I ran across this fascinating quick article from Jeff Wignall that got me thinking about the photos that make me stop and take a second look. There can be many factors that contribute to the success or failure of your image, however this little observation may make or break your photographs. Armed with our Digital SLR and array of lenses we shoot a volume of images, many of them unsatisfying looking for that elusive gem. But maybe if we had thought more about the numbers when taking our photographs we may have had to shoot less and edit less. Would three salt and pepper shakers on a table look more interesting than two? Possibly, in fact most likely!

Not only does the effect of odds stand out in the composition of your photographs, think about next time you are creating a photo collage poster print or a collage on photo canvas art. Experiment with odds and evens on your photo gift and see what looks best and let us know what works best for you.

Armed with your trusty Big Zoom digital camera or DSLR it’s time to experiment with an empty memory card and see if the numbers have it.

Don’t be put off experimenting with this because you don’t have the top of the range Canon or Nikon, as I have seen some amazing photography by people with some of the least expensive digital cameras on the market. Experiment with the numbers and get shooting.

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It doesn’t matter how many time we hear it, the truth is It’s all about light! When I ran across this article it sprang to mind immediately the images that capture everyone’s attention are the images that have amazing lighting. You may well be using a top of the range Nikon Digital SLR or the most expensive lens you can put on your Canon DSLR, the bottom line is that a well lit shot from a compact digital camera can often look more appealing simply because of the lighting.

This simple article by Brenda Tharp is proof that a compact digital camera like a Canon G9 is capable of taking great images with the right lighting. Unusual lighting effects aren’t limited by the light of the day though. Try experimenting with an off camera flash also to create dramatic shadows and effects. You may have to use a tripod though if you are going to be holding the flash with one hand and shooting with the other.

When you capture those amazing images they are worthy of a giant canvas print placed in a very prominent position in your office or home or even turned into a photo gift for a friend or family member.

Creative Nature and Outdoor Photography

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I ran across this great article from Jeff Wignall that really challenged the way I take photographs. In the article ‘Need a challenge? Illustrate a concept‘ it struck a chord with me about the shoot anything method with a digital camera.

I know when I pull out my DSLR, regardless of whether I am shooting with Nikon, Canon or whatever I have tended to just shoot so much and eventually be disappointed with my results. I have also noticed many people using compact digital cameras doing the same.

I remember my early days in the camera club being surprised by how many of the members used tripods. This generally slowed them down and made them more considered in their approach to what they were shooting. It was when I took this on board and tried to capture a image that provoked a certain emotion that my photography improved and I took less, but better photographs.

Time and patience is also another consideration to capture great images that evoke a response in the audience you are targeting with your images. I have watched many of our customers who create and sell their own greeting cards develop a sense of emotion from the photographs they take, because they are selling to a public that wants to convey a particular thought.

My goal one day is to put my own coffee table photo book together with a theme of images that convey a particular theme, emotion or colour. In the past I have had a number of frames which hang in different places throughout the house where I have made different size digital images to create a theme for that area. With the price of digital photo prints and enlargements now it is possible to regularly change them and surprise your friends and family each time.

Winning Digital Photo Contests (A Lark Photography Book)

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An asterisk is a symbol that looks like this * . So how do you turn an asterisk into a photograph?
Zack Sheppard has been combing the files of Flickr and found an amazing array of images, many of them taken with a Digital SLR camera and I suspect a polarising filter. You will see from viewing some of the images the way the polarising filter deepens the blue sky and accentuates the clouds against sky.
To get the greatest colour saturation in a natural looking colour when thinking about a poster print or canvas print a polarising filter would be the one accessory I would not be without.
As you view the images and look at the photographs take note of the angle as many of them are shot using wideangle lens and some of the are shot using a compact digital camera.
If you are already a member of flickr don’t forget to join myEastmon group so we can see the great photographs you take.

Sams Teach Yourself Flickr in 10 Minutes

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The polarising filter would have to be the one must have accessory that I would take with me everywhere!

In a really informative article Jeff Wignall explains the many and varied uses of a polarising filter in your photography. Many people are amazed that a polariser can darken a blue sky, saturate colour and eliminate reflection and whats more no amount of photoshoping can give the same result.

Whenever I have been looking for that great photograph to make a greeting card or compiling my images for a photo book, the photographs I have taken using a polarising filter on my DSLR have always been the standout images.

If you are reading Jeff Wignall’s article you are even more curious I would recommend you google some of the interesting and amazing things you can do with different lenses and polarising filters.

Your digital prints will really jump out at you and your friends will be amazed at the great results you get. Don’t forget to add your images to myEastmon group at flickr.

The Joy of Digital Photography

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In this video from Erin Manning you will learn the tips that professionals use to get posed, but natural looking shots. You have probably felt it yourself, what do I do with my hands? I feel awkward? etc. Most people are uncomfortable in front of a camera, so it is important that before and while you are shooting that you build up a rapport, even though that relationship may be only for 5 or 10 minutes or several hours. The more you gently give direction and encouragement the more relaxed everyone becomes and the better the photograph you will get.

Tip 1 Position your subject to make a three-quarter turn towards the camera and move their weight on to the back leg. This position gives the body shape, dimension and makes them look slimmer.

Tip 2 Don’t let your subject remain stationary, have them move their weight from front to back foot and create a sense of movement.

Tip 3 Most people are uncomfortable in front of the camera. Help them out by giving them direction. Tell them they look great, give them feedback and interact. The positive energy will show in your photographs.

Tip 4 A real expression is always better than a fake one. To alleviate a frozen, unnatural smile, try puffing the cheeks to relax your subjects face. Do it together! Puff out your cheeks, hold, then blow it out. This exercise relaxes your face, and the goofy look is enough to make anyone laugh.

Tip 5 Portraits are traditionally shot a few degrees above your subjects eyeline, but shoot from all different angles too. Mix it up and experiment!

If you enjoyed this video by Erin Manning you may like to view her book from our affiliate

Portrait and Candid Photography: Photo Workshop (Photo Workshop)

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Sports photography is a highly-specialised and expensive field, but armed with a few basics – and a degree of patience – most photographers can capture a magic moment without breaking the bank balance.

The surfer tries to stay near the breaking part of the wave, rather than well out in front of it.

Equipment choice

The best sports photographers also use the best equipment — for example, ultralong lenses that come with an ultra-big price tag.
But I’ve been able to take the occasional good action shot using my digital SLR which came with a 300mm lens (all up, the cost was $1300 for camera, 35mm lens and the 300mm lens – it didn’t break my bank!).
Here’s a few basic tips to get you started. They won’t make you into an instant pro, but hopefully they’ll help improve your sports photography:

Non-SLR cameras these days have a large zoom capacity, so play around with different zoom settings to determine how you’ll get the best results.
If you’re using a long lens, a tripod or monopod will help provide sharper images. But if you don’t have one, try resting the camera on a fixed base — for example, the playing field’s fence.

Position, position, position

Position yourself where you'll catch the best of the action. For cricket, a spot in line with the batsman and bowler is best, rather than an across-field shot.

The best piece of advice for sports photography is to know the sport you are shooting. It’s all about position, position, position — that is, getting close to the action.
For example, in athletics, the focus is the finish line, while for cricket, the preferred position is in line with the bowler and batsman, instead of a cross-field shot.
If it’s surfing, you’ll notice that the surfer tries to stay near the breaking part of the wave, rather than well out in front of it.
The football codes are different, with action all over the playing area. Rather than trying to follow all the play and running up and down the sideline, you can focus on a certain spot on the playing arena.

A good tip is to try to shoot as the players are moving towards or away from you, rather than having to pan across the field.

In games involving a ball, remember that the ball is the focal point of the action, so, as all sportsmen and women are told, keep your eyes (and camera) on the ball!

If you’re not familiar with the sport you intend to photograph, take some time to check out the game and where you think you’ll be able to get closest to the action.

Choose the correct setting

Positioning yourself is vital. This shot was taken at a fun run and the photographer based himself at the finish line. The result was this great shot of highly-ranked Australian triathlete Josh McHugh (right) and his training partner Adam Horder holding hands as they crossed the finish line -- they wanted to be declared joint winners!

Most digital cameras come with a sports mode which increases the shutter speed, so experiment with that and see what results you get.
I’ve used a point-and-shoot digital camera to good effect by leaving it on auto and holding the shutter continuously for a quite a few seconds. Not every frame was perfect, but some good results were achieved.

If you’re at an event being covered by your local newspaper or a professional photographer, watch how he or she works; where they’re situating themselves, what they’re focusing on, and so on.

Don’t turn your camera off

Don’t turn off once the game is over – some of the more graphic shots are taken when players are celebrating a win, or commiserating their loss.

And finally (and importatly), don’t just turn up and start taking shots.

stick around after the game has finished and catch the joy of the winning players.

Ask permission from the ground officials, especially if it’s junior sport.
Find out where you can locate yourself without obstructing the fans’ view. The last thing you want is abuse from an irate fan!

To learn more about sports photography you may like to check this book out from our affiliate site.

Digital Sports Photography: Take Winning Shots Every Time

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Getting started taking portrait and candid photographs can be a little intimidating at first. There always seems to be so much to remember, however in this short video by Erin Manning you will learn the very basics to get you started.

Erin is a professional photographer who hosts her own television program ‘The Whole Picture’ in the U.S. and also writes books on photography.

In this video you will get an overview of;

1. The Rule of Thirds
2. Don’t force a kid to say cheese
3. Don’t let your subject wear busy clothing
4. Don’t let your subjects look like red eyed monsters
5. Don’t take all your pictures at the same angle
6. Don’t forget to flash your subject
7. Don’t overlook the quality of the light
8. Don’t stand too close too your subject
9. Don’t shoot in front of a busy background
10. Don’t miss your shot because you ran out of battery

Taking great pictures is not pot luck.  You can learn the slow and hard way of experimenting and there is nothing wrong with that, but if you want to save time, learn from an expert. There are very few secrets to getting great photos, but there are lot of great tips and techniques that you can learn from well written books and videos. Have a look at the book below and see if it fits in with the type of photography that you do.

If you would like to view Erin Manning’s book click on the link below.

Portrait and Candid Photography: Photo Workshop (Photo Workshop)

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We’ve all seen them, and we’ve all probably taken one or more of them — the group photograph that didn’t quite work.

The kids look great; all happy, smiling faces.

But Grannie looks as if her favourite pet just died, and Uncle Joe … well, he is in the shot, but the bottom of his face has become lost behind Aunty Flo’s healthy crop of hair.

Group photos are among the most common. They’re taken at family gatherings, parties, weddings, at school, at work, in the sporting arena.

They are a vital part of photography, and that family shot taken at a 21st birthday party, or of young Billy’s first junior sporting team, can become a family heirloom — a treasured piece of family history.

So how can you get that great shot at the party — and as quickly as possible (keeping in mind that your subjects are there primarily to party, and not to hang around for half an hour while the happy snaps are taken)?

Here’s a few tips:

Be Prepared

Be prepared. Work out where you’ll take the photo, and let the group know when you’ll be wanting them to gather.

Make sure you have everybody there. Avoid the frustration of taking some really nice pictures, only to realise that someone is missing.

If, for example, it’s a celebration – someone’s 21st – use the the party decorations as a backdrop. Make the birthday person or the wedding couple central to the photo.

What is the photo about?

Make the photo explain what it’s about. If it’s a sports team, take the shot on the field (don’t line them up against the wall of the dressing sheds). If it’s a work shot, use the company logo or sign as part of the background.

Keep it tight

Keep the shot tight — get in close — but don’t cram the subjects. Make sure that, as we mentioned above, Uncle Joe’s face isn’t lost in Aunty Flo’s hair. Check your first couple of shots, and if someone’s partly obscured, rearrange the shot.

Take the photograph according to the occasion. If it’s a party, a celebration, get them smiling together, even if it means telling a silly joke or clowning around. There’s nothing worse than a grumpy face among a sea of happiness. Alternatively, if it’s a solemn occasion, even a slight grin can look awkwardly out of place.

Keep shooting

Take as many shots as you can within the short space of time you’ll be able to have the group together. Use continuous shooting mode if possible.

Vary the framing of your shots to suit the occasion. If it’s a ‘happy snap’ of a group of revelers, focus on their faces. If it’s a wedding or fancy dress occasion, what people are wearing is important, so zoom out.

Think about ‘dead space’ when posing the group: tall people to the rear or centre, shorter ones to the front or edges. If it’s a large family shot, don’t be afraid to use chairs for the senior or shorter people, with the taller ones standing in formation around those seated.

Light is everything

Lighting is important. Group portraits are all about faces, and you need to see them. In harsh sunlight, look for a shaded area to take shot in. Always try to use the flash.

Vary the height

Don’t be afraid to vary the height from which you take the picture. If it’s a group of children, get down to their level, rather than looking down on them. Alternatively, a group shot taken from height, using a ladder or a chair, and getting the subjects looking up at the camera, can provide a great effect.

Practice

Finally, as with just about everything, practice makes perfect.

Don’t be afraid to round up the family or some friends before the big party, and fire off some practice shots. Take note of what worked and what didn’t work — you’ll be all the better prepared when the real moment arrives!

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photo by manumohan.com

In the following explanation I will try to cover the basic photography technique you’ll need to take good lightning pictures. You will very quickly notice that shooting light is not at all that difficult technically speaking but it takes time, patience and also determination.

Equipment Protection

Taking lightning pictures is exciting but you need to remember that you paid money for your photography equipment so the last thing you want is to have it ruined. So try to shoot in a covered location i.e. under an umbrella, or a covered area and, unless you have a good weather sealed camera, protect your camera with a shower cap.

Camera Selection

Any camera with bulb mode will do here, but I’d advise you to get a digital one simply to cut on film cost since you shouldn’t expect a high keepers ratio in this kind of photography.

Lens Selection

Usually, and I am saying usually, wide angle lenses performs better in lightning photography because you can include more sky and, thus, increasing your chances of capturing a lightning bolt in your image.

Tripod

You will need a good sturdy tripod for this but, if you feel uncomfortable putting your tripod in such extreme weather get any cheap one heavy enough to resist wind.

Photo by Craig Jewell

Settings

ISO Settings

Set your camera to its lowest ISO (100) speed. Since we are going to be using a tripod anyway there is no need to boost the ISO speed. Just set it to the lowest value possible because this will give you the cleanest picture your digital camera can give you.

Aperture

While shooting lightning pictures you should keep the aperture between f/5.6 and f/8. Remember a lightning bolt is very short in time and very high in intensity (just like a flash) and you want it well recorded on that sensor of yours. Apertures faster than f/5.6 might over blow it and very small apertures (smaller than f/11 or so) might not give you the impact you are requesting, so better stay within these known aperture range. Smaller apertures (f/8 ~ f/11) will give you a longer exposure time thus more chance to capture multiple bolts on the same exposure.

Photo by Julia Starr

Focus

Set your lens on Manual Focus and focus for infinity since it is most likely that the lightning will hit somewhere far from your lens.

Mirror Lockup and Timer

To minimize camera movements to the max you will want to turn on the mirror lockup and, unless you have a cable release for your camera, turn on the timer on your camera

Taking the shot

Secure your camera on the tripod, get the composition you want. Use what we have seen in this article to set both the f-stop and shutter speed. Then all you will have to do is click that shutter button and hope you will catch a lightning bolt in that frame. If you don’t, simply repeat the process.

Conclusion

It is simply amazing to notice how easy it is, technically speaking, and how hard it is, practically speaking, to take one of those great lightning pictures we often see on the net. Why? Well simply because it takes much more than just technique to take a good lightning picture, it takes time, patience and also determination to be added to the photography skills.

Photo by Damian Riches

Damian Riches is a Professional Photographer based in Glen Innes, Australia. Damian is the owner of www.richimage.com.au and a member of the Australian Institute of Professional Photographers. He shoots mainly with the Nikon D1x and D90 as well as a Fuji S3Pro, lenses include Nikkor 17-55 f2.8, 70-200 f2.8 and a 50mm f1.4

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