blog2nice has added a photo to the pool:
[from Graffi's That Retro Lo-Fi Look group on Flickr]
Sometimes our hard drives become a mess of misnamed folders and misplaced images. We don’t know how it happens, but it does. Luckily, Lightroom gives us a few options for quick and easy folder discovery and organization. Ben Willmore shares a few of these hacks:
Before you begin, make sure the little square or “light” beside the hard drive is colored.
The way you frame a photo is an important part of the composition. There are several key decisions to make when composing your photos:
The best way to learn about this is to look at several photos and explain how these principles apply. Let’s look at how they all apply:
I took this photo of a local singer in Wellington’s Botanical Gardens. I knew what I wanted to include in the composition: the singer herself (she is the main subject of the photo and should take front stage in the composition) plus a hint of the background.
At some point in the life of a photographer, they start to think past the single image. They start to think of their work in terms of themes and ideas. They start to classify their images into groups. This is not the case for all photographers, but for some of them. Others only think in terms of individual images and there is nothing wrong with that.
However, if you have ever thought about creating a street photography project, here are some thoughts and ideas about how to do it. Street photography is an art form that works very well when images are grouped. Street photography fits into book format so well when each image plays off the others to create a larger narrative. Images that might not work on their own can have new life in a narrative. It’s a very worthwhile experience to start thinking about your work this way and it can help to improve your photography in general.
Over the past few days, I’ve thought about what’s helped me become a better photographer over the years. It’s a constant journey, and developing as an artist is a never ending pursuit that extends beyond owning any camera. In addition to practicing as much as possible with your camera, here are 10 tips to share that you may wish to consider while you continue on your own path in photography to help you grow as an artist.
I discovered this piece of advice over time, though a number of other photographers have suggested the same thing. Wait to look at your photographs if that’s possible. I know after a shoot you may feel anxious to go through and edit your pictures, but your anxiety and perception will often skew how you see your photos because this is at the height of your emotional attachment to your images. I’ve found that waiting a few days or better yet a couple of months to really go through a batch of photographs will be enough time to break down some of that attachment and reduce any biases you may carry.
Photography can be a frustrating business when you’re a beginner. If you spend long enough browsing online photo sharing websites like 500px or Flickr, you may be both inspired and infuriated in equal measure. How do other photographers get their pictures to look so good? Why do my photos look like snaps while everyone else’s look like works of art? What camera trickery do they know that I don’t?
The good news is that you’re not alone: no photographer started creating magic the minute they picked up a camera. It can take months or years of work until you’re completely happy with the pictures you take. But there are some steps you can take today to stop your photos looking like snapshots. In their latest guest blog post the team at Photoventure offer some suggestions…
In this video tutorial, photographer Jeff Cable explains how we can improve our photography in leaps and bounds, just by eliminating these common mistakes:
When you watch a movie there is one element that never changes: a leading character. The whole movie centers around this leading player and the story is created around this subject. It is no different with a still image, like a photograph. Each photo should have its lead character, called the subject, around which the image is created.
By creating this center of interest you form a visual focal point that anchors the eye of the viewer and holds it there. Everything else is discovered by the eye in relation to this one focal point. How the eye moves into the rest of the image is determined by this point. So in order for you to create a successful image you need to emphasize the subject. This is done in one of several ways, so let’s take a look:
When you get in really close to the subject it starts to fill the whole frame and the eye can no longer miss the subject. It powerfully directs your attention to the subject, as there is nothing else in the image to compete with it. It is a simple but dramatic emphasis of a subject. Use your feet more often when shooting and you will see just how dynamic the resulting images are.
This may not seem a great idea in order to emphasize your subject. Picture this. The subject is a light house and there is an azure blue sky reflected in an ocean topped by white foam. The bold red and white lighthouse on the horizon is in stark contrast to the blue of the sky and ocean. It may not fill the image but it still dominates the scene in relation to the rest of it. Placed in the correct position it becomes even more striking.
Using a small aperture to control the depth of field, or depth of focus, lifts the subject out of a background that is now blurred by the very shallow depth of field. With the background details now blurred the subject stands out against it in clear focus. This simplifies the images and causes all attention to be focused on the subject.