Tips for Pro-Photography
Choosing the right Equipment.
Using correct equipment means actually the gears and attachments to be used along with the DSLR Camera. The lens actually has to be determined according to the situation and the subject you choose to capture. Like its essential to use the macro lenses for near and extreme close-ups. e.g. A Dentistry Photography, Insects or Fingerprints. Actually for finger prints and copying from small image, we can also use close-up lens kit suitable to the device as it varies in size for different DSLRs. (Protect your Camera in monsoon with Rain Protector Cover.)
Wide Angle Macro lens
- Wild Angle Macro Lens kit.
- Click using a Wide Angle Macro Lens
The wide angle lens exemplifies and represents versatility and has the ability to deliver a true to life image. The lens is best suited for photographers who want a wide angle of view without having to use a fisheye lens. The wide angle photography that this lens provides is its main distinguishing feature and because it provides wide angle photography it can be used to take images of landscapes, large group photos and panoramic views. Capture more by broadening the angle of view and increasing the depth of field bringing extremely more area into focus. Wide Angle Lenses are used to massively increase the area covered by a normal lens like 18-55mm. With this lens you will be able to fit more objects in view than with a normal lens. Excellent for group of people, Panoramas, City Views, Landscapes, Night Photography, Macro Photography etc.
Fish eye Macro
Fish - Eye Macro Lens
Fish eye Macro lens allow coverage of large fields of view, with a distortion that has a fairly simple mathematical model. They were invented for research imagery of the whole sky for measurement of cloud coverage. Anyways it also has very good and classy effect on the pictures. moreover they allow coverage of large, sweeping landscapes without resorting to panorama adaptors and stitching.
Below are the pics shot using fish eye lens.
Close-up Kits
In photography, a close-up filter, close-up lens or macro filter is a simple secondary lens used to enable macro photography without requiring a specialised primary lens. They work identically to reading glasses, allowing any primary lens to focus more closely. It is actually more appropriate to use the close-up lens terminology as it is a lens and not a filter, although close-up lenses typically mount on the filter thread of the primary lens, and are manufactured and sold by suppliers of photographic filters. Some manufacturers refer to their close-up lenses as diopters, after the unit of measurement of their optical power.
While some single-element close-up lenses produce images with severe aberrations, there are also high-quality close-up lenses composed as achromatic doublets which are capable of producing excellent images, with fairly low loss of sharpness.
- Close-up lens filter kit.
Close-up lenses are usually specified by their optical power, the reciprocal of the focal length in meters. Several close-up lenses may be used in combination; the optical power of the combination is the sum of the optical powers of the component lenses; a set of lenses of +1, +2, and +4 diopters can be combined to provide a range from +1 to +7 in steps of 1. A split diopter has just a semicircular half of a close-up lens in a normal filter holder. It can be used to photograph a close object and a much more distant background, with everything in sharp focus; with any non-split lens the depth of field would be far too shallow.
Understanding the natural light on the subject
Understanding the light on subject is the most essential part of photography. according the natural or any source of light which is available on the subject and according to that luminescence and visibility we need to understand if any other source of light should be used like Flash guns or multiple flash guns at one time.
- Natural Light Click with 50-200 Lens Kit (Without retouch)
The same light condition helps us to determine and set the cameras aperture and shutters speed. we need to open up the aperture to let more light pass through the lens to the censor for capture a picture if its dark and similarly we need to set the aperture to restrict the light if its a bright sunny day.
I believe that the most important thing to consider as a photographer—and particularly a natural light photography—is the quality of the light you will be shooting in. Understanding how to use light and shadow to your advantage is critical. Finding soft, even light is what I always strive for when I want to create a flattering portrait, as it helps to avoid having my subjects squinting, and it avoids the issue of “contrast-y”, harsh shadows falling on their face. I even prefer the SOOC (Straight Out of Camera) color tones when I’m working in softer light.
Whether you choose to shoot on an overcast afternoon, during the golden hour, the blue hour (if your camera’s ability to deal well with a higher ISO permits) or in open shade, finding flattering light is a must for portraiture work.
Understanding the Depth of Field.
Depth of field is still something of a mystery to some photographers. In this simple guide Dylan A Bennett unravels it’s complexity by showing in a simple diagrammatic form, the various aspects of this very important photographic effect:
- The area which is in focus, in front and behind the subject is actually the field.
- The distance between the front and rear of focus is the depth of field.
How does the the depth of field change in according to the way the light hits the sensor?
- If the light is squeezed into a narrow beam we have greater depth of field.
- If the light spreads out more we have less depth of field.
Controlling the Depth of Field.
- Firstly by changing the distance between the camera and the subject.
- Second by changing the focal length of the camera’s lens, a wide angled lens would have greater depth of field compared to a telephoto.
- Finally, by changing the aperture we can alter the depth of field. A wide aperture such as 2.8 will have a narrower depth of field than a small aperture for example f11.
Any combination of these three techniques to produce the focus you require, be it a shallow depth of field for a portrait, or great depth of field in a landscape can be used.
- (Large Depth of Field) Deep Focus
- Shallow Depth of Field
Glamour/Fashion Photography
This is related to capturing the pictures of a model posing with the costumes in different poses to enhance the looks of clothing or accessories in order to entice and lure customers to purchase them. Its kind of Acoustic stimulation to attract potential customer. Obviously need to hire a fashion model which gives live pictures rather than just displaying on mannequins.
Lets talk about Photography for the same. There are No or rare long distance pictures in the portraiture or models pictures. a simple lens with capacity of 18 - 50/ 18-55/ 28 -50/ 28-55 lens can do the wonders with correct settings. Its highly recommended to use a tripod stand for more stability in the pictures.
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Bird Photography Tip
1) Watch your composition.
Strong
composition for a moving subject usually means that the photographer places a
large amount of negative space on the side of the frame to which the bird is
traveling. By allowing some space in this side of the frame, the viewer
will not be distracted by wondering what is in front of the bird, and will be
able to focus on the subject.
2) Adjust your elevation. Usually
birds in flight look best when the photographer is relatively close to the same
height as the bird. This can be tricky in some situations, but know that
your best photos will likely occur when the bird is swooping down low or when
you can get on a hill or in an elevated bird stand.
3) Adjust your camera settings. You
will certainly want to use continuous focus (AF-C on a Nikon, or AI Servo on a
Canon), select the proper focus point (I usually use the center point or
dynamic autofocus), a sharp aperture, and a fast shutter speed somewhere around
1/1200th of a second.
4) Use the user programmable modes. Some
new DSLRs allow photographers to set a user-programmable collection of settings
that can be activated by simply spinning the mode dial. When I shoot
birds in flight, I have these user-programmable modes ready with a setting for
panning, and a setting for a still bird. This will allow me to quickly
change all my camera settings in an instant if the occasion arises. Very
useful.
5) Shoot away from the sun. Usually
backlit birds will not be as nice-looking as front-lit birds. Simply
planning to stand in the correct spot will significantly improve the quality of
your images.
6) Shoot in short bursts of 2 or
three images. This will increase your chances of getting a sharp photo
without filling your buffer too quickly.
7) Don’t skimp on depth-of-field. Beginning
birds in flight shooters often use the lowest aperture they have available to
get a high shutter speed. While a high shutter speed is certainly
important, skimping on aperture is not the answer. Many birds have a
large wingspan, and a low aperture will often put the wing tips out of focus.
If you need more light to increase your shutter speed, use a higher ISO.
8) Shoot with both eyes open. This
is a matter of personal preference, but I learned how to shoot with both eyes
open because applying this
technique in photography allows you to see what is in front of the bird so you
can prepare your shot. If the bird is swooping down to catch an animal, I
can see it BEFORE it’s too late.
9) Pay attention to the background. While
a background of a pure blue sky can work in some situations, many birds in
flight images will be much stronger if a more interesting background is
captured. Wait for the birds to swoop down low where trees or water can
provide a compelling background.
10) Don’t skimp on Image
Stabilization. It is unfortunate that image stabilized lenses often
come at a premium, because some photographers opt for the cheaper lens without
image stabilization. Especially for telephoto lenses, your image
stabilization will be absolutely vital to the success of your photography of
birds in flight.
TRAIL LIGHT SHOOT
SLR camera (film) with light trails created by cars on a busy road. Light Trails continue to be popular subject matter for many photographers and they can actually be a great training ground for those wanting to get their cameras out of manual mode and to experiment with shooting in low light at longer exposures.
Setting Up Your Shot:
Photographing light trails is not difficult – it’s as simple as finding virtually any road with cars going down it once the sun goes down. But getting a shot that grabs attention means putting a little more thought into choosing your location, thinking about timing and framing your image. Here are a few tips on how to set your shot up:
Timing/Light – one might think that the middle of the night is the best time for light trail photography (and it can be) – however one very effective time to do it is just as the sun is going down (just before and after). If you shoot at this time you’ll not only capture light from cars, but ambient light in the sky which can add atmosphere to your shots. You also might find that earlier in the evening you get a little more ‘action’ in your shot with more cars and even the movement of people through your shot.
Creative Perspectives – some of the most effective light trail shots that I’ve taken and seen from others were taken from perspectives other than at the height of a normal person standing up. Get down low or find a place looking down on your scene that will create an unusual angle.
Location – the most obvious thing with location is that you’ll need it to be somewhere near a road – however there’s more to think about than that. Choose a location that adds interest to the shot in some way. This might be one where there are well lit buildings along the road, one where multiple roads merge together to create light trails in different directions, on the bend of a road so that the trails sweep through the image, near a roundabout so the trails create circular shapes, in the middle of dual carriageways (on a triaffic island) so that you get traffic coming in two directions etc.
Framing – the normal ‘rules’ of composition apply in this type of photography. Images need some sort of point/s of interest, the rule of thirds can be applied effectively, draw the eyes into your image using lines smartly, foregounds and backgrounds should add to and not distract from the image.
Timing Your Shot:
There is no right or wrong way to time your shot. Hitting the shutter just before a car enters the frame and releasing it just after it leaves the frame can create a lovely unbroken line – but sometimes shooting with shorter exposure times while the camera is in the frame can be effective also. Once again it’s about experimenting with different timings and seeing what effects it has.
Using Bulb Mode:
Many digital cameras have a mode on them called ‘bulb’ mode that allows you as the photographer to keep the shutter open as long as you wish. This can be very handy in this type of photography to time your shots with precision. If you use this you’ll want to be using a remote shutter release to stop any camera movement while the shutter is open.
Note : Stay tuned for more and more updates with pro-photography and example of many simplified tricks which we call it life hacks.
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