Share Your Photography Knowledge/Info/Tips&Tricks Here

My scanner is damaged so I use my phone camera to copy the info from my Kodak text book! Hope you can still read it!

1st up - rules regarding the 3rd and 8/5 composition:

Thanks for the info! Will try to hone my photography with this knowledge.

good good
i also want to try at home :slight_smile:

My mother bought me a book on photography earlier this year when she realized I was really into it. I’ll put up my favourite parts of the book here to share with everyone else. (Please no one report this to the author lest I get sued :P)

What I type looks very wordy, but the book has all kinds of photos and stuff to add to it and it doesn’t seem like such heavy reading. The book is The Creative Photography Handbook by Lee Frost. I really like it and highly recommend it.

I’ll skip the part about the rule of thirds since ztilaso covered it :slight_smile:

Night Lights
The term ‘night photography’ can be a little confusing, because the best period in which to shoot isn’t at night at all, but during the cross-over period between day and night when the sun has set but there is still colour in the sky, and daylight levels have fallen sufficiently for artificial illumination to be clearly visible, but not so much that shadow areas show no detail.

This period lasts for only 20 min or so during the winter months, but come midsummer, you will have 45 min or more of prime shooting time. More importantly, if you shoot during this period, your pictures will not only look much better, but you will also find it easier to get the exposure spot on.

If you start shooting too early, the artificial lighting won’t be obvious enough and you’ll get a daytime effect. Leave it too late and ambient light levels will have faded so much that detail is only recorded in areas lit by artificial lighting, while shadows and sky included come out black.

To make the most of this ‘cross-over’ period, arrive on location at least half an hour early so that you have time to decide where to shoot from and to set up your equipment.

Leading the Eye
Leading the viewer’s eye through a picture from the foreground to the background should be one of your main priorities when composing - especially a landscape photograph - and the easiest way to achieve this is by using lines to attract and direct their gaze. Whether natural or man-made, real or assumed, lines are one of the most powerful compositional tools.

The most obvious lines are those created by man-made features, such as roads, paths, tracks, bridges, telegraph wires, walls, hedges, fences and avenues of trees. Shadows, too, can create strong lines, especially early or late in the day when the sun is low. Natural features such as rivers and streams, although not necessarily straight, have the same effect as they wind through a scene into the distance.

The direction a line travels should be considered because it can have a profound effect on how the viewer responds to an image, and the job it does as part of a composition.

Lines aren’t always obvious in a scene, but if you get used to looking for them, it’s surprising how often you will find them.

Horizontal lines echo the horizon and the force of gravity. This makes them easy on the eye, as they suggest repose and are naturally passive. Man-made boundaries in the landscape such as wall, fences and hedges, are obvious examples of horizontal lines that help to divide up the image into definite areas, though shadows can also be used in this way. The eye tends to begin at the bottom of the picture and work up, so horizontal lines divide it into sections that can be observed in turn.

Vertical lines are more active than horizontals, producing dynamic compositions with a stronger sense of direction. Think of the regimented trunks of trees in a pine forest and the soaring walls of skyscrapers in a bustling city. To maximize the effect, shoot in the upright format so that the eye has further to travel from the bottom of the frame to the top.

Diagonal lines have great directional value, and add depth as they suggest distance and perspective. They also contrast strongly with the horizontal and vertical lines that make up the borders of the image, and in doing so can create tense, dynamic compositions that catch the eye and hold the attention. As the eye tends to drift naturally from the bottom left to top right, diagonal lines traveling in this direction have the greatest effect, because they carry the eye through an image from the foreground to the background. In the landscape, roads, rivers, drainage ditches, rows of trees, hedges and other features can be used to form diagonal lines.

Converging lines are the most powerful of all. If you stand in the middle of a long, straight road and look down it, you’ll notice that as distance increases, the parallel sides of the road appear to move closer and closer together until they eventually seem to meet at a place in the same distance that is known as the ‘vanishing point’. The same effect occurs with railway lines, paths, avenues of trees, bridges, the furrows in a ploughed field, rows of crops and so on. When included in a composition, converging lines immediately add a very strong sense of depth because you know the road, for instance, is the same width along its length; so if it appears to become narrower it must be travelling away from the camera.

Filling the foreground
One of the most important elements you can exploit to create a dynamic composition is the foreground - the area of a scene closest to the camera. Emphasizing the foreground will help to give your photographs a strong sense of distance, depth and scale, due to the effects of perspective, as well as providing a convenient entry point into the picture.

Composing for impact
“If a picture’s not good enough, you probably weren’t close enough.” Although Robert Capa was referring to combat photography, his maxim could be applied to any subject. Wasted space in a picture serves no purpose other than to make the composition ‘windy’, so keep things tight and make full use of the image area.

Get into the habit of asking yourself if a composition could be improved by taking a few paces forward.

Explore all angles. Don’t automatically assume you have to take pictures with the camera at eye-level, either.

Symbolic Colour
Red is a loudmouth colour. It stands out like a sore thumb against any other in the spectrum. Red reminds us of blood, passion, danger and heat, and leaps out wherever it appears.

Blue can mean different things. On one hand, it’s a tranquil, serene, self-assured, regal, authoritative, stable colour. On the other hand, blue can be a cold, sad colour symbolic of depression, loneliness and coldness. It can be a moody, mysterious, secretive colour.

Green suggests freshness, new life and purity. It’s a relaxing, soothing colour that reminds us of forests, fields and rolling hills.

Yellow is a powerful, comforting colour, symbolic of joy, happiness and richness, and it advances, like red, so that photographically, it’s a very potent colour.

Capturing Emotion
Candid
If photographing strangers, the easiest way to capture emotion is by taking a candid approach - keep a low profile, wait for the right moment, then grab the shot without anyone realizing what’s going on.

A telephoto lens comes in handy, allowing to shoot from a distance and reduce risk of being spotted from afar.

Wide angle lenses can also be useful in crowds for taking more intimate, close range pictures. Often there is less chance of being spotted if you adopt this approach, because you won’t stand out, and if you are seen, the people whom you are photographing will also tend to accept your presence.

Timing is crucial. Concentrate all attention on your subject, set your lens to a wide aperture such as f/4 or f/5.6 so that the background is thrown well out of focus, and compose the shot so that any distracting details are excluded from the frame.

Portraits
In more formal portraits, the subject is encouraged to display emotion. Professional models can change their emotions quickly and effortlessly, but the kind of people we are likely to photograph won’t have the same ability.

Communication is key. Your subject’s emotions can be controlled to a certain extent by things you say and the topic of the conversation, so try to find out what they’re interested in, what they dislike, or what upsets them. If a person admits to being passionate about animals, for example, you can generate positive or negative emotions by the way you talk about them.

Portraits that tell a story
Most portraits are shot from close range so that the subject fills all or most of the frame. This is a logical approach - the person depicted is the main subject, so we don’t want other things in the picture to take attention away from them. However, you can produce more interesting and revealing portraits by taking a step back and including the environment.

By adding the surroundings, you will tell the viewer a lot about your subject, especially if they are photographed in a location of their choosing, because it will reveal clues about their character, personality and lifestyle.

For example, if you photograph a teenage girl in her bedroom, surrounded by al her personal possessions, we can immediately see if she’s tidy or organized, who her favourite pop idols are, if she fancies football stars and so on.

There were many other chapters and sections to the book but there is no way any of you guys will ever be able to convince me to type out a whole book.

There was a particular section I liked about focus and depth of field that you could probably google about. Plus, I was once told to google up information about art theory since good photographs are essentially art pieces and art theory applies to them too.

try this site:

http://digital-photography-school.com/blog/

a very useful tips for beginners to advance shooters…

Thank-you tohjy for providing the link, it is a very wonderful site.

And Salian - thank you very very much for putting so much effort in typing out so much usefull tips to share with us. Bravo… well done!

cheers.

Some useful tips from Ken Rockwell & Marc Silber; check out all his links - tonnes of great infos!

http://www.silberstudios.tv/videos/ken- … ition-tips

http://www.silberstudios.tv/videos/ken- … techniques

http://www.kenrockwell.com/tech.htm

best way to learn? TT! :stuck_out_tongue:

Can we share some photos here?

Yup, if got a group on regular basis like once every 2 week or monthly… you organize? heheheh… :mrgreen:

Sure, here is mine from Singapore in July/2010.

why pro photographer seldom/didnt use the standard kit lens? (18-55)

Maybe kit-lense make them don’t feel so pro! ehehehee… :mrgreen:

HAHAHA! LOL

Here’s mine.
http://sphotos.ak.fbcdn.net/hphotos-ak-snc4/hs276.snc4/40146_447984977903_601437903_5207601_5559768_n.jpg

I don’t know why most of all don’t use 18-55mm but I think it’s not wide enough for landscape and not good enough to some telephoto shots.

http://farm4.static.flickr.com/3394/4621405887_00e37ee326.jpg
Hair by [url=http://www.flickr.com/people/brian-r-tan/]brian-r-tan, on Flickr
:mrgreen: a bit under after i uploaded to flickr dunno why… :mrgreen:

when wan to TT? :mrgreen:

cuz pros dun use DX body!! :stuck_out_tongue:

some shots from me hehe.

#1 at ulumulu, marina bay

#2 taman sahabat, kuching

#3 mmm my favourite snack? :stuck_out_tongue:

more at http://www.flickr.com/photos/dzimmo/ hehe

some pro did use DX too. haha.

Hello posters… not bad your photos… quite nice… keep it up and keep it coming…

Ofcoz Pro do use DX and kit lens, I was just joking back there. EOS 7D and D300s (now D7000) can consider Pro (or Prosumer) DX camera. Even Ken Rockwell uses a D5000 and cheap P&S!!!

  1. i think pro or not dun depend on the gear la… it depends on your eyes… and also the image retouching :mrgreen:

nick so pro still using dx body what… :mrgreen:

just do it whatever you see you like you shot.

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