Getting Depth in Your Wide-Angle Photography is Easy

With a foreground-to-background approach, you can produce a dynamic three-dimensional effect that gives viewers a real sense of place.Unfortunately, the wide-angle's wide-ranging perspective is also what makes this focal length such a challenge. The tendency is to back up to get more into the picture, which commonly leads to either a "busy" look or to vast empty spaces.

Sunset on California Coast © Kerry Drager All Rights Reserved

Move In Close to a Foreground Object

The keys to success? Think FOREGROUND and move CLOSER!Zero in very tight on an eye-catching object so it fills a good chunk of the picture frame while still retaining background features.
How close should you get to your foreground object? The nearest point in my wide-angle scenics is often about an arm's length away or even closer.Incidentally, your foreground border also can help clean up a composition: by hiding a blank sky or by concealing any distracting objects.

Great Depth of Field for Great Wide-Angle Photos

In most wide-angle scenic situations, you'll want everything sharp - from front to back - since a great Depth of Field leads to a great feeling of space. Thus, for maximum sharpness, go with a very small lens opening (high f/stop number).For precise DOF, use the preview mode or program found on many SLRs, check the scale markings on the barrel of some lenses, or use a hyperfocal chart. No DOF modes, guides, or charts? Then set your focusing point just beyond the closest spot in the scene (while also setting the f/stop for a small aperture) or set your focus one-third up from the bottom of the picture frame.Finally: When working in close, even a small camera shift can mean a big compositional difference. That's why I use the "accessory photographers love to hate": a tripod!


Photographer, Kerry Drager

Parent and Child Photography

"The emotional bond captured
in parent and child photography can be profound."

With Babies

Babies seem to be most comfortable in surroundings that they are used to, their parents arms. Have the parent hold the baby or at least have his or her hand on the baby. The physical contact also makes it easier to show the close relationship in the photograph.
If the baby does not respond well to the camera, step away and use a zoom or telephoto lens. Just be sure to close in for the head-and-shoulders shot.

With Toddlers

Again, be sure to close in for the head-and-shoulders shot if you can.
Children are happiest when they are playing, so the fast film and shutter speed will be a necessity to capture the action shots.
Another easy way of showing the closeness between the child and parent is to catch them when they have eye contact with each other.

by: Ted Forbes

Family Portrait Poses

“Anybody can learn how to take great family portrait poses. It is a great way to share wonderful times with those you love”

Photography is a national past time that is available to anyone who has access to a modest camera and the enthusiasm for creating lasting memories. Portraits at home involve all ages in groups or individuals, but the greatest results usually involve two or more family members.
Because you are more often than not intimate with your audience half the battle is already won! Less effort is needed to gain their attention giving more time to catching them in an attractive family portrait pose. Deciding what is it that family members love to do when they are together guides your style? If they are couples you will usually find them holding hands, embracing or kissing.
Brothers and sisters may be playful or at the best of times illustrating everything that is crazy about sibling rivalry. Proud Dads are often glued to newborn while mum stands over the scene with loving eyes. Grandparents could pose apart or together facing the camera while uncle and aunts may need slightly more persuasion to join the crowd. So what is it that will make that unforgettable moment stand-alone?

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Hi everyone. It’s Jonnie (creator of Photography-Tips-and-Techniques.com). Professional photographer Malcolm Boone has written a wonderful book called 'Posing Secrets - The Photographer's Essential Guide'. It covers just about every aspect of posing a subject.
For more about this great book and how it will improve your portraits Click Here!.
Now back to Family Portrait Poses. I hope you are enjoying the article.

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The Secret to Family Portrait Poses

As a stranger or commercial photographer the first objective is to find that magic in placing your subjects at ease. If you are a family member, then as photographer you have an edge. You know your subject and what makes them tick! Take advantage of their closeness and don’t be afraid to shoot tight on their heads.
Unlike the typical style of half or three quarters body in the frame feel free to crop heads to emphasize the relationship. Often directing family members is the worst thing to do and at other times essential for older relatives. Start by directing the poses and talk about family events designed to put them at ease and forget that you even exist. Maybe they are head-to-head, one head tucked into the neck of the other or even pulling at each other’s ears. It will be fun and quickly become obvious to what length any further suggestions are necessary.
Put them at ease and shoot around them rather then staying in one position. The camera can be held vertically, horizontally or at an angle. Successful pictures are not assumed just because they look directly into the camera lens. By changing angle and location relative to their position just be careful to avoid background clutter and always think composition.
A basic rule of thumb to take background out of focus is the use of a lower f-stop – f5.6 for example. In the case of groups dispel the mentality of centering them. It is the beauty of close-ups that keep the risk of interruptions around them to a minimum. Always know where your camera is and for the more committed photographer keep it in your pocket as much as possible. Modern cameras today are compact enough to do just that.
Before you start, select a longer lens setting usually labeled as portrait mode on today’s cameras. Enduring moments can be captured at the least expected times. Such as Dad’s sleepy time with baby when there is little time to plan but more opportunity than ever to catch emotional images.
Take from high and low angles caring little about Dad’s attention that is usually focused on the infant in a dreamy moment. All the time be detailed orientated so that clothes are not stretched and personal effects like jewelry and hair slides do not look clumsy. As you shoot always have composition in mind. Wherever your portraits are taken always remember that harsh light is usually unattractive. Shoot with a bounced flash inside and in shade outside, so your family portrait poses are soft and complimentary.
At the end of your shooting day any final touches can be applied with the cool benefits of software to achieve the best out of family portrait poses. The opportunities are endless in capturing that amazing memory of those that matter most in life!

The Ultimate Guide to Developing Black and White Film

I’ve done several videos in the past talking about how to develop black and white film at home. The process is extremely rewarding and its really not that hard to do.
I realized recently that I hadn’t really put together a good guide written out of all the gear and steps you need to get this done. In the following article, I’d like to give the ultimate guide to start developing your own black and white film at home.
Please note that this is geared to beginners. I will be keeping choices simple. I’ll have more articles expanding on this as we go.

What’s Important

Okay so you’re ready to take the plunge into the darkroom and start developing your own film. What do you need to know? First off, you want to get consistent with everything you do. Every darkroom is different, every water is slightly different, and we are humans so our techniques are all a little bit different. Its much like cooking food – you’ll need to learn the recipe yourself and make adjustments to make it your best. When problems or errors come up, they can be difficult to track down if your process is sloppy. So its really important to keep things the same every time. If you need to change things – change them one at a time. If you do this, it makes it easy to figure out where you went wrong when a problem happens.
What needs to be consistent? Your chemicals, any diluting, your technique and the temperature of your chemicals. I’ll get into all of this as we go.
This process works for any format – 35mm, 120, 4×5 – whatever. I’ll note when there are differences below.
I’ll also put together a shopping list below. Just to be upfront – all of the links here are affiliate links. I get a kickback when you order various items (not all, but most). You don’t have to use these, but if you want to help out with the large amount of material I provide free – your patronage is much appreciated ;-)

Tools You Need

For developing at home, you’ll need the following:
1) Changing Bag – this is a light tight bag you’ll use as your film can’t be exposed to any light until the end of the process.
2) 35mm Cassette Opener – for opening 35mm cartridges
3) Scissors – for prepping 35mm
4) Reels – these need to match the film type you’re using
5) Developing Cans – these need to fit your reels
Kalt Stainless Steel Tank with Plastic Lid without Reel for One 120mm Reel
Paterson 35mm Tank with Reel (Super System 4)
6) Hanging Clips – for hanging finished film to dry
7) Measuring Cups – buy these and only use them for developing – never use them with food.
8) Thermometer – again, never use with food. Buy one for keeping your temperatures consistent.
9) Timer for timing your chemical baths.

Materials You Will Need

(I’ll put a shopping list below)
1) Film (fairly obvious – now get out and shoot!)
2) Developer
3) Stop Bath
4) Fixer
5) Distilled Water (just get this at the grocery store – its cheap)
6) LFN (optional – lowers the water density and prevents water spots)
7) Plastic or glass jugs to store all of the above
8) Clear archive sleeves for storage
*** Note to non US photographers – I’ve had people ask me how to get chemicals outside the US. Most of the sellers here are ground delivery only. You can try eBay or research (Google) photo supplies in your country. Find other photographers to ask as well.

The Process

Film Prep:
Developing your film is easy. Remember film is light sensitive. You need to keep it in complete darkness until the end. We’ll begin with the changing bag. If this is your first time – you’ll be working in the changing bag so you won’t be able to actually see what you are doing. I recommend you get some used film on eBay and practice without the bag a few times until you can do it with your eyes closed – or in the bag. Its not hard, but get a feel for it.
It might be also important to note that its very possible you’ll mess up the first time. Don’t get discouraged! Practice a bit first then give it a try. Get some cheap film that you can ruin trying to learn. Its okay.
Once you’ve figured out how to get the film on to the reel. You’re ready to go. Put everything you need into the changing bag. Get your film on the reel and get the reel into the developing canister. Then you’re ready to rock.
Finally I’ll go ahead and put either tap water or distilled water into the can to pre-soak the film. This is optional and not critical. I just do it because its part of my process – do it or don’t. Remember though, stay consistent.
Chemical Prep:
Figure out how much chemical you need to develop. In my cans for 35mm and 120 its about 400ml. Fill 3 measuring cups – one for developer, one for stop, and one for fix.
Fill a large bowl or sink with ice. Place your (filled) measuring cups into the ice and put the thermometer into the developer. You’ll want to get the temperature down to 20C. You’ll get a feel for how long this takes – for me its about 10 min.
Once the chemicals are at 20C you are ready to develop.
Take a look at the Massive Dev Chart for the proper time for your film/developer combination. Its not always right, but its usually really close.
Now we are ready to develop.

Development Bath:

Pour out the water we set before. Then pour in your developer. Then start the timer for the determined time.
We’ll now use a process called agitation. Agitation simply involves “turning” the chemicals to keep them fresh. Its very slow. This will keep the grain down. If you have a closed container, just spin it around slowly. This is enough.
I agitate the film slowly for the first minute. Then I agitate for 10 seconds every minute. I know people who do 5 seconds every 30 seconds. They both work – just stick with one. Remember – we’re trying to be consistent.
When you’ve reached the development time, pour out your developer then pour in the stop bath.
I agitate 10 seconds every minute – 3 minutes total. Pour out the stop.
Pour in the fixer. Depending on what fixer – read the directions. For a standard fixer, I agitate 10 seconds every minute for 10 minutes. After 10 minutes, pour out your fixer.
Your film is now done! You can go ahead and look at it now – its no longer light sensitive.
You’ll need to rinse your film for 15-30 minutes depending on your fixer type.

Final Rinse and Hang

I always do a final rinse with the distilled water. This is important. Your local tap water quality will vary and down her in Dallas there’s lots of “stuff” in the water that will spot the film. To prevent this I agitate in distilled water for 2-3 minutes constantly agitating. You could add a few drops of LFN to lower the water density and prevent spotting. This is optional, but I ALWAYS do that final rinse.
Hang your film with the clips in a bathroom (you should be working in one already up to this point). Why a bathroom? Because showers give off steam which gets the dust out of the air. Its a great, clean environment to develop your film. I hang my film in the shower. It takes about 45min to 1 hour to dry.
Then – still in the bathroom. Cut your negatives with scissors and put them in plastic sleeves. I sleeve them in the bathroom – if you go walk across your house you’ll get dust on the negatives. Its just easier to keep it all as dust free as you can.
Then you’re done!

Some notes:

As you get this process down – consider which chemicals are re-usable. Developers can be, but if you dilute them with water they are not – you’ll need to pour them out every time. Stop bath comes in an “indicator” stop bath. Its yellow and stinky, but will turn purple when its no longer any good. Otherwise you can pour it back in the jug and keep using. Fixers are reusable too. When they start to loose their odor and get cloudy – its time to replace.
Be careful and consider any local laws about disposal. Developer and stop baths are usually weak enough to pour down the drain. Just leave the tap running for 10-15 minutes after to make sure its rinsed away. Fixer is kind of nasty. I get a bag of cat litter, pour it in and then throw it away – it becomes solid with the liter. Fixer can destroy pipes over time if you’re not careful.

Film

There are many options these days of film types available. There are many special use films. If this is your first try, I’d recommend sticking to either Kodak Tri-X or Ilford HP5+. These are classics and very versatile. Once you get your process down you can try different films. Just remember (I sound like a broken record) we’re going for consistency.

Chemical Setups

If this is your first time at this, I’d recommend the following 2 setups:
1) Basic
Developer: Kodak D76 or Ilford ID11
These are very similar. They come in a powered you’ll mix with water into your storage container. Follow the directions. These are very versatile and highly recommended. They look great too.
Remember – there are many developer types. These are the most versatile and you can use them in different ways. Don’t get the developer bug and buy more types than you can handle. Stay consistent.
Stop Bath: Kodak indicator
Fixer: Kodak Rapid Fixor
2) Minimalist
Photographers Formulary sells an alkaline fixer called TF-4. Its amazing. You can’t use a stop with this so it gets it down to just developer and fixer. It also replaces the need for any optional cleaners like photoflo. This is what I use and I love it. I’ll make another developer recommendation as well. Rodinal is great – it gives some grain, but its amazing. So here’s the minimalist chemical setup:
1) Adox Rodinal
2) Formulary TF-4
That’s it! Just follow all of the above, but skip the stop bath.

by: Ted Forbes

Canon Camera Story 1955-1969

The top-class 35mm camera market gradually shifted from rangefinder cameras to single lens reflex (SLR) cameras. Canon launched its first SLR camera, "Canon Flex." The lenses for SLR cameras advanced from the "R" series to the "FL" series. At the same time, the company also developed lens-shutter cameras and 8mm cinecameras in line with the policy to be a comprehensive camera manufacturer offering various types of products. End of the 35mm Rangefinder Camera Era The "VT" camera, introduced in August 1956, discarded the conventional film loading method, in which the film cassette was dropped into the bottom after removing the baseplate (Barnack type), and instead adopted the simpler method using a hinged back cover and threading the film onto the take-up spool. The "T" in the "VT" refers to the "trigger" because the camera incorporated the film advance mechanism with a fast-winding trigger on the camera bottom to improve the shooting speed. The "P (Populaire)" model was released in l959, which was followed by the introduction of the "7" model in March l961 and the "7S" model in April 1965. The "7" series, which had a built-in exposure meter and were impressive in appearance, were well liked by their users. At the time, the era of the 35mm rangefinder cameras was already giving way to that of the SLR. With the interruption of the production of the "7S" in September l968, the tradition of the Canon 35mm rangefinder camera, which started with the introduction of the "Kwanon," came to an end. Development History of the 35mm Lens-Shutter Camera
The development of the high-grade 35mm camera had been the great milestone constituting Canon's mission. Yet during the same period, there was an effort to produce a simpler camera that could be used by anybody. That would be the development of the 35mm lens-shutter camera. It all begun in 1958 when there were heated discussions within Canon as to whether the company should take the route confined to the manufacturing of high-end cameras or whether it should also enter the market for the intermediate-class cameras. Gradually, the voices of young engineers expressing the opinion "we want to make cameras we can afford" gained strength. This resulted in a tentative decision to produce a prototype of an intermediate-class camera before the company's overall policy guidelines could be developed. With this background, the development of the 35mm lens-shutter camera started. This camera was the "Canonet," which swept the entire camera market with the slogan "anyone can buy it and anyone can take pictures with it."	The first domestic shipment of "Canonet" cameras leave the Shimomaruko plant   "Canonet" display and sales counter on the 7th floor of Mitsukoshi Department Store
Although the plan was to market the "Canonet" camera in August l960, its debut was delayed until January l961 because of strong criticism from the competitors complaining that the price of under 20,000 yen was too low to compete with. When the camera was introduced for the first time at the display and sales counter on the 7th floor of Mitsukoshi department store in Nihonbashi, Tokyo, the number of people interested in seeing the camera was so great that they overflowed onto the staircases. The total inventory for one week was gone within 2 hours after the sales counter opened. Its sales were so astronomical and its customer acceptance so overwhelming that the February 6, 1961 issue of Shukan Bunshun (a popular weekly magazine) covered the sensation in the article entitled "Go To Hell!! Canonet."
While the boom sparked by the "Canonet" had not quite cooled off yet, the "Canon Demi" camera was introduced in February 1963. It was a compact and lightweight half-frame, or single-frame, camera that permitted twice as many pictures per film. This camera was also a hit with its catch phrase "let's draw our 'Demi' from our pocket." Also released in October of the same year was the "Color Demi," which was popular among users because it was available in three different colors: red, blue and white. With the debut of the "Demi" series, the variety of the lens-shutter cameras increased. The important thing was that the technologies acquired during the development of these 35mm lens-shutter cameras were fully fed back into the products that followed.	Cover of "Color Demi" brochure [Larger image]

Entering the 8mm Film Cinecamera Field Canon's first 8mm film cinecamera the "Canon Cine 8T," was introduced in November l956. The development of the cinecamera began in 1955 based on the knowledge acquired during the 1953 observation tour by President Mitarai to the United States and Europe to survey the camera markets in these countries. During this tour, Mitarai discovered that the "Kodak Brownie," an 8mm film cinecamera of the Eastman Kodak was enjoying great popularity.

"Cine 8T," Canon's first 8mm film cinecamera [Larger image]

Canon obtained some used cinecameras left behind by the Allied Occupation Forces as well as the products of leading cinecamera manufacturers abroad and studied the film drive and exposure mechanisms through repeated disassembly and testing. Special emphasis was placed on the viewfinder technology. Since the 8mm film cinecamera was required to reproduce the image of subject in the exactly same format as shown in the viewfinder, it was necessary to use the "Porro prism" system, in which two or three right angle prisms were combined with the variable magnification viewfinder mechanism of the "IV Sb." With this innovation, Canon succeeded in developing a revolutionary viewfinder that was bright and clear, and produced a real image.

"Canon Reflex Zoom 8" with the built-in high-quality "10-40mm f/1.4"zoom lens [Larger image]

On the other hand, concurrently with the development of the viewfinder, Canon's lens department was working on improving the zoom lens. The history of Canon's zoom lens goes back to 1954. Canon succeeded in developing a high-performance 8mm film cinecamera zoom lens, the "10-40mm f/1.8" with the magnification factor of 4, but it was never marketed because of its large size. Yet, being accelerated by the successful development of the large aperture zoom lens, Canon marketed the "Canon Reflex Zoom 8" in October l954, in a short development period and at low cost. The quick and low cost development was achieved through enlarging the aperture of the "10-40mm f/1.8" to make the "10-40mm f/1.4" and fitting it to the "Canon Cine 8T."

8mm Film Cinecamera with Zoom Lens and New Film Standards

Canon continued to improve the 8mm film cinecamera, aiming to adopt the advanced specifications and functions available in the 16mm film cinecameras. In June l964, the company released the "Canon Cine Zoom 512," which was equipped with a bright f/1.2 zoom lens of with the magnification of 5X, as well as a spring drive mechanism, which had been the popular in 16mm film cinecameras. The "Canon Cine Zoom 512" was cherished for a long time by users who enjoyed making home movies, and fully deserved being called a masterpiece. Eastman Kodak introduced the "Super 8" system in April l964, while Fuji Photo Film concurrently introduced the "Single 8" system. In order to meet the users' needs, Canon developed two types of cinecameras compatible with each film standard. One, the "Auto Zoom 1218 Super 8," which was marketed in April 1968 for the "Super 8" system, was widely accepted and had a good reputation because of its high 12X zoom magnification.

"Cinezoom 512," masterpiece cinecamera employing 16 mm cinecamera's drive system [Larger image]   "Autozoom 1218 Super" with an extremely powerful built-in 12X zoom lens, compatible with Super 8 system [Larger image]

The Next High-End 35mm Cameras are SLRs

The "Canonflex," the first 35mm SLR camera from Canon was introduced in May l959. In June of the same year, Nikon released the "Nikon F." Although the principle of the SLR camera had been known as long ago as the camera, technological problems had been left unsolved for many years in the area of making the camera as light and easy-to-use as the rangefinder camera. With several technical innovations including the pentaprism, the quick return mirror, and the automatic aperture control mechanism, the time had finally arrived for a practical 35mm SLR camera for all types of interchangeable lenses. Canon developed the R-series lens for the SLR cameras. The cameras using the R series lens were called the R-series cameras. Following the "Canonflex," the "R2000" with a top shutter speed of 1/2000 second, the fastest ever for any camera, was introduced in 1960. The "R2000" evolved into the "Canonflex RM," which was released in 1962. The "Canonflex RM" had a built-in exposure meter for the first time, and adopted the film advance system with a recessed lever instead of a trigger. The lever improved the operability.

"Canoflex," Canon's first SLR camera [Larger image]   R-series lenses simultaneously developed with the Canoflex SLR cameras [Larger image]

"Canonflex" and R-Series Lens Several new technical innovations were employed in the "Canonflex," including an interchangeable pentaprism viewfinder, a completely automated aperture control system, and an externally coupled selenium exposure meter. The bright R-series lens included lens having the focal lengths from 35 to 135mm. They were equipped with a fully automated aperture control system called "Super Canomatic." This aperture control mechanism coupled to the main camera body played an important role to connect the camera main body with the lens, and accelerated the development of the FL-series lens and FD-series lens. The "Canonflex" lens mount used a system called the "breach lock mount," replacing the conventional screw system. Since the "breach lock mount" method prevented mount wear caused by the direct rubbing between the camera body and the lens, the optical accuracy of the camera increased. The R-series lineup had about 16 different lenses such as the retrofocus wide angle lens, "R35mm f/2.5," the bright standard lens, "R58mm f/1.2," and the supertelephoto lens, "R1000mm f/11." Included among these lenses was the "R55-135mm f/3.5" zoom lens, which was Canon's first zoom lens for still cameras.

Canon during the Dawn of the SLR Camera Era

Concurrently with the debut of the FL-series lens that replaced the R-series lens in April l964, the "FX" camera was released. The FL lenses and the "FX" camera comprised a new system configuration designed to achieve smooth coupling between the camera body and the lens. In the 1960s, the Through the Lens (TTL) metering system was identified as the challenge for the SLR cameras. TTL metering determines the optimal exposure for the amount of light transmitted through the shooting lens, which is possible because of the unique characteristics of the SLR camera. The advantage of this method was that it permitted measuring only the light in the field of the lens. It was natural for the camera user to have great expectations for this convenient TTL metering. In order to respond to the customers expectations, Canon introduced the "Pellix" in 1965 and the "FT QL" in 1966. Both cameras featured partial-area TTL metering SLR.

FL-series lenses, the pioneer of the TTL metering [Larger image]

Development of FL-Series Lens Although the R-series lenses had excellent characteristics, they had several problems in terms of manufacturing costs and future technical developments, all of which required drastic change. The FL-series was developed to overcome this situation. It was known that fluorite used in the supertelephoto lens would be effective in reducing secondary chromatic aberrations. Yet, the fluorite crystals were too small for practical applications. Canon found the solution by growing artificial fluorite crystals and introduced the "FL300mm f/5.6" and "FL500mm f/5.6" lenses in 1969, both of which used the artificial fluorite crystals.

Time of Changes in Film Standards The domestic film industries that had been undergoing steady growth during the 1960s were suddenly confronted with abrupt changes in film standards. The new film standards were the Instamatic System 126 of Eastman Kodak of the U.S.A. and the Rapid System of the Agfa of West Germany. Canon developed the "Canomatic C30" and the "Demi Rapid" to these film standards. Since the loading methods for these films were not compatible with that for SLR cameras, the development of specialty cameras for these film standards was limited to lens-shutter cameras only. Canon developed its own QL (quick loading) system for loading normal 35mm films and introduced it in the "FT QL" SLR camera.

Birth of Canon Inc. for Further Growth

At the beginning of the 30th anniversary year, 1967, President Mitarai delivered the following New Year 's Address:

"To create the foundations for our company's prosperity this year, we must hold cameras in our right hand and business machines and special optical equipment in our left. At the same time, we must substantially boost our exports."

These words became the slogan of the company from that time on. In fact, in 1960 Canon started entering the fields of electronic calculators and copying machines under a long-term business plan. The sales of business machines and special optical equipment were rapidly increasing. The time had arrived when the company had to shed the image that it was just a producer of cameras.

In order to achieve a great leap forward as a comprehensive manufacturer of imaging and information processing equipment including cameras and business machines, the name of the company was changed to Canon Inc. on March 1, 1969. The catch phrase used in advertising at that time was "Light and Electrons, Connection to the Future." The ad copy indicated the roads taken by Canon in the past, hinting at the roads to be taken in the future, and said Canon was ready to enter a new world.

Photographing Reef Fish

By Richard Smith 

It was during a trip to Cenderawasih Bay on Papua’s north coast in Indonesia that I really got into photographing reef fish. 

This unique bay has been cut off from the outside world by large landmasses several times over the past several million years, and subsequently new species have evolved in isolation. This environment fascinated me as both a marine biologist and underwater photographer. I set out to document as many of the indigenous fishes as I could during my once in a lifetime visit.  

Thus began my love of reef fish portraiture.

Why Photograph Reef Fish?

In hindsight, I have overlooked how rewarding reef fish photography can be.  I often spend my dives searching for small, hidden fishes such as pygmy seahorses, ghost pipefish or frogfish, completely ignoring the beauty of the more common wrasses, damsels and parrotfishes.  While they may be common and often out in the open, that doesn’t make them unworthy or easy photographic subjects.  

Equipment

The beauty of reef fish photography is that specialised and expensive macro or wide-angle lenses aren’t necessary and the standard lens of a compact camera will often do the trick.  I use a Nikon DSLR and my lens of choice for shooting reef fish is the 105 mm macro lens.  This isn’t for the macro function per se, but I find that for many medium sized fish the extra distance from the subject allows you to take shots without spooking the animal. 

The distance from the subject is greater than it would be for macro, which makes lighting something to keep in mind. The trick is to provide enough artificial light to avoid a cyan cast without blowing out the subject. As always, you’ll want to be mindful not to illuminate the space between the camera and the subject, as this will show up any sediment in the water as backscatter.  

Since each individual and species is different, take some time getting to know the routines and behaviours of the fish before starting to take shots.  This gives you time to estimate the distance you’ll be from the subject and position strobes accordingly.  Trying to take photos and then stopping to readjust everything will more than likely spook the fish and send it dashing into a nook.

Techniques and Tips

It isn’t easy to get a good shot of a reef fish, and several factors must be taken into account:

Buoyancy: Maintaining good buoyancy while photographing active fish is paramount.  They will often be much more active subjects than you’re used to and I have found that following them while looking through the camera’s viewfinder is the only way to catch them in action.  This means that you must have a good command of your buoyancy and sense of surroundings to prevent crashing into and breaking the coral or other substrate.

Something Different: There are many different styles of photo that you can take.  For a fish you can’t identify, a more typical ID shot of the full body may be the aim.  For the more common species it’s nice to experiment.  Try slowing the shutter speed to get a little blur into the shot, adding some action.  

Playing with depths of field, by adjusting the aperture, can give nice images. With a shallow depth of field where the eye is in focus, a blurred, pastel coloured, background can be attained. Alternatively, a much greater depth of field can be used, where the background will be darker and much more of the fish in focus. Fish portraits provide a lot of creative control for the photographer

Subject Matter

Set the Scene: A simple fish portrait can be so much more by telling you something about the animal.  Showing the fish in its habitat or behaving naturally gives the image life and the subject a character.

Background: A cluttered background can be extremely distracting.  You can either solve this problem by waiting until the fish swims into an area with a neutral or far way background, or alter your settings to get a shallower depth of field.  Personally, I like the shallow depth of field approach as it allows you to shoot against most backgrounds and lets more light into your shot. You need to be spot-on with your focus though, as you’ll want to get the eye sharp, and a reduced depth of field will make this harder. Apertures between 4-7.1 are prime for this shallow depth of field bokeh technique. 

Fish Posture: I have found that having the fins of the fish in an erect, alert-looking position makes a huge difference to a portrait. It also gives the animal a larger surface to show off its colours.  Unless it’s your aim, be sure not to accidentally crop parts of the fins off though.  

An Insider Tip: Some of the shots in identification books, particularly of new species, are taken of dead fish with their fins chemically fixed open.  Don’t be disheartened if it takes a while to get the perfect shot. With patience, you’ll get there in the end.

Setting Goals: Photographing reef fish opens many new avenues of possibility.  You can set yourself goals, like shooting all the life stages, geographic variants or colour morphs of a given species.  Setting a long-term goal, which certainly some ichthyologists aspire to, of for example shooting all the butterfly or angelfishes in your local dive area.

Reef fishes are beautiful, challenging subjects that are well worth spending some time to photograph.  Whether you set out to shoot a few of the fish that take your fancy or have certain rare species as a goal you can rest assured there will always be a subject for you to shoot.

About the Author: 

Richard Smith is a British marine biologist and photojournalist who aims to inspire a passion for the ocean and raise awareness of marine conservation issues through his images. He has been diving since 1996, which began his fascination with the sea.  In 2011, he completed a PhD in the biology and conservation of pygmy seahorses.  Richard leads marine life expeditions where the aim is for participants to get more from their diving and photography by learning about the marine environment: www.OceanRealmImages.com

LARGE FORMAT

Oh, the Bouts He Has Seen

Matt Weber

 Hunting a moment” is how Matt Weber, 55, describes his approach to photographing New York City street scenes for the past three decades, and many of those moments have been distinguished by the flying fists, stinging obscenities and cheering crowds of the New York City street fight.It is a subject that, whether for real or play, makes for a powerful photograph because it has “motion and emotion,” Mr. Weber said.Mr. Weber began driving a yellow cab in 1978 at age 20, and what he saw through the windshield of his wheezing Dodge Aspen taxi, including a knife fight near the Port Authority, convinced him to buy a $150 Canon. It was a purchase that “saved me from a boring life,” said Mr. Weber, who would often shoot right from the driver’s seat, develop the film at home and then hang prints in the hallway of his building on West 86th Street. Mr. Weber is the subject of a new documentary, “More Than the Rainbow,” directed by Dan Wechsler, which was to be screened Friday night at the Coney Island Film Festival. Driving a cab, Mr. Weber said, he “went from being a taxi driver with a camera, to a photographer with a taxi.” And fight pictures became just one genre of his wide variety of candid city shots. He became dedicated to catching elusive moments that could not be staged or even predicted. All you can do is, like a fisherman, put your time in — skills honed and equipment ready, he said. He also enjoys shooting couples kissing. “It’s the two ends of the spectrum, love and anger,” he said. “Both show people when they’re peaking.”

 by : Corey Kilgannon

Wallpapers

Among my favorite things to post are computer wallpapers.  The fact that you are viewing my blog tells me you have an internet connection.  In my mind, that most likely means you're on a computer.  So, enjoy the posted pics below.

For more computer wallpapers, please scroll down the right side of this blog until you come to "2010", left click on it and you will be taken to over 400 more wallpapers.  Thanks for stopping by.  "til next time, happy shutter bugging.

The SLR Camera

"The SLR camera is by far the most popular type of camera for novice and professional photographers. One of the main reasons for this is its what you see is what you get factor."

While most point and click cameras have a viewfinder that is usually located above the lens, the SLR's viewfinder lets the user look directly through the lens.
So as long as the aperture, shutter, and film settings are set up for the scene's lighting conditions, what is seen through the viewfinder is what will appear on the photograph.

Proper Settings

To make certain that the camera is set up for the lighting conditions, three settings must be considered:
Aperture - This must be set to allow the proper amount of light through the lens in order to get the desired depth of field.
Shutter - This speed setting will depend on available light, movement of subject, and exposure of film or film setting.
Film Settings - These must be chosen depending on available light, shutter speed and desired exposure effects (silhouettes).
Nowadays, most SLRs have auto settings that will choose the proper settings. But there are some neat effects that can be obtained by experimenting with these settings, particularly the aperture settings that control the depth of field.

How to Take Outstanding Pictures

By Jonnie Blaylock

Since way back when I first began to study photography, I have been getting asked how I take such good photographs. There are many different styles and types of photography, but I usually end up giving the same key photography tips for most of them.
Professionals Use SLR Cameras
I cannot stress enough, if you want to take quality pictures, learn how to use a Single Lens Reflex (SLR) camera. You would not believe how many self proclaimed amateur photographers have not started to learn how to use an SLR (some still use those point and click cameras).
I know that with the advances in technology, digital cameras and memory are getting better and better every day, but there is just not enough versatility with a point and click camera. They are great for general day to day snapshots, but they will never match up to the versatility and professional results obtained with an SLR camera.
With that said, the increase in versatility equates to more functions in the camera. So, once you have a good SLR , learn these functions from the owners manual. Learn how to control the shutter speed, aperture settings, ISO (film) settings, and white balance.
Note: In older SLR cameras (not digital) ISO is a function of the film and refers to the film's speed. Only digital SLRs offer ISO function settings.
Clear the Viewfinder
Too many photographers shoot much wider then they really want and have to use software to crop the shot down to the scene they want. This just causes more work later, and there is no guarantee that all of the distractions can be cropped out.
Unlike a point and click camera, the viewfinder of an SLR uses a prism and mirrors that allow you to look directly through the lens. This is why, with an SLR, âwhat you see is what you get.â By taking everything in the viewfinder into account, you may notice distractions that you otherwise would not have.
Don't you hate it when you think you have captured a really good scene just to find out later that there was something distracting in the background?
Composition
One of the most often used techniques of composition is the Rule of Thirds. Divide the viewfinder into nine equally sized boxes like on a tic tac toe game board. Where the dividing lines meet is where interesting points in the scene should be placed. Relativey straight lines (vertical and horizontal), such as a long tree trunk or the ocean's horizon, needs to be placed on a horizontal or vertical dividing line.
This technique causes stress in the scene, and this stress causes interest.
Keep in mind that the more a shot is prepared before taken, the less likely Photoshop will be necessary.
Note: Before each major session change, reset the white balance of your camera. Lighting conditions may change throughout the day (from session to session). Correcting white balance between sessions will cut down on necessary Photoshop corrections. The answer to how to take good pictures does not involve correcting them later.
Portraits
Even though the techniques we just talked about work with just about any style, there are some techniques that are commonly used with particular styles. With portraits, the subject is not the entire scene, just part of it, so it is important for the subject to stand out.
Shooting the subject in a narrow depth of field is one of the easiest ways to make sure that he or she stands out. The depth of field is the length of the distance in front of the camera where things in the scene appear equally in focus. This is controlled by the size of the aperture opening. The lower the setting, the bigger the opening in the aperture and the more narrow the depth of field.
Note: This allows more light through the lens of your camera so the settings of the film (ISO) and shutter must be changed to compensate.
Taking a portrait of a subject in a narrow depth of field while keeping the foreground and background out of the depth of field makes the subject appear in focus while keeping the rest of the scenery a bit out of focus. This results in the subject really standing out and even seeming to pop out of the picture.
Landscapes
Another common style requiring specific photography techniques is landscape photography. Unlike portraits, with landscape photography the entire scene is the subject; it is often desirable to keep the entire scene equally in focus and to shoot at a wider perspective to encompass as much of the scenery as possible.
In order to obtain this, an infinite depth of field is needed along with a lens that allows a perspective broader than the human eye. This is why wide angle lenses are commonly used in landscape photography. These lenses allow a large perspective of a scene to be captured.
A high aperture setting must be used in order to obtain an infinite depth of field. This causes the opening in the aperture to be very small. To compensate for this the shutter must be left open longer. With that understood, it is absolutely necessary to use a tripod or other camera stabilizing apparatus with landscape photography so the camera will not move while the shutter is open.
I hope you have enjoyed this article and that it has been useful. If it has helped in any way, the next time someone asks how you take such good pictures, feel free to send them this article.

Portrait Photography Tips - Shooting Wow Pictures

By Jonnie Blaylock

All budding photographers, as well as those who've been shooting for awhile, are all looking for the same thing. They want to shooting stunning photographs that capture the "wow" factor. It is not an easy thing to do, since beauty is in the eye of the beholder. However, it is not impossible and rather than following rules, sometimes it is necessary to break them. Be random and boldly follow your instincts to find that special picture that makes everyone stop and take notice.
1. Change the Perspective - Nearly all portraits are taken with the camera at eye level. Change the perspective by changing the angle from which you're shooting. Get up high over your subject for one effect. From that vantage you may see an even more interesting aspect. Experiment with your composition.
2. Play with the Eyes - Eye contact or the direction in which the eyes are gazing heavily affects the effect of the portrait. Looking directly into the camera isn't always the most interesting way to shoot someone. It may be more intriguing to have the subject look off to the side, drawing those who look at the shot to wonder what's there, off camera, unseen. But be careful how you do this, because drawing the viewer's eyes to the side also takes their eyes off your subject.
3. Staying Focused within the Frame - In other words, have your subject holding an object, like a woman holding a baby, or a child holding a toy keeps the viewers eyes focused inside the frame and on the subjects. It creates a second point of interest and helps to create a story within the frame with the subject.
4. Composition Rules - Composition rules as listed in portrait photography tips, are made to be followed and broken. The rules are great to know and to use, but stretching them, or pushing to the outer limits makes for more interesting portrait art. Learn the rules, get comfortable using them, then learn to break them in order to achieve a more eye catching result.
5. Experiment with Lighting - The possibilities are endless with lighting. You are hindered only by your imagination and ability to be creative. There is no good and bad. So go ahead and play with the lighting. You might surprise yourself. Sidelight, back-light, silhouette, the possibilities are infinite.
6. Make Subject Move - Interesting portraits happen when you take the subject out of his or her comfort zone. Make them move. Put them in clothing or in a setting where you wouldn't ordinarily find them. Surround them with stuff that says who they are, but make them react differently to it. For instance, put them in business attire in an office, but have them jump up and down or read a book upside down. Again, be creative.
7. Don't Stage the Photo - Shooting candid shots are better than posing the subject. People, and kids in particular tend to tense up and hide rather than reveal their personality when the picture is staged and they are required to pose. Photograph your subjects while they work or kids while they play. Try to catch them reacting naturally to their environment.
8. Using Props - Enhance your shot by creating another point of interest with a prop. For example, if you're shooting a doctor, let them be wearing a stethoscope or holding a skull. Be careful not to let the prop dominate the picture, let it be part of the picture telling part of the story.
9. A Part of the Whole - Try focusing on a part of the whole, for instance, instead of shooting the head and shoulders of your subject, take a picture or two of their hands, or their back, or maybe even a shoulder with a special tattoo, keeping the face in shadow. Be dramatic and bold. Sometimes what is left out of the shot is as important as what is left in.
10. Variation on a Theme - Obscuring your subject in order to focus on one particular aspect works well too. In other words, shrouding a woman in a shawl leaving only her eyes visible and looking at the camera. Possibly making the shawl match the eyes of the subject making for a dramatic color statement.
The possibilities for taking creative and dramatic shots are limited only by your ability to think outside the box. Know the rules, know how to work them, then learn how to break them for a more creative effect. Finally, take a series of shots... not just one... shoot often and quick... sometimes, in order to get what you want.
I hope you have found these portrait photography tips useful.

Jonnie Blaylock is a hobbyist photographer that helps new photographers learn the fundamentals with his Portrait Photography Tips.

Family Photography Tips - The Good Group Photo

By Jonnie Blaylock

Probably the hardest picture to set up and pull off is the group family photograph. These pictures only really work when everyone is on the same page, looking at the camera and smiling at the same time. Synchronizing by getting everyone to say "cheese" is the typical way to get everyone smiling. But it doesn't always work.
Here are some things to think about when trying to snap that lovely family portrait to make everyone happy:
Put the Group at Ease - It is essential that all participants in the photo are at ease and comfortable with each other as well as the photographer. If the photographer also happens to be a family member then being at ease should not be a problem. With no strangers in the midst, relaxing before the camera is not a problem.
Move into Scene - Don't be afraid to move into the scene, cutting out the background and focusing just on the people. Crop off the top of the head of the taller people, in order to emphasize a connection among family members. Allow the drama of kinship and love to play out before the camera. Let the family members interact before snapping the picture. Saying "cheese" while always listed as one of the most important family photography tips, is not always a good one, and will make people go rigid and become less candid, so sit them down and let them get comfortable. The good shot will follow as you watch.
Blur the Background - Blurring out the background makes the people aspect more dramatic. It makes the family the focus of attention, because, after all, the family unit is what you're shooting.
Candid within the Group - There is always someone in the family at a gathering who doesn't want to sit for a picture. Today's small compact cameras make it simple to get candid shots without have to pose everyone. Keep the camera in your pocket as you work the room. Find your shot and compose it and shoot quickly. It takes practice, but grab-shots do come out well with a little thought and focus.
Taking Multiple Shots - When trying to capture everyone in one group, the only real successful way to do it is to take many shots, and quickly. Shooting in rapid bursts of three or four shots at a time will get the good shot for which you're looking. The first shot is usually a throwaway shot. However, the second or third will probably be the keeper. Shoot some shots before everyone is ready. Some of the best pictures are of the actual organizing to sit part of the activity.
Timing is Everything - Choosing your timing carefully will make or break the shot. However, true timing can only be learned with practice. Another of the suggestions that tops the list of family photography tips is that the quicker you learn to compose or to know what you want in composition the better will be your timing. Try to work taking of the picture within the natural flow of events, when the family is naturally together rather than artificially posed making them more rigid.
Lighting - No matter what type of photography, lighting is probably the most important element. In most instances a small flash will be sufficient. However, bigger family groups may require more lighting. Taking the photograph outside in natural light makes for an easier, less stressful shot.
Taking Control - It is paramount for the photographer to maintain control of the situation and communication is the key. Keep talking to your subjects making them understand what you want to do and need for them to do to make for a happy situation. If you have a really large group to photograph, then use a tripod and have someone act as your assistant.
Smile - Finally, there is nothing worse than a grumpy old photographer, so smile. That will put everyone else who has to take part, at ease. Have fun, act like you're enjoying the process. It's okay to crack a joke or two in order to get everyone to loosen up. And don't be afraid to be creative. Think outside the box. The group can be a group without sitting down next to one another with another row standing at attention behind. Emphasize other items of "family-ness." Play with it. Enjoy!
I hope you have found these family photography tips useful.

Jonnie Blaylock is a hobbyist photographer that helps new photographers learn the fundamentals with his Family Photography Tips and more.

Article Source: http://EzineArticles.com/?expert=Jonnie_Blaylock

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Entertain Children with Fun Props Posted by: Barb Gordon

Entertain Children with Fun Props

Posted by: Barb Gordon  

Of course children photograph best when they are having fun. I thought I would share a couple of super easy, inexpensive, and photogenic props.
This week a client brought in a bubble machine to use for part of the portrait session. This unit (from Target for about $10) really puts out the bubbles! I was so surprised with the volume of it could produce. I would recommend saving doing the bubbles as the grand finale of the photo session. Get some traditional portraits first then bring out the big fun. (Caution: when using indoors, bubbles do make the floor slippery.)
Who wouldn’t have fun throwing rose petals in the air? You can find all kinds of artificial rose petals in all sorts of colors in the wedding supply isle of a large hobby store. Invest in the more realistic ones. If you buy the cheap petals they photograph cheap. Since you can reuse them over and over, the price is worth it to get the more realistic kind. Picking up all of those petals is not my idea of fun but it is worth it. Fortunately this gal had a big sister to play photo assistant for me-she picked them up!