Shoot Yourself: A Guide to Self-Portraiture

Taking a portrait of yourself can be a challenge because it is hard to be both photographer and subject. You do not really know how you will look through the lens until the camera has captured the image. Running back and forth adjusting your camera timer, the camera settings, the camera angle, and so on can be quite draining. Focusing might also be hit and miss because you, the point of focus, might be moving a lot to check if all is in order with the background, the camera, your clothes and the light.

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Have a Great Time Taking Pictures From a Moving Vehicle

One of the most fun ways to take photographs is to shoot from a moving vehicle. (Needless to say, you must be a passenger and not the driver to do this activity.) There is the constant surprise of unexpected sights and not knowing what you'll see next can be a big thrill. There are many ways to go about it and here are a few:

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Aperture and Its Impact on Depth of Field

One of the three elements that control image exposure is aperture. Aperture is the size of your lens opening as the shot is being taken. When the shutter release is pressed, the aperture would be the size of the hole where the light passes. While shutter speed is measured by time, aperture is measured by size, called an f-stop. If you notice, the bigger the lens hole, the smaller the f/stop number. For example, an f/2.7 setting has a larger lens opening compared to an f/8. This may seem confusing at first but you will get soon get the hang of it.

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Providing Balance in Your Photographs

Balance is one of the principles a photographer strives to achieve because it makes images look visually appealing. By arranging subjects or elements such as colors, light and shadows and shapes and making them work together, you can portray balance in your shots.

Symmetry – One of the major principles of photography is the Rule of Thirds where the subject is placed on one third of the frame, either in a horizontal or a vertical section. However, we also have the composition technique called 'symmetrical balance' or 'formal symmetry' which shows half of the frame as mirroring the other half. Subjects that have repeating patterns or have uniform shapes are good examples of symmetrical images.

Images that show pure symmetry might not retain the viewer's attention for long because there is no particular spot for the eyes to linger. Symmetrical images would be great as PC wallpapers or website background templates since they support rather than take away from the main point of interest such as program icons or the body of text.

Asymmetry – Also known as 'informal symmetry', this kind of composition can be applied to subjects that are not identical or even similar. Asymmetrical images are usually more striking than the symmetrical shots because the various elements lead the eye to the main point of interest.

There are many ways to show balance with asymmetrical compositions. The primary subject may be found on one portion of the frame but by placing secondary subjects on the space unoccupied by the focal point, you can achieve balance as well. If your subject is situated at the foreground, it can seem to exude weight or mass. If it occupies a large part of the frame, it also implies mass. You can counterbalance this 'heavy' subject by placing a smaller subject on the negative space.

Another way is to use depth of field. By focusing on the primary subject at one side of the frame and placing one or two secondary subjects further away, they act as blurry counterpoints that keep the image from looking lopsided.

Bear in mind that certain compositions can trigger impressions from the viewer, and this balancing between subjects can imply various meanings such as weakness, strength, emptiness or steadfastness.

Reading about photographic balance is a good way to understand the concept but putting them into practice is the best way to learn this principle. As you compose your shots, be aware of how it would look once the image is captured. Take note of the secondary subjects, not just the primary, because these are what will help balance and enhance your image. Aside from subjects, you can use contrasting textures, colors, leading lines, or light and shadows, as all these can also provide balance to your image.


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How to Capture Movement Effects by Playing with Shutter Speed

We talked about the Exposure Triangle in a previous article where shutter speed was defined as one of the three elements that control how much light is caught by the film or sensor. Let us now look closer at how shutter speed works and the different ways we can use it to produce movement effects.

Shutter speed is measured by seconds or fractions of seconds. For example, you may leave the shutter open for 1/500 which means a five hundredth of a second or you may decide on one whole second. Shutter speed options vary in cameras. Compact cameras might not have a wide range of shutter speed measurements compared to DSLRs.

Aside from its relation to light, shutter speed can also be used to manipulate the appearance of movement in a shot. A fast shutter speed (such as 1/1000) can capture movement so quickly that the moving object can seem frozen and a really slow setting such as four seconds can intentionally blur the action for artistic effect.

Some cameras are capable of leaving the shutter open for a very long time. This is often called the B setting and by using it, you can keep the shutter open for as long as the shutter release button remains pressed. This is usually used for astrophotography (such as shooting star trails) and for particular effects such as light painting.

There are many popular in-camera effects that optimize shutter speed settings:

Motion blur – this is simply moving the camera while using a slow shutter speed to create interesting blur effects. Motion lines appear when the lens moves and these can be straight or wavy or just a haphazard pretty mess.

 Frozen action – by using a very fast shutter speed, you can freeze actions while keeping the subject in sharp focus. This is great for sports and nature photography where the subject is usually moving fast. Capturing them in mid-motion can make for very interesting shots.

Panning – this is when you focus on the subject while it is moving and while the shutter is open for a few seconds. Usually, it is easier to achieve if the panning motion is side to side. It is more challenging if the camera pans vertically. If done correctly, the result is a clear subject with a blurred background. An example would be a racing car in focus while the track has become blurred and shows motion lines. These lines can give the viewer the impression of just how fast the car is zooming by.

Zoom blur – this effect is more effective with a zoom lens and a tripod (or any steady surface) since the motion lines will come out straighter. Using a relatively slow shutter speed, use the lens to zoom away or towards the subject. If you don't have a zoom lens, manually move the camera instead. There is a chance the camera shake will be very visible, although interesting results might also come about.

If you want to keep your images sharp, your camera has to be as steady as possible, especially with the slower shutter speeds. Using a tripod or a steady surface will allow longer shutter speeds while maintaining clarity and focus. If you are holding the camera, make sure you are using the fastest shutter speed possible without compromising a decent exposure. Since less light is let in with faster speeds, you have to make up for it by adjusting the other two elements: aperture and ISO.

Try to experiment with the various shutter speeds because the image can appear different with every fraction of a second. By using it to show fascinating action effects, you can enhance the viewers' experience by giving them the visual illusion of movement.


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Using Diagonal Leading Lines in Your Composition

In composition, leading lines are used to draw the eyes of the viewer to a point of interest. Diagonal lines are often considered more dynamic compared to vertical or horizontal lines. If used successfully, diagonals can express some movement flowing in the frame. Another effect is they add a sense of perspective by providing depth to the image.

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Using Texture to Enhance Visual Experience

When we look at an object with attractive textures, we have this urge to reach out and touch it. We remember the pleasant feelings these textures triggered before so we want to experience it again. We may also remember being pricked by objects with sharp surfaces so we might be wary when we are near them. These are called 'sense memories' and can be very powerful. Showing texture in your photographs can give it a tactile dimension which can hook a viewer's interest.

There are many kinds of textures we can represent in a photograph. Although texture connotes a physical sensation, emotional experiences can be triggered by their appearance. Let us analyze a few textures that may be used in a shot:

Smooth – Smoothness is considered a very pleasant and calming texture. A baby's skin, rose petals and silk are just a few examples of subjects that are smooth. There are many things you can do with a camera to make a subject appear smooth. For example, by using a slow shutter speed, you can take a picture of a waterfall and make the moving water appear very smooth.

Rough – objects with rough textures, such as rusty metal or old tree bark, may not be as pleasant as smooth skin but they can also evoke vivid tactile sensations from the viewer.

Sticky or slimy – this texture may or may not be pleasant to the touch but it can provide great impact when captured in a photograph. Imagine looking at a picture of a hand covered in honey and you can probably almost feel what it would be like as if that hand were yours.

Frame your shots wisely when showing off texture. Finer textures, such as the stubble of a man's chin, would be more prominent if you get a close up shot or do a tighter crop. On the other hand, if you want to present texture in a larger scale like the cracks on a dry riverbed, it would be better to step back and capture more of the scene. A great way to highlight texture in your shot is to shoot contrasting surfaces such a soft stuffed toy lying down on rough cement.

Lighting is crucial in successfully presenting textures. Sidelighting is often used because it brings out all the little details. Angling your light source shows the facets of the subject's surface due to the highlights and shadows that are formed. The strength of the light is as important as its angle. Bright light can erase fine details such as fiber, sand or fuzz but it can show off large and prominent textures such as the rough façade of a crumbling wall.

Use texture to add visual interest and emotional impact. If your shot can get a reaction from a viewer then it will have been successful in enhancing the viewer's experience.


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How To Take Pictures of Your Pets Like A Professional

Pets can be great subjects for your photos. They can be cute and cuddly or slimy but interesting. Pet photography is a booming business and there are a lot of professional pet studios catering to all the pet lovers who want to capture images of their beloved animals. You don't have to go to a studio to take great shots of your pet. After all, you know your pet better than anyone else and by following a few tips, you can capture your pet's personality and beauty in your shots.

• If possible, use natural light – indirect sunlight as from a window, or a bright but cloudy day would be ideal. Avoid direct sunlight, though, because it can be too harsh and the various details of your pet's fur or scales will disappear. Studio lights can make your pet appear too 'posed' or unnatural.

• Go to your pet – do not wait for your pet to move to you. Most likely, they will be too busy playing or running around to pose nicely while you take their picture. Which is why a lot of pet photos are of them sleeping or resting. Go to them and try positioning your camera to their eye level so you have an idea how the world looks like through their angle of view.

• Do macro shots – pets vary in shapes, sizes, textures, and colors. By focusing on a certain spot on your pet, you are showing off its uniqueness. There are details you notice only if you go closer. The scales of your pet snake might look exquisite with a macro shot. Your turtle's shell can be very fascinating when you capture its texture and cracks. Animal eyes are often the focus of shots because of all its intricate details and colors. Just make sure your pet is comfortable with you and the camera leaning so close to it.

• Patience is required – it is hard to convey to your pet how you badly want it to sit still as you take its picture. It probably keeps moving and running away from you and it is important to keep your cool. As much as you want to get that perfect shot, you have to consider how your pet feels with you constantly sticking this big object on its face when all it wants to do is sleep under the bed. A little pet psychology might be in order which leads me to the next related tip:

• Trick and surprise your pet – for your pet to stay in one spot, you can offer it something it might want such as rawhide or its favorite toy. The prop can even be part of your shot if you want. Pets also have this habit of moving their heads fast as they look around in curiosity. Surprise them into looking at the camera by suddenly calling their name. Timing is important, of course, because they will lose interest quickly and look around again.

• Show their personality – each pet has its own unique personality and there is no one who will know them better than you. Is your pet frisky and likes to run in fields? Go out with your camera and pet and take a picture of them running with their tails wagging in happiness. This could also be the time to practice doing motion blur techniques or frozen action shots.

The more you take shots of your pets, the more they will get used to it and there might even come a time when they will pose perfectly still as you take their picture. But until then, keep shooting and remember to hug your pet after the shoot for a job well done.


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Less is More: Using Minimalism in Your Shots

In the world of art and design, minimalism is a style where the subject is trimmed down to its bare essentials. If you were to research on minimalism, you will find it is used in various forms from architecture to paintings, even writing and music. It is also a popular style in photography because not only can a photograph be stunning in its simplicity, but it can also push the photographer to improve his skills.

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Abstraction in Photography

Abstract art presents a figurative representation rather than a literal or recognizable reality. It is a major form in the visual arts that goes way back before the birth of photography. It was used in paintings and sculptures even in the early days of civilization when humans would draw geometric shapes to symbolize reality, such as an activity or an animal. The world of painting is rich with abstract art and one can learn so much from other artists who have become renowned for their genius in practicing this style.

Photography has caught up with the other older visual art forms and although the medium is different, the essence of abstraction remains the same.

There are many definitions of abstract art. On one end it can be only partially removed from reality which means that certain aspects are still somewhat recognizable, and the other extreme is total abstraction wherein the subject can no longer be identified. As photographers, we must truly exercise our imagination and creativity to capture subjects in an abstract way, to look at them beyond their usual realistic countenance. We can do this by noticing their shapes, color, lines and tone and composing these elements in a conceptual way.

Quick Tips to Make Something Look More Abstract:

1. An effective method is to crop out visual references that will immediately identify the subject. You may frame the shot in-camera or crop it in post-processing but the main objective is the same. Go closer to the subject, if you can, until it no longer looks familiar. This photo of a white plastic handle has been composed so that only its shapes and curves are visible while the rest of the handle is cropped out of the frame.

2. Find something in your subject that shows clean shapes or lines. If you are shooting nature, for example, take advantage of the sky, rock formations or sand. Man-made structures such as buildings are also often used in abstract photography because of their obvious lines and shapes.

3. Look for repeating patterns in your subject that you can focus on because they provide a sense of balance to the shot. You can experiment by breaking the pattern with an element which would then add tension to the shot. Find out what would work best in the composition.

4. Light and shadows is a great tool in creating an abstract shot. They can form to create fascinating shapes and can also be used to evoke a particular mood. Images that are low key or predominantly dark may give the viewer a feeling of suspense or trepidation. Shots that are high key or well lighted can induce a feeling of lightheartedness or cheer.

5. Use colors to give more impact. These can help by either defining shapes or by blending details into something unfamiliar. Furthermore, colors in their many varieties in hue, saturation and value can also trigger off emotions from the viewer.

Since abstract art is non-traditional, it is not immediately embraced by the majority of viewers. There are some who may not like the abstract form so do not take it to heart if you receive lukewarm reactions from a few people. Ask yourself who you are shooting for. If it's for a client and they do not like it, then find another technique. However, if you are shooting for the love of it, then ignore those who do not understand or appreciate this art form. When you practice shooting abstract shots, you are sharpening your composition skills and flexing your creative muscles and these are essential if you want to grow as a photographer.


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