If we take photographs that are blurred and out of focus in any way they are really worthless. The human eye immediately notices (and dismisses?) anything that is not in focus.
Modern digital cameras come with really excellent auto-focus systems built in to try and make this as easy as possible. Remember, however, that your camera is not magic! Just a little bit of help from the photographer can make a world of difference!
Remember it is always a good idea to pause for a split second when you have half pressed the shutter button to give your camera a chance to do its job of focussing properly.
With compact cameras there are really two auto-focus methods that could concern us –
Firstly there is the ‘infra-red bounce’ or ‘Active’ method where your camera emits a red beam to measure the distance to the subject. If you have one of these do not put your finger over the beam light when taking a picture – you will not get any focus!
Then we have the ‘contrast measurement’ or ‘Passive’ method. In this a special sensor measures at which point the lens produces an image with the highest level of contrasting pixels – best focus. The camera needs something with contrast so if your camera struggles to focus try turning it on its side or look for something with more contrast which the camera can recognize.
Modern cameras are amazing – many of them now come with ‘image stabilization’ a really intriguing invention that helps to prevent the camera shake which can give you a blurred picture.
This is really useful but it is not magic! You still have to help your camera by holding it as steady as possible – how many people do you see taking pictures holding the camera with one hand? It looks cool and casual but does not lead to good, sharp pictures. The only time you should take a picture with the camera in one hand is when you need the other hand/arm to hang on, to stop yourself falling off a cliff.
At the best of times the human body is not a great camera stand – it moves too much but, if we hold the camera with two hands and, where possible, anchor our elbows against the body, it can do a pretty good job.
Practice holding the camera as steady as possible (it also helps you to think about the picture you are taking) and you will get better pictures.
When the light starts to fade you have a new challenge as your exposure times can get too long to hand hold your camera. The best solution is a tripod but resting your camera on a wall or a rock can work just as well. Just be sure that it is stable!
Camera owners often ask about ‘White Balance’ and the part it plays in digital photography. Is it important and can they perhaps use it to improve their photography.
Well, the colour of the light reflected from an object varies with the colour of the light source. The brain adapts to all these changes so that white objects appear as white objects whether seen in the shade, direct sunlight or under incandescent lights. Unlike film cameras, digital cameras can mimic this adjustment by processing images according to the colour of the light source.
With ‘automatic’ white balance the camera identifies the brightest element in the picture, assumes this is white and then adjusts or balances all the colours in the picture based on this.
Most of us just leave the White Balance setting on ‘automatic’ and the camera does a pretty good job of estimating the correct setting and we are generally happy with the results.
However, if we really want to improve our photography and add our own individual touches to our images it is really well worth experimenting with the various white balance settings available on your camera – AWB (automatic) Cloudy, Daylight (Bright Sun) Shade, Tungsten etc – and seeing the difference they can make to your pictures. Remember, you know what the prevailing light is. Your camera can only guess!
If you experiment with these, you will soon be able to see how to make the best use of them to help your photography. For example, if you use the ‘cloudy’ setting, even when it is not cloudy, it will have the effect of ‘warming up’ the picture – great for sunsets! The automatic setting may well remove most of that wonderful glow you wanted to capture.
The wonder of Digital Photography is that you can experiment freely at no cost – play around and experiment with your camera to your heart’s content – the more familiar you become the better you will get at taking pictures that actually reflect what you have seen and which are not just ‘postcard clones’ as it were!
Continual experimentation is one of the key secrets of digital photography. It can take people some time to get out of the habits of film photography where it cost money each time you pressed the shutter button! Once again – time spent reading the instruction manual for your camera will pay serious dividends in helping you to really enjoy your photography!
New York City – “The Big Apple” – it’s where I got my start in the video business over thirty-five years ago. A need to shoot two interviews and capture some stills for a legacy video project brought me back to NYC recently. And though the outside temperature was bitingly cold, the bagels were hot and the memories were warm.
Before leaving for the east, I had a decision to make: How was I going to acquire the stills I needed to include in the final legacy video? Normally, I prefer to scan images in my office using one of my flatbed scanners. This gives me the greatest control over quality and image size and allows me to name the scanned files as I go, in whatever way helps to best organize them. However, old photos, albums and papers can often be too fragile or unique to ship. In that case, scanning and/or shooting them at the client’s location becomes necessary. And that was the case with this project. My two favorite tools for this kind of work are my Canon LIDE 210 scanner and my Canon 60D DSLR.
The LIDE 210 is great for traveling. At 9.9 inches wide, 14.4 inches long and 1.6 inches deep It’s barely wider and longer than a piece of legal paper – and it fits easily into my carry-on luggage. The scanner doesn’t need a power adapter; one USB cable connects the LIDE to my laptop and provides power for the scanner. Compared to my larger office scanners, the LIDE is a little limited when it comes to the range of ppi (pixels per inch) available, but, overall, I find it a great scanner to take on the road.
Of course, when using a flatbed scanner, the material being scanned needs to be, well, flat. And for items that aren’t easily scanned or scannable at all (framed pictures or paintings, for example) my Canon 60D fits the bill. On this trip, I knew I’d be encountering an array of stills in various forms (loose snapshots, photos from books, framed images and old, crumbling scrapbooks). Plus, the time I’d have to sort through the available images, decide what to capture and then do it, would be limited to one afternoon. Given these circumstances, I decided my DSLR would give me both the flexibility I needed and the ability to work quickly. So I brought the 60D with me and left the scanner at home.
In the end, that was the right decision. I captured far more photos using the DSLR in the time I had than I could have with the scanner. Of course, the photos will need a little more Photoshop work than they would if they’d been scanned. And I couldn’t name the files as I went. I just made written notes as I shot, listing the order and subjects of the images. I’ll give them appropriate file names when I Photoshop them
If you’re in a situation where only a DSLR will do for snagging the images that will grace your client’s video biography, here are some tips:
Keep the camera as parallel to the image as you can.
This keeps the image as flat as possible and saves you some Photoshop work later. It also helps keep all of the image in focus. I was able to shoot many images by laying them on a table and shooting down on them, although some needed to be leaned against a vertical surface.
Be careful when using flash.
Direct flash can create hot spots or even wash out the image being shot. Rely on ambient light if you can, or soften the flash by bouncing it.
Watch out for reflections.
This can be difficult to do when shooting framed photos covered by glass. You can minimize or eliminate reflections by placing the image on a dark cloth, preferably black, and leaning the frame against a vertical surface. The idea is to angle the glass and your camera so that the only reflection the glass picks up is the black cloth.
After shooting an image, display it on your camera’s monitor and zoom in to check on the fine details. Today’s small camera monitors can fool you into thinking a shot is sharp when it isn’t.
Make a list of the shots you take as you work. You don’t want to be left scratching your head while guessing who is who or what is what after you get back home.
Back up your files.
If you have a laptop available, copy the files from your camera’s card to it. For safety’s sake, it never hurts to have your files stored in a couple of places.
Keep your eyes open.
You may find something worth shooting at your client’s location that you hadn’t expected. For example, as I was finishing up for the day, I saw three portraits of my client’s children hanging in a hallway. It took me only a couple of minutes to snap those and I know they’ll make a nice addition to the video.
For a 33 year old that does not have any children, I sure do know a lot about babies! How, you ask? Baby photography! I have been a baby photographer for over 13 years. They are my specialty, my joy, and my life.
When I started newborn photography I had to learn how to hold a baby, soothe a baby, stay calm, and familiarize myself with facial expressions. I would often look at them and think, “I wonder why they are smiling like that”. And then you hear a sound… from the diaper… a wet sound. I imagine parents, other photographers, and everyone who works with babies can relate to this.
After a few years of newborn photography, I decided to create a guide to help new parents and photographers alike to help prepare for the photo shoot if the photo shoot takes place at the clients home. All my newborn photo shoots are taken at my clients’ homes because it’s the most comfortable place for a growing family.
Without further ado, here is the guide born from my frequently asked questions about a newborn photography shoot…
1. When should we schedule the newborn photo shoot? Schedule your newborn photography shoot within the first two weeks of the due date. This is just a tentative date and will likely change depending on the baby’s arrival. If you have a C-section then the date is pretty set unless the baby comes early.
It’s best to capture babies around 5-14 days while they sleep and have the newborn look. Having said that, there are no guarantees with newborns. They do what they please. I have done photo shoots at 6 days. Some cooperate and some don’t. I have done photo shoots at 4 weeks. Some cooperate and some don’t. Either way, they’re all wonderful!
2. What happens if my baby is late? Contact your photographer and play the date by ear. If the baby is early, don’t worry about contacting your photographer right away. Enjoy the new member of your family! Contact them within the next couple of days and let them know that your baby is here.
3. What temperature should the house be? The day of the photo shoot I suggest to have the house at a good warm temperature. We will be sweating but the baby will be comfortable. You might not need the heat on during summer though. The little ones don’t like to be too hot or too cold.
Keep in mind that most of the poses will be of the baby in their diaper, naked, or whatever you discussed with your photographer. Walk around your home and think about the settings/backdrops that might work out best in terms of lighting. Usually, photographers like to setup in the room with the most natural light. But also important rooms like the nursery, your bedroom, the living room, and the yard if it’s a nice day.
4. When should I feed my baby? Try and time it so that you are almost done with the feeding or completely done by the time the photographer arrives. A happy baby equals a sleepy baby. Sleepy babies are awesome! Also, bear in mind that we might feed the baby a little outside their schedule to keep them calm.
If you wanted your baby in a wrap, diaper cover, or possibly naked then I suggest to take their clothes off (but keep them in their diaper!), wrap them up in a blanket, then start to feed them. The less we move them around after they have a full belly, the better.
5. What do I do if my baby is sleepy right before the photo shoot? Sometimes your baby will be asleep before we arrive and before the feeding. Try to keep them up by changing them or maybe a nice bath. You want your baby to be tired during the photo shoot, not before
6. How long will the photo shoot last? The length of time would all depend on the photographer and the baby. I have completed newborn photo shoots in an hour and upwards of 4 hours. If the baby is awake during the photo shoot, it’s OK! Photos of your baby alert and awake are magical!
7. What props should I have ready and does the photographer bring any? Most of the props and hats that I personally utilize in my photography shoots belong to the baby. The picture will hold a different meaning if you utilize your own hats, blankets, books, and/or other props. Also, don’t forget all the gifts that you baby will receive. Using gifts from friends and families makes these photos extra special.
One of the essential elements of photography is color, and it’s the most overlooked element. We spend all the time in thinking about the framing, rule of thirds, selecting between vertical and horizontal compositions. But the shades blends used in a picture are as essential as any other element in drawing the attention of the viewer. You should know the primary shades theory for photographers to make your images stand out of the crowd.
For years, it’s been known that hues has physiological and emotional effects. For example, the red color is revealed to raise the heart rate; blue is linked with a calming effect. Color is used to create balance, make an element stand out from a background or propose chaos or conflict.
Let’s understand the color theory of photography:
Many of us know about the primary shades, we all have learnt about them in school. They are the colors that can’t be made by mixing two colors, they are primary colors of a color wheel. While a standard artist color wheel makes use of red, yellow and blue as primary colors many photographers think regarding RBG (red, blue and green) color spectrum.
Secondary colors are a result of the mixing of primary colors. On the photographers color wheel, these shades are orange, purple and green.
Tertiary colors are created by combining the secondary and primary shades. For instance, when using the first yellow, blue and red hues wheel mixing the orange and red or green and blue would result in tertiary hues.
One of the most common links is between the additional hues. Complementary colors fall in the opposite from one another on the color board. These colors develop high contrast and grab the viewer attention.
Analogous hues are next to each other on the wheel. Making use of similar shades create a more harmonious shade scheme and low-contrast.
The monochromes are usually referred as black and white; monochromatic shades are made from hues of just one hue, for example, several different tones of blue. Monochromatic shades are low in contrast and usually create a soothing look.
This article just gives a brief knowledge of the color theory and how to work with it. The more you know about shades and their impacts on your pictures, the more you can control your composition and become a pro photographer.
What do we mean when we say we have made an experience?
How to photograph and photo-retouching of food images to follow the rules of its archetypes.
The experiences in my life I have always held for me jealously. It was a bit ‘my system to make a barrier between me and the other because there is always someone who wants to be your own business and to tell everything they have heard from you, so my experiences were as a result, it became insignificant. So I learned to lie about what I was doing it my mood about all my experience. In fact, it is very hard to describe their own experience and make it clear to your listeners exactly as you saw you because it is something that touches some of our internal emotional strings. Ropes that are unique in all of us. An experience to remember because it is accompanied it our emotions experienced at the very moment in which we have had that experience. And tell our experienced it downgrades to a simple image that others have of you. But you can do an analysis of what and experience to understand how it binds to our ability to live, to love, to communicate and to understand things. You always have to start from knowing what you want to understand, know what they do not teach in school not because it does not exist as knowledge, but it seems that it is not important to know what we should know all, for example on key natural laws of our universe, on his geometry, on his lack of perfect symmetry, the symbology on the archetypes, what makes us sensitive and allows us to understand things, etc. etc… But you can do an analysis of what and experience to understand how it binds to our ability to live, to love, to communicate and to understand things. You always have to start from knowing what you want to understand, know what they do not teach in school not because it does not exist as knowledge, but it seems that it is not important to know what we should know all, for example on key natural laws of our universe, on his geometry, on his lack of perfect symmetry, the symbology on the archetypes, what makes us sensitive and allows us to understand things, etc. etc…
We must always start from the origin of what you want to understand and then try to necessarily start from the archetypes of all things. What is an archetype? Basically, it’s the idea of something. It still has a meaning, not yet, but it has the idea of how to that particular thing. All we know of this universe we live in is recorded in our mind in the form of an idea how to be everything and these primordial ideas we have just called archetypes (a definition that is found abundantly on the Internet and on any dictionary). To explain their meaning and to understand why is there all this talk with photography I can give an example. We can use the food. What are the ideas of edible food, qualitatively good and palatable? To put it directly, we see what are the archetypes regarding food photography.
Well, first of all, I must be very saturated. Any other non-vivid colour would correspond to the exact opposite of what constitutes an idea of palatable food. Then it must have a lot of glitter on the surface, because this means that the food was freshly cooked and then, in addition to having the right degree of humidity, especially fresh. And finally the last archetype concerning the palatable food: is very good light to pass through the mid-tones. What does it mean? It means that if the light passes through the mid-tones (light has a spectrum, a range of frequencies, the mids are simply the frequencies that are in the middle), the food is soft, it is still young. But what exactly determines that it is a qualitatively good food to eat? And ‘where the light passes through the mids that the colours become even more saturated. As the light cannot make it cross the colours are switched off or become much less saturated. If you want proof, take a slice of butter and look at it through the light of a bulb. Or a hand, a part of your body. The saturated colour of our archetypes is the life, is all that is natural is healthy.
Anyone who faces food photography or photo-retouching of food unless it takes into account these simple archetypes does a poor job. You might even talk of meanings in photography because in this case, we would not have exceeded even the basics that are accessed by the inexperienced.
There is another aspect to consider. A photograph is processed using the RGB colour space that has the quality to contain many more variations for each colour of the CMYK colour space instead is used for printing. In practice, it means that the RGB picture can contain very highly saturated colours even fluorescent colours. Be careful because once you convert photos to print, fluorescent colours disappear and then the food to our eyes, instead of switching on freshness archetypes, we turn on the stale food archetypes.
Infinitely complex or evolved?- Digital photography
I would like at this point to clarify the difference between complex and evolved. In the chapter on I introduced the archetypes but even if I went in that direction I would complicate my story.
I would immediately arrive to discover that photography is geometry, a geometry that embodies archetypal meanings, symbolic, conceptual and especially emotional, but I risk to get into complicated for me as I already wrote it. But what I want to realize with these items, it is a constructive talk, always in that direction, but always constructive and without complications within the theme doing photography.
As an example of complication or evolution can be used in the advent of digital photography. Do you think the fact that the art of photography has gone digital is a complication or an evolution? The same comparison you could also do to the human race when you look at the West compared to African countries.
The photographic art actually always respects the same rules, a photographer artist never based his art on the knowledge of the computer or camera, but his art he uses the moment they look into the camera viewfinder and shoot! This is its art, namely being able to take at the moment, in the position and perfect brightness. So the evolution of photography in the digital is not an evolution in photography, but a complication because all the photographers have had to learn new technologies. If anything, one can speak of an evolution of the cameras. Nor does the fact that today’s cameras can take thousands of times instead of one is an evolution because the real artist photographer knows when to shoot and do it once. All other digital shots, they go down the drain.
The art has remained so since she was born, are the techniques, it is technology that has evolved. As evidence of this, I resurrected an old problem that had been at the beginning of the digital age.
For any analogue photographer was a humiliating moment the digital switchover. Once, before the digital, development occurred through chemicals and various processes on an exposed film from the light, that was, in the sense if they could not change a single part in the colours created by the original light. It was completely altered with the products. Today the same photographers who initially developed the colors or black and white in the darkroom, some of them not all, claimed that the computer does not use it and do not even want to learn to use it because at this point the people in front of a beautiful photography would have said that was also photo-retouched. Today I think we are all adapted to computer use, it can not do without if only for the size of the files, but at the beginning of the digital era as well. That is their fear that it could be diminished the photographer’s art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. That is their fear that it could be diminished the photographer’s art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. That is their fear that it could be diminished the photographer’s art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong.
E ‘can still perform a development of the photo without changing the numerical values of the same, that is, without performing editing. E ‘possible with a Photoshop technique to perform a second development changing what has been achieved in the first. This is not photo-retouching because they are not altered the colour information contained in the three channels. A real shame because maintaining this confusion, that is not addressing this complication at the time, has only contributed to downgrade the category. This method I learned from the man who is internationally regarded as the father of colour correction, Dan Margulis. Dan Margulis has always used Photoshop and knows every secret…
Of consciousness and colours Geometry
But what it does that have to do the technology (and science) with human consciousness and (therefore spirituality)? What has to do primarily a photography course with human consciousness? When we hear that word, they were taught to think of religion to Catholicism if we are Italian, which means being bigots and even a little ‘annoying, because if we are, we are also moralists in the sense that we preach well but we scratch about very bad and there have inculcated that speak of consciousness is a big waste of time as well as much of a hassle. It is not marketing, it’s not something you eat, is not money, and above all is not science, and therefore, what is the use?
I disapprove totally.
As I mentioned earlier, we live with no one teaches us that between religion, or spirituality (I prefer the latter term because with religion we enter more specifically and complicated) and science there is a deep bond. Deepening these arguments one can not see a relationship difficult to ignore. I began to introduce the archetypes, talking about food, but I’ve only talked about archetypes thousandth class. The basic archetypes are little more than twenty, beginning with those who speak the sacred geometry of our universe. Leonardo certainly knew them as the Golden Spiral, the Vitruvian Man, he drew them precisely describing our geometry. A unique geometry throughout the universe. The number Phi, the Vitruvian Man, the Golden Spiral, the Mandala, the Fibonacci sequence, the Mandelbrot set and consequently the fractals, the Julia sets that show us how the Golden Spiral can draw all things in the world we know, everything coincides and describes only one geometry, our. Among all these archetypes, which basically are few, there is the first that could be precisely the idea of ââgeometric existence (because geometrical described by geometric archetypes) of our consciousness. After Consciousness is energy, modern scientists say it also, and it is energy occupies a space that must necessarily have a geometry. I say that could be the description of what in essence is consciousness because no one has ever tried this, but I would get with simple observations. Only Dr Malanga to my knowledge, scientist and chemist and physicist genius, I met many years ago during a conference on the Super Spin, went on to explain consciousness through the archetypes. I will not pretend to do the same thing now I mean, I would not have either the skills. It ‘a process that may be able to make a longer because of very complicated time. So instead of wallow in an attempt to show that the face of consciousness than simply Matches between archetypes, I step back and I look again all over again trying not to stare any complexity.
You could also consider the quantum physics that states that only by taking into account the existence of the observer consciousness, you can explain certain laboratory experiments. But in addition to being very complicated, I find it rather boring and I do not have a laboratory capable of using photons for today.
Instead, we offer our observation skills that not even centuries of Inquisition and other wars of all kinds have been able to take off. Our common sense and Treccani says common sense (or bonsènso; most com. COMMON SENSE) sm [expression cast fr. bon sens]. – natural Capacity, instinctive, judging uprightly, especially in view of practical needs. Now tell me if our common sense, it should not be an option for anyone, it is not really our conscience?
The word consciousness, according to Jung, accurately defines what remains as a result of having had a positive and constructive experience. Any experience long as it is positive. There are many dictionaries from which I extract this meaning, but Jung, who knew something about the human psyche, defined the word conscience in this way. Technically it is what allows us to be different from others because everyone does their own experiences. What makes us different from the others that are in the first analysis, the consciousness born of the experiences we have with our parents when we are born, then the experience of the school, then for the experiences at work, with friends, with colleagues etc. etc. Where education is knowledge, and experiences are the conscience.
It ‘a little’ how to join the Spirituality and Science. We are made of these two components, why this nonsense of enemy makes in our history?
Yes, if we think about it, we are more aware of the areas where we have developed more experience, we are not where we have not developed, but it is also what others recognize us without this happening with a logical reasoning. We are a bit ‘as the works of art, if we are beautiful works we are nice people, if we are not it means that we have gained little conscience in our lives. It can also be inborn, of course, he inherited from the life of grandparents, great-grandparents and transferred to us as a form of memories and energy within us when we are born, but already born with two parents who know what love is, and grow with them, creates in us a certain (very specific and character) generous consciousness.
It ‘s a bit like photosynthesis, if you are born when you come nourished by light, grow up healthy and strong if you get nourished by you will be able to play the same love, and you will have a strong vitality, normal, but not so much in common our society. The consciousness is the thing that distinguishes a work of art by an artisan work done as it should. What on earth will the work of art that stands out from everything else done as it should? It contains aware of the meanings that arouse in us emotions can make us feel an experience observing the work itself. The work itself will watch and we look at it through the emotions that she always did well for us. In practice an artwork contains the author’s message, contains the meanings aware that the author himself wanted to impress in his work.
We all have a conscience, but we are losing the idea that consciousness is for us the most important thing in our lives. And it is true that every person, every animal, everything has its own consciousness. Although it may be little awareness of an object, as it expresses its use and that’s it, but it is always consciousness. Have you ever used a tool of another for the first time without knowing its true and proper use? beginning do not understand it, then when you see it used by the owner who has understood rather well the meaning, we understand well the meaning us. Seeing it used properly, it makes you recognize something about the object that only with our eyes do not see, of course, his conscious meaning. That is so simple and that’s all.
A particular person who has made it his unique technique a real art, he always said: it is foolish not to teach because the person who comes to us the same, that we can not even if unable to explain it. What did he mean by that, he meant that those who acknowledge that manages to get close to his art learn it, those who do not have it he cannot even if he explains. It ‘very important to observe this in us when we approach to photography, in its development and in the eventual editing. One has to understand well what we are led to be able to do a job with passion, love and perhaps with a “conscience.” If we can find our passion when we work we reload, rather than if we do something we do not like, we consume.
One thing that no one wants to learn, for example, in photography or in the photo processing is the use of colour spaces, ie the use of the colour geometry. But there is, it is a complication which required digital photography and does photography with a passion we have to understand what it is.
This is referred to colours, colour geometry, resulting methods of viewing and printing and its translators who are the colour profiles (on this subject they have called so many that even today only a few have really understood the use of colour profiles and colour spaces using Photoshop with its render engine).
We all know Instagram pictures don’t look the way they do without some behind-the-scenes work. I mean come on, when was the last time you took a picture and didn’t at least use some sort of edit? However, there are two types of people out there making mistakes – those who overdo the edits and those who don’t do enough. I am not the best or the greatest at editing photos who can turn an average image into a work of art, but I like to think I have figured out a happy medium. The key to making a photo look good, whether it’s a landscape or a group of people (or really anything in between), is the photo editing apps you use. There are thousands of them out there and I have tried plenty, but not all of them have worked the way I have wanted them to. So, instead of making you search for the right app to make that Malibu sunset picture pop, I am going to save you some time and effort and tell you the best apps to download.
This app lets you upload multiple photos at a time, so you don’t have to deal with editing one picture and then saving it, adding another picture, and so forth. The filters (or what the app calls “Scenes”) that it comes with are awesome – except the clarity one, that is just nuts and shows every single blemish possible. You can also do everything from brightening your photos to adding multiple filters to one image. The app gives you the option to reduce the filter you choose, so it doesn’t come out so intense and make your image look like an overdone piece of garbage.
This app takes some practice to use, and if done badly you can end up looking like an alien. Basically, this photo editor is used to smooth blemishes from skin, make you look skinnier, and you can even completely remove unwanted items from the picture. I love this app simply because when you are in the mood to post a picture in your bikini but aren’t feeling yourself, you are able to fake out your followers and edit yourself into looking like Bella Hadid.
This app rocks. VSCO has killer filters and similar to Camera+ you can reduce the effects so your edits don’t look overdone. VSCO is different from other photo apps because you can basically make it into your portfolio in the sense that you can make a profile. You can then share the link to your profile so people can see the pictures you liked but didn’t love enough for the gram.
Tip 1: You need a good digital camera with a tripod. When photographing an interior, you want to make sure that everything is clear and sharp. I use F11 (aperture) and 1/2 second (ISO 200) in most cases. Sometimes if you want to get a blurred background on a close-up shot, then you will want to shoot with a wider aperture, or the smallest f-stop your camera will allow (e.g. F1.8).
Tip 2: Use a wide angle lens. Shooting wide can make the room look great, especially when in Hong Kong, the size of the property is most likely less than 100 sq. meters. In a confined space, sitting tight into one corner while you try to get the other three corners in just looks wrong. You shouldn’t shoot all three walls into one picture. Showing the highlights of the interior design features is important. About the lens, anything in the 16-24mm range on full frame (or the APS-C equivalent which equates to 10-16mm approx. on some less expensive camera) is great. I often use 17mm full frame for my wide interior work.
Tip 3: Sufficient indoor and natural lighting are both important. Light up the room. If there is good natural light coming through the windows, use that as well. Adjust the overall feeling of the lighting to a balanced and optimized level.
Tip 4: Find the best angle. Take time to explore different angles to shoot from. Decorate the room with small artistic items, plants or anything you like to add a bit of creativity. We can’t all afford a tilt-shift lens to keep perspective in check, so it’s a really good idea to shoot with the camera at or slightly above mid-room height. This means you can keep the camera aimed out straight to keep the walls vertical. While the perspective distortion you get can be corrected in post-production, it’s much easier to get it right in camera. This is another reason to use a tripod as well.
Tip 5: Use post-processing software, e.g. Photoshop or Lightroom. You should bring the Highlights down and open up the Shadows. Next bring the Blacks down to ensure that the contrast lost from opening up the Shadows doesn’t impact the image too much.
Tip 6: Go vertical for staircases and other special feature. This is also important if you want to share the pictures on the web, as most images are horizontal in the interior photography world. Some vertical images could light up your portfolio. Verticals usually mean letting the eye fill in gaps, so make use of the composition to show hints of the room.
Learning the art of photography is fun and fascinating at the same time, photography is now much easier than what it was back in the days, when photographers need to expertise a lot of technical knowledge about photography before they can actually start, but now with the advance photography equipment and accessories, you can just start clicking images anytime, though at a later phase you will learn techniques that will fine tune your photographic skills further.
In this article we will discuss the essential photography tips for beginners:
The first question that every photographer has is “How do I take a great picture?”
1. Make mistakes: “Every expert was once a beginner” remember this one line before starting. When you are new there is nothing to lose, make as many mistakes as you can, but don’t get frustrated with your mistakes, learn from them and develop your skills further.
2. Get as close as you can, to your subject, try to fill the gap around your subject by approaching as close as you can to him, this will fill the frame of your picture with the subject only, you will see the difference between the pictures clicked from a close distance than when you clicked the same subject from a far distance. You will see the fine detailing of your subject.
3. Click as much as you can: We all know that “practice makes a man perfect” this can be said rightly for all the new photographers reading this article, if you are a new photographer, click as many pictures as you can, of the same or of different subjects to find your masterpiece with different angles. This will help you in mastering technical skills of photography.
4. Use the light: If you learned how to take advantage of a light source and utilise the source of light whether it’s a natural source like the sun or an artificial source of light like a lamp or something, you can make an ordinary picture look extraordinary.
5. Using flash: If you are a new photographer, you might think that you only need a flash when it’s too dark or when you are clicking pictures indoor, but this is not true. You might have come across a very common problem of uneven shadow patterns, those have spoiled your shots, when you were taking pictures in the bright sunlight, to resolve this issue you need to on the flash of your camera and put extra light on your subject, this will help you in getting rid of those shadows.
6. Invest in books: Read about the experts in the field of photography, as you can learn more about the techniques used by them and get inspired by their great work. Merely having an expensive camera and accessory won’t guarantee you great pictures; if you have the right technique you can even click extraordinary pictures with the help of a simple Smartphone