How To Choose the Perfect Tripod

By: Darwin Wiggett and Samantha Chrysanthou We are always amazed when instructing workshops and seminars at the array of terrible tripods our poor students lug around with them. How can you make great photos when you are frustrated with your gear? Answer: you can’t. Choosing the best tripod for YOU and the best you can reasonably afford is more critical than choosing your camera. Unfortunately, many landscape photographers do not know this and are wandering around in the wilderness with heavy, clunky, outdated gear that at best detracts from their enjoyment of photography and at worst even preempts them from taking a picture. If you want the full range of creative control over your gear, then a good tripod is a must. But what is good for one shooter may not be best for you. As with many things in life, you must balance different factors in order to arrive at the equation of considerations that tells you which is the best brand for you. But to make your task easier, here are four critical factors to consider when looking for that perfect tripod. 1. Usability This is the most important of the four factors. If you don’t like working with something, then it does not matter how light, cheap or pretty it is; you won’t be taking it out and you will have wasted your money. The ergonomics of the tripod dictate just how enjoyable the ‘sticks’ are to use. You want to look for a tripod that extends at least to eye-level when the legs are spread evenly: this will give you a little more play on sloped land and avoid ‘photographer’s back’ which is a burning sensation caused by stooping for hours to a viewfinder on a short tripod. Depending on how high your ball head is, you have some wiggle room with this factor, but ensure that you can make vertical and horizontal images without having to stoop! The second component of usability is how quickly and easily you can use the tripod. Does it take you forever to extend or compress the legs? Are you unable to open a twist-lock, leg extension mechanism wearing mittens in the dead of winter? If you like to shoot macro, can you open the legs from the hinge where they join such that they will extend straight out horizontally or do you have a limited angle of extension? If you like to get close to your subjects, then this can be an important consideration. Finally, do you need a tripod that compresses in on itself so that you can fit it into your backpack or luggage and travel with it? In the end, the only way to determine how usable a tripod will be is to take it on a test drive before you buy. 2. Stability A tripod’s only purpose is to stabilize your camera, so make sure that it is doing just that! Everything else being equal, the heavier the tripod the more stable it will be. Long lenses and heavy cameras require more stability. Stability can be increased to a degree by using strong materials like carbon fiber and rigid leg locks. Also, many tripods offer a center column hook so that you can add a weight like your camera bag or sling of rocks to increase stability by increasing weight. Another consideration is the balance between height and stability: the fewer the leg sections you have on your tripod, the more stable the tripod becomes. For example, a three leg section tripod tends to be more stable than a four leg section tripod. Another consideration is the material of the tripod feet. Soft rubber transmits less vibration through the legs and grips well on slick surfaces. Adding the option of a screw-out toe spike increases traction although at a small increase in weight. And, on some models, the toe cap can come off with use and lost so do your research before buying. A final consideration is the height/stability problem. Using a centre column to achieve height with less weight results in much less stability overall. Either buy a tripod without a centre column or a removable column so that you can customize your tripod according to your needs. Finally, the lower the tripod is to the ground, the more stable it is. Look for a tripod that allows you to get as low as possible for those close up subjects. 3. Weight If you enjoy breaking away from roadside shooting, or if you need to meet weight requirements for luggage, then weight is an important consideration for you. You will need to evaluate the optimal point between how much you can carry and how much stability or flexibility you require out of a tripod. For example, the heavier the tripod the more stable it tends to be but also the harder to travel with. Tripods can be made with different materials including aluminum, magnesium, basalt and carbon fiber. Carbon fiber tripods are the lightest of the bunch without sacrificing stability and strength; but they also cost more! Remember to add in the weight of your camera and heaviest lens when deciding how heavy and stable your tripod needs to be! Check the load capacity of the tripod before you buy. For backpackers, a tripod that weighs less than 2.27 kilograms (5 pounds) – including your ball head – is often a good weight for camera and lens combinations that are not on the heavy side. 4. Durability Beware the steal of a deal! Tripods that are basically knock-offs of reputable brand names may look similar on the outside but compromises in material quality are often made in less visible parts of the gear. Tripods with plastic components seem especially susceptible to breakage. For photographers who spend a great deal of time battling the elements outdoors, resistance to rain, snow, salt and sand is also of concern. Can you take the tripod apart for ease of cleaning, service, and replacement of parts? Are the leg locks robust and resistant to sticking or gumming up in frozen temperatures, sand and mud? Are loose components liable to fall off or snag in vegetation? Is the tripod rustproof? We prefer tripods that require minimum maintenance that we can perform ourselves at home. Ask around to get inside information from photographers on what brands and styles of tripods work for them and why. In the end you need to balance usability, weight, stability, and durability to find a tripod that comes closest to your ideal. There is no perfect tripod for everyone, but by comparing spec sheets and trying out a few tripods in the store, and asking other photographers about their own preferences, it will soon become clear which tripod might be best for your needs.

Great Abstract Wintery Photos

While I am, and always will be a 35mm film "purist" photographer at heart, I realize that even some of us "purist" are tempted to digitize and tinker around with our photos from time to time. So, for the tinkerers among us I'm including this article by Darwin Wiggett. Winter is the season of hibernation for photographers; the time of year when we hunker down at the computer and process images from the summer and fall; the season when dust collects on our camera gear and trips outdoors mostly involve shoveling the driveway or boosting our car battery. But for photographers willing to brave cold fingers and toes (not to mention dripping noses), winter is the single best season to create one of the highest forms of photographic art – the abstract. What is an abstract photo? Abstraction is about getting to the essence or details of a subject, telling the truth about the subject in a non-contextual manner, and seeing the subject without definitions. In abstraction we are presenting the subject purely in terms of shape, line, texture, colour, or pattern. In fact, total abstraction bears no trace or reference to anything recognizable. Abstract photography doesn’t strive to portray something realistically but instead uses components of the subject (shapes, lines, textures or colours) to create visual design and emotional impact. For nature photographers not used to seeing in the abstract, winter does all the heavy lifting for us covering and simplifying the world with a quiet blanket of white. Winter has smoothed nature’s complex, visual palette and presents to us graphic opportunities in the purist form possible. For us, winter is an exciting time to capture artful images. Below are a few tips and techniques to help you create winter abstracts. Shoot with a telephoto zoom One of the easiest ways to gather abstracts is to attach a telephoto zoom to your camera (e.g. a 70-300 or 100-400mm lens) and start hunting for shape, line and texture in snow drifts and ice formations. Remember, your goal is to frame up portions of your subject and not show the subject in a documentary manner. Telephoto lenses make isolating graphic sections of the subject easy. Sunny, winter days with low light skimming across the landscape are perfect for capturing the detailed and crisp lines, shapes and textures in the snow. We like to go out to areas where the snow is not a uniform blanket but instead is undulating where it covers bushes or rocks. Here we hunt for patterns of shadow and light skimming across snowy mounds. We especially like side and back lighting because these qualities really highlight the shape of snow mounds. We use our telephoto zooms to pull in the alternating patterns of blue shadow and white light. Try to fill the frame with shape, line or texture that pleases the eye and creates a rhythmic pattern across the frame. Use depth-of-field to define your subject Aperture choice can really affect the final look and feel of your photograph. For example, if you want to focus your viewer’s attention on just a portion of your subject, then use a small number like f2.8 or f4. Small aperture numbers give you a small slice of focus and, when used in conjunction with a telephoto lens, you will get just a sliver of focus. Pick what you want to be sharply focused, get precise focus on that point, and then use a small aperture number to keep that thin slice of focus in your photo. Small aperture numbers often leave you with a dreamy ethereal look that works well with abstracts. If you want a large slice of focus in your winter abstract, then pick a large aperture number like f22, focus 1/3rd of the way into the image frame and you will get the most depth of field (amount of apparent focus) possible so that your abstract is sharp from foreground to background. If you want to learn more details about how to use aperture for creative expression see our eBook, The Creative Use of Aperture. Get close for more detail Another easy way to get more abstract images is simply to get close to your subject. We like to make abstracts of ice patterns and to do this we use a macro lens or a telephoto zoom lens at its closest focus. To get close enough with a macro lens means getting down onto the ice. We wear padded snow pants so we can comfortably get down on the ice to make abstracts. We also use a tripod with legs that splay out so we can get our cameras close to the ground for low level abstraction. The shorter the focal length of the macro lens, the closer you will need to be to the ground to capture your detailed image. We prefer 100mm or longer macro lenses so we can shoot the ice patterns from a more comfortable position (kneeling or standing). With short macro lenses we had to lie on the ice (very cold!) Turn your abstract into a black & white You can make your image even more abstract and less representational by eliminating all colour from the scene. Winter scenes are often mostly monochromatic to begin with so why not enhance what you are provided? We always shoot our images in raw format so that after the fact, even though we have a colour image captured, we can easily turn it to black & white in post-production. Our favorite black & white conversion tool is to use Nik Silver Efex in either Lightroom or Photoshop. Silver Efex is an easy to use black & white conversion program that we recommend although there are many methods of converting an image to black & white. Using live view for black & white abstraction You can pre-visualize how your subject will look in black & white even before you press the shutter. First, you need to have a camera with live view. Go into the menu on your camera and find ‘picture styles’ (Canon) or ‘picture controls’ (Nikon) and set it to monochrome. Now, when you take a photo and playback the image on your LCD, the displayed image will be black & white. But wait – there’s more! If you want to see the black & white effect before you take the photo, simply turn on live view and displayed on the LCD will be your scene in black & white! You can see everything you frame as a black & white even before you take the photo. Ansel Adams would love it! While in monochrome live view mode, simply see if the shapes and tones work well as a black & white and, if they do, then take a photo. If you set your camera to JPEG, then the resulting photo collected by your camera will end up being a finished black & white image. But if you shoot raw, the LCD will display a black & white image, but the actual image captured by your camera will be a colour photo (very useful to make creative monochrome conversions). So if you shoot raw you can visualize in black & white but have all the colour information available to you to make any kind of black & white conversion you want. This is a very powerful creative tool. Be brave So get out and go hear the crunch of the snow beneath your winter boots. Snap a few frames and see how easily winter provides photographers with opportunities for abstraction. We are constantly thrilled with nature’s art and in particular with winter’s simple renditions. For us, winter is a time for internal expression and looking at the world with a painter’s eye. We may get frosted ears and rosy cheeks but that’s a small price to pay for the gift of winter abstracts. Happy shooting! - See more at: http://oopoomoo.com/2013/02/how-to-make-great-abstract-photos-of-wintery-scenes/#sthash.q6tCBopA.dpuf This article courtesy of Darwin Wiggett.

Andy Murray

 Andy Murray winning at Wimbledon.  This photo has been added for you tennis fans.
 Disclaimer: I absolutely did NOT take this photograph.  I am in no way claiming credit for this picture.

Composing a Portrtait

This article merely aims to highlight the key "rules" of composition, and focuses primarily on a head and shoulders portrait of a single sitter.
Principle point of interest
Any image requires a principal point of interest, and in a portrait this is usually the subject's eyes.
The principal point of interest should not be dead centre in the frame: this is too static and symmetrical. Imagine a line running through the subject's eyes, and another at 90° running through their nose and chin to form a cross. The best position for this cross is slightly above the horizontal middle of the frame, and slightly to the left or right of the vertical middle.
Whether the cross is slightly to the left or right depends on which direction the subject is looking. If they are looking to the left, there should be more background to the left, so the cross is placed the the right of centre. Conversely, if they are looking to the right, the cross should be placed to the left. This helps prevent the viewer's eye from being drawn out of the picture when it follows the subjects sight line.
When the subject is facing directly towards the camera, consider the direction of the shoulders. Here the aim should be to have a little more space in front of the subject rather than behind them. So, if the right shoulder is nearest the camera, frame the shot so their eyes are also right of centre.
Returning to our imagined cross on a face, if this is upright, the portrait will appear very formal. This is often a good option for more mature subjects. Tilting the cross to either side creates a diagonal axis to the features, which suggests movement an vitality, and is often best for younger subjects.
Triangles
Composition is always improved by the creation of triangles. When composing a portrait, try to visualize the outline of the subject fitting into a triangle.
Tall triangles in an upright format suggest height and dignity. In a landscape format they hint at confinement or struggle. Low triangles in a landscape format imply stability. In an upright format they give an impression of weakness. Triangles tilted forward suggest movement, and titled backwards they imply liveliness. Tilt too far in any direction, and stability will be lost unless a second stabilizing element is introduced. If someone looks like they are about to fall over, it should tell you that the composition of the shot is wrong (e.g. A head tilted greatly to one side may need a hand to support it. Introducing an arm bent at the elbow creates another triangle and so restores stability).
Lines can be broken so long as the eye can easily skip them. Lines can also be imaginary, or implied. For example, a viewers eye will always tend to follow the subject's line of sight.
Tones
Our eyes are always more attracted to light tones than dark tones. Directional tendencies can be created by tones, so for example, if there are two or more adjacent light areas, the eye will travel from one to the other.
In a portrait, the face should be the principal attraction, and therefore lighter. Any other light area (clothing, hands) need to be subdued in tone, Avoid strong patterns (e.g. clothing), as these can compete with the face for attention.
A portrait needs to be tonally balanced. This means not having all the dark tones on one side, and all the light tones on the other (Unfortunately, this is what we see in a typical wedding photo of the Bride and Groom!).
Backgrounds
Working as a portrait artist, I rarely reproduce the background in a reference photo, for good reasons, and choosing the background for a portrait is probably worthy of a dedicated article (see Backgrounds).
All I am going to say here is that the simplest consideration is either a light or dark background. Dark backgrounds are commonly see in classic portraits. Light backgrounds are currently trendy in modern photography. For my purposes, a light background works best, because it is makes the outline of the subject easier to see.
Colour
Colour harmony and behaviors are an important element of composition. Colours convey mood and depth. Cool colours appear to recede (blue-greens, blues, purples), while warm colours appear to advance (yellows. oranges, reds). Cool or neutral colours work best for backgrounds, while warm colours in clothing help give a portrait depth.
Colour choices depend on the subject. Blondes and brunets have differing requirements; blue works well with the former, while blue-greens/greens better suits the latter. Somber colours suit older subjects, while vibrant colours go well with young subjects.
The key aim should be to choose colours that compliment, and are sympathetic to, the subject's colouring.
Footnote: There are circumstances when these "rules" may be broken, but the intention of this article is to convey simple guidelines applicable to most situations.
Portrait photography from a Portrait Artist's perspective. Portraits by John Burton

Infant Photography

Child Photography Tips - Capturing That Special Moment in Time

As soon as a couple finds out they're pregnant, the first thing they do is to go buy a camera for recording the first precious moments of their baby. The first time their baby opens their eyes, the first time they smile-those moments are fleeting and gone forever, unless captured and preserved for all time because they grow up so quickly. It is important to document the innocence of youth by capturing it in a picture, to anchor the memories around happy times.
Professional photography, while good for documenting growth and change, never seems to capture the real child, that playful little spirit that inhabits your day. You have to do that yourself, immediately when it happens and in the moment that it occurs. So how to do you do that? Well, it's not as difficult as it may sound. You don't need to be a professional photographer. With a little forethought and a ready camera and you too will be able to freeze frame those specials times for you and your child.
A simple point and shoot digital camera is really all that you need. Most cameras made today have automatic focus so that you won't have to fiddle with the settings. And many of the inexpensive cameras give good results, similar to their more expensive cousins. Pay attention to the pixel count as this will determine how well you can enlarge your shots, should you choose to do so. The more pixels, the bigger you can make the picture and better the resolution.
Four Child Photography Tips:
1. Capturing the Moment - Kids are natural actors and clowns, approaching life as adventure, because for them it is. They really don't know what's around that next corner, so it's best to hang back and watch them discover. Don't try to pose them or stage them in front of something. That's when they get stiff, trying to please you. Let them play. Let them experience. Have your camera at the ready for when magic happens.
2. Shoot Like a Pro - Look Later-One of the secrets of photography is that capturing the one special moment may take more than one shot. Sometimes it takes several shots and you don't see the best one until later when looking back at the pictures. Shooting digitally allows you to immediately look at your shots, so that you can delete or save the good ones. If you do that, however, you might miss the great one because the kids don't stop playing, they keep moving.
So here's a suggestion, rather than shoot one picture and look at it, just shoot and shoot and look later. You can always delete the ones you don't like, but you can never recapture the moment missed while you looked at the pictures one at a time. If you're always waiting for that magic shot, it will never come, so just fire the shutter and you will find the magic.
3. Step into Your Shot - Most people have a tendency to pick up a camera and then immediately to step back from their subject. That is not a good idea when taking pictures of your children. You don't want to be on top of them to squelch their spontaneity. But you do want to be close enough so that "they" are the subject of the shot. In other words fill you viewfinder with the action or the head and shoulders of the child. Lose the background, the statutes, the playground equipment. These are only distractions inside the frame. Remember you're taking pictures of your kids, not the tree behind them, so cut it out your viewfinder. This is called viewfinder editing.
4. Shooting Manually Rather Than Automatically - After looking at your pictures and after becoming familiar with your camera, you may decide that you want to try some hands on manual adjusting rather than to rely on your automatic settings. Most digital cameras allow for manual adjustment and come with easy to understand instructions. However, some things about cameras, old or new are forever.
For instance, if you're attempting to capture action, then you have to have a fast shutter speed. Most cameras refer to it as "stop action." Shutting speeds above 1/250 will stop action. The faster the shutter speed the better. You will also have to adjust the aperture setting, too. The aperture determines how much light is let into the camera. Bright sunny days require less light than dull overcast days. Practice shooting in various light conditions to familiarize yourself with the way to adjust your equipment.
Don't be intimidated by your equipment. Following these four child photography tips and have fun with the camera as well as enjoy the kids as they play. Snap away while they play and you will find those special keepsake moments, guaranteed.
I hope you have found these child photography tips useful.
Jonnie Blaylock is a hobbyist photographer that helps new photographers learn the fundamentals with his child photography tips and more.

Travel and Scenic Photography

When you're driving through the mountains somewhere, and you notice a car parked half off the road and some guy leaning to the left to avoid a branch with his Rebel 2000 camera in the act of focusing, you've met me. I do this because, to me, a trip isn't fulfilling unless I've preserved that beauty for posterity. I'd like to share some of the techniques that make scenic photography such a wonderful artform - simple, yet elegant.

First off, equipment. As much as the cheapo disposable camera beckons, get real. These cameras have fisheye lenses which I call "spam" lenses. They cram everything in, with equal blurriness and boringness. Good photos are sharp, unless you use blur for artistic effect. Sharp comes from an adjustable lens. It can be a fixed lens or a zoom, but it must focus specially for each picture. Fixed lenses are limiting for scenic pictures, where to frame the shot you may need to move long distances. Imagine using a fixed lens on the Washington Monument, when you're half a block away! Zooms get my vote, even though they often don't have as wide an aperture, which limits their capabilities in low light situations.

Practically speaking, an SLR is the absolute best. They are lightweight, and can be used with top quality lenses. Film SLRs tend to be less expensive, but have the limitations of film, meaning you have to get it developed and so forth. Digital SLRs are VERY expensive, so for the budget conscious either go with a film SLR or a high quality basic digital camera. With digital, resolution is also a critical factor, so look at the specs before you buy.

OK, we've got the camera, emotions are running high, and that's great, but not too great! Sometimes I find a spot that is so wonderful, I start shooting like a madman, only to be disappointed by the pictures. What happened? Emotions. When you experience a place, there are sounds, aromas and breezes as well as the visuals of the spot. Needless to say, you can't photograph all of these elements, only the visual. When overwhelmed by the spectacle of a scenic hotspot, we are often overwhelmed by all of these elements.

So what to do? Look through your camera. The viewfinder does not lie (usually). Try to see what you are looking at as the finished picture. Most people perfunctorily take pictures, hoping that somehow the shot will come out great. If you wonder how the pictures came out when you are on the way to the drug store to get them, you're doing something wrong. At the moment you click the pic, you should know exactly what you will get. (Of course with digital, that's not a trick!).

Now, I was a tad dishonest in saying that you can't capture all of the elements of a scene. You can hint at them. For starters, motion. Yes, even in a still picture, there is motion. Something happened before, during and after your picture. In a mountain vista scene, you may find something that hints at motion, whether it be a branch of a tree that has been swaying in the breeze, or a river flowing through the valley below. These add a sense of motion.

Then there's the "rule of thirds." When you place the main object of the picture smack-dab in the middle, it is static and boring. Place it one third of the way from either side, and you IMPLY motion. Put the horizon in a landscape photo a third of the way up or down, not across the middle.

Remember, when a person looks at a picture, their eyes move. You want to frame your photo to help that movement. If you can find some lines in the scene, such as a skyline, cloud formation, path through the forest, etcetera, use it interestingly, and with the rule of thirds to draw your viewer's eyes into the picture.

Avoid "summit syndrome." You get to the top of Mount Washington and shoot the majestic vista. Great. The pictures come out ... boring! How? No PERSPECTIVE. Big vistas will be flat unless you have an object in the foreground, such as a rock or a tree, to give them perspective. Then the eye really grasps how big this scene is. People enjoying the view is a real winner, because the viewer may identify with their emotions, giving the image real impact.

Cheese! Yes, you do have to take the family photos. It's obligatory. But when you do, make sure that they show the LOCATION of the photo. Otherwise, you might as well do it on your driveway. Frame the scene in context, with landmarks as part of the picture. Find a way to tell as story in the picture, such as little Sara climbing up the rocks by the waterfall.

Finally, any element in the picture that hints at more senses than just the visual will make it remarkable. Actor headshots for example, tell a story about the subject. You can almost hear them saying their next lines. If you photograph a garden, the viewer may experience the aroma of the flowers. A tourist street with an accordion player on the corner may have your amazed friends whistling "Dixie."

In summation, picture taking on travel is recording the experience in a satisfying way. Use motion, perspective, sensory, storytelling and so forth, to bring your photos to life. Oh, and needless to say, make your job easy and go to great places! See you at the overlook!

Seth Lutnick is a photographer, composer, and performer. He has taken thousands of scenic photos, recorded two albums of original music, and appeared on stage, TV and film. Visit his website - www.getitdone.biz - for more detailed plans on photography, music, health and education, and extensive product links for the resources to fulfill your goals.

Cowboys

Shooting Cowboys

By: Phyllis Coletta

Photographers love a challenge and there’s nothing more exciting than trying to capture motion on film. In this arena, there’s hardly a venue more exhilarating and powerful than cowboys running horses through the Western wilderness. In Colorado, there are two kinds of “Cowboy Action Shooting.” The first involves guns; the second is a kinder, gentler form of shooting that simply places the photographer in front of the rustling cowboys.
Taking action photos of America’s frontier is the newest rage in photography. It’s as if we want to remember our roots, the great bold Western terrain and the men that run on and tame it. A working horse or cattle ranch offers a wealth of material for the artistic eye…everything from still life photos in a dark barn to the full moon setting over the Rockies. When cowboys work, they move, and all hell might bust loose as a herd of 50 horses comes pounding through the pasture on round up. The color, light, movement, and excitement provided by ranch photography is unparalleled. It is uniquely American and provides something we appear to be craving: remembrance of strength, embodied in the cowboy spirit.
A quick google search of the internet reveals that so-called “cowboy photography” is big, and growing. There are many professionals offering such photographs for sale and a few who provide workshops and mentoring in this special arena. Whether amateur or professional, working cowboy ranch photography offers the kind of challenge that will light your fire. You’ll bring home with you a product that will make you proud: real life scenes of the Old West, where folks today remain true to the spirit that built this country.
Article Source: http://www.ArticleJoe.com

Phyllis Coletta and her partner offer three to five day photography workshops at Bear Basin Ranch in the beautiful Sangre de Cristo mountain wilderness of Colorado. In conjunction with one of Colorado’s premier wilderness photographers, Andy Cook (rockymtnrefl.com), KB Mountain Adventures provides a complete package for the would-be cowboy shooter. Visit http://www.kbmountainadventures.com/

Photographic Art

  Photographs Everywhere, But Is It Really Art?  

 

I once heard a lady say to a photographer that she would have bought his work if it had been a painting. She liked the image, but for whatever reason didn't consider the medium suitable for her “it's just a photo”.
I am sure that some share her thoughts, whilst others would be quite happy either way, but a growing number of people do recognise photography as an Art form. And collect it.
“There are three fundamental components of what we call art. First, is the artist; second, is the medium; and third is the artwork. All three, clearly are interrelated.' --- Tad Beckman ---


Defining Photographic Art

It is true many people do regard photography as merely a reproductive medium, and the photographer as simply the technician. And if this were just about your holiday snaps then it would be a valid point.
So let's start with my definition of photographic art. I say my definition because there is no stock answer it means different things to different people.
For me it's about creating a beautiful image that is an interpretation of the scene that I saw in my mind captured on film, rather than just a recording of what is already there.
It's about the photographer being the choreographer of the various components; the composition is critical, as is the lighting, weather conditions and the colours at play.
It's not just about pressing the shutter release, although timing is everything. Patience comes into play too, as you wait for all the components to be perfect all at the same time.
Some things you can control, but the weather well that constantly throws out surprises that can add that hint of drama to a picture or send you home disappointed.
It's these uncertainties that add the challenge, and this results in creativity as you respond to the situation. Other photographers will have their own criteria, but we all are producing very personal pieces of work that we feel passionate about and that are a representation of our interpretation of the world.

A Photograph - More Than Just A Sheet Of Paper With An Image On It?

Oh yes! Typically a photographer will capture an image that pleases their eye. They will create something that is close to their heart, and therefore give a little of themselves in the image.
Effectively they are allowing you to see how they perceive the world to be, one moment at a time. Add into the fact that many photographers print their own work (once they have an order!), and sign it then you could say you are buying a piece of history - or designer art!
In other words you are not buying a mass produced print, and naturally the price reflects this. You are buying into the reputation of that photographer and you will expect to pay more. When someone is starting out and building reputation then you are investing in the potential of that person.
You won't pay as much, but you'll be backing your own instinct and demonstrating your belief in that person's talent. Contemporary photography is affordable art.
Subject Matter - Does It Matter?
Personally I don't believe it does, and I mean this in the sense that people will be drawn to your work because they have seen something of yours and liked your style, and typically that means they like your choice of subject matter too.
My preference is for landscapes and increasingly flowers, whilst other photographers prefer sport, people or a more abstract approach to name but a few.
I think the key to preserving artistic integrity is to shoot for your own personal satisfaction, although naturally as your reputation builds you will develop an understanding of what collectors want, but for me I always have to love the image myself to want to share it with the world. Anything less and it stays in the drawer!
I still experiment, and search for new subject matter, but my photographic style is what it is. It just keeps evolving.
A New Language
Understanding the language of the image is something quite individual to the viewer, it does not explain itself in the same way to each person. It is subjective. And although some may view photography as easy, believing that there own point and shoot cameras can produce similar results to a master photographer are confusing the issue.
After all most of us have made paintings at some time in our lives, and may still own paint brushes, but wouldn't necessarily look at a painting by a master and not consider it to be art would we?
It is the heart and hand of the author behind the brush, camera or pen that executes the creative vision not the tools used.

Copyright © 2004, Sue Kennedy

About the author: Sue Kennedy, LRPS & LBIPP Sue Kennedy is an UK based photographer specialising in outdoor photography and works on commission for companies & individuals as well as shooting for picture libraries. To purchase from Sue’s current print and card selection visit her Website: http://www.blueeyesphoto.com

Basic Tips on Using Your Camera

By: Yvonne Volante

It's true that taking photos is as simple as running out and grabbing a cheap five dollar camera. But taking good, quality photos has never been easier. So lets explore some quick ideas that can help you take photos that you will be happy to share with friends and family.
Photography as an art has never been more exciting or enjoyable. Todays photography enthusiast has many styles, topics, and tools open to them. Plus, the blending of digital with print makes the craft of taking photos very versatile.
Here are four tips to help.
1. Get a little closer, don't be shy. One of the biggest mistakes most beginning photographers make is shooting from so far away. They leave too much distance between themselves and their subjects. Instead, get up close and personal. Fill up as much of the camera frame, with your subject, as you can. You can always reshape, trim, and resize a good quality shot. But you can't continue to blow up a distant subject and hope that it will come into focus. It just won't happen.
2. This tip springs directly from #1(above)... focus your shot on only one subject. Determine what the main subject of the photo will be, and catch that image. Try and find the one key subject, person, or event that accurately portrays the feeling you are trying to capture.
3. In addition to getting one subject, in your photos, you will want to make the background of the photo as simple as possible. Busy, distracting backgrounds pull the attention away from the central theme of your photo. The subject of your photo is absolutely the most important element, and anything that detracts from the subject can ruin your shot.
4. Finally, you want to take your subject out of the exact center of the frame. You do this by using the rule of thirds. Imagine having a camera lens split into 9 equal sized boxes, 3 across and 3 down (like having a tic-tac-toe game printed right on your camera lens). Where those "tic-tac-toe" lines cross, should become the focusing point of your subject, when you are arranging to take your photo.
Based on this tip, every time you compose a shot, the main subject of your photo should be located primarily on one of these "third" lines.
These are just four very basic tips and strategies to help improve your photos. As you know, photography skills can always be improved. In fact, most professional photographers exhibit a life long passion for learning new techniques, photography angles, and photo inspirations.
Article Source: http://www.ArticleJoe.com

Yvonne Volante is an author, webmistress and camera junkie. She has a site at http://www.ylcamera.com/ which is a great source for camera information. Please be sure to visit http://www.ylcamera.com/

Where and How to Sell Your Photos (Part 1)

1.    BigStockPhoto.com – This website is home to millions of images and signing up is quite easy. It is free to sign up as a BigStockPhoto.com contributor.  You will need to go through a Contributor Tutorial before you start uploading your pictures.  After you upload your photo a trained team will review the photos.  Depending on what you take a picture of, there may be releases that need to be filled out in conjunction with the picture.  If the images are usable they will be uploaded to the site, and you get to keep the copyrights.  For certain purchases you receive 30% of the purchase price.  If customers buy your image on credit you receive $.50 for every credit used and this money can be withdrawn after it reaches $30.
2.    Alamy.com – This is one of the largest stock photos sites out there for paid photo contributions. You can turn your photos into a fairly lucrative business if you understand how the process works on Alamy.  The company offers one of the best payouts in the industry with a 60% royalty per photograph.  There are about 25 million images on Alamy so clients do have a lot of images to choose from.  Like most sites, you retain the copyright on the photographs and the right to do any editorial work.  The Alamy network allows you to get your photographs in the hands of overseas distributors that are much harder to reach as an independent photographer.
3.    CreStock.com – This site is designed more to give photographers the tools to give their creativity full rein.  It is free to open up a CreStock account.  The site offers a nice portfolio system for organizing your
images on the website.  As with most stock photography websites, there is an upload agreement that you must submit to before you start uploading your images.  CreStock pays 20-30% royalty per image, which is on the lower end for stock photography sites, but the creative tools that you get to access are top notch.

This is part one of the article, "Photography Sites That Pay For Your Photos", taken from the
 Money Making Mommy home page.  Part two immediately follows.  Enjoy!

Two More Ways to Sell Your Photos

4.    FeaturePics.com – For the more budget conscious client looking for a photo, the prices on FeaturePics are a bit lower than many of the other stock photography sites.  That does not mean that the photographer does not get paid though.  The site pays 50% of the license fee to the photographer.  You do have to wait for your account to accrue at least $50 before you can request that your earnings be sent to you.  There is also a 7-day holding period on funds after a sale is completed.

5.    Dreamstime.com – This site is incredibly selective about what gets added to their database, so you should not be surprised if some of your images are rejected.  The review board will tell you why the photo was rejected though, so you can improve it and resubmit it at a later time.  The benefit of their selectivity is that they have high sales rates, so if your picture or pictures are selected then you will likely be making money in a relatively short period of time.  Before you can start submitting your photos for review, you must fill out an application.  Once a photo is downloaded a certain amount of times, then it moves up to a higher rate level.  Photographers receive 30-50% of the price and an additional 10% if it is an exclusive image.

Now You Know a Little More About Where to Sell Photos Online

Photography can be quite profitable if you know how to get your photos into the hands of the right people.  The Internet has opened up a world of opportunity to amateur photographers to get their photographs viewed by a much wider audience.  As you break into selling your photos on stock photography websites, it is important to understand that you may need to upload your photos on a few different sites to help you get a jumpstart at selling.  After using a few different sites you will likely decide that one is your favorite, and you may want to begin to use the site exclusively.  Why not get paid for doing what you love?

 This is part 2 of the article; "Photography Sites That Pay for Your Photos", taken from the Money Making Mommy home page.

Film Photography Is Not Dead

So, who says film photography is dead?  Most likely the manufacturers of digital photo equipment.  Out of curiosity,  I decided to check one of my favorite online marketplaces, Ebay, to see if I could find any 35mm film, or equipment for sale.  Here's what I found so far,

Brand Name Photo Papers:
Agfa, Kodak, Ilford, Epson, & Promaster

Brand Name Black and White Films:
Kodak Tri-XPan, Fuji, and Agfa Agfapan APX (100 ft bulk roll)

And there are several photo enlargers and developing tanks for sale as well.  The obvious point of this article is to point out that if film photography were dead there would not still be a market for film processing equipment.

The films I looked for were all black & white films.  I also found color films, but the intent was to try to find the "old school" equipment.  Film developing tanks were available in both metal (my personal favorite) and the light weight plastic versions, the same is true for the developing reels.  Plastic squeegee tongs, development trays, and even film clips are still available for the film purist.  If you're "partial" to taking black and white pictures, there's a very practical reason to consider investing in your own dark room equipment - cost.  Many of the quick film processing facilities don't even process black and white films.  And if you find one that will, they often want a higher price to develop your prints because they see it as a special order that doesn't lend itself to the routine C-41 development process used to make color prints.  You will need some space to set up your dark room.  A sectioned off portion of your basement is perfect. Also, it's a good idea to work in an area that has minimal sunlight exposure and is usually cool and dry.  You want minimal sunlight because you will be working with photo paper which is sensitive to light.  Ebay is a good place to find both new and used equipment.  If you follow my articles at all, (http://mrdarrylt.blogspot.com) you know I bought most of my 15 cameras on Ebay (I collect them).  Thanks for taking the time to read this post.  'til next time, happy shutter bugging.      

More free Computer Wall Paper

Thanks for stopping by to view my photo blog.  Below are more free computer wall papers. Enjoy.

Free Computer Wall Paper

    More free computer wallpapers.  These pictures were taken in the Central West End of St. Louis, Mo.  They came from the archives of a March 2nd, 2011 film shoot.  Enjoy!           

Carla underwater

In my last post I promised to post pictures of homes decorated for Christmas.  I had 24 great shots.  Notice I said "had".  Apparently during the hustle and bustle of Christmas shopping, the pictures grew legs, and walked out of one of my shopping bags.  I still haven't found them.  So, I'm posting this short video about under water photography.  This is a movie, (not shot by me) so I'm inclined to think it was not taken with a 35mm film camera. But, because I've always been fascinated by under water still shots, I've posted it here.