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This froze my subject but my timing was off so I missed her at the peak of her leap. I tried again, and did better, but her feet pointed down, obscuring how high she had jumped. Outdoor this technique. Just keep your subject jumping, don't stop shooting, and you will eventually get the shot you want. I tweaked the Hue and Saturation of this image to pump up the vivid colour.
If you have a garden, I expect you also share it with a number of birds. The average UK garden is visited by a wide variety, with blue tits, great tits, chafnches, robins, sparrows and blackbirds being the most widespread. Wildlife photography is a very popular subject and, at one time or another, most digital photographers will be tempted to try snapping the birds in their backyard. Bird photography isnt easy, though, and can prove challenging and frustrating.
However, with a little planning, patience and bribery in the form of wild bird food it is possible to capture stunning bird images. You may even be able to do so from the comfort of your very own living room or kitchen. Garden birds are small and even if you can entice them within three metres of your camera, youll still need a focal length upwards of mm to capture frame-lling shots.
Thankfully, telezooms are not as costly these days. The long end of a mm zoom should prove sufcient, particularly in combination with a DSLR with a cropped type sensor as its focal length will effectively be increased by a factor of around 1. Consequently, shutter speeds are slower, making it more difcult to Indoor.
In good daylight though, using a lens with a slower maximum aperture shouldnt be a problem. Most wild birds are quite timid and easily frightened away. While a hide is ideal, it is an added cost. Instead, try using a 2 To entice birds within range of your lens, you will need to bribe them. You can do this in the form of food or water. If you already have a bird feeder in your garden, just move it within a few metres of your hide.
If not, buy a garden shed or a household window. Buy camouage netting from your local feeder from a local garden centre and position it close to your set-up. Only army surplus supplies or www. Within days, hours, or even across your open door or window to create a makeshift hide. You can then minutes, birds will be visiting your feeding station. Keep feeders full, so that poke your lens through the netting, keeping yourself hidden.
Therefore, I didnt want to photograph the birds on the feeder. Instead, I introduced one or two props nearby that visiting birds would hopefully use to rest on between 4 Garden birds are ighty they dont stay still long so you need to prioritise a fast shutter speed to freeze their movement. Shutter-priority is the mode best suited to this type of photography. Ideally, a speed upwards of feeds.
Select blossom adjacent to your feeder, or maybe a clothes line with pegs in order to the maximum aperture of your lens and, if necessary, increase the ISO rating. Pla an for Set up y the light in an areour feeding stati several ha that receives on and props somewh ours of a day. Agood light for building ere that is shad void placing it. Outdoor , a fence e , hedges d by a or trees. Indoor Lighting Finalimage The waiting has paid off! Why not try snapping your garden visitors today?
This is useful for throwing background and foreground detail out of focus and helping to isolate your subject. However, such a limited 6 One of the key points to taking good wildlife pictures is to be patient and persevere. With my set-up complete, I invested several hours over the course of three days at my studio window shooting the visiting birds.
Try to focus on Sometimes I had to wait more than an hour before a bird would use the perch. AF is the best Be prepared to spend lots of time and take lots of frames before getting the and quickest method of focusing when shooting fast-moving small birds, so I shot you are after.
You will have lots of near misses, but the good shots more set my D to its continuous AF tracking mode. I used a circular polarising lter on my Canon EF shoot car close-ups. Bright will be reected in any chrome or steel parts. If its bright, the clouds will be a really vivid look and making them stand out more. Once I arrived at the with minimal effort. Do keep in mind that showroom, I had a lot of cars to choose from. I asked Alex Indoor. I chose to shoot a Mini, as they're to move the car onto a grass verge, so that the showroom and nearby cars would not instantly recognisable, with lots of reect in the bodywork.
I also felt that a fantastic details and curves. Many thanks clean background consisting simply of the to Alex at Sycamore BMW in green grass and cloudy blue sky would work Peterborough, who was kind enough to better with these shots than the showroom's exterior would. I turned on the lights, as well lend me one. To see their excellent range as the orange warning lights, which I thought of new and pre-owned cars, please visit: This would give me a fast enough shutter speed, and keep the noise levels relatively low in the images.
I set the White Balance to 'Daylight', although I 4 Once I'd ensured that my camera was correctly set up, and my memory card was in place and formatted, I attached a circular polarising lter to my lens.
This is a simple process, as the polariser simply screws into the lter thread at changed it to 'Cloudy' later on.
I used aperture-priority with the lens at its widest the end of the lens. To be honest, this one rarely leaves my lens.
To start with, I used a tripod on self-timer mode to minimise the reection, but the 4 In my bid to shoot the car from some unusual angles, I found it necessary to lie on the ground. I nd shooting from a lying-down position much easier and more comfortable than crouching and straining my neck.
It also allows me camera was still reected. It also increased the time for each shot and took a lot to hold the camera more steadily. If you don't want to get dirty, use a DSLR with of the spontaneity out of it, so I decided to shoot handheld instead. Live View or t a right-angle viewnder attachment. Outdoor Indoor Lighting Finalimages Because I had used a polarising lter, the colours and saturation were not consistent in all of my shots.
However, shooting in Raw format enabled me to adjust this before opening the images in Photoshop. I also added a little contrast and tweaked the saturation where necessary. Creative Finally, I used the Clone Stamp tool to remove the lampposts and any bits of dirt or dust from my shots. I decided to leave the reections as they were, but these could also be cloned out in Photoshop if desired. Many leading lifestyle portrait photographers use nothing more than ambient daylight for the vast majority of their portrait shoots.
So, while we have the benets of bright, sunny days at our disposal, we should use it to capture some simple yet effective portraits of family and friends. Due to the unpredictable nature of daylight, lighting Photoshop. The key thing to remember is that you want to capture a clean image, ALSO USED in other words try to keep the subject and the setting as simple as possible.
One compositional trick that most lifestyle photographers apply to their images is to slant the Indoor. This simple technique adds a little energy into the image and is very effective just take care not to tilt the camera too far. Take ca re with f You need ocus! Select sin , leaves little cus on th gle e eye and -point AF, recompo se Lighting.
As my subject will be lying on the oor, I Techniquewatch vacuum it to ensure its as clean as possible. For attering portraits, the light should be as Due to the cramped space, I open the patio diffused as possible to avoid your model squinting in direct doors in case I need to shoot from the patio. In this instance, However, Ill start by shooting from within the room and use the white walls as a try to reposition them so theyre in the shade or use a diffuser to neutral backdrop.
Using a wide aperture to shade the scene inset right. If neither of these work, you may give a shallow depth-of-eld is ideal for this need to wait until the suns position changes or shoot when the sky type of shot and Ill be trying out my is more overcast. Ive a pretty clear idea in my head of the type of shot Im looking for, with Bethany lying down with her lower legs and feet bent back towards her head.
This 3 I place a silver reector to Bethany's right just out of frame and it makes a noticeable difference, bouncing back enough light to even out the lighting on the face. The lightings better, but the wall behind, while plain, shot isnt bad, but the side-lighting causes her right side to be too dark. Outdoor Indoor Lighting Finalimage My next shot is perfect and all I need to do is apply minimal post-production.
Ive boosted the contrast in Curves and cropped the image slightly to give me the result I set out to shoot. Give it a try youll be surprised just how easy it is to shoot a great lifestyle portrait at home.
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I close the blinds in the backdrop so to darken the background. The empty space created behind her 5 I crouch down and the lower viewpoint is far better but the multi-zone meter has bleached out Bethany slightly due to the dark background causing it to overexpose the scene. This is easily taken care of by dialling in is an improvement over the original set-up but my viewpoint is too high.
Refraction is the directional shift or Outdoor. Photographed in close-up, using either a macro lens or close-up attachment, you can capture this striking effect.
Colourful owers look particularly good when photographed through a water droplet creating an image within an image. You could try taking pictures outside after rainfall or a dewy night when foliage is dripping. However, this gives you little control over the image reected within your Indoor. Instead, why not arrange a simple, table-top set-up indoors and create your own refraction photos? By doing so, you can decide exactly what will be reected within your droplets.
You can have all sorts of fun using different subjects; for example, you could use text, owers, a ag, a. This will result in a slow shutter speed, making the use of a tripod essential Lighting. Capturing frame-lling images of tiny water droplets requires shooting at a relatively high level of magnication when even the tiniest movement seems greatly exaggerated.
Using a remote release is preferable to physically releasing the shutter with your nger, which can create slight vibrations that can soften the nal image. If you dont 1 I wanted to create a fun, colourful image. So after much deliberating, I decided to photograph the refracted image of some colourful sweets. To do so, I needed some glass or clear plastic to place my droplets on have a remote release, use your cameras self-timer facility.
I opted for the lid of a CD case. To create and position my reective droplets, I decided to use a syringe, but a dropper or water spray would also work.
I then rolled-up and taped a sheet of white card into a cylindrical shape, placing it around the sweets, to help reect light evenly and to create a makeshift stand on which to place the CD lid. Using 3 Using a tripod, I positioned my camera directly overhead, keeping it parallel to maximise depth-of-eld. I composed my shot and carefully focused on the refracted image within the droplets not the droplets' surfaces.
Focu s on th With th manua is type of im e imag e itself, n focus on age, it is imp lly th drople ot on the su e refracted ortant to rf to predt, as the AF s ace of the w image. Outdoor ict you y a r desir stem may str ter ed poin u t of foc ggle us. The resulting shutter speed was two seconds, so a tripod and remote release proved essential.
The result had far more impact the droplets were in focus, and the 5 The next step was to tidy up my image. Even though I had wiped over the plastic case before I began shooting, tiny marks were obvious across the image. Using a combination of Photoshop's Clone tool and Healing Brush, sweets behind made a colourful background. However, dust and scratches on the I carefully cleaned the image.
I then adjusted the Levels to increase contrast, plastic were also now visible because of the smaller aperture. My personal favourite is the gerbera, but it is run a close second by the elegant beauty of the rose. However, I nd the gerbera to be a far easier ower Essentialkit to photograph, as its shape allows you to capture it from all sorts of angles and crops.
Because were trying to ll proposition; it is more fragile and the folds of its petals can the frame with a very small mean that not every one you nd is a suitable subject for subject, a macro lens is pretty photography. In the past, when I've bought roses, I've much an essential bit of Indoor.
It will allow you to focus selection for the perfect subject. For this step-by-step however, within a few centimetres from your subject and exclude the I snipped roses from a neighbour's garden with permission of background from the frame, course!
Now its fair to say that you can get away with shooting handheld here, especially if your camera or lens has an image stabilisation facility, but Id highly recommend that you do use a tripod.
Using one will allow you to ne-tune your compositions, ensure your focusing is absolutely precise this is absolutely critical with macro photography Lighting. The great thing about close-up ower photography is you don't need an elaborate set-up. The area close to the French doors in my dining room provided all the light I needed for the shoot. The rose was balanced in a half-lled plastic water bottle to hold it in position, while my camera with macro lens is set up on a tripod.
I nd that shooting a ower indoors offers two key advantages: Finally, it's worth keeping a silver reector on hand should you need to bounce some light back into the scene. One thing I haven't set yet is the autofocus. I leave it at multi-point, just to demonstrate what happens.
You should nd that unless the ower is very light or dark, your exposures are correct. Now concentrate on the composition. Make small camera focuses on the closest part of the subject, which is on the far left of the adjustments to the tripod head, raise or lower the legs and move the ower until frame. Switching to single-point AF and setting the AF point over the area I want you're happy with how it's framed. LiveView proves very useful, as you can to focus sorts this out.
Another option is to use manual focus. Finalimage The advantage of buying from a orist is that your subject. Outdoor will have fewer imperfections. This garden rose had a few discoloured areas, but they were easily cleaned up with the Healing Brush tool in Photoshop. After 15 minutes of photography and ve minutes of Photoshop, I've a beautiful still-life of a ower to add to my colourful collection!
The light it bounces back is subtle, but I'm much as possible in focus. To minimise shake in the longer exposures, use the happy with the difference it makes to the image. Whilst some photographers might have access to a. Outdoor studio, or own a home studio set-up and lights, the majority of us don't. No, not for a relaxing soak, but to reect light. The only limitation of using a bath as a makeshift reector is the size of the subjects that you can shoot.
They mustnt Lighting. Due to the type or size of the subjects you will be shooting, a focal length in the region of mm is ideally suited. A macro lens is ideal, due to its close focusing ability. To photograph my daughter, I used a Sigma mm macro. Regularly check your images histogram is a popular lens with portrait to ensure exposure is accurate.
I wanted to take some fresh shots of my daughter but the initial results were disappointing. When 2 With the help of a few chocolate buttons, my daughter sat in the bath. Although confused by the lack of water, she happily smiled while I began taking pictures.
The light entering through the window bounced around the bath, simply taking shots of her in our lounge at home, dark, unattering shadows creating a more attering light source. The tub formed a clean, simple backdrop, formed underneath her eyes, mouth and chin. Finalimage When shooting portraits, you often have to shoot a large sequence of images. Outdoor before you get the light, composition and pose just right. After many chocolate buttons, Id managed to take a couple of shots I was really happy with nicely lit portraits, taken with the simplest of set-ups.
Check the Monochrome box and try to keep the combined total for channels to I used my Nikon Ds built-in unit, with a ash exposure compensation of -2 stops, to ensure the burst didnt overwhelm the ambient light. However, the resulting depth-of-eld was narrow, making create a catchlight, but it bounced more light around the bath tub. However, this accurate focusing critical. It is essential that eyes are sharp, so I tried again, time my focusing let me down the eyes are not critically sharp.
I decided to raid the cupboard and towel nearby too: This messy stuff and easy is a fun shot to try and it couldnt be easier or cheaper to do.
You to get on your hands can buy a couple of small tins for under a pound at your local when you are picking supermarket, and then all that is required are a few everyday out and arranging Indoor. I used a small still-life table to arrange your letters with tweezers. You dont my set-up, although a simple tabletop set-up in your kitchen or want to transfer living room would do the job equally well.
Rather than using ash, tomato sauce from the soft natural light from an adjacent window is ideally suited to your hand to your this type of still-life image. Time to start spelling valuable camera gear! Using tweezers, I began picking out the letters I required. However, even with tweezers, 2 I thought it would be fun to have my words on a spoon as it would help the letters stand out and the spoon would add visual interest. Again using tweezers, I arranged the letters. However, while the idea was good, in practice you have to be gentle not to damage or break the letters, but after a few the letters all slid together as the metal is scooped, distorting their shape and minutes, I soon found the letters I needed for my chosen phrase.
I then held the spoon in position, just above the dish, using a clamp. I focused on the spoon, but to 4 I wasnt happy with either of my previous efforts, so I decided to dispense with the spoon instead of creating interest, it was proving a distraction. This time, I cropped in tighter, lling the frame with the alphabet spaghetti. Finalimage I decided the alphabet Photoshop. Water is highly photogenic, whether in large quantities or a tiny droplet. H2O seems to be irresistible to photographers: And you only need a basic set-up: Within half an hour or so, you can be set up and ready to Indoor.
Its imp nt damage to wel handy at e to prev h keeping a ton your camera Its worts to wipe dow eeded all time d lens when n body an. An off-camera ash is required for this technique. You need a ashgun that can be used Lighting. The ashgun then needs to be positioned so that it illuminates the surface being reected in the water in other words, you direct the ash burst at the water droplets background.
Adjust 1 Before you begin taking pictures, you need to arrange your set-up. You will need a container, half to three-quarters full of water, for your droplet to fall into. I used a paint tray but any large, shallow container will do. I placed this on a power output and move the ashgun to different positions still-life table, but a simple tabletop set-up would do ne.
Next, suspend a bag to alter the nal result. Next, it's time to consider lighting. You need to illuminate what you see reected in the water through the viewnder not the water itself. I 3 Now the technical bit. It's the pulse of the ashgun that dictates your shutter speed. I rarely use ash myself, but it's fairly straightforward. This is a good starting point so I recommend you use the and angled my ashgun towards the card.
Finalimage After 30 minutes, I had taken some nice images but they. Deliberating mismatching WB in this way gave my nal image a blue hue. Good timing and a huge slice of luck are required, so take lots of shots hundreds possibly to get what you are after.
It is an unpredictable technique and every image is different. Expect lots of near the droplet sharp but render any ripples attractively out of focus. I set the ash misses, such as water ripples but no droplet. Once you've captured your smoke trail shots, there's also a wealth of options for adjusting them to create some truly magical results.
Each trail can be coloured, ipped, dodged, burned or distorted in post-production to create other shapes. There is literally no limit to the potential of 1 I cover a studio table with a black cloth, adding a sheet of glass a ceramic dish will also sufce to reduce any risk of re.
I then stick the incense stick to the glass with Blu-Tack. I mount my ashgun behind the incense, with a piece of this technique.
However, it is important to ensure that the incense black card stuck to the far side of it, to prevent the light spilling out onto the sticks are used responsibly, as they can cause res.
Make sure background. I set up my camera and wireless ash trigger on a tripod, and open that once they are lit, you stay with them at all times. Original Inverted Lighting. I set a shutter speed of 3 Once Im ready to start shooting, I carefully light the incense, making sure that the stick is stuck securely and in no danger of falling onto the black 4 Once I am satised with the results, I upload the images to my computer.
For comfort's sake, I use a remote release to background before opening the le. Once I have taken between 30 and Eraser tool in Photoshop to clean up any unwanted depth-of-eld. I also set my camera to record the 40 shots, I make sure that the incense is completely smoke spread. This will change the smoke the best quality images possible, it will also allow me screen.
I'm mainly looking to check that no light trails to a hazy black and the background to a crisp, to enrich the blacks in the conversion process.
I reduce the opacity of the blue image and move it around until it looks good. To align the images, I use the rich red colour, and a saturation of 75 per cent. Next, I open a different image and repeat steps three and four, and change the Layer Blending Mode from Normal to Multiply.
Finally, I atten but I decide to colour the second smoke trail with a rich blue. Finalimage After a few nal tweaks to the Curves, Saturation and Contrast, I'm very happy with my nal image. It is a very colourful abstract that could look great as a canvas print on any wall.
Shoot fruit! I used a studio table for my shots, but if you dont Outdoor. For the background, a sheet of white card works just ne though for more unusual results, you could also try coloured backgrounds. I used two Intert studioash lights, although any basic studioash or continuous lighting system is suitable One light was aimed at the white background, to make sure that it looked white in the shot, rather than a dull grey colour.
This would also bounce the light back onto the subject, giving the fruit a translucent glow. The other light was positioned over the jar, to light the subject. I then carefully adjusted the position of the lights and the jar, to minimise the reections that appeared on the front of the jar. Keep it c lean! Make sure thoroughly you clean the glass 1 Once Id got all my ingredients together, I cleaned the jar with a soft tea towel being careful not to leave any bres on the glass.
I lled the jar with ice, sliced the fruit and slid them into position trying not to rub them too much on Use very hobefore you start sh or jar and then us t water to wash it, ooting. I used an old to remove e a soft cloth or sh t it dry, any dried am coffee jar, as its at sides would help me to control the reections.
I turned the lights on and made sure they were positioned to 3 I set my cameras White Balance to Flash set it to Tungsten if youre shooting with lamps , and the exposure mode to Manual. A test shot conrmed a good exposure. Finalimage This was one of my favourite images from the shoot, as I liked.
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Outdoor the position of the fruit, the translucent effect, caused by the backlighting, and the way in which the bubbles have been captured as they rise to the top. When the jar was nearly full, I took several shots. Once satised, I adjusted the composition by moving the tripod slightly.
I then refocused and shot a few 5 The nal step was to transfer my images to my computer. In Photoshop, I adjusted the contrast by creating an S curve in the Curves tool. To make the bubbles stand out more, I then applied some Unsharp Mask, adjusting the more frames, to get a good variety of images.
Shooting straight after the water amounts of sharpness and radius to get the optimal result. I tweaked the was poured gave the best results, as there were more bubbles in the shots. Colour Balance slightly as well, to make the colours look punchy'. Theyre around all through the summer, and grow in large window on a sunny numbers. The source of your bright background can be as simple day will make a or as complicated as you like. If you have studio lighting, a softbox great background Indoor.
Alternatively, light a sheet image. Tracing of paper from the rear with a ashgun, or even just tape a piece of paper works well tracing or photocopier paper to a window for a simple but effective under cloudier solution. We used the paper-on-window approach for the conditions. Our subject is then photographs you see here. Its such a simple approach that the placed in front of whole thing was done and dusted in 15 minutes!
This type of image is just begging for some toning to really set it off. There are so many ways of doing this. Instead, start at your depth-of-eld to render the paper out of focus and, meters indicated exposure in manual mode and take therefore, devoid of any distracting detail. You may be pictures while lengthening the shutter speed, watching able to hold the grass stem with one hand and your the histogram until you can see proper whites at the camera with the other, but wed highly recommend a right-hand side of the graph.
Inspect the results of your efforts on your computer if its not quite the effect you hoped for, you can tweak things with a simple Levels adjustment. Sometimes graphic compositions like this can benet from some extra white in the composition known in the trade as negative space.
An easy way to do this is with the crop tool. Then tweak the left-hand marker to deepen the blacks existing image. Hit return and new space will be added and lled with the somewhat until youre happy with the effect. Finalimage A semi-silhouetted approach works well for this stem of grass. This was achieved by not moving the black point in Photoshop's Levels adjustment screen too much.
I've been experimenting with this technique for some time now, scanning natural objects such as ALSO USED owers, seeds, heads and leaves to create beautiful ne-art images. Flatbed scanners are often seen as a cheap alternative to a dedicated lm scanner. However, while most may not be able to scan lm originals as well as a proper lm Indoor. The good news is that you wont need to break the bank to buy one. The Epson Perfection V is a budget option and boasts a resolution of dpi which means pin-sharp prints measuring 24x20in or more at dpi are easily achievable.
The V is also 1 The rst step is to give the platen the glass plate a good clean with a microbre cloth to remove as much dust as you can. This will reduce the amount of spotting you have to do to clean-up the scan. When youve done that, the rst CCD scanner to use LEDs as a light source so instead of hanging around for ages while it warms up, just one second after take your chosen object owers, leaves and other natural subjects are ideal and icking the On switch youll be ready to scan.
Take care not to scratch the platen with sharp objects. I use an old box le sprayed inside with matt black paint. By cutting the lid off I was left with a black box 4in 3 Open your scanner software and create a preview scan of the object.
Make any adjustments to contrast, exposure and colour balance, then set the output size of the scan I chose 16x12in at dpi. When youre all done, click on deep, which I placed over the object. Not only does it contain the light from the SCAN and sit back and wait for the scanner to do its job this usually takes a scanner, but it also creates a plain black background.
Not only does this show just how impressive the image 5 Once the image is 'clean', its time to put your imagination and creativity to good use. Glow or some Gaussian Blur. Blur to an adjustment layer. Finalimage A beautiful image of a ower captured without the. Outdoor use of a camera. Isnt the digital age amazing! Indoor Lighting Creative. Give it aswirl! Finding the right LED torch for this technique can be tricky; too large and your light trails could merge together, too small and you could struggle illuminating the prop.
Try to nd one thats compact and lightweight so its easy to manoeuvre and gives off a strong, highly-dened light beam. Ideally opt for one with multiple bulbs the torch used here has nine as it will provide more interesting swirls, enriching a potentially bland Indoor. The colour of the light is also worth considering, too. Finalimage This shot required very little post-production. Finally, I used the Healing Brush Tool 1 I used a water-lled uted glass for this shot to create refractions of light.
As the light accentuates ngerprints and dust, make sure the glass is clean, and after lling it, wipe the outside and the inside above the water level to to clean up bits of stray dust on the reective surface and the glass itself. I used a very strong LED torch, with a cool blue light, but to be more creative cover the torch with coloured cellophane. Bend a large sheet of black construction paper so it leans against a cardboard box, steadied by the weight of a few books. I used a sheet of dark, tinted glass but 3 While the room is still lit, compose the scene and focus on the glass.
If you used autofocus rather than manual focus, turn it off before you switch the lights off or the camera will try unsuccessfully to refocus in the you could use a second piece of card as a base.
The camera must be dark. Set the camera to manual mode to allow you to vary the shutter speed completely still for the duration of the shot, so mount it onto a tripod. Turn off the lights and start shooting! My rst few attempts were too high, too sparse or too low creating an undesirable 5 Initially, I used a ve-second exposure but I didn't have enough time to illuminate the glass from the side with the torch and create enough light trails.
This technique is all about trial and error, so try different shapes and reection in the base or just the wrong shape. It took a few attempts, but prolong the shutter speed. I found ten seconds was ideal as it allowed plenty of nally I started getting results I was pleased with. Getting to use just one ashgun Outdoor. A of ways of triggering your remote gelled second ashgun is triggered automatically by the main ash to illuminate the background, so ash.
Slave facility to trigger it when you release Flash gels are small sheets of coloured plastic that are placed over the ash head to colour the shutter. Youll need to refer to your the ash output. Alternatively, you can t a slave cell creative ash effects to your images. Larger ash gel kits are available for studioash heads too, to the bottom of any ashgun, which is then so the technique used here can easily be applied to studioash set-ups as well as ashguns.
Plain backdrops as well as textured surfaces are suitable, although the latter does depending on which you are using.
Its also worth bearing in mind that you can use more than one ashgun for the background, so feel free to mix colour gels. While selecting TTL is normally the best choice, wed actually recommend you set the ash to manual for this technique, as the results will be more consistent. If you are using a slave ash, you should set the ashgun to manual to allow you to set a specic power setting.
Take some test shots and adjust the power settings to suit the scene. Adjust power if you want a stronger or weaker effect or if you switch colour gels, as some 1 Heres our subject photographed using only our hotshoe-mounted ashgun. Shes well exposed but the background is drab and dark.
Finalimage While the red gel is attractive, it proves overpowering, so. Outdoor we try various colours and nd green works the best. For the portrait image, I placed him in front of the paper. However, it's worth pointing out that if you had two people of roughly the same build, who would project a similar silhouette, you could get the result with a single shot.
I placed one While this technique could be Indoor. The I wanted the devil shadow to appear. I placed a nd the perfect balance between second studioash head this time the foreground subject and with a softbox attached off to the side where I wanted the angel to stand.
I back-light. The lights can also be then asked two colleagues to stand in easily moved into various place and took a series of test shots positions until you get the best until I was happy with my exposure.
I then got him to stand in position, and asked his father to stand in the devil position behind the screen. This would help me with my composition, and also make the angel easier to cut out in Photoshop later.
I then took some Creative. His mother was also there to make sure he didnt fall or injure himself. I checked the Photoshop. I then took the devil shot. Finalimage This shot can be done in-camera. But if youre lucky enough to have. Outdoor almost identical subjects to hand, youd be better off combining two shots. Either way, its great fun and will leave you with a really fun image. After spending a short time selecting two ideal frames one of the shadow, the other of the subject I opened them both up in Photoshop.
You can move the the background was almost pure white. Homestudioself-portrait Essentialkit: In the same way a reector can ll in shadows or add warmth to a subjects face, a diffuser can Studio photography can be Outdoor. Normally this wont pose a problem if youre using a table lamp, but you can also use ALSO USED shooting in Raw, as the colour temperature can be easily reset once you wireless ashguns or a studioash kit.
I decided to use highlight around the hair. If your subject has short hair, directing the a black backdrop for this light source at the middle of the head can create a subtle halo effect. I through more of the hair. It's also worth experimenting with the position positioned my main light Indoor. A reector will also help with this. If this light is too I chose to do this technique as a self-portrait. Unfortunately the one harsh, consider using a person most photographers shoot the least is themselves, but diffuser or a homemade self-portraits are an ideal way to test lighting and creative techniques.
Plus its easier than you might think! Having a large mirror make sure the bulb is level with your head. Use a fan, or have a friend ap a placed beside the camera may help you to gauge how the composition looks before magazine, to lift the hair and add drama to the image. I used it instead of the self-timer as it allowed me to shoot continuous frames at set intervals. A remote trigger would have similar benets, but the interval timer also I therefore took a photo of me holding a white piece of paper, which I could later adjusts the exposure, focus and metering before each shot.
There is a lot of trial and use to set the White Balance on my computer. Finalimage Using the fan added much needed interest to the image. I left the. Outdoor colours as they were as I liked how the warmth of the glow complemented the soft lighting and shallow depth-of-eld. However, for a different look you could try converting it to mono.
High-key Outdoor. As a minimum, use two light sources; one to illuminate the subject's face and another to overexpose the background. A home budget studio kit is perfect but, although it's a little trickier, you could try standing your subject in front of a sun-drenched window and illuminating the face with a ashgun. However, luckily, the Indoor. I used the Jessops Portaash kit for these shots.
Its also important to get the backdrop right: I used one studioash and softbox to light the white wall. By overexposing the background, it prevents the light illuminating the subject from creating shadows also get by using just a white bedsheet as long as it's pulled on the wall. My second head, tted with a brolly, was placed to the front right of tight to reduce any shadows caused by wrinkles or creases.
Finally, I rested a reector on her knees to bounce light under her chin. As well as the studioash kit, I also made use of a large reector. If you dont Lighting. That said, reectors are so cheap now that you can pick one. Unfortunately, this time the image is too bright and the models face has burnt out in places, up for less than Choose one that comes with a silver nish, or better still, one with a silver and gold attempt is a tad on the dark side, losing that bright leading to unsightly white areas on her skin.
I may be reversible sleeve for extra lighting options. This is due to slight underexposure, able to rescue some of the detail in Photoshop, but which I can correct by using a wider aperture. While everything is working well, I ask 6 Once Ive uploaded the correctly exposed image to my computer, I use the Levels slider to increase the brightness of the skin tone. Lastly, I direction. You can see from this image what a Sophie to try out some different poses and angles adjust the Saturation slider to decrease the colour difference the reector makes.
Finalimage In under an hour you can produce a quality, high-key shot that brings striking impact to your portraits. Look at fruitsalad with fresh eyes! However, if you dont own one, they are relatively cheap to buy or make. Food is a particularly good still-life subject, especially fruit, with its bright colours and variety of textures. I was making the family a fruit salad one evening when inspiration struck.
Backlighting small apples, pears, an When youre taking close-ups from translucent objects indoors is orange, a lemon and overhead, optimise depth-of-eld by easy with the help of a lightbox.
I sizes, but A4 size or larger is wanted to highlight marked on the camera body parallel probably the most versatile and Indoor. By doing so, you will form, therefore I keep all objects of similar height in useful.
The lightbox can be carefully cut each focus. If the camera is at an angle to placed on a tabletop or on the one into thin slices to the subject, areas of it will drift oor, then, with the help of a create a photogenic, out-of-focus, spoiling the crisp, fresh tripod, position your camera translucent cross- look of the fruit and lessening the overhead.
A lightbox can also section of each fruit, impact of the shot.
I took time to arrange them so they created a pleasing composition. I tried to ll the image space with the fruit, avoiding large empty spaces that might prove distracting.
This remedied the problem and the subsequent image was exposed correctly. However, the image happy, I took my rst shot. However, backlighting can often fool TTL metering lacks colour and impact.
This type of shot evolves as you go along.
Experimentation is the key, so I decided to try some different fruits. I liked the contrasting colours and sizes of the fruit. I arranged them so that their edges met and the backlighting really 5 I scooped out the insides of some kiwi fruit and then carefully placed the juicy results around my fruit slices. I decided to make a slice of apple my key focal point, as this had the most interesting and recognisable outline.
I emphasised their form and transparency. However, the white gaps between the used the slices of citrus fruit to balance the composition. However, I felt I fruit were distracting and didn't make the best composition, so I decided I needed to add a splash of red to contrast with the greens and yellows that needed to ll the entire frame with colour. Finalimage I carefully removed the bright red seeds of a pomegranate and used them to replace the kiwi fruit. This added the colour contrast and impact the previous shots had lacked.
A vertical composition worked best. The result a simple but striking still-life taken in the comfort of indoors. And, the left-over fruit made for a delicious fruit salad! Its a simple technique that can Outdoor. For this step-by-step, a bowl of apples was used to illustrate the technique. A tripod is an absolutely So how exactly do you essential accessory, as you'll be paint with light?
It's pretty taking long exposures, running simple really. During the into seconds.
Any tripod that exposure you simply bathe offers a stable platform is Indoor. If you hold the with a centre column beam over a certain area that an be positioned for a prolonged period, it horizontally is ideal. It's all be switched from vertical to about trial and error, and horizontal without having every image is different, to remove it. Any modest but it's good fun and digital camera kit is suitable produces great results. I used a Nikon D60 with an mm lens.
For this shot, I needed my camera to point directly down, which was easy with the Manfrotto, as the centre column can be set horizontally with ease. Set Manual 2 Compose the image using the viewnder or LiveView and focus on the subject. So long as you dont zoom the lens or move the camera or subject , exposure time of between four and eight seconds.
Very little Photoshop work was needed, other than to crop the image into a square format and to adjust the Levels slightly. Maglite LED. Press the shutter button and move the torch in random directions and angles to paint your subject with light. Once the exposure has ended, check the preview and adjust the exposure 4 By changing the angles from which you light the subject, and the amount of time you spend lighting different areas, youll be able to produce very different results.
Experiment with fast random torch movements or more by changing the shutter speed in full stops i. Youll also nd that a normal torch gives a warm, whether the image is too dark or light for your liking.
You could freeze practically anything, but feathers and leaves work particularly well. Other than your camera set-up, all you need is your chosen subject, a large freezable Pyrex dish, some water, a few spare minutes and a little creativity Indoor. Outdoor Indoor houettes OTT: Positioning your camera above the frozen leaf enables you to shoot it on the ground from a sturdy position, while taking full advantage of the natural light.
A lens that can focus relatively close is ideal for taking frame-lling shots of your frozen object. In this instance, I opted for a macro lens, but Lighting.
However, if you still need to get closer, consider using an inexpensive close-up lter. To your shu ooting static, maximise image quality when as long tte r speed at subje a is im cts, using a close-up lter, select a Instead, s you have a stumaterial ap erture shou rdy support. Leaves are the most obvious subject to freeze, being something that you might nd naturally frozen in a puddle, or the edge of a lake at this time of year. A maple leaf caught my eye, thanks to its 2 Pour some water into your dish and place it in the freezer ensuring it is lying at so that it freezes evenly.
Carefully place your subject centrally in the water if it freezes too near the edge, it will restrict your composition. Once the waters colour and interesting shape. However, you may well have other ideas, and just frozen, add a little warm water and refreeze. This will help create cracks and air about anything will work, from a feather to a pine cone. Outdoor Indoor Lighting Finalimage Ice thaws quickly under direct sunlight, so work quickly.
With the exposure now correct, try different compositions. I tried horizontal and vertical formats, and went in close to isolate specic detail as well as including the leaf in its entirety. After much experimenting, I settled on this shot. The end result is a creative, wintery close-up that you could take at any time of year! You could shoot it indoors, using a lightbox to backlight it; but I opted to take it outside, so I 4 To rectify the problem, I knew I needed to apply a degree of exposure compensation.
As with most DSLRs, my camera has a dedicated exposure could use the softness and warmth of the natural light. Using a tripod, I positioned compensation facility.
I took my camera overhead, composed my shot and released the shutter. However, the another photo and, having studied the result and corresponding histogram on brightly-lit ice fooled my metering system into underexposure.
There are numerous reasons for taking Outdoor. I could have used ambient light pictures, but sometimes you should do it just because its coming through the garage door fun. For this reason, I shot without having to spend ages in post-production. There was no glamorous location for this portrait shoot, just the inside of a garage! The subjects, Hayley the headless torso and Katie the head were placed a metre or so from the white garage wall, with Hayley standing and Katie sat on top of a couple of sofa cushions.
Both had been asked to wear black, as this would help with merging the two gures together to give the impression of a oating head. The windows of the garage had to be blocked off with parcel paper to minimise ambient light. For this image to work, I had to illuminate Hayley's neck Indoor. I tted the softbox to the W studioash and, with it at Hayley's head height, tilted it upwards slightly to reduce the amount of light reaching Katie's head.
I tted a spill to the W ash and placed this low and close to Katie, so that the light was concentrated on her head, with as little lighting as possible on her shoulders. A snoot or spotlight would have been a better option, but I lacked both. You can see the optimum position of the lights on the image on the right. This rst test lowered the power of both ashheads, taking care to keep the ratio of both the shot was grossly same. A couple more test shots and minor adjustments to the power gave a overexposed.
The key area I had to keep an eye on was getting the head's height correct so that the arms looked natural and not stretched out. It was also important to have the hands positioned so that they appear to be holding up the head, as well as also covering up as much of the neck area as. For the neckline, using the Polygonal Lasso Tool, I chin up so that her make a selection around the neckline area.
Now I select the Paint Brush Tool neck is stretched out. I select Blacks in the drop-down menu, then getting Hayley to move the Black slider until all the detail has merged. Finally, using the Erase adjust her hands to Tool, I delete any areas where wanted detail has been lost, such as the face and nd the best position. Finalimage Photoshop. And there we have it! An image that appears to show a headless torso holding a head.
Why not try something similar with members of your family come Halloween! Make plastic fantastic! I used a macro lens to get in than lo position far x.
It makes c ng really close to small areas of oking th qu ha rough icker and eas nges my subject, but the tele-end the vie wnde ier of a standard zoom would be r suitable too. Youll need to use a tripod, as exposures will run into seconds, so a remote release is useful too, though I used the self-timer and mirror lock-up facility of my Canon EOS D to minimise shake.
A lightbox provides all the light youll need and, apart from the polarisers, youre almost there. Smears and dust will be obvious at such magnication! Multi-zone metering will work here, but apply exposure compensation if needed. The easiest way to do this is to have a circular polarising Lighting.
You can use another screw-in polarising lter on the lightbox, but it limits the size of the subject you can use. A better alternative is to buy a sheet of polarising gel, which covers the whole lightbox surface. Theyre a little pricy in the UK, but weve been told by readers of an internet. However, equally com that offers a good quality, important is the shape of the subject you choose, which will add extra interest to affordable option. Choosing subjects with very dened outlines really works for this step-by-step, I decided to shoot a cutlery set.
As if by magic, you'll see the background change from white to black and colours as you think up new angles to try. Start off with a simple composition like this transform your plastic subjects. Stop turning the ring once you've a solid black and be more creative as you get the hang of things.
Outdoor Indoor Lighting Finalimage The image on the opening spread is my favourite, but this one runs it a close second. The whole shoot only took 30 minutes to set up and shoot and I managed several images I'm happy with.
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Once the waters colour and interesting shape. Just sign in to your account and click the "Share Sites" link at the top of the page. A still body of water acts as a mirror, perfectly reecting its surroundings. When using a lengthy shutter speed Lighting.
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