photography is much broader than what this brief write-up can cover. A great deal more can be learned about texture photography. To further explore the field of texture photography.

Four More Great Abstract Photography Techniques: Blur, Zooming In, Partial Object, and Photoshop Filters

A number of great techniques for creating abstract images are introduced in this article: blur, zooming in, partial image, and Photoshop filters. Once the techniques have been learned, they may be applied to a variety of subject matter to produce amazing abstract images.
Blur
The first technique is the deliberate blurring of objects. Not all photos work well with this technique. The images that do work best are the ones that possess a dreamy feel. Therefore, it is important to select the subject matter carefully.
This technique can be carried out in a number of ways. Perhaps the simplest way is to use a soft focus lens. However, this is also the costliest method. Affixing a soft focus filter to a regular lens creates a similar effect. An inexpensive method is to just stretch panty hose over the front of a lens. Of course, the blur can always be added during image editing with Photoshop (or any other editing software).
Zooming In
To make use of this technique, a zoom lens is required. This technique utilizes a long shutter speed. While the shutter is open, the focal length of the lens is changed. A lot of photographers start at a wide angle. Then, they zoom into a narrower angle.
With this particular technique, there are a few essential points. When using this technique, a tripod is really required. Without a tripod, the photo will be blurred by camera motion. A strong center of interest is needed. If the image has a week center of interest, the image can end up just being a blur of lines. Keeping these points in mind can help to enhance your abstract photos.
Photographing a Partial Object
This technique does not photograph an entire object. Rather, the photographer isolates just a section of an object. Then, that section is photographed. The objective is to isolate the most intriguing part of an object.
Abstract Images with Photoshop Filters
Another solution is to add the abstract effect in the computer. For this method, Photoshop can be used. The filters in Photoshop are a good way to do this. Simply use the Filter menu to access the filters. The key here is to experiment with the different filters. Then, you can pick the filter that produces the best results.
Summary
These techniques are very useful in creating beautiful abstract images. The next step is to get your camera. Then, you just need to head out to create some wonderful images. These techniques are merely the start. If you would like to discover more about abstract photography.

Great Methods for Creating Abstract Photography

This article presents four techniques (selective focus, light and shadows, curves, and texture) that can be used to create abstract images. These techniques work well with many different types of subject matter.
Focusing the Attention with Selective Focus
If you are looking for an easy but powerful abstract photography technique, selective focus is the technique for you. This technique narrows the focus to a small area. Anything outside of that area will not be in focus. To create a limited area of sharpness, a large aperture is required. The camera is then focused on the center of interest of the image. Everything else will be out of focus.
There are two things that can be done to make your images even more impressive when using this technique. First, the color of the background should be different than the center of interest. This will make the center of interest stand out. Second, curves can be used to help direct the viewer’s attention to the center of interest.
The Use of Light and Shadows
As photographers, we are often instructed to concentrate on the light. We may begin to think almost solely in terms of the light. This is an incorrect view for shadows are essentially the other side of light. Shadows are not simply a dark mass that borders the light. Rather, shadows are an entity as alive as the light. It is the shadows that shape the light, that draw attention to the light, and that integrate with the light to produce striking photographic opportunities. The interplay of light and shadows plays an especially important role in many abstract images.
The shadows’ primary role with this technique is to intermingle with the light in such a way as to emphasize the shapes of the forms. Consequently, it should come as no surprise that the more interesting the objects in an abstract image, the more likely that the image will be successful. The shadows can then be used to make the forms stand out from the rest of the image. One example of this technique would be to surround an object in an image with shadows so that the object really attracts the eye of a viewer of the image.
The Power of Curves
When creating abstract images, the proper use of curves can add significant impact to a photo. The more dominant the curves are in an abstract image, the larger the impact the curves will have. In some images, the curves become the most important part of the image.
The curves must be either graceful or dynamic. In addition, all of the curves must work in harmony. Curves that run through an image in a careless manner do not enhance the image.
One last point is that, when using curves in this manner, it is usually best not to have very strong, saturated, or contrasting colors in the image because this would detract from the curves and weaken the image.
Texture
A technique that is very similar to the use of curves is the use of texture. Indeed, it is not uncommon to find texture and curves used together in the same image. When used to create impact in an abstract image, the texture must be a very strong characteristic of the main subject in the image. Furthermore, the texture must work in harmony with any curves that are present.
In Conclusion
With these four techniques, you have a good start on creating some interesting abstract images. On the other hand, there are many more abstract photography techniques. The next step is to read Creating Abstract Photography.

Abstract Photography: Composition

Abstract photography can be a lot of fun. Furthermore, it can result in some impressive images. However, some skill is required to create great abstract images. Composition is one of the most important of those skills. Composition determines how the form, color, and curves are placed in an image. There are many ways to approach composition. Performing a systematic review of the field of composition is beyond the scope of this article. However, three aspects of composition will be covered.
* Rule of Thirds
* Golden Triangle
* No Rules
Rule of Thirds : One of the most common approaches to composition is the rule of thirds. This rule involves dividing an image into thirds both vertically and horizontally. The center of interest is then placed where the dividing lines cross.
Golden Triangle Another approach to composition is the golden triangle. With the golden triangle, a diagonal is drawn from one corner of an image to the opposite corner. Then, lines are drawn from the other two corners such that they intersect at right angles with the diagonal. The center of interest is located at the intersections of these lines.
No Rules: While these two approaches to composition can create impressive images, one of the wonderful things about abstract photography is that, sometimes, the rules can be ignored. At times, you can just go wherever your imagination leads you.
Applying the Art of Subtraction
People respond to abstract photography on an instinctual or emotional level. So, when creating abstract images, one needs to remove anything that does not strengthen the viewer’s emotional reaction. This is referred to as the art of subtraction.
So, how does one create an image that conveys an emotion? A basic three step process works well: 1) identify the emotion, 2) identify the components that reinforce the emotion and include them in the image, and 3) remove everything else from the image.
So, why this is important? Well, items in an image that help communicate the emotion strengthen the image. Any other item just dilutes the image. Basically, any component that does not strengthen the emotion of an image detracts from the image.
In Summary
Great compositions lead to great abstract images. Of course, there is a lot more to learn about abstract photography.
Interested in learning more about abstract photography? Check out Ron’s in-depth abstract photography article at Abstract Photography.

7 Quick Landscape Composition Guidelines

Visit most any photo site on the web, and the vast majority of images you'll see are of people, nature and architecture. These are the overarching topics that are then subdivided - people in foreign lands, formal portraiture, kids, etc. / landscapes, seascapes, wildlife, etc. / cityscapes, isolated iconic buildings, close ups of buildings and their reflections, etc. While the text and sample images of this article focus on landscapes, the same principles can be applied to most of the listed subjects above. So study the following hints and tips and think how you can substitute Subject A, B, or C into each.

It's All About the Light: The most dramatic light occurs at sunrise and sunset. The color is warm, it reveals shape and texture due to the low angle, and if there are clouds, the colors can be spectacular. While being out at sunset isn't much of a sacrifice, getting up at the crack of dawn can be a struggle. But if you don't, you'll miss some of the best light of the day.




Think Small: Landscapes are commonly photographed with wide angle lenses to take in the grand scenic. While this is an absolute requirement, don't overlook the intimate landscape that lies at your feet. Look to the right, to the left, and down. The shot of the day may be a macro just twelve inches from your big toe.

Filter it: Two filters I never leave home without are my polarizer and graduated neutral density. The polarizer saturates a blue sky and removes glare. Without it, my skies lack contrast and my colors aren't as rich and saturated. The graduated neutral density allows me to create a perfect exposure of a bright sky and shadowed foreground. A 2 stop soft edge is the most versatile, although I own many other variations.

Rule of Thirds: I prefer to call it the Guideline of Thirds in that there are times when you can break it successfully, but for the majority of photographic situations, it will help. Getting the main subject out of the center of the picture provides a better image. Note the key focal points in each of the three photos that accompany this article. None are bulls eyed.



Touch of Color: Take a look at the image made in Bryce Canyon. The tree stands out for three primary reasons - rule of thirds / different texture / different color. In what would have been a monochrome image, the tree is used as a color focal point. As it's so different from the rest of the subject matter, even though it takes up a small portion of the picture, it's the primary subject.

Wise Use of Depth Of Field: If you want foreground to background sharpness, strap on a wide angle, stop it down to f22 and focus one third ito the image. This works great for showing the vast landscape. On the other hand, if you want a single flower to be the focal point, do the opposite. Strap on the telephoto, focus on the given bud, and open the lens up. This will create a selective focus look wherein just a single plane is sharp leading the viewer to that spot.



Leading Lines: Leading lines bring the viewer to the primary focal point. They can be zig zag, bending, or diagonal, but should relate to the context of the overall image. In the coastal sunset shot, I used a wide angle and placed the lines of the flowing river and reflecting sun in the foreground. Note how they follow a bending path up to the shoreline and then to the seastack and sunset.

Photography Techniques: Perspective

DEPTH-OF-FIELD AND FOCUS

Dependent on the chosen aperture (f-stop), the focal length and the focus distance you have a certain depth-of-field (DOF). The DOF defines a zone around the chosen focus point where objects appear to be sharp. Beyond the (floating) border of this zone objects get blurry. Typical beginners tend to think that a good picture is a picture where everything is sharp so often small aperture values are preferred in order to maximize the depth-of-field. This assumption works fine some photographics scenes but it's certainly wrong as a general shooting philosophy. All pictures provided by Michael Wagner.
The following picture (large aperture) isolates a small zone around the focus plane.
 
The next picture (same focus plane) was shot with minimal aperture to achieve max. depth-of-field.
 
The next shot (large aperture) isolates the foreground ...
 
... whereas this one prefers a different focus plane (same aperture).
 
As you can see we have lots of potential creativity just by selecting the aperture and focus plane.

FOCAL-LENGTH AND PERSPECTIVE

There's a bit more about the focal length than just the coverage of a certain angle of view - there's always distinct effect on the relationship between the objects within a scene. All picture by Michael Wagner.
Let's have a look at a relatively wide focal lenght first: 28mm. The following image samples show 4 trees with an equal distance between neighbour trees. At the wide setting it seems that this distance actually increases dramatically towards the foreground (exponential behaviour of the distance). It other words: the tree to the left seems to be totally seperated from the rest of the gang. The background seems to be far in the distance.
 
The next picture has a more natural view at about 50mm. The perspective is obviously much less extreme. Due to our real life experience we can guess that the distance between the trees is rougly the same though the seperation is still visible (d^2 behaviour).
 
Now we have a 100mm lens. The trees seem to group here with a seemingly small distance between the trees. Compared to the previous sample the now enlarged background suddenly moved towards the main object. The scene is compressed now.

At 200mm the effect increases even more. The group of trees seems to be virtually on the same distance plane. The background may be blurry (due to the small depth-of-field) but it seems to be just a few meters away. We speak of a "flat" perspective is this case.
 

OBJECT ISOLATION

An object can be seperated from its environment by various methods. E.g. you can use a very wide lens to sort the scene into distinctive layers. However, while you seperate the object the environment is still visible which may be disturbing because -say- the background is very ugly. Sometimes there's a workaround for this problem: we choose a very small depth-of-field so only the main subject is in focus while everything in front or behind the focus plane gets blurry and therefore virtually unimportant. Have a look at the 1st sample below. The blue marble to right right sucks the view from the first look. This is a natural reaction because the brain scans for the most contrasty subject first. The isolation of the object due to its "outstanding" sharpness is very significant here.
 
Wanna see a perverse example ... Imagine to be in the Himalayas at a nice sunset and all you shoot is a beautiful rose ... The result is not all too bad I think!
 
A small DOF is also a common technique for portrait photography. Usually it is quite difficult to find the right balance between people, that are chosen to be the main subject, and their environment. A sharp background is often distracting here so a large aperture should be used to focus the attention on the point of interest.
 
 

SEPERATION

A small depth-of-field can seperate a subject quite easily from the surrounding but sometimes this is no option because we either operate at very long focus distances or we simply want to include a sharp focused environment in the scene. Nonetheless we often still have the option to stress the importance of a certain object. In the first picture we wouldn't gain anything by choosing a large aperture because the fore- and background doesn't contain any disturbing objects. The bath-tubs are the naturally isolated by the difference in brightness and the interruption of the uniform environment. A similar scene is e.g. a boat on the wide open sea.
 

The scene itself may be quite dramatic and in the first moments your attention may be drawn to the impressive mountains in the background. However sooner or later your view will get focused on the fisherman in the middle of the river because the contrast difference between him and his surrounding is the highest in the otherwise low contrast environment.
 

COMPRESSION

A major problem with many presentations  is an owerwhelming usage of wide-angle lenses. Monotonious perspectives are poison so just add some dynamic here and go for a medium tele lens. This may be an usual thought but once you got used to the idea that typical portrait lenses like a 85mm or 135mm are good for more ... much more. In contrast to the depth provided by a wide-angle lens it'll compress a scene or isolate or special object. The first picture illustrates how a tele lens can compress the several layers of the scene to a relatively flat perspective with a seemingly small distance between the layers.

The next picture shows that this also works pretty good for landscape shots as well.
 

LAYERS

Very often you've a major landscape feature like a spectecular mountain which will degenerate to just another rock on a picture. After the first look the viewer has already sucked it all information of the scene so there's not much left than the raving comments of the photographer. Have a look at 1st picture below. The volcano in the background is still the dominating feature of the landscape but there's more. We've two additional layers - the foreground and the center - both not too impressive but it adds a certain kick to the scene. It is the quite the same with 2nd picture to the right. None of the objects is very special and probably not worth a picture. However, the layered scene as a whole is quite beautiful with the fuzzy mountains at the horizon, the rocks in the blue sea and the foreground with its fine structures.
 
The two pictures below show the effect of a single additional layer. The left picture may show an impressive mountain but nonetheless it looks a bit empty - the right picture looks more interesting.