In a sense, similar conditions occur when shooting in counterpoint, which is when we want to compose a frame lit from behind. Who has not photographed in the setting sun? When we see the light when we see a scene bathed in a warm glow. Composing the frame into the sun, we see mainly one dominant color, zalewający all elements of the frame and accenting the contours. Art photography is reduced if the skill in the frame arrangement of identically illuminated elements, which in addition have the same color.
Similar conditions - only on a smaller scale - we find, photographing details of objects of one color. Such an exercise can be very helpful for understanding the light and show its impact on surface texture and shape of objects.
You can even see what impression we have on various colors. Try to do under various pictures of the selected portion of the old wall. Just a slight change of light, and the entire frame is completely different. Taking pictures of this wall, also changes the white balance. Since a small portion - no one accuse you of adulteration of colors. You can not compare them yet with any frame of reference. And we can find out how even slight changes in tone affect the reception of images. Has a completely different impression of the same wall picture of a warm or cool shade. Do not believe me? See for yourself by doing a psychological test among their friends.
Color photos do not always have to be full of color to make them interesting. Does not always need to be built in the "optimal" conditions. Pictures taken by the light of generally recognized as weak may be interesting for the audience to its mood. Especially when the author will concentrate on composition. The resignation of the full range of colors is also an interesting idea for a picture. Today's attacks us from all sides so many pictures of meganasyconych colors that a calmer image with a reduced scale may be salvation for the eye.
Saturday, 2 April 2011
Monday, 28 March 2011
A classic example is the landscape of an overcast sky. When the layer of clouds is very, very thick, all around seems dark. Scattered light blurs the contours of objects, everything looks flat. When we look at the landscape through the camera viewfinder, sometimes difficult to choose the point of focus. No wonder, then, that does not appear in the open air if too many amateur photographers. And yet - shooting in such conditions can be a great exercise in skill composition. To make an interesting picture so illuminated the area, place a frame from the elements that speak the same shape. Moreover, precisely in such conditions, we can see the importance of sztafażu - located in the frame, a small element in a vivid color image completely changes the pronunciation. Especially when the color contrasts with the dominant color of the frame. Anyone who took a picture of a person in a yellow sztormiaku walking by on the shore of the sea stalowoszarego, knows what I mean. Fog is another example of a condition which leads to images with no color, though a topic so broad that it deserves a separate article. Shooting in the fog requires that great knowledge and intuition. But that's when you can quickly see how it affects the image the presence of strong foreground element. Picture misty surroundings without a clear theme is totally illegible. Therefore, a good workout composing shots in the fog. This allows you to separate the staff from our emotions. Usually when we look at the misty landscape, we are so charmed by his beauty that you want the picture to show everything. And so arises gray frame without any tension. Show mist in the photograph be stressed perspective - in the foreground, something clear, in a strong color, the next - less visible elements.
Wednesday, 23 March 2011
What does it mean to shoot anytime, anywhere? First of all I have in mind the need to force the shooting in which we think is not very photogenic. We all know when we have the best photographs. When we look out the window, you can most likely determine what kind of photos we can do. Landscapes require soft lighting that highlights the colors and vividness surface. Portraits outside the studio come out better if we do it in very harsh light. Laying of such lists is a natural thing. It is hardly surprising that we want to improve their work. But it happened to force you to turn on the camera in the area, which you thought to be hopeless? Examples of themes that do not immediately grab our attention, are the scenes with one dominant color. Accustomed to the fact that the color image must be "colored", not paying attention to the potential of monochrome frames. And yet they get quite often.
Friday, 18 March 2011
Once you know the person shooting the technical ground, it's time to look for interesting subjects to shoot. In time, everyone will find a favorite aspect - some of them are doing portraits, some landscapes, others taking part in sport. But keep in mind that we should not close within the same style. It should shoot anytime, anywhere. If you learn to make good pictures in conditions that are not our favorite, it would mean that I have mastered the technical issues as far more than enough. And we can start thinking about photography as art.
Monday, 7 March 2011
If we decide on a tight frame, we must very carefully control the sharpness of photographs focusing on a particular element of the object. When photographing the inside of the flower focus should rather focus on the top rod, and not under it at the bottom of the flower. Sounds simple, but it is not so easy, especially without good equipment. The LCD screen is very difficult to control the focus. It is here that goes over the superiority of the SLR over compact cameras. This does not mean that compact cameras are not suitable for photography.
Friday, 4 March 2011
When photographing in a studio environment, it is worth asking whether the object would be better to be presented on a light or dark background. In the studio we also have ample opportunities to operate the light. If we use the flash should put on her light scattering diffuser to avoid glare, which are a common problem with macro photography. The open-air conditions, where probably the most performed macro photography, lighting can cause us some trouble. Although the sun does not move, but can be a little obscure, causing a shadow or distract with translucent fabric. We also try to approach the object from the other side. Note, however, that if the background is in shadow and the object will be illuminated by the sun, the background of the picture may be underexposed. By contrast, if the object is in shadow, and background will be lit, they may be burnout.
Tuesday, 1 February 2011
In macro photography, as in other forms of photography, the photograph should provide some idea of the photographer. First of all, we need to think about what we want to show the photos, and then expose it in the picture. We can show the object in its natural environment. Then we use a wider frame (may be helpful here wide-angle lens). We leave it as sharp background, bearing in mind that the sharp focus on the object. Such an approach can help us create the impression of three-dimensional photography. We can also focus on the same site or part thereof. Then we use rather a tight team. Will help us highlight the object also has a small depth of field. Let us remember that the human eye focuses more attention on the elements of a more acute. Blurred background can help us draw the viewer's attention on what we want to show. If we use a specialized kit for macro photography, we can not have too many possibilities to regulate the depth of field, because at high magnification is very low. If at high magnification the depth of field is too low, obviously we can improve it slightly by increasing the maximum aperture. Important is also the choice between vertical and horizontal camera. Slender objects present themselves better at the vertical orientation of the image, while the broad and extensive in the horizontal. On the other hand, if we do pociągłego picture of the object (eg, grasshopper) perspective, the use of horizontal frame will help us to extend the facility.
Thursday, 27 January 2011
Artistic photography - a higher level of photography. Must be black and white or sepia tone, well, if the analog (digital is "yuck"), otherwise there is no soul. Shows the face of an old woman (mainstream classical) or a young ass (mainstream neoclassical). Photographer representing the current classic is disgusted with commercialism and eats soup with parsley grown on the balcony. Artists, photographers are misunderstood by the environment with the exception of thematic services, where their black-and-white prints with the face of the old women occupy top positions in the rankings. However, the footsteps of artists widely understood artists, photographers are not only misunderstood by the environment, but also do not understand themselves, hence the internal conflict, externalize through black-and-white photograph of an old woman. Artist, photographer of the neo-classical wife no longer gives the rear, but that was once a photographer in the scouting movement and knows about it, it is young ass who does not rozebrałyby for money, but in the name of art - will be happy.The artistic photography not found distribution by subject. All the eminent black and white represent the type of work: the horror and the macabre.
Thursday, 20 January 2011
One day I want to start a serois photography website. Right know, I'm happy with my blog, but one day.. The competition is huge though. Tere are hundreds of photography websites. Most of them are in english though, so I'm thinking mine would be in Danish. I searched this useful tool, Danish Serp Archives, to see what the competition looks like and its definately smaller than the English-American market. That's good news for me I suppose!
Thursday, 13 January 2011
Sunday is a day session for the wedding house Marija. After a long break, our paths will cross again. We are meeting up to photograph the new wedding dresses. Photos will take place at the Sheraton Hotel with three models. It's going to be a great session!
Tuesday, 4 January 2011
1861 - First permanent color photograph of the physicist James Maxwell Clerk.
1907 - Lumière brothers introduced the first CD on the market for color photography, Autochrome. They were produced from dyead potato starch.
1935 - First sale of contemporary tri-color film, Kodachrome (most of today's color films, except Kodachrome, uses the technology developed for the Agfacolor film in 1936).
1963 - Instant color Polaroid.