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Travel And Scenic Photography 101
By Seth Lutnick, Thu Dec 8th
When you're driving through the mountains somewhere, and younotice a car parked half off the road and some guy leaning tothe left to avoid a branch with his Rebel 2000 camera in the actof focusing, you've met me. I do this because, to me, a tripisn't fulfilling unless I've preserved that beauty forposterity. I'd like to share some of the techniques that makescenic photography such a wonderful artform - simple, yetelegant. First off, equipment. As much as the cheapo disposable camerabeckons, get real. These cameras have fisheye lenses which Icall "spam" lenses. They cram everything in, with equalblurriness and boringness. Good photos are sharp, unless you useblur for artistic effect. Sharp comes from an adjustable lens.It can be a fixed lens or a zoom, but it must focus speciallyfor 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, whenyou're half a block away! Zooms get my vote, even though theyoften don't have as wide an aperture, which limits theircapabilities in low light situations. Practically speaking, an SLR is the absolute best. They arelightweight, and can be used with top quality lenses. Film SLRstend to be less expensive, but have the limitations of film,meaning you have to get it developed and so forth. Digital SLRsare VERY expensive, so for the budget conscious either go with afilm SLR or a high quality basic digital camera. With digital,resolution is also a critical factor, so look at the specsbefore you buy. OK, we've got the camera, emotions are running high, and that'sgreat, but not too great! Sometimes I find a spot that is sowonderful, I start shooting like a madman, only to bedisappointed by the pictures. What happened? Emotions. When youexperience a place, there are sounds, aromas and breezes as wellas the visuals of the spot. Needless to say, you can'tphotograph all of these elements, only the visual. Whenoverwhelmed by the spectacle of a scenic hotspot, we are oftenoverwhelmed by all of these elements. So what to do? Look through your camera. The viewfinder does notlie (usually). Try to see what you are looking at as thefinished picture. Most people perfunctorily take pictures,hoping that somehow the shot will come out great. If you wonderhow the pictures came out when you are on the way to the drugstore to get them, you're doing something wrong. At the momentyou 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 allof the elements of a scene. You can hint at them. For starters,motion.
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Start Your Own Photography Business From Home
By Roy Barker, Fri Dec 9th
Anyone with the right camera equipment, and the necessary skillscan set up a home business, marketing photography. You need onlyto convert a room of your house into an office, and then you canwork Read more...
Yes, even in a still picture, there is motion. Somethinghappened before, during and after your picture. In a mountainvista scene, you may find something that hints at motion,whether it be a branch of a tree that has been swaying in thebreeze, or a river flowing through the valley below. These add asense of motion. Then there's the "rule of thirds." When you place the mainobject of the picture smack-dab in the middle, it is static andboring. Place it one third of the way from either side, and youIMPLY motion. Put the horizon in a landscape photo a third ofthe way up or down, not across the middle. Remember, when a person looks at a picture, their eyes move. Youwant to frame your photo to help that movement. If you can findsome lines in the scene, such as a skyline, cloud formation,path through the forest, etcetera, use it interestingly, andwith the rule of thirds to draw your viewer's eyes into thepicture. Avoid "summit syndrome." You get to the top of Mount Washingtonand shoot the majestic vista. Great. The pictures come out ...boring! How? No PERSPECTIVE. Big vistas will be flat unless youhave an object in the foreground, such as a rock or a tree, togive them perspective. Then the eye really grasps how big thisscene is. People enjoying the view is a real winner, because theviewer may identify with their emotions, giving the image realimpact. Cheese! Yes, you do have to take the family photos. It'sobligatory. But when you do, make sure that they show theLOCATION of the photo. Otherwise, you might as well do it onyour driveway. Frame the scene in context, with landmarks aspart 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 sensesthan just the visual will make it remarkable. Actor headshotsfor example, tell a story about the subject. You can almost hearthem saying their next lines. If you photograph a garden, theviewer may experience the aroma of the flowers. A tourist streetwith an accordion player on the corner may have your amazedfriends whistling "Dixie." In summation, picture taking on travel is recording theexperience in a satisfying way. Use motion, perspective,sensory, storytelling and so forth, to bring your photos tolife. Oh, and needless to say, make your job easy and go togreat places! See you at the overlook! About the author:Seth Lutnick is a photographer, composer, and performer. He hastaken thousands of scenic photos, recorded two albums oforiginal music, and appeared on stage, TV and film. Visitwww.getitdone.biz for more detailed plans on creative planning, travelphotography, musicrecording,
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/p>A photograph is an image or representation created by collectingand focusing reflected electromagnetic radiation; the mostcommon are those created by reflected visible wavelengths,producing Read more...
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