If you have just got your first Digital SLR camera, you might have realised that there are many settings to chose from. Each is uniquely designed to produce different outcomes and different styles of photo.
If you are looking up special effect photos on your laptop, or you are on a phone network which provides internet services such as O2 or Three, then you may have seen some stunning photos which play around with the shutter speed. These include flowing water which is cleverly made to look smooth across the rocks, or the headlights of a car which seem to have been dragged across the photo. These are easy to achieve, providing you know which settings to use.
Smooth Water Effect – If you want to take a picture which shows smooth and wispy water, then you want to set your camera to shutter speed priority. A short and fast shutter speed does not let much light in, it is primarily used for bright settings or action-shot photos. A slow setting however, absorbs much more light, this is mainly used in darker situations, or for special effects. If it is a bright day and you wish to take a photo of a small river or a waterfall, firstly lower your ISO setting to 100 or as low as it can go. With a tripod, balance your camera in position and select Shutter Priority. Set the speed to minus 2 to begin with – this will hold the lens open for 2 seconds, giving a slight motion effect to the water. On the other hand, for a wispy and silky water effect, lower the speed to approximately minus 10 seconds.
Slow Shutter Night Photos – If you want a photo where the colorful headlights of cars are dragged across the image, then these photos must be done when it is very dark. Find a busy road and perch yourself on a nearby pavement. Fix your camera to the tripod and point your lens at the busiest point in the road. This time, turn up your ISO to about 400-500. To capture a small light-drag, set the shutter speed to minus 2 or 4. However, for a long light beam, set it slightly longer.
For many of us, travel to a farm can be few and far between. As someone who is very fond of long walks in the English countryside I often find myself coming through farmland that offers a wealth of photographic opportunities. So with a lot of issues to cover, here are some tips on how to maximize your next trip to the farm for farming! Going to the farm to take photos is not necessarily an option for a photographer typical location, but due to the nature of a farm, you may find commitment to a wide variety of photographic subjects – landscapes, animals, architecture, neglect, food , and produce.
No need for special equipment to get great shots, but due to the diversity of matter, rather than the camera has, the easier it will be. You may have more control, and adjusts the settings according to their subject. There are some things you must consider before making your trip to the farm. First, that farm? There may be a local farm on or beside a path that you already know that you may want to visit. This is more or less until the investigation! Whether you’ve been before or not, it is always best to ask farmers for permission beforehand. You want to avoid trespassing and photographs in the lands of another without his consent. Most owners are happy to help, but not just turn up uninvited!
Your best bet is to look online and in local newspapers for school agriculture farm and open, which invites the public to come and see the animals, especially during the lambing season. This can be a hassle-free way to get up close to animals without any restrictions. With this in mind, you also want to consider carefully the time of year you visit. The farm life is almost entirely dictated by the seasons, so that the activity, animals and the issue of exploitation vary greatly from month to month. Think about whether you want to find a newborn animals, such as birth season is early spring, or had imagined taking pictures of the fully developed crop, which will be at its peak in mid-summer. Obviously there are tight deadlines for this activity, but I’m sure the farmer is happy to inform you of what is happening in a specific time of year. With regard to seasons, time course into account, many of the shots outside.
Working with animals is never easy, especially animals that are fully trained. When the farm, be patient – as opposed to a cat or dog, these animals are not likely to take direction from you, so you have to work with them and their movements and reactions. You must get a good angle, and when you have the shot in the viewfinder that will have to take their chance, as before you know it, the animal turned and it’s too late! Consider carefully what you want to focus. If you’re focusing on the animal’s face, which works well to focus on the eye, but when going for a more complete shot, you may want to focus on detailed skin or coat. Finally, remember to keep your distance, not imposed on the area of the animals, the easiest thing to do is keep the right side of the fence and use the zoom!
I recommend going to hand for most of the shots as this will give you much more flexibility when it comes to getting a good angle shot, when animals and people. You may have to go down to the level of the subject, and the hand holding the camera ensures that it remains easily manageable. If you have more of a documentary photographer, who also worth asking the farmer or farm workers if they can shoot in a work environment in a journalistic context. As with any taking pictures of landscapes, a number of guidelines to help give your shot more impact. Try to find a point of view carefully, and use the rule of thirds to distinguish which is the focal point of that shot. It could, for example, a building, tree or a river. Make sure you have a subject in the foreground, even if it’s just a rock, as this adds a sense of depth. Think of the lines within the shot, whether horizontal or vertical, and the observation that the lines meet and cross. It is also important to think about light and see if this element is likely to change to improve or worsen your shot.
Be patient, especially if you are in the direction of the afternoon when the low light of the sun can really bring to life a shot. Try to have a great depth of field, something like f16 would be ideal, so the whole shot is in focus. If you can, take a tripod and shutter release with you to stabilize the camera.
If you are looking to take pictures of landscapes, it is well worth considering what will be growing crops at certain times of year and if you want to incorporate into your photography. You can work with pretty standard field crops such as wheat and barley, but remember that depending on where you are in the world, there are a lot of fruits, vegetables and flowers, even breeding can make a big issue .
When working with crops, be careful when you walk and drive in order not to disturb any plants, but try it up close for detailed shots and shots capture a larger scale.
It is also worth asking if the farmer has some freshly harvested produce, or go to a local farmers market to get some pictures of fruits and vegetables on the screen. Architecture on a farm can vary decomposition abandoned huts, cute creepers covered rural farming, barns to industrial production line. You never know what you are getting, so be prepared.
Older buildings tend to have more character and features to work with and it’s great to try to highlight those to show the age of the buildings. With the new industrial structures like, may be worth trying to grasp an idea with strong clinical bolder strokes of composition, especially if there is really any features to work. In my years of looking around the farms, never cease to be amazed by the variety of things that are to photography, so make sure you have some time to explore in case there is something of interest waiting around the back an old barn. Items such as old machinery, animal housing, stocks of lumber, tools and securities we can all make for interesting shots. Be careful if you are in old buildings as a digging machine age tends to be very dangerous and we do not want to lose a finger!
Not only will come up with some big shots, who can have a greater appreciation of life on the farm and all the hard work that is dedicated to creating products that find their way into the dish of the day!
First, have a think about the context in which you want to photograph moving water. There are a variety of options to choose from and you can download what is most convenient geographically. If you want something dramatic and full of energy, then go to a waterfall, if you want something predictable and easy to work, try a video. If you want something large scale, high head to the coast, and if you want something interesting and creative, and finds a river. Each has its own challenges, but many of the basics are the same, which will come later.
picture of water movement
Before you start going into all the technical details, it is important to remember the foundation of any landscape style shooting. Your photos will look stunning water only by water – you need to ensure that all elements of injection, such as the composition have thought so. This is a good place, considering how the water is moving and if you want to be in front of him or at an angle. Remember the rule of thirds, take into account the lines into the outlet, where the eye was in the box and think if you have a reference point and a point of interest in the foreground to add depth.
Now it’s time to think about the trick, the adjustment of digital camera settings so you can capture the movement. For starters, make sure you have a fixed camera, it would be very difficult to try to capture motion blur with a handheld digital camera, so grab the tripod and ideally use a timer or timer to avoid camera movement. In the camera, select priority to shutter speed. It is not known how long the exposure needs to be, depends on the speed of water and light available, so you’ll have to experiment a little. To compensate for the amount of light entering through the long shutter speed, it is best to select a low opening, something around f16 or more, you can also reduce the ISO.
It may also be useful to use a neutral density filter, which restrict the amount of light entering the lens and allow longer shutter speed.
picture of water movement
It is important to remember that water is not only found in large scale, there is a huge amount captured on a smaller scale, like drops, drips and splashes. You can read all about the making of the perfect drop of water here.
While in larger scale situations, motion capture is opening up the shutter speed to blur motion, when shooting small-scale movement of water is all frozen on the action, so you’ll have a very short shutter speed and probably a good idea to use the burst mode of the camera to capture the action. Try to observe how water reacts with the particular physical movement, this will help you appreciate how photographs.
picture of water movement. So I hope those were some tips on capturing water in motion and you’re ready to go do it. When large-scale natural environments, give yourself plenty of time. You probably will not get it right the first time, but experiment with the settings and be rewarded greatly. Remember that water is everywhere – not necessarily have to make a special trip to look, there are great shots to take the splashing from puddles and raindrops.
In this tutorial, you will begin to learn the basics of digital photography – the criteria by which you can begin reading and using more advanced exercises, and manipulating the camera’s manual settings. Here, exposure as to cover the camera works, shutter, focus, exposure, depth of field, and ISO.
Like all specialized field, photography is a lot of jargon. This tutorial introduces terminology of the camera, if necessary, but I consciously avoid most of the tutorial easier if the word should convey the same meaning. We want to learn here are the concepts of photography and words play a newly introduced, which are not yet aware of gets in the way of it.
Finally, these concepts apply to photography in the broadest sense. Whatever type of device used, the most basic principles of photography apply.
1. Making the exposure
What is the “exposure”? This word can be one of the more confused you will encounter. It is used in many different contexts and has a slightly different meaning in each. Comply with this wider sense, exposure, in a word, the image taking (or whatever you have taken.)
When you press the camera button, which is literally “expose” the light. All images are captured light. No light, no picture. Again, is reduced to its most basic level, we see the things we see reflected light on things.
rock
The light reflected in her eyes is the way you look – and how the camera sees.
Think for a moment. Take something simple like a stone. If you hold in your hand, go outside and watch in broad daylight and you see a cliff. Take it indoors under artificial light and you will always see a cliff. Take in a darkened room where there is no light at all. You can feel the rock, you know, it’s still there, but you can not see because there is no light. Throughout what you were looking for were not even rock, but the light reflected from the rock.
When we take a photo, we’re really doing is to record the light reflected in all this camera is pointed at. That exposure.
2. Recording what the camera sees
The next step in our journey to understanding how cameras work to learn, to be precise, the camera records what is exposed. Most popular today are digital cameras. These are highly specialized chip inside them which is extremely sensitive to light. Interest to keep this tutorial easy to follow, I’m going to call it a “film”.
The chip is the “film” of digital camera used to take pictures. The film is familiar to most people because, before the digital cinema is what you use to record our programs. In this case, the film was, literally, a thin plastic film that are coated in chemicals sensitive to light. Before the film, photographers used glass plates that had often to meet with the chemicals themselves. Kodak, Fuji and Agfa were not in the business yet!
Chamber, its most basic, is simply a box light resistant. It is an opening that is covered with a dark curtain is called the trigger. Directly in front of the gate, if you put the lens. We say both the shutter and the lens even more.
When you press the button on your camera to take a picture of what happens is that the shutter opens and exposes “film” to light. Just a very short time. Less than a fraction of a second. The film is so sensitive to light than the very short exposure is all it takes to see and record what was in front of the camera when the shutter is open.
Back to the good old days of movies, then you need to promote the film. This was usually done either by a lever on the camera, a rear wheel or a motor-drive mechanism built into the camera. He was shooting the film on a track to reveal a new game.
If you never have shot all the films of a film box, just know that is about 1 / 2 “(24 cm) high by about 3 feet (1 meter) long. Each time you press the button and open the door, only a very small segment of the film (about 3 / 4 “or 36cm) is exposed to light. The rest have been carefully protected. In the days of very old glass plates, the photographer had to actually remove plaque from the unit and store in an airtight container to the birth until he or she could develop. If you want another image, had to insert a new glass plate.
In the digital age, saving the chip inside your camera image is recorded on the camera’s buffer in memory. After the chip stores its information to the buffer memory device, it emerges and is ready to take another photo. buffer of the device’s internal memory can usually keep all the image information 09:55. Meanwhile, another process still takes all the information in the buffer of the device internal memory and writes on the card. (Most digital cameras use some type of removable memory cards. CF and SD cards are more popular today, but there were about a dozen different types over the years.)
This writing of the paper is a relatively slow process. Therefore, the camera uses internal memory buffer, so that it can be ready for the next shot more quickly than expected to write everything off the card.
3. How does the trigger
Understand exactly how the components is not necessary to take good photographs, a discussion that follows, because it can help others understand the basics of photography.
shutter
Shutter.
First, let us define some concepts.
Setting: This is another word that has a couple of different meanings. For example, an exhibition (an image) can also be called a frame.
For purposes of our discussion on how the blinds work, opening the frame in the camera body, the closure lid. When the shutter is open, the light passes through the frame display image.
Curtain: What often generically called “Shutter” is actually a collection of parts. More importantly, there are actually two different shades that make the whole shutter assembly. For our purposes, we should be able to refer to each of the shutter curtains individually.
The first (“A curtain”) is attached to the top of the frame. It extends to cover the structure and contracts up to expose. The second (“B curtain”) is set at the bottom of the frame. It extends upward to cover the structure and contracts downward to expose.
Suppose A is now extended scenes, covering the structure. Cortina B is under contract, leaving the curtain to do the job of blocking the passageway.
When you press the button the camera takes the picture, the following sequence of events occurs:
* A curtain of contracts on the rise, exposing the frame.
* Curtain B expands upwards, culminating with an exhibition frame.
Intermediate to these two events is the shutter speed. The next time you press the shutter button, the curtain of agreements downward B after the curtain extends downward. Continue alternating in this way of life of the camera. There is an old film cameras with no engine to drive the curtains are not a substitute. Rather, the “tune” the shutter winder, your return after exposure, but all the other principles described here are still valid.
A slow shutter speed (ie, 1/15th second), the movements of the two curtains can be separate events. For almost the entire duration of the exhibition, the story is left completely free. A fast shutter speeds (half is 000 seconds), two curtains can be moved at the same time with only a slit between moving up (or down) through the frame.
Assuming that there was only one curtain. (Take A. curtain) curtain will fall up to after the time set by the shutter speed, extends down to end the show.
The top would be the last light exposure and the first tank. For a relatively long (c.-à-1/4ème second), the difference in exposure time between the top and bottom of the frame as a percentage of total exposure time would be negligible and will hardly notice a difference. A shutter speeds (ie 1.1 seconds 000th), the difference in the percentage of the total exposure time is much larger. It ends with an image that gradually darker from bottom to top.
Having two shades also accelerates much faster shutter speeds. Think about the mechanisms involved in an object moving very fast in one direction, stop, then turn around and move very quickly in the opposite direction, while allowing you to maintain precise control over speed. Even if this could be done, the mechanical stress would lead to faster wear and tear more.
4. Bring to Focus
In its most basic form of all, we’ve covered all what is technically necessary for the photo: a light sensitive medium (film or digital camera chip), a light-tight box (the camera body ), an opening to allow light to reach the film (in part) and a means to control the light entering the film (the shutter). If you were to make a pinhole camera, these are all the parts you need. Everything else is just a photograph “best” faster, more convenient and flexible.
The next part we will add to this basic configuration is the goal. The camera lens can be permanently fixed or be allowed to change lenses.
What purpose do is take all the light in front of the camera and focus.
Projector
A projector has a fixed point of focus.
Think of a slide projector to the former or old film projector. If you take a strip or a portion of the film strip and took his place between light lamp and wall lamp would not project any kind of meaningful picture on the wall. At best, you will see patches of colored light wave. With the projector, using a lens to focus and concentrate the light over a smaller area instead of letting spread in all directions.
The lens in the front of the camera is exactly the same, but in the opposite direction. Instead of focusing the light that would otherwise randomly distributed on the outside, it takes the light which has already spread randomly around and focuses on “movies.” (Incidentally, the eye is a target too. Has exactly the same type of structure and the same basic features that any camera lens.)
Watch how to make a lens and then discuss the mechanics of development. (Let’s skip the opening for the present and speak in their own section.)
spec
Lenses focus light onto the film.
Although the goal is very simple consisting of at least two “elements.” An element is a piece of glass. (I say glass, but could be plastic or other exotic materials.) Each element has at least one curved surface. Look closely at a pair of glasses. You will notice that not only flat plate glass window. Usually, the front of each lens is curved outward, away from the user and is curved back toward the center of the lens and the extent of the company.
In a camera lens, the elements can have a flat surface and a curved surface, which may have two curved surfaces in the same direction (like glasses), or may have two curved surfaces in opposite directions, either both the exterior interior, or both.
If there is only a piece of glass, the light would change, but there is no way to concentrate. Returning to our example of holding a slide or a section of the film strip between a lamp and the wall, if you insert a lens or eyepiece in the equation, you will notice a change in reflected light the wall, but still do not reflect a clear image.
Adding another piece of glass, also at least one curved surface that allows you to focus. Focusing is achieved by moving
the two pieces of glass closer or farther away. (You can also move as a whole, closer or farther from the film.)
When light passes through each glass element, a curved surface (s) “complicated” the beams of light. Most lenses have more glass elements and two together you can bend the light many times more complicated. Sometimes two or more items can be bonded. These groups are called. (Just to keep things confusing, the only element all by itself is also called a group.) So, if you look at the specifications of the lenses, you can see something like “13 elements in 7 groups.” Now you have no idea what that means.
The ultimate goal of all this bending and focusing light rays to form a crisp, clear picture on the film.
Schematic target
Lens elements.
5. Fine-tuning Light
With a goal in front of the camera, you can choose between having a sharp image, or one that is fuzzy, but there is really no in between. To modify the effects you can get and expand your creative possibilities, we need to add more.
opening
Aperture.
The opening is a blade assembly opaque to light in a circle inside the lens. The circle is a bit like opening a hole in the center of a donut. (As usual, the word “open” refers to two different things. The same set is called open, or sometimes the diaphragm, but the hole is also called the aperture. When people say concern in opening the hole and not all the parts that make up the hole.) The size of the aperture opening can be adjusted in precise steps to control how much light is allowed to pass through the target and a movie.
While the cameras are not a way to control directly, with all but the simplest cameras employ openings.
The aperture size is not directly measured in units. For example, you’ve never heard someone say “My opening is 10 mm. Instead, they expressed relative to the focal length or zoom lens. It also follows a logarithmic scale, which makes the concept even more difficult for non-rocket scientists to follow. For example, if the opening is 10 mm in diameter and when using a 100 mm lens, which means that its opening was f10. This means that the diameter of the opening is 1/10th of your lens. The same 10 mm aperture in a lens of 50 mm f5 because the diameter is only 1/5th the focal length. (The “f” in this sentence is short for “coordination.” ) Confusing? Sure. But there is a reason. We’re there!
The typical configuration of opening: f1.4, f2, f2.8, f4, f5.6, f8, f11, f16, f22. Each stop is an all – in increments of photography exhibition called “stops” – and each represents half of light passing through the lens of the stop before and after stopping twice. Some objectives can be opened wider than f1.4 or close smaller than f22, but are not common.
Moreover, its objective can not even complete range above. In front of the lens, you should find a mark as “17mm f5.6″ or possibly “17 mm 1:5,6. The f5.6 in our example represents the largest opening available at this goal. So in this example, you can use one of the parameters of f5.6 to f22. The actual numbers of their target and can vary if you use a zoom, has two sets of numbers. The first relates to the shorter focal range zoom and the second relates to the longer range.
So why the gaps are measured, as they are? Understand that you need to know what the gap is actually doing.
* The primary function is to regulate the gap in the amount of light can pass through the lens and get the movie. Since the blades forming the orifice is in the dark, the light passes through the lens of their own through the hole created by the mechanism. One of the things that all the bending of light rays of light is not necessary to go through the hole. In this way, when you close the hole, you do not see a bright center and darker edge.
* A side effect, and most importantly as far as photographers are concerned, is that changing the aperture size changes the way the scene is in focus.
It will take some explanation, so let’s give it its own section.
6. Depth of Field
For example, go back to film or slide projector, a slide (or film) and a flat screen on which images are currently designed to be flat. the lenses are no openings because of the amount of light they put out is a constant and known quantity, and two flat surfaces to enable customers to focus on one point (slide / film surface) to point B (figure).
Depth of field
Depth of field.
The real world is three dimensional. The lens can focus all the light, he looks on a flat surface, but the light is coming from all non-planar surfaces. Technically, a goal can achieve perfect focus on a single plane at a time. As things get away from this plan, either closer or farther from the camera, they released more and more interest. To some extent, because the degree of being out of focus blur is so small that it can not even be detected with the naked eye. What you end up with a series where everything seems to be developed, although technically speaking, a point is currently in perfect focus. This series is known as “depth of field.”
Interest to try to cover all the jargon is likely to come across your photo studios, is another term for the districts of confusion. “Think of a pencil tip. When the pen is sharp is just a very fine point. Suppose that at some point, an important mid-level should be the full sharpness of this pen section. When you use the stylus, it is very tick slowly. line in a multi-rounder, bigger and bigger. The change is not sudden, so many of these intermediate stages of the field could look quite as sharp as when the pen point was perfect. We want to say that they belong to a depth of field. At some point pen tip should be larger and more boring. You can clearly see that it is not as sharp as when the score was perfect. At that time, the circle of confusion is broken, and the brain no longer be confused with the pencil tip ever so slightly sharp a completely opaque.
You know that the pencil is boring, or in this metaphor, you acknowledge that parts of your image is not developed.
How it all belongs to the opening is that when you close the opening of even smaller apertures, depth of field increases. It is of much greater significance in the scene seems to be developed. This can be useful, for example, if you try to photograph a large field of flowers, ranging from a few arm lengths within walking distance of the horizon and you want everything to be developed.
ostrich
This image of portrait type to leave the background out of focus.
Understanding this phenomenon will help you know that the opposite must be true that you open your open to proposals for more and larger depth of field becomes smaller. This is often used in portraiture, where photographers often as the person you are photographing in focus but the background very blurred and out of focus.
I promised because the values of the gap are hard to understand, to observe that a logarithmic scale, rather than allowing the direct measurement of openness. Now we have moved a bit ‘over the hole and how it works, and covers a few things and focusing lenses, we briefly put together. The reason is that the same diameter of your images will look different when using lenses of different lengths. 10 mm membrane is a very wide 12mm lens, only a modest 80mm and 300mm lens is small. Effect, both in terms of how much light could get through, and the depth of field, it would not be the same from one objective to another.
It would be like saying that a meter, a unit of Singapore, a unit totally different in Norway and a second unit is still in Australia. Without normalization, from a unit to become useless. So instead, the measure is expressed as a percentage of the focal length of the lens. This provides the necessary amount of standardization so that the effect on your photos (at least with regard to openness is concerned) is the same regardless of your lens.
degrees of the scale may seem a bit ‘random, but they are calculated in accordance with the halving and doubling is common to any other action photography. In this case, halve or double its opening, and thus the amount of light allowed to pass.
7. Brightness control over the exposure time
Photographers can be so caught up in the side effect of opening – the depth of field – they forget the primary purpose is to serve to regulate the amount of light can pass through the lens.
We have already discussed that all photography is to collect and store the light. Incidentally, the camera captures all the light is cumulative. Mostly photographic film or digital sensor needs to be exposed to light only a small fraction of a second to capture and store image. When the light is low, you may need to leave the shutter open longer to let more light in
Ferris Wheel
Playing with exposure during the night.
As long as the shutter is opened, your camera collect light. If it happens that your image contains a moving subject and object speed of movement is faster than the shutter speed you use, it will be recorded as a blur in the image. With this knowledge can be very useful.
Sometimes you want your object deliberately blurred or completely frozen. Knowledge about the relationship between shutter speed and the speed of subject movement will help you choose the best solutions. You have no quarter, 000 of a second of freeze all mobiles at a walking pace of 1/125th of a second can do the job.
The conventional wisdom is that fast-moving subjects demand still faster shutter speeds. It may be useful to study the effect of different
taking a picture. Want to stop the action? To transmit a bit of action? Or let the business produces an effect?
Control the shutter speed can be useful or necessary to freeze (or deliberately vague) a moving object. For example, in moving water, a fast shutter speed freezes individual droplets. A very long (slow) shutter speed will produce an exuberant, the effect of cotton candy. There are a wide range of speeds between these two extremes.
8. Photosensitivity
So far we have talked about two ways in which to handle light cameras used for an exhibition: the opening and shutter speed. There are two ways in which the light control cameras. One of the two ways is to add more light. This is usually done using the flash. Flash is a broad topic, which is reserved for its own tutorial. For now, just know that this is one of the tools at their disposal.
The other method is commonly known as ISO. ISO is actually an acronym for the International Organization for Standardization. This is the group that helps set standards for everything from electrical output formats and tires steel hardness and softness of cotton. They also set standards for sensitivity to light.
From a photographic point of view, the ISO is actually a reference to the “sensitivity of the film.” Let’s step back and think of a movie a while. You can walk into any store that still sells the movie and you will find a number of different varieties. You can see the “speed 100″ film, 200 speed, “the movie,” 400 speed “of the film and so on. Alternatively, they can be marketed as ISO100, ISO200, ISO400 and so on. (Note that we’re back in the halving and doubling of values that is the norm in all photographic measurements.)
on cinema in general ranges from ISO 50, ISO 800. Digital cameras typically range between 100 ISO-ISO 400, although some may go as low as ISO50 and is becoming more common to go as high as 6400. In extreme cases, special films can vary from simple ISO number the number of taper ISO 30, 000 +.
The scale is the same for both film and digital. Here’s a quick summary of some large value can be seen:
* ISO 25 is very insensitive, requiring a very bright light.
ISO50 * is twice as sensitive, but still requires a very bright light.
* ISO100 is standard for consumer film and digital photographs. It is mainly used in direct sunlight or the same brightness level.
* ISO200 is the next major increase in size. E ‘announced as “an all-around” cinema. Outdoors, it can be used around dusk and dawn.
* ISO400 is the next full stop. It can take pictures in relatively low light, especially indoors or in twilight hours.
* ISO 800 is for night shots with limited light.
* ISO1600 is for use in dark environments.
* ISO3200 and subsequently for use in very dark environments.
As a general rule, more sensitive to the media (to a higher ISO) images to produce more grain. In some cases the grain can become extreme, also affect image quality. Although often not necessary, it is sometimes used to improve certain “feel”.
There is also an inverse relationship between saturation and ISO sensitivity. ISO100 has little or no grain will be very bright, vivid colors. ISO400 will generally have a moderate grain, but may be sensitive and neutral colors. ISO1600 will often be “extreme” amounts of grain and very mild – almost monochrome – color.
9. Wrapping it all up
Here, we’ve covered the basics of a camera and how the cameras can exert great control of light that makes your pictures. Together, these methods can be used in endless combination to achieve almost any effect you can think of. Each of these side effects that may or may not be desirable for the photo you want to take. Controlling the amount of light arrives, changing the aperture will increase or decrease depth of field. Control how light is the time allowed by adjusting the shutter speed will increase or decrease the motion blur. Controlling the amount of light needed by the evolution of the ISO can affect granulation and color saturation.
No one expects that a mere reading of this article at a time so all of a sudden is an expert on this stuff. You may have read on a couple of times. We recommend that you return periodically to update the concept of memory. The aim is here to help you build a base that allows us to study in other guides, and can be followed, when some of these unfamiliar concepts to come up with.
Good luck and good pictures!
Successfully selected songs organizes all images, allows you to emphasize important in the scene or convey a sense of space. A very important element is the choice of location shooting. But also for building high-quality images, no less important is successfully obtained coverage.
When choosing the place of recording, the image is conventionally divided into three plan: front, rear and middle. Changing the position of the horizon line, and without compromising the scope, you can create different versions of songs. In every shot is important to select one or more composite centers. Most often these centers are the figures of people. Attract attention as a bright color or an unusual shape of objects. Sometimes the tracks converge in the long term use lines of different forms. Resorted to shooting against the light, or pick a contrasting background. Options are many and they all depend entirely on your preferences and ideas. Let us consider the most well-known techniques for constructing them.
Shooting against the light – the main tool for identifying the shape of objects. Often, by the light and the selection of successful color solutions photographer creates his own unique shape. The light is directional, diffused or mixed. Directional light often makes an image plane, so you should never neglect the shadows. To get the correct exposure, it is useful to make some shots, some changing point shooting. You can use the reflected light, but not necessarily from shiny surfaces, and from the subject. When you select this object, remember that many of the items reflect light, such as plant leaves, or clothing.
Scattered light reduces the contrast. It basically reveals the details with the whole or a dark subject.
Let us consider the peculiarities of light at different times of day.
The morning associated with freshness. This state of nature successfully transmitted sharp transitions from light to shadow. Mood improves, if dominated by shades of blue – from light haze on the horizon to the shadows. Original drawings can create the sun’s rays.
Noon – is most often the sun over his head and sharp transitions from light to shadow. If you select a good point shooting, then when you want you can make sense of summer heat, heat, and even lust. Shoot in the afternoon, evening and at dusk is technically much easier for small contrasts.
By evening, first appear yellow tone, and after sunset blue. Lighting changes and the presence of clouds. Shadows are made transparent and take many forms, increases dramatically and the brightness of the sky. In general, in this time of day lighting is spectacular, we just have to be able to see it.
At night, the human eye can not perceive the full range of colors. Fortunately, modern digital camera is quite accurately convey shades even in low light. Try to use all possible sources of light – from the glare of the moon before the fire, as well as the reflection of the sky in the water. Images will become more interesting and colorful. Spectacular results when shooting makes lighting the fire, kerosene lamps, candles or matches. Moreover, unexpected results may be obtained by taking Bengal lights and fireworks.
Its features is an artificial light flashes. Its best used to illuminate the deep shadows, as well as portraits. Flash can achieve much lower contrast, and to shoot against the sun. In addition, since the flash makes short light pulses, then it is convenient to use to get sharp images of fast moving objects.
Along with light and shadow, a critical component of good photography are the colors and contrast. For contrast and bright image, usually allocate one main color or background with any spectacular spot, which can serve as a beautiful bouquet of flowers on the table, bright color car or even a significant portion of the sky. On the contrary, to take the picture more easily, do not usually include a large number of frame colors, and use one or two shades. Flashy colors can be avoided if the right to choose a shooting point of the incident light. If possible, use a shaded filter or change the shooting mode.
Incidentally, a few words about the choice of the regime. In operation, do not forget to set the correct mode and resolution of your camera. But digital cameras are different in quality and function. Therefore, the best way – to do more pictures. Learn, experiment, gain experience and … everything!
On your shelf is a good digital camera, you’re doing some great shots, love the pictures and do not imagine my life without photography, and at the same time when everyone in your pocket a penny? In this case, you just do not know what’s in your town every day (especially on weekends) There are hundreds of weddings, each of which just needs a photographer.
But click on the button camera and everyone can. In front of you as there is a goal not just to push, but to do such shots to get soon enough orders, which allow you to earn a lot, not only to eat well and travel around the world, but also have a lot of free time which you dedicate this photo. Because initially you have to take photographs of weddings, both work and nothing more.
To begin with advertising. For this fit a small site and advertisements in the local newspaper, for example: “Services wedding photographer in Moscow.” The site, of course, the better, since it you can always place already you have made pictures that will prove your skill, and hence the high price you will ask for your work.
And in order to earn good money, you should know a few rules that make a wedding photographer is far non-poor person:
1. Does not always assign the wholesale price for all the work, and a separate price for each shot. Let’s say $ 2 (If you live in Russia, then assign a dollar price:)). The newlyweds decide that they would rather buy then you have 50-70 shots, so to pay 100-140 dollars, and was happy to agree to your proposal.
2. You have to shoot as many and varied, from the moment of departure to the registry office. Then shoot a lot in the registry office, but not only married, but their numerous relatives, while careful not to take them in large groups, but for 2-3 people. Be sure to remove the parents, and several times from different angles.
3. Then remove all the rituals that are satisfied with the couple after the painting, whatever they may seem ridiculous to you. Remember that every time you have to do pretty “high art” images, which are then you will want to buy not only the young and their relatives, and even the magazines and sites devoted to wedding – only that, your key to success.
4. Now the restaurant. Shoot anyone who says toasted, remove the “first dance of the newlyweds,” remove all these stupid contests and relay races, bride kidnapping, and other, other, other. But also take the time to bring the newlyweds to the street and make a couple of dozen “game” shots, in the style of it is on her arm, “she stands on his hand,” they are together, they embrace, “He looks under her skirt.” The internet is full of such kitsch, and you simply will gather everything needed for the game shooting scenes.
5. And then back to the restaurant and shoot tipsy relatives. Remember that often, reminiscing about the celebration, people begin his story with the words “we’re so drunk.” Why you should take a series of pictures in the style of “we’re so drunk.”
6. And then a small photo on the theme “Young was escorted to their wedding night.”
A few days later comes the time of calculation, when you show newlywed hundreds of beautiful pictures, among which it will be impossible to select just 50 or 70. Practice shows that if you do it right, you can earn 1000 or even 2000 dollars. And this is just one day of work.
Now repeat the question: Do you have a camera, you know how to take pictures, and in your pocket not a penny? How long are you going to tolerate it, knowing how to make money?
Leafing through the pages of glossy magazines, many probably are surprised how well it turns on all the celebrity photos. After all, they are the same people and have in their appearance is not only attractive features, but also disadvantages. And we like and looks normal, but for a photo with your own image to look sick, not that that show people. Often, this is due to poor photogenic photographed. But is it really is and what to do to good at the photographs?
The secret of good pictures of celebrities posted in glossy magazines is: first – the professionalism of the photographer, and secondly – in the knowledge of some of the nuances and secrets used by people posing for photography. That’s what some of these subtleties and will further the narrative.
To learn the basic rules of posturing, no need to finish any special rates, simply look more closely for their appearance and follow a well-known examples. In principle, any experienced photographer knows most of the techniques and methods of photographing people and always tell how to behave before the camera. That is why in photographs taken by professionals, you always get much better. Of course, in the calculation are not taken photos for documents, which are largely made by random people, but no photographers. Probably, the traffic police or other officials of people constantly checking our documents, it seems that our country is home to some some dark, suspicious, and inadequate personality. So let yourself learn to be photographed, if photographers do not always want to help us in this. The same goes for amateur photographs, which also wants to look good regardless of experience filming.
Primal things first: try never to appear in a full frontal. Even when taking all on the same documents need at least a little, but to deploy his head to one side, in the end picture will be much better. And in posing for artistic or amateur photography head also need to deploy the side, so that was not immediately clear both ears, with one arm should be slightly pushed forward.
With regard to posture, then it is best to rehearse in front of a mirror. There is a dramatic pose, is used by most models and actresses: Stand before a mirror, take a step back one foot, and body weight transfer to the front pivot foot. Then, expand the grand building and all – you’re almost a star.
Never stands defiantly smiling for the camera, you still get a fake smile and unattractive. It is best to portray the mystery mixed with a smile. Why do you need to relax and make yourself think about something nice and pleasant.
Head without sinking down, as if there is something you are looking for, and gently lift the chin up, then your eyes and all the other features are more expressive.
Watch your hands, they should not be inactive and hanging as a lash. It is better if you have them, at least, slightly bend your elbows, something you take in your hand or arm will be rested on any subject.
Pay attention to the background, which should be contrasted with respect to your clothing and skin color, otherwise the “merged” together. It is desirable that the background was not too colorful. If you still need to weigh on the multi-colored background, such as southern nature, then you should wear a one-color clothing or to find in this raznotsvete some homogeneous shrub or object, and select it as their primary background.
If you’re shooting in full growth, it does not allow the making of a disabled person, ie, arms and legs should be completely in the frame, rather than their individual parts.
Woman with her hair is always better to obtain the photograph and thus did not always matter how carefully they are combed.
Know how to dress for each particular subject. Agree that the photo in a business suit or evening gown against a background of the beach is not entirely successful. Such a photograph can be placed only in your own album jokes.
Do not try to wear too many ornaments decorations like a Christmas tree, sometimes only one or two ornaments for the desired effect. And in general about jewelry and various accessories, there exists a rule: the less clothes you have, the less jewelry.
Cosmetics also plays a role in how you get on the photographs. If you intend to withdraw, avoid pearl makeup and purple shades in lipstick and rouge. Otherwise you risk on a picture to look like a suspicious person with a person of color eggplant. Brunettes recommended makeup pink tones and blonde is preferable to use light colors. But this is only advice. You yourself by trial and error to determine befitting for a color cosmetics that are known to do best in a photo.
And the main and final piece of advice: do not be afraid to be photographed, shoot more, analyze your images, experiment with facial expressions, posture and clothing. And then you will surely achieve positive results.
Mode in which the user chamber can afford to focus only on the configuration of the frame, called automatic. The inscription «AUTO» on the mode dial or a green icon indicates that you are in the “green zone”, ie including the automatic mode. Your participation in the process of creating the image is limited to the choice of the object and its enlargement. As soon as you halfway press the shutter button, will automatically focus the camera, the definition of exposure and other parameters such as sensitivity, white balance, focus area, exposure to the diaphragm. Picture will be taken.
The outbreak also includes “the discretion” of the camera itself with a lack of light. The advantage of this mode is that you can fully take the picture composition. If your automation to cope with the shooting conditions, the result will please you. If time is short (in the campaign, the tours), as well as lack of necessary knowledge and skills for manual adjustment mode, this method is particularly relevant. The basic principle of “point and click.” Typically, such surveys are acquired entry-level model – with one click.
Now pay attention to the shortcomings of the regime. For example, instead of a human face the camera focuses on a tree branch, or the background will be sharper than you need, and close the subject will lose its sharpness. “Recognize” the object you want automatics are much more complicated than a man and as a result of the desired object may not be in focus. How to identify the main parameter in the process of shooting? Luggage has solved this problem by mortgaged algorithm developers, and therefore present a risk to get dark or, conversely, is too light frame. Or a picture will be too noisy because of the inclusion of high sensitivity. Frame can also damage the flash, which you yourself would be cut off, but the camera will not be able to do it. Another problem arises in automatic mode – is blurry motion, obtained by setting a long exposure where the need is short (for shooting sports, for example). And not every shot will be successful.
SCN
Scene modes are typical for small cameras, designed for beginners. Scene Modes make it easy to work for a beginner photographer and he does not have to click on tiny buttons to set the shutter speed and aperture. Much easier to simply choose the mode by turning only one wheel. But this coin has another side. Professional photographer chooses the shooting, and it ensures a more flexible control of the shooting process, allows to achieve a better result compared to a camera that has a scene mode. Nevertheless, the popularity of camera with scene modes is great. Many people when buying a camera pay attention to the number of “subjects”: the more the subject programs, the more likely the novice photographer get at least some control over image quality. But still full control over the shooting is only possible when using the camera, which has a manual setting.
Newcomers SCN provide invaluable assistance. In essence, this is the next step toward freedom of choice from a fully automatic mode, do not leave you any freedom of action. Scenario mode (another name of scene modes), gradually extend the capabilities of your choice, can better adapt to the conditions. Several scenarios regimes in modern cells wide, and after you select the desired plot, the camera itself, set the aperture and shutter speed (ekspoparu) in accordance with the chosen subject. You will not need to worry about the rest of the shooting. Typical scene modes are Portrait, Night Portrait, Sports, Landscape, Macro.
Portrait. To get good portrait shots the camera sets the maximum aperture, which reduces the depth of field. These parameters give the opportunity to focus on facial features, same background may remain somewhat blurred. Composition of the picture is constructed in such a way that the main subject is separated from the background, the emphasis tracks made it on the human face. When this scene mode is selected spot focus and center-weighted metering.
Night portrait. This version, unlike the previous one, allows the detail and background (will be visible at night lights, light boxes, advertising lights). Camera better fix, since it includes a flash and a fairly long exposure
Sport mode in certain cells called “children” – that is, this mode is, as you may have guessed, for the images of moving objects and reduces the risk of “smearing”. To this end, the camera will choose the maximum shutter speed.
When shooting a landscape using a small, closed aperture. This allows us to maximize depth of field. It is natural that there will need long exposure. If the light is not strong enough, the camera mounted on a tripod is better. Setting focus to infinity gives an opportunity to clearly work out as the front and middle, and future plans. Scene Mode “landscape” is applicable when shooting through a window when you select another mode, you get a focus on the glass, not the scenery. Metering mode is the matrix, all over the frame.
Macro mode is needed in cases where you want a close-range photograph a small object: flower, insect, coin or stamp. The camera automatically focuses on the focus at close range.
Thus, we can draw the following conclusions:
In most cases you will have enough scene modes, as described above. Additionally, some newer cameras are installed, such modes such as Beach / Snow / Night Scene / Fireworks / text, etc. They differ from each other slightly. Most often this is determined by the camera model. But we need them or not really – the choice is yours.
The advantages of using scene modes: quick switch to the desired mode, a sufficiently good result. Compared with the automatic mode, you give the camera a more accurate indication of how to shoot, for which conditions to select options. Especially it will help you if you do not know how to set the shutter speed, aperture and choose dr.parametry.
Disadvantages: You just trust automation, and a “template” is inevitable. You are limited to the choice of camera and the camera focuses on the “average” option. Algorithms for the scenario mode is always “averaged” results. We give an example: When shooting a landscape camera does not “guess” what the depth of field you need, what aperture would you choose for yourself. In one case, using the aperture f8, you will get an excellent picture – sharpness, detail, and in another – it is better to use f11 or f16. Automation is set f6.3, for example. Not exactly the ideal setting for this case. That is the process of monitoring the shooting on your part is not quite complete. You can trust your eyes closed automation that does not understand where you want to add or subtract field / sensitivity and gives you the average variant. Therefore, there are more “creative” modes.
Creative Modes
Program mode. For his notation uses the letter “P”. In fact, it’s automatic, but the “P” as opposed to “Auto” allows you to change the parameters that the selected camera. You can adjust the ISO sensitivity and white balance, and select the AF point, metering, exposure compensation, adjust a pair of shutter-aperture, sliding it in the desired direction (Program shift). You can also control the outbreak.
Advantages: Naturally, it’s more interesting option compared to the fully automatic mode. By changing the camera settings, you can affect the result.
Disadvantages: The disadvantage is that you can not ask you require a fixed parameter (shutter speed, aperture). You do not always want to accept the fact that the camera offers, it can happen, for example, frequently changing lighting conditions, when often necessary to adjust ekspoparu not very comfortable.
Priority mode shutter speed and aperture. Almost any scenario modes can be simulated by appropriate adjustment of shutter speed and aperture, but it is impossible to do the opposite. Profiles are like a cheat sheet for the user, created by the developers of the model. You can totally do without the scene modes if you know in advance what the parameters shutter speed, aperture, sensitivity needed. Shutter priority and aperture – basically a very convenient mode for shooting, they give the possibility to determine the appropriate option. For example, you go to the exhibition as a photographer: to show a lot of different pieces, covered them in different ways, but you need to get all the pictures turned out clear, sharp and properly exposed. You do not have time every time you manually set the shutter speed and aperture to shoot because you need a lot. In this case, you’d better set a fixed aperture to the depth of field you are comfortable with, say, f6.3. After that, the camera itself will determine the shutter speed, focusing on parameters you set aperture and sensitivity. Shutter speed priority mode is invaluable if you shoot moving objects, such as moving an athlete. Set the shutter speed, naprimer1/500 or 1 / 1000, and the camera selects the aperture itself (as it is in this case it is the deciding factor). As a result, your images are obtained clear and not “blurry”.
Advantages: The main advantage is saving time, this mode allows for rapid shooting. You do not spend time on “Spin” wheels, no need to select the shutter speed and aperture to each frame. Particularly convenient mode of priority for reportage photography. Together with the integral (matrix) metering priority mode will give a good result, especially on the street. With respect to scene modes, in this case the result is more predictable and precise.
Disadvantages: You can get incorrect exposure due to the fact that the camera made a mistake when choosing lighting. Please note that ekspopara in this case is selected automatically, and you can prevent it, if you need to overexpose or underexpose the shot.
Full manual mode. Denoted by the letter “M» – manual. This mode gives the most precise control over the process of creating images. All set manually: shutter speed, aperture, ISO and the type of metering. You yourself are striving for your desired exposure.
Advantages: this mode is indispensable when shooting in a studio with flash. You are guaranteed to get the desired result because the exact setting of all parameters. Rational use manual mode and in those conditions with which automation can not cope and the result of her work you just will not be happy. This mode is preferred when shooting architecture and landscapes. Can be one hundred percent predict a high performance camera. Useful manual mode and when shooting panoramas: if we carry out a panoramic shot in automatic mode, you can get different exposures for different parts of the panorama. Another point: the photographer can make a few shots, adjusting the camera settings, and evaluate the results graphically. After all, not everything turns out right the first time. Thank God, digital photography allows you to experiment, not sparing the film, where to spend the film in this way is simply impossible. And the result you can see and appreciate at once: on the computer, LCD monitor or on the histogram.
Disadvantages: If you need a high shutter speed, this mode you will not do (for example, reportage photography). If yesterday’s inexperienced user has learned to take photographs in manual mode, very often it just does not want to go back to automatic, while working with them easier and faster. Of course, it all depends on individual skills, you can take pictures in manual mode at a sufficiently high speed. But in any case, automatic and semiautomatic modes give a “head start” on time compared with manual.
But even in automatic mode it is possible to “catch” the right time. To solve this problem, you can use the burst mode in which the camera will shoot a few frames in a row and you will only have to select the best shot.
To learn how to make good shots to … Just shoot more. The more often – the better. Practice will give you much more than an endless hole in the theory. Only in practice, you will appreciate the strengths and weaknesses of your camera, and adjust to these changes in practice, will get the best results. Any, even the unfavorable conditions for the shooting will not prevent you just expose a frame: it depends on the correct configuration settings of your camera.
Analyzing the market of modern photography involuntarily come to the conclusion that long-time neo-realism and irreversibly ended. No one is more interested in just “footage of life”, “abandoned houses” and “amazing sunrises. No such photos, of course, you can sell, but not more than 10 – $ 15. And this, as you know, there can be no incentive to work and creativity, nor the amount by which want to live.
And then you will know that on the same exchanges, there are people whose pictures go 2,000 – $ 3,000 per image, and that is – is not the limit, as the value of a good photograph is in the range of 15 to 10 000 $.
Unbelievable! – You might say. – Who are the lucky ones?
Names I will not mention, though, because the list may take more than one hundred pages. And that’s about what qualities do their work, talk to you, knowing these secrets could at least try to become a highly paid professional photographers.
And so, the requirements for a really expensive, commercial photographer as follows:
1. Photo must be made on the equipment of the highest quality that initially allocate it from the set of amateur pictures.
2. Its size should be such that it could be, without compromising quality, stretch to the size of a street billboard largest sizes.
3. It should not be a studio – the world’s a huge number of photographers working in the studio, and you compete with them is practically impossible.
4. It should not be any “advertising” or staging. Though we talked about that time, neorealism has passed, the story pictures should be as close to real life.
And now about the plot.
5. This should be a complete story – beginning, middle and end. It consists of the interior or nature, animate or inanimate characters in her actions, weather, and all that you decide to impress on his shot. That is, it must create the desire to look at it for hours, and most come up with a story.
6. Natura for photography or placing selected with the requirements of maximum eccentricity. That is, initially you have to wonder: how many people live exactly in this apartment (house), it happens on such roofs, come to these places? The more exclusive place to shoot you select, the more likely it will buy. Who? About this later. In the meantime, go to step 7.
7. On the quality of picture composition must be compared not with the cards, and with the painting. Must have a desire to hang it on the wall, making the often expensive and unusual interior, then to admire it, or show off in front of guests. The fact that many art galleries around the world make it on the resale of photos, and they stand in these studios is not less than the expensive paintings of famous artists. Provided that it will be sold no more than 2 – 3 copies, with subsequent destruction of the source.
8. Photography should not cause depression, rejection or depression. Should not be on it and “jubilant joy.” Fashion at the last was back in the late 80′s, as well as the fashion for “depressing snapshots” over a 60th of the last century. Now in vogue philosophical subjects, abstraction, deep perspective, and the natural colors of nature.
9. Remember that black and white photography is much cheaper than color, and picture, processed by a computer will never be worth more than a few hundred dollars. If, photographing, you could not achieve an unusual combination of colors, do not try to change them using Photoshop. Just decide that you’re lucky the next time.
10. Picture should be as full of contrast and color. It should not be static. Because even if you decide to rent an immovable object, try to part of it served at least wind, lighting, sky, or shadows cast by the subject.
11. You must have written permission for commercial use of images from people who have imprinted on your photos.
12. And most importantly: you need not worry that your name does not say anything in the world of expensive commercial photography. Connoisseurs and owners of galleries love to discover new names. Lucky – you’ll be one of them, no – well, following my advice, you will at least become a shoot much better than before.
Photography in our age of digital technology has become so affordable that even a child can shoot. No need to exercise, nor to fix or implement a host of other specific actions. And the quality is not worth very worrying: it is enough to have a good digital camera, and please, enjoy the bright colors, pictures of loved ones.
However, despite the bright, high-quality images, one problem still remains – the content. Any picture can be simply reflections of environmental nature, and may carry a highly artistic beginning. Where is the line between true art and conventional fixation of meaningless events? Picture only becomes a work of art, when, instead of just pictures of events and people begin to process the facts of life in the images. When what is photographed alone, it becomes interesting to many. Any images, including art, primarily associated with the movement. Often we talk about images as of stopped a moment, but very often pictures do not appear to be suspended in them as if there is movement. On good photographs and they say – they are dynamic – photos in motion. Of course, the dynamics is not the only factor in the artistic merits pictures, but quite affordable and feasible for virtually any beginning photographer.
So how do you do dynamic images? Dynamics of the plot can be transmitted, for example, fixing a certain point motion, which most clearly reflects his. It’s usually shooting climaxes of a plot. For example, a man of small stature comes to the hanger to remove the cap. Here he is reaching out – early! Here it is stretched at full length – sooner! A hat hangs quite high, people standing on tiptoe, his hat touches his fingertips – “Click!” – And a dynamic image is ready!
The effect of motion can also create a basic shift in subject matter away from the center of the frame so as to remain in front of a moving object space. This space will create or enhance the illusion of movement.
When shooting dynamic subjects must be aware of the background. If he is sharp, then the motion in the picture will look retarded. In contrast, blur the background enhances the dynamics. Upon reaching such an effect needs to move with the same speed with which the object moves, take some pictures and choose the most dynamic.
Any way in any kind of art is always thorny. In order to ascend to a higher level in the photo, you must first take the first steps in learning the secrets of mastery. And these first steps can be performed with the performance of dynamic images. If your photos is a movement, it means that there is life. And then we can talk about the highest manifestation of motion – the motion of the human soul.