Category: Photography

Looking a bit more in details about the working of the fantastic device, the digital camera. As a continuation of the above lines, it can be further investigated that the sensor array is basically a microchip about 10 mm across. Every image sensor is a charged-couple device (CCD) converting light into electric charges, and is essentially a silicon chip used to measure light. These charges are stored as analog data that are then converted to digital via a device called an analog to digital converter (ADC). Over the chip are present a collection of very small light-sensitive diodes, named photosites, or pixels that convert light (or more scientifically, photons) into electrical charges called electrons. The pixels are very much light sensitive, therefore with brighter light striking them, produces greater build up of electrical charges. Each 1000 array receptor creates 1 pixel, and every pixel corresponds to some information stored. The light enters the digital camera via the lens, which is the same mechanism as the conventional analog camera. And this light hits the CCD when the photographer presses the shutter button. The shutter opens and thereby illuminates every pixel, however with various intensities.

Taking a look apart, it can be observed that quite a few digital cameras use CMOS (meaning complementary metal oxide semiconductor, a technology of manufacturing these microchips) technology based microchips as image sensors. The basic advantage is that the CMOS sensors are appreciably cheaper and simpler to fabricate than CCDs. Another great advantage from CMOS sensors is that these take very less power compared to other technology, which adds up to the fact as to their extensive use, and can thus even support the implementation of additional circuitry on the same chip like ADC, some control units etc. Thus it can be stated that CMOS technology based cameras are small, light, cheap and also energy efficient, yet at the cost of some amount of image quality.

However the common trend remains that all cameras of the mega pixel range and higher up use CCD chips instead of CMOS. This is because of the fact of picture quality only, leaving aside the price differences.

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.

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!

There are lots and lots of choices available in the market today. The top three companies are HP, Canon and Epson. So, before you go and spend your money, here are some tips on what you must keep in mind while deciding on a digital photo printer.

Firstly, digital photo printers are available in two basic types. There are 4-color printers and 6-color printers. Nowadays, there are even 8-color printers available. So, the higher the number of colors the better will be the photo quality once you have hit the print file button. Using good quality photo paper and one of the 8 color printers will give you results that rival your photo lab.

Secondly, the printing method used by the printer is also very important. There are 2 main printing methods: inkjet and thermal. Inkjet is commonly used for taking photo prints but the quality of the printout is not excellent. You need to have at least a 6-color printer to get decent print quality. Also, the ink cartridges are quite expensive and the biggest disadvantage is that inkjet printing does not provide a waterproof coating to the images. Hence, the color fades after some time.

Thermal printing, on the other hand, is much better since it not only applies a waterproof coating but is also better quality-wise. It is also more cost effective as the paper and ink cartridges used are cheaper.

Most of these printers can be purchased under $500. However, there are few key characteristics that are different in all these printers which determine their price. These are:

• The printing width differs amongst printers. Normally the width is either 8.5″ or 13″. The highest quality printers will allow you to go larger but at a much higher per print cost.
• If you want to print really great looking black-and-white images, then the printer needs to have grey inks as well. So, an 8-color printer would be best suited for this purpose.
• Whether your printer has separate ink tanks for each color or does it have multiple inks in each cartridge. If you have multiple inks, then you have to replace the entire cartridge even if one color finishes. Hence, it is more expensive to replace such cartridges and you waste a lot of ink as well.
• The ability of the printer to print directly from your camera or a memory card through a link.
• The printing speed per minute. This can go up to 10 minutes for a colored snap, so you must properly check this out depending upon our usage.

Multi use printers are great for a busy office or household but if you want to make fine prints out of your digital images you should invest in a dedicated digital camera printer or digital photo printer. Look for models that will take the most popular memory cards straight into the printer without having to load the images into your computer.

For one thing, my mentor taught me the Three Classic Elements to produce “salable portraits.”

“Salable” is an industry term every photographer quickly becomes familiar with to distinguish between the everyday reality of making money versus creating those “artistic competition” or “award winning prints” which don’t earn the money.

I’ve been in the business for over 17 years now and I’m still amazed that:

People don’t buy the award winning prints that you see wearing many of the ribbons at professional photography conventions.

When my clients are faced with the choice of buying an artistic pose of their child being demure and not looking directly into the camera or buying a pose smiling close-up straight into the camera, they buy the smiling close-up every time.

Not very original, but I’m telling you now so take note:

Happy people whose faces you can readily see are the most salable prints.

They’ll never tell you this at a photography workshop, seminar, Annual Convention or at a photography institute because their job is to create award winning photo artists rather than people whom simply make a living, but… if you haven’t learned all the fancy lighting techniques, then you’ve saved time because the most important thing about light is having enough to keep the face out of the shadows.

People prefer any kind of light, as long as there is enough of it to light the face and eyes so you can get a good look at the person!

The quality of light people prefer for portraits is soft light, whether it be from an artificial source like a flash umbrella or a natural source from the sky at sunset, but other than a soft quality of light they want enough of it to SEE the face of the person you’re photographing, even if it is a flat almost straight on technique.

You may not win any competitions or awards this way, but if you get plenty of light on the faces you’ll create salable prints.

This leads me to talk about fill flash. There are times outdoors when you’ll need a flash on your camera to fill in dark shadow areas mostly in the eye sockets. Just use one f stop less flash than the existing ambient light calls for. That’s enough light to fill the shadows and don’t worry about not lugging around a portable umbrella to get the perfect modeling technique.

My mentor is right again: there is no change in the sale. The customer pays for well lit faces, not perfect modeling. I’ve tried it both ways and the customer buys the same amount of pictures in the same sizes no matter what you do.

Element number Two: Body Positioning.

This is a little more detailed area, but it is important, believe me.

My basic education from my mentor began with the same advice I’ll pass on to you:

You should rarely photograph anyone straight on.

The exception to this rule will be for family and large groups, which for reasons of body placement will often break this rule. But for individuals or smaller groups of people this rule applies.

Now, when you’re not just photographing a head and shoulders close-up you’ll have to understand other aspects of body positioning that makes people want to buy their pictures. Hands. They should always be turned slightly so they are seen from the edge with fingers together, or hide the hands altogether behind your subject or somebody else next to them. Never position hands straight on with open fingers.

Simply put, anything that minimizes how much hand you see works to make it a better portrait. This is always more flattering in a portrait and you’ll see they are the ones people buy.

Crossing legs at the ankles refines the pose and minimizes this area of the body making it more appealing.

Look at it this way, what’s less of a distraction: two legs leading to two ankles leading to two feet — or two legs blending into one ankle section with blended feet? Surely it’s the latter.

When standing, one cannot simply cross their ankles unless they have something to lean against, so I will have one foot in front of the other in such a way that they taper into one general unit. Have them place their weight on the back leg (remember, they are at a slight 3/4 angle) and bring the front leg forward and slightly tilt the foot to face out toward the camera.

Whenever I’d show my mentor my portraits that I was just unsure of, it was these recurring themes that he patiently pointed out to me.

As I began to look for these simple things during my portrait sessions, my pictures got better!

I can’t stress enough how basic, but important, it is to watch for these details.

I have people come to me who went to the contract photographer for their High School Senior yearbook portrait and disliked their picture. They want me to take one that they can proudly give out to friends and family. Usually the problem with the pictures I’ve seen is that the photography school graduate “intern” who works for the contract photographer took the photo without paying attention to some minor detail. I get it right and my reputation grows from “fixing” the contract photographer’s mistake.

The techniques for salable body positioning are what you look for in any pose you try whether close-up or full body.

When photographing people full body standing, seated or reclining on the ground, noticing body angle, hands and feet is the way to “fine tune” your portrait and distinguish it from just a “snapshot”.

Lastly, I must share my favorite body positioning tool that makes it so easy to make a better portrait than someone who doesn’t really know what they’re doing: the head tilt.

A woman alone tilts her head just slightly in either direction to make a more stunning portrait. A man’s head can stay straight up or tilt slightly away in the opposite direction from his most forward shoulder but never back towards his most forward shoulder.

Element number Three: Salable Composition

There are many compositional techniques in many books, but it doesn’t take all that knowledge to make portrait compositions that are what the typical consumer considers good enough to call professional.

Once you know what the consumer considers salable, you will be able to reproduce it again and again for other clients. You also will thank me for saving you from thinking that in order to be good enough to sell portrait photography you have to create grand artistic images. You just have to know what works and be able to repeat it for the friends of your clients whom will be getting your business cards by way of referral.

When photographing one individual person, it’s so simple I don’t think you need too much input for that. In fact, I believe you know the naive simplicity with which you thought “hey, I can do this for a living” after taking some portraits of a friend or family member. Yet it truly gets challenging when there is more than one person involved.

I know of a local professional who has referred family portrait clients to me as she specializes in children outdoors. Do you know what that really means? It means she’s intimidated by having to do groupings, but that’s okay, most people are.

So here’s the rule of salable composition:

Keep everybody’s head at a different level.

Like I told you, I didn’t have a fancy College degree so my mentor had to keep it simple enough for me. In some cases, you will recognize that it’s not possible, but if you do your best to stagger head height from individual to individual, you will be creating professional looking images.

You will stand some people, seat some in chairs, seat some on the arms of chairs, seat some on the floor, kneel some, crouch some, lay some down, but you will achieve staggered head heights and salable compositions.

Tip heads inward toward one another for unity when photographing a family group.

Note that men are usually positioned higher than women.

No, I’m not aware of being a chauvinist pig, but I am aware that this is what usually sells. Not the images where mom’s higher than dad but where dad (even if he’s actually shorter!) is positioned just a head or so above mom.

Once you understand the rules, you can bend them where you need to in order to make a portrait work; but people will see that you know what you’re doing as you position them for a good composition and especially when they see your finished work.

My mentor critiqued my work time and time again over several years as I brought images and questions to him. It almost always boiled down to my understanding these most simple aspects that I’ve shared with you.

I know it’s not customary to learn photography on such simplistic terms, but trust me; I’ve had exposure over the years to many different photography educational venues such as classes, workshops, conventions, guest speakers, lectures, teaching videos and books but never have any of the teachers been willing to simply say “look, there are just a few rules to follow and people will be happy with their pictures”. Never have I received more helpful advice than I received from my mentor.

I guess if I could sum up the philosophy he embodied in word form I’d say it was rather like this:

Film speed is a number that represents the film’s sensitively to light. The higher the number the more sensitive to light, in that the less light is needed to take a well exposed photo. The number is also an indicator of the detail you will receive from the negative. The higher the number the more likely that you’ll see a graininess to the print when enlarged. Film speed goes from 25 to 1600 speed film.

25 to 200 Best for still life and portrait work, in studio conditions where the lighting is controlled. This is not the film for family shots indoors even with a camera mounted flash. You’d really need a complete lighting set up to use this film effectively. 200 speed film is very good for outdoor sunny conditions when you’re trying to get a shot of a beautiful landscape. It offers excellent detail and color saturation.

400 Considered the all purpose film. Most films touted as all subject or general purpose are really 400 speed film. When in doubt use 400 speed film. Though you may still be using your camera mounted flash in room lighting conditions. Also good for outdoor conditions, will give you some flexibility in darker conditions and where you are trying to capture a moving subject.

800 to 1200 Made for capturing fast moving subjects in all types of lighting situations. People running, playing ball, etc. This is the film you want if you want to freeze frame the action of a baseball game. This film speed can be used for capturing fast moving wildlife, like birds, but you will see less detail if you enlarge above a 16 by 20 size.

1600 This film is for super high speed shots. Unless you shooting a car or boat race you probably won’t need this film. Don’t use this for nature and landscape images the lack of detail will be obvious in enlargements.

Most of the time you’ll only need a 400 speed film for basic snapshots. But it doesn’t hurt to use the other speeds for special occasions, you’ll notice a difference.

Making The Unusual Usual

Friends with children often say to me “My child always pulls faces for the camera and I can’t get a picture without little Johnny sticking his tongue out and crossing his eyes.” Kids –and many adults as well– are prone to hamming it up for the camera, however, they will be more natural if the camera is a part of their everyday life instead of brought out once or twice a year. By making it a regular part of their lives, it will increase the comfort level and encourage portraits that are more natural. Try bringing out the camera once or twice a week and focusing it on your kids. They will become accustomed to having it around and it will give you a chance to practice your technique, too. And, if they still clown around for the camera, get into the swing of things and enjoy it. Little monkey faces are a part of childhood!

Kids’ Eye View

As adults, we look one another in the eye and photograph our friends at eye level. Do the same for your children. Bend down on one knee or sit on the floor to get a picture that reflects a child’s perspective. To add a little excitement, have fun playing with perspective by shooting the image from the ground up. Lie down on the ground and taking a picture from that viewpoint. Suddenly toddlers become giants and we can witness the world as they see it, by looking up.

Patience, Patience!

Small children have a limit of two or three minutes before they become bored with Mummy or Daddy’s photo session. The urge to run off and play becomes just too much! Don’t force kids to stay in one place for long, unless you like pictures of sullen little faces. If you are taking a formal portraiture-style photo be sure to plan ahead for the best possible results. Check your batteries, make sure there is film in the camera and if you are using a digital camera see that there is space on the memory card. Provide your toddler or small child with a prop, like a ball or a favorite toy to help create a more natural expression, instead of the one that says, “Just hurry up and take my picture, Mom!” Keep it fun and stress-free.

Fill The Frame

Because backgrounds can sometimes be distracting, do not be afraid to move in closer and take a picture of your angel’s face. It creates drama and interest in the photograph and eliminates extra clutter. Unless you are taking a travel photo or an image of the child engaged in a particular activity, feel free to emphasize the most important element of the picture- your child. Use the zoom or macro tool on the camera to get in closer. Pictures of your little one’s hands or feet can also be interesting studies, and one day you may find yourself saying, “I can’t believe they were so tiny!”

Just A Little Off-Centre

Many professional photographers use “The Rule Of Thirds” approach which means that they mentally divide the frame into three sections both vertically and horizontally –like a tic-tac-toe grid– and place the subject of the photo at one of these intersecting points. It helps to create a more dynamic photograph, than one where the subject is smack-dab in the middle. Take note that if your camera is an auto-focus model, you may have to focus first on your subject and then, with the shutter button still half-pressed, recompose the image.

Natural Light Rules!

One of the tricks of the trade in photography is to use morning or late afternoon light. The sunlight at this time is wonderful and helps to produce pictures that are bathed in warmth. Direct light flatters the subject and adds to a more intimate and natural-looking photograph. It also helps to greatly reduce the bane of every parent photographer- red eye!

Experiment with taking advantage of the sunlight pouring through a window, or march the kids outside on a sunny day and photograph them while they are playing tag. To have a well-lit photograph make sure the light is behind you, shining on the subject. To create drama, try using side light for impressive shading. If you try to take a photo with the sunlight behind your children, a technique known as “backlighting”, you will end up with the subject looking like a dark silhouette.

• Fishing contests – be around at the end of a fishing contest to take photographs of the contestants that didn’t even think about bringing a camera. Most fishermen are more concerned about fishing than carrying cameras, and most fisherman also want a picture of their stringer full of fish or the big one that they’re going to have mounted.
• Parades – be in position to get great shots of folks and floats in the parade and sell the prints back to the individuals or to their family members. The folks who take part in the parades are often way to busy to take pictures before or after, so someone who captures them in action might really be doing them a favor – and a profitable service.
• Landmark and tourist photographer – if there’s a famous landmark in your area, offer your photography services to tourists who want their photo taken in front of it. Even if the tourists are carrying a camera and get someone else to take their photo, often the camera won’t be digital with a display so it means the tourists won’t know how the picture turns out until they’re long gone. With your digital camera, you should be able to show them it’s a good picture.
• Graduations – preschool, high school, or college graduations offer dozens, if not hundreds of opportunities to capture a significant moment in someone’s life. If the family members of the graduate aren’t located in as good a location or don’t have as good a camera as yourself – you’ll have even greater opportunity at getting the shots they couldn’t.
• Holiday Family Postcards – offer your services to families that want their picture taken and put on a postcard that they can send to their extended family and friends. By using your digital camera you can not only get photo-postcards through online photo-processors, but you can make the prints available in your online gallery and have the customers refer their extended friends and family there to purchase a larger print if they desire it.

We have all seen them in a movie or a TV show, those very cool shots where they speed up time and capture a long segment of time and condense it into a very short amount of video. An example is many of the TV news stations nowadays have a camera that captures the day’s weather and then they process it down to a 20 second clip to show the clouds and weather racing by on screen.

Well this technique is not just a tool in the hands of the movie makers or the big TV stations. You can do this with your digital video camera gear too. I will go into two ways that you can accomplish this effect and get some cool results for your next video project. This one is worth playing around with in order to find the right settings to get the most dramatic effect.

Technique number one is to use the camera itself to do the time lapse recording for you. Almost all digital video cameras have the ability to do an interval recording. What this means in a nutshell is that you tell the camera how long you want to record for and how long in between recordings and it will go on autopilot for you for as long as the battery lasts or the tape runs out. This is what those cameras at the convenience store do, they record a few seconds of motion every 30-60 seconds giving the overall view of the traffic in the store over time.

Now if you want to capture some time lapse in your digital video camera you will need to get into your cameras menu and find Interval Recording (or in my case Int Rec, as I use a Sony PD 150 for my camera) When you select this option you will decide how long of an interval between shots you want and how long to record each time. If you are trying to capture something that takes a long time to occur and in which not much happens quickly you will want to set the interval at around a minute and the record time as short as possible on your camera. An example would be if you wanted to record a day in the life of a flower or the clouds rolling by in the sky. Suppose however that you want to capture an event that has lots of action and occurs over a much shorter time frame. Then you would want to shorten the interval between recordings and increase the time of each recording. So in this case you might record every 15-30 seconds and record up to 2-3 seconds of video each time.

I used this technique to capture an afternoon of work being done by a team of carpenters on my house remodeling project. The result was a flurry of activity as workers raced hither and yon nailing boards, carrying equipment and building walls. I have added it to my photo collection of the project. (Hey I had to live through the project so I might as well have a great record of it for posterity!)

Now suppose you have one of the great software video editing packages on your computer to work with your digital video camera. Now you can do it in post as they say in the business. You can record any length of video you want (subject to the limitations of your tape length) and then import it into your editing program.

I use Adobe Premiere Pro for my editing jobs, but I have also used Avid DV Express, Final Cut Pro, and others in the non linear editing world. These are all great programs and are very powerful products that can create some very professional looking videos. You don’t have to have these products to create your own videos but if you are serious about digital video editing it might be a good idea to take a look at these options.

I digitize my raw video of the scene I am doing time lapse on into my computer (big hard drive, video eats up GB’s of space) and then import the clip into my time line. From the timeline you can then select the clip with a right click. From there you will be given a menu with options depending on the software you use. Select the option that says “duration”, “speed” or something similar. Change the speed of the clip so that time will speed up considerably. If you have an hour of video in the clip and want to shorten it to 2 -5 minutes then you need to increase the speed of the clip to 3 or 4 thousand percent of normal. This will require your software to render the clip at the higher speed and may take some time top process depending on the speed of your computer.

Once you have rendered the video clip at the new speed you will want to play it to see if the movie flows evenly or if you will want to readjust the speed setting to make it better. Sometimes you may want to shorten your raw video and adjust the speed down somewhat in order to get a smooth flow of action. Once you have rendered the clip at the new speed you can now cut and splice it as you see fit with the speeded up action intact. There are some things you will record that might only need a slight speed change, take for instance some digital video of your kids playing sports. Double or triple the speed of the clip and show it to them and you might have them rolling on the floor.

You can also use these techniques to capture the growth of a flower or plant over the course of days or weeks. Simply set you camera in exactly the same place at the same time each day and record an interval that works each day fro however long you want to document. May be you get the seedling just breaking soil and follow it all the way through turning into a full grown plant.

Another interesting idea is to capture the path of the moon across the night sky. Set up your camera on a tripod in a spot that can see the path of the moon for several hours. Set the camera to interval record and put the moon on one side of the frame so that it will pass across the frame as the night passes. This one may require some testing in order to get the exposure and framing right as well as the right interval to record at. Most likely you would want to set the interval as long as you can and the record time as short as you can but do a test run first to see what works.

Wildlife Photography

Wildlife photography is often assumed to be an exciting and high adventure genre of photography. In reality it is extremely challenging and wildlife photographers find themselves at the mercy of inclement weather and sometimes even face danger. Here are some suggestions for this specialized form of photography.

Understand the life form that you plan to photograph in terms of living habits, habitat and behavior. In other words you need a perspective on ‘a day in the life of’ your wildlife subject. Books and online research will throw light on your subject. The importance of getting acquainted with the behavior of the animal is a lot more important when you have to shoot dangerous jungle animals that can attack like lions or tigers or even bears. Animals will become aware of you when you enter close to their habitat but will usually not attack if you keep your distance. But you have to be clear on the distance at which an animal will begin to feel threatened by your presence and decide to attack you.

It goes without saying that you can’t expect any kind cooperation from your subject! You have to fit yourself in, place yourself in a vantage point and have your camera set and ready and then wait for the ‘right moment’ to take the shot that you are looking for.

You may have to wait many days before you can capture the right shot. Your subject could not care less if the light is diminishing or the light is at its best. You may have perfect light conditions on a particular day but your subject may not be in the right spot for you to take the shot.

You need telephoto lenses to shoot from a distance and other camera features like Center-weighted metering. The Center-weighted meter allows you to meter the wildlife subject at the center of the frame and vary the size of the sensing area based on the dimensions of the subject and its distance from you.

Landscape Photography

Taking landscape pictures within a city from atop a building or on the beach is one type of landscape photography. But if you want to get closer to nature and shoot unique pictures of nature and environment in remote locations like wild forest area or mountain ranges, then you have your task cut out for you just like a wildlife photographer. You need the spirit of adventure within you in order to travels around to different places and scour different regions for landscape opportunity.

It is tough to firstly identify the right spots, you may have to explore for days before you find an idyllic panoramic landscape to shoot. You then have to wait for the right light conditions while braving the weather and the rough living conditions. In terms of equipment, landscape photographers need to go in for a variety of wide-angle lenses since this type of lens is capable of lending depth in the photograph. A wide-angle zoom lens is useful in this type of photography because of the range of focal lengths it can provide while fine-tuning a shot. But there is also the need for telephoto lenses for certain shot though not of the high focal length required by sports photographers. Landscape photographers usually go in for telephoto lenses with focal length less than 300mm (a telephoto lens has a focal length greater than 50mm, a wide angle lens is less than 50mm, and a standard lens has a focal length of 50mm).

Sports Events

Those who have made a career of photographing sporting events have a different style of operation to capture the high action of dramatic moments in a game. The length of the lens, the location of the photographer taking the shot and the need to limit blurring are the three critical aspects in sports photography.

Sports photographers use a telephoto lens. This type of lens magnifies the subject. The focal length to choose from in telephoto lenses varies from 60mm to 1000 mm. A lens with a high focal length can give you a wider visual area which is a necessity when you photograph field events. Sports photographers by and large prefer 35mm cameras and use focal lengths of 300-600mm especially for field events like soccer.

The location where photographers position themselves to take different shots is directly responsible for capturing the relevant high-points in a match. It also helps if you have a good knowledge of the sport. This ensures that you identify the right moments and are alert and ready when a memorable situation occurs during the sport. You can get the right shots if you are able to move around and use the right location in different points in a game. However, quite often the areas of movement are restricted for photographers and the best way to tide over this problem is to use a lens of focal length in the region of 600mm to enable shots of the far end of a court or field. Though a good location is usually described by the angle and distance from the court or field, the other aspect of a good location is also the play of light from your vantage point. Most photographers have the task of avoiding shadows caused by the quality of light. The intensity of color in a photograph is reduced in dull light conditions while bright sunlight can create shadows in certain angles.

To limit blurring and capture action during a special game moment, you need to have fast shutter speeds at your disposal. A 35mm camera that is generally favored in sports photography can provide the high shutter speed necessary for action shots. Besides shutter speed, the speed of the film also plays a role. Higher film speed enables higher shutter speeds. A film speed of 100 is inadequate in sports photography. You need a 400 and above speed film.

The autofocus mechanism in is also useful in sports photography especially when manual focus is difficult to achieve quickly in certain sports situations.

An interesting technique called panning is applied in capturing action shots. You have to avoid holding the camera still when you shoot action. A rule-of-thumb is to hold the camera steady but move it along with the action rather than attempting to hold still. This steady movement of the camera along the path of motion of the player; incredibly, has the effect of minimizing blur. On the other hand, you will get a blur if you hold your camera still while the action is taking place. This technique is actually based on sound scientific principles.

It should also be mentioned here that the art of sports photography actually goes beyond capturing action or high points in a game. The readers who view these photographs in newspapers and magazines want to see player expressions, the thrills, the disappointments, the concentration that players display is something that readers find captivating and it becomes a talking point. Readers also like to see crowd reactions and reactions of family members of the players in certain critical game situations. To cater to the public sentiment, a photographer has to also attempt to click these special poignant moments during a game by capturing reactions and facial expressions.