Take Great Water Photos

Freeze Water

There is no way you will take great photos if you don’t freeze the water. One of the most effective ways of doing this is using a very fast shutter speed. This calls for you to set your camera to its fastest shutter speed.

Be Cautious When Shooting Large Waves

Waves are great when you shoot them properly. You should note that the larger the wave, the more dramatic it is. To take excellent photos you should use a lens with a long focal length. You should also remember to keep your distance when taking the photos.

Use Reflection To Your Advantages

Water has a great reflective quality; therefore, you should take advantage of it. For ideal results you should shoot in more than one direction while paying a lot of attention to the position of the sun.

To add interest to your photos you should try shooting early in the morning or late in the day. The cool thing with shooting at this time is that you allow the long shadows cast by the boats and other water objects to add interest to your photos.

Zoom In The Details

To get a closer look you should zoom in the details of the photos that you are taking. To shoot great images you shouldn’t shoot the first object that catches your eye-you should take your time and identify any patterns that might be on the water. For example, if you are shooting on a water body with boats, you should identify a pattern in the ropes or any other items laid on the dock or boat’s deck.

Include People And Wildlife

Although, you can take great photos of plain water, you should make the photos interesting by including people and any animals that might be near the water. For example, if your children or your family members are walking on the shoreline, you should take photos of them.

If you are going to photograph strangers, always seek their permission. For ideal results you should ask the people to avoid looking at the camera-they should act naturally.

Compose A Great Photo

Rule Of Thirds

Compose your photo using the rule of thirds. Divide the picture area in to nine squares. Supposing you are taking a photograph of a landscape then the top one-third should be of the horizon and the bottom two-thirds should be of the scenery closer to you. You can also use this to compose the picture of a person by placing them in the central two squares and the back ground in the rest of the area of the picture. If it is a river or mountain in the background then place the person in the right or left bottom two squares of the composition while the river or mountain is placed on the side in the background.

Golden Triangle

When there are strong diagonal elements in the subject, divide the scenery into three triangles. A right-angled triangle occupies one half of the photo with the leading edge of the triangle running from one corner of the picture area to the other. The other half of the picture frame is divided into two right triangles by drawing a line from one corner to the diagonal. This draws attention to the strong elements in the bottom half where the two triangles are present. The other half is devoted to the background like a dark sky or a misty mountain.

Leading and Converging Lines

Here you take some lines like a road, a pathway edged on both sides by trees, a bridge leading towards the other end and composing a photo by drawing in the viewer’s eyes into the different elements that you want to highlight. Diverging lines distract the viewer away from the photo. So, take care when composing these photos.

The Fibonacci Spiral or Golden Spiral

Arranging the photographic elements in a Fibonacci spiral dramatically leads the viewers into the vortex of the picture. Take a spiral staircase or a whorl of a snail or a leaf delicately curled up and you get an idea of how this picture can be composed.

PTZ Cameras

Movable cameras while very useful in the right situation can also be useless and even harmful to the overall security of your property if used in the wrong situation or environment. PTZ’s are most efficient when used to supplement an already well designed surveillance system. For example, if you rely solely on the PTZ for coverage you may be disappointed when your camera is facing the wrong direction when you need it most. However if you have designed a surveillance system around a number of fixed or Variable Focus cameras that give you excellent general view coverage, Guards, Security staff or the property owner can quickly and easily zoom in to get a closer look at what they have deemed an area that needs to be looked at more closely. Cameras can also be programmed to run a pattern or tour which allows for a general view of a wider area, though be prudent in their use, remember, you can only see the area where the camera is pointed.

Newer technologies allow for Pan Tilt Zoom cameras to auto-track objects or people of interest. This technology has its merit, though as of now, our experience is it is not quite reliable enough to use in a high security type of situation. Most Pan Tilt Zoom cameras use a 1/4″ CCD chip, simply because the smaller chip size allows for smaller fields of viewing, a benefit in the case of a high powered zoomable CCTV camera. Most DVR systems or Digital Video recorders can control multiple PTZ cameras, though for advanced programming it is highly recommended to wire movable cameras so they can be controlled through the recorder or internet as well as through an external controller that can execute faster, and more advanced programming options.

PTZ camera uses vary widely but are a must for some such as Casinos and City Management for security coverage. Casino security must be able to close in on a cheater, thief, or out of control guest within seconds of noticing a problem in order to address the issue quickly and appropriately. Cities may use Pan/Tilt/Zoom cameras in order to watch traffic in one direction during morning commute and another during evening commute; they may also use them to zoom in on accidents or other incidents on the highway. For others, these cameras are a good fun way of keeping an eye on lazy contractors or simply making sure nothing is going on at your vacation property, and I must admit, they certainly are fun to play with. PTZ cameras come in a wide variety of pan/tilt/zoom options such as; Degrees of movement, degrees of movement per second, as well a variety of focal lengths. Faster ones are called Speed-Domes and can operate at 300 degrees per second or more. The Zoom portion of the camera can come from two different methods of zooming. The preferred method is an optical zoom which actually incorporates a motorized lens with focusing and iris abilities, however, these models can run into the several thousands of dollars. For those looking to increase security with a panning, tilting or zoomable camera without busting the bank, check out cameras which feature a digital zoom. Much like your handheld photographic camera, these cameras can zoom in digitally with no moving parts. Images will become a bit pixilated, but the effect is the same.

Nikon D3400 White Balance

There are two ways of looking at the Nikon D3400 white balance. The most obvious one is when you are looking at the back of the camera as you press the i button and D3400 white balance is third along the top line and that gives you the option to select the white balance that you want. However it does not let you change the white balance within those settings. If you want to do that you need to go into the MENU OPTION and then go into SHOOTING MENU, then you go down to white balance and you will see that you have all the options that you would see when you look in the button, but, should you press your multi-selector to the right, it will give you the option of either deciding to have a different option within that main sub-option (so for fluorescence, for example, you have seven further options in fluorescent which are all slightly different) or if you do not have different options then you have an option which allows you to change that option within the camera. You can do that by using the multi-selector and you can make either more green or more magenta or blue or more red. Personally, I think this is probably far too detailed unless you are going for a very specific look, but the general way of changing, which is to go back and just look at the general options in white balance when you are in the shooting menu, should be sufficient for you to decide your best option. But if you want to go in and change cloudy for example and make it a little more red or a little more blue then you can do so but you can not make those changes to that option from the i button.

So let’s have a look at what the D3400 white balance options are when we come out of menu and we will have a look through them with the ibutton. The first one is AUTO. This tries to select the most obvious white balance itself. It has quite a good auto detection for white balance and in most cases you will be fine on AUTO with the Nikon D3400. It is pretty good for most circumstances. The next D3400 white balance option is INCANDESCENT or tungsten. That has quite a yellow tone to it because it is more like candle light or home and residential lighting which tends to be tungsten lighting and so it will try to take some of that warmth out – some of that orange and yellow and add some of the blue to make whatever is white in that picture more white and less yellow.

The next one is FLORESCENT. Florescent lighting is a little bluer and it is the sort of lighting that you get in offices – strip lighting often – which gives a very blue tone to things. As a consequence of that the camera will try to add a little yellow to the picture. Then we get on to DIRECT SUNLIGHT. Now direct sunlight is actually a lot bluer than you might imagine and so the D3400 white balance setting does try to add a little more yellow to that just to give it a more natural look. The one after that is FLASH. When you fire the flash, whether it is the built-in flash or an external flash, it is a very cold white shade. So as a consequence of that the Nikon D3400 tries to add some more yellow to give a more natural tone to the color, and especially, obviously for skin tones which is quite important. Then the next two which are CLOUDY and SHADE. As we move further up the scale the environment becomes more and more blue so the D3400 white balance settings will be trying harder to add a little yellow and a little orange just to warm that picture up and make it look less cold. If you are shooting in shade or in cloud then there is a natural inclination for the image to look slightly blue, slightly cold, so you want a little orange to warm that picture up.

A good experiment is to take the same picture, going through all the Nikon D3400 white balance settings. Then you will be able to see exactly how the white balance changes the ‘feel’ of a picture. D3400 white balance can be used very creatively once you have mastered it, as it is a very simple way of affecting the tone of the image. For example, adding yellow adds warmth to a picture and give the impression of sunlight which in turn can make the image feel like a summer shot. Conversely, adding blue can make the image seem quite cold. It is really useful to experiment with these D3400 white balance settings.

Info of Handling New Models

For one, this diverts the hair and makeup craftsman. Rather, I watch them painstakingly. I search for their general feeling of being. How they hold themselves, on the off chance that they are loquacious with the hairdresser or in the event that they’re timid and hard to get through. I search for their body stance, they’re general nearness. It’s somewhat similar to being an investigator. Then again even an analyst.

When I get them before my camera to start with, I warm them up by being well disposed yet not excessively fake. I need them to realize that my gestures of recognition are real and not over the top. I need to recollect that new young ladies to require a great deal of commendation. Generally now, when I shoot, the models are experienced. It’s less demanding for me since I don’t need to do a great deal of persuading or notwithstanding guiding. They take after my couple of bearings and it’s forward to a breathtaking shoot. Yet, new young ladies don’t know how to act out, generally. What’s more, they don’t know how to posture. They are new to their bodies, making it extreme for them to radiate certainty. I generally warm up by shooting a couple “test” pictures so I can learn about them and see where their qualities and shortcomings are.

I am not a bombastic picture taker. I don’t holler out things like, “goodness infant, that is hot!” or “gracious stunning, offer it to me infant”. A few young ladies require that, I assume. To me it just feels gooey. I feel it’s needless excess to let them know each time the shade clicks how astonishing they are. Be that as it may, for some new young ladies, it’s practically required. So I need to yield and yell out a couple of those regular lines. I overlook I need to, and I’m immediately reminded to do as such when they’re not warmed up after the initial 100 pictures.

I need to concede that more often than not I need to get on the cyc and demonstrate to them a couple postures. At that point I begin doing it before them when I have my camera up to my eye, making it a humorous however viable showcase. They take after my lead in the end and we can get on with making an extraordinary style shoot.

Music makes a difference. Giggling makes a difference. Making things light and straightforward, not excessively strained makes a difference. All things considered, we need to recall that it’s a fashion shoot, not Supreme Court. Young ladies look better and move better when they’re casual and calm. I’m not a despot on my sets so I think this for the most part helps the anxious young ladies unwind after a couple of shots.

Monet has gone ahead in her profession to wind up a refined on-screen character with parts in Johnny Depp’s “Blow” and “Stoned”, where she played renowned worldwide fashion symbol and rock spouse, Anita Pallenberg.

I had given Monet a couple times before we did this shoot together and I saw that Monet worked best when she was given a part to work with. Having her walk and move around worked superior to anything remaining on a consistent and posturing. So I took her out to the slopes in Malibu and we simply played. The outcomes were magnificent to the point that I did my extremely display show with the 16 pictures we got from our one day shoot.

Set Up a Simple Photography Studio

Let’s start with the most available light there is, daylight. It might seem silly, but using the natural daylight, will provide you with the best light there is. Studio lights, are built to try and mimic this light in it’s various forms. Sitting your subject next to a window, will provide a very complimentary colour and softness to the light. The softer the light, the more it wraps around your subject.

If using the window method, try both direct sunlight and indirect shaded light for different effects, and the best part, it’s free! To mimic this kind of light we use studio strobes or “flash” as they are commonly known. The easiest set up to get, is a single strobe and a large reflector and stand. Many places sell these as kits for as little as $600, sometimes including remote wireless triggers, so you don’t even have to be anywhere near the lights when shooting. Compare that to an on-camera flash kit, which can cost $400 up for a good system, the extra few dollars are going to give you so much more creative freedom to experiment. Look for kits that include the light, stand, remote trigger and a softbox. You must get a softbox. No softbox, no soft complimenting light. If not included, they start relatively cheap anyway, at around $100, often less.

A system offering around 400 watts of power is plenty for a small studio, but make sure you can adjust the power up or down by at least 1/4 of a stop with each change. Good systems such as those from Elinchrom and ProFoto provide great control in 10th’s of a stop. Small, but often needed for subtle improvements. Light with a basic reflector that offers gold, silver, white, black and translucent, will serve the best. These are known as 5 way reflectors. The gold offers a subtle, warm (orange) tone, whilst the silver cools the light down with a slight blue cast. White adds light to increase the exposure, and black subtracts light, adding a high contrast look. The final element is the translucent disc, acting like a small softbox or cloud. To explain, clouds make for the perfect softener of light, acting as a gigantic “diffuser”. The larger the light source, the softer the light becomes, as the further it has to travel across a surface, before spilling into the subject below. As an example, shining a torch through a bed sheet will spread the light evenly, whilst the torch itself, will pinpoint the light. A good start for absolute beginners is to get a continuous light kit, instead of a flash kit. With the continuous kit, simply switch it on, look through the viewfinder, and what you see is what you get. Problem with continuous lighting is, it’s often hot, tungsten lights are noisy, cast a yellow light, and become very hot to touch within a very short time of turning them on. New manufacturers are making this easier, with cold LED lights that mimic daylight, but have a big cheque ready if you want a set. A simple strobe kit is not hard to master.

Droste Effect Photography

Use photo editing software

Once you have taken a photo that you are happy with, open up your photo editing software program of choice, and open an image on your computer that you want to apply the Droste effect to. Your photo editing software program will open the file for editing. Using an eraser or brush tool from the control panel, click on the slider to make the edges of the eraser feathered. You may want to play around with a number of different brush presets in the control panel area before you choose on a tool which will best create this effect. An eraser or brush tool with a feathered edge can soften the transitions between the different images that you will use to create the Droste effect.

Use the brush tool to erase portions of the image

Using the brush or eraser tool on the photo that you want to edit, erase regions of the image which have an outline. If you have opened a photograph portrait of a face, use the eraser to erase areas of the face that have strong outlines, such as the hairline and the eyebrow. Use a layer in the control panel that will enable you to duplicate the image, and then drag the second layer so it is placed underneath the original image. You will be able to see the original image underneath the areas you have erased using the brush or eraser tool.

Rotate the layer

Use a tool that enables you to rotate the second layer to a different position than the original layer. You should be able to do this by dragging the corners of the box of the duplicated layer and rotating the image to a different orientation. Drag the box corner slowly until you are happy with the finished result. The duplicated layer should appear much further back in the image, creating an almost 3D-like quality. Repeat this process until you have numerous layers which have been rotated. You may need to employ trial and error until you end up with a finished image that recreates Droste effect photography.

Comparing Digital Cameras

If you are going to buy a digital camera for yourself, to compare different digital cameras is a must for you. It will make your buying simple as well as less time consuming. If you want to know a few basic guidelines for drawing fair comparisons between a plethora of options available in the market, read the article. It will definitely help you make the best deal for you.

There are many factors that make a particular camera better or worse for you. The pixels, optical, memory, camera size, digital zoom and cost of various digital cameras should be compared well before picking any camera. The important task is to put through a sieve all the hype and get the best digital camera suiting your needs.

But before you start comparing the features of different cameras, it is important for you to make certain basic decisions. They are related to identifying your basic needs and prerequisites for the camera. Decide on why you need a digital camera. The purpose should be well-defined. Ask yourself, is it for taking candid snapshots or for serious photography. If you are buying the camera for clicking pictures for an exhibition or a photo website, the criterion of purchase will definitely change. There are different sizes of models that include compact, miniature and big size cameras. Be clear about the size you need to buy.

Then you may start comparing the specific features of the digital camera. You can compare the quantity and quality of the pixel. The more the pixels in the camera, the clearer and quality pictures it would produce. The pixels are nothing but tiny squares of color and light. Thus to get the best camera, you should have the best pixel quality. The sensor of the camera can be called as its eye. Generally, the digital cameras with larger sensors have better quality diodes, which result in sharp and clear pictures.

You should also compare the digital camera on the grounds of its memory. All the digital photographs require the storage capacity of several megabytes. You should compare the capacity of built-in memory of the digital camera. You should certainly go for the one with more battery capacity. A general guidance principle is to have a battery with at least 256 to 512MB of memory. It is important to check the memory compatibility while comparing the digital cameras.

You can also compare the SLR digital camera with compact digital camera. There are many features that you may find in a compact digital camera but not in the SLR digital camera. It can also be vice versa.

The SLR cameras are big cameras, efficient in producing clear, sharp and quite colourful images. While the compact cameras are very small in size and can be slipped in to your jeans pocket quite comfortably. They may not compete well with the SLR digital cameras when you compare their features. But, their size is the feature, which is the major attraction for purchase to many users. When you would compare the working and results of both of these cameras, you can decide as to which one suits the best to your needs.

There are more features that should be compared before buying a digital camera. Optical zoom is much better than digital zoom. Compare the speed of the shutter, time taken to start up, the level of manual override and how instant is the auto focus of the camera.

SVP Digital Camera Review

Don’t expect professional results with this camera, but you’ll be surprisingly pleased with the versatility this little compact outfit provides. With all the features you’d expect to find in popular brand ‘point and shoot’ cameras, this compact system will easily fit into your BCD pocket. The specifications are listed after our review comments. Since the factory marketing brochure supplied these, we cannot confirm or dispute them.

First of all, before using this camera… view the enclosed DVD instruction manual provided with the camera. There are many features and settings that you’ll need to know before you get out on the water to use your camera system. We’ve used many different brands and all seem to have some logical settings and some not-so-logical procedures. Like most ‘point and shoot’ cameras, there is a delay between pushing on the shutter and having the actual shutter operation. After you become familiar with the operation of the camera and the features you’re ready for the underwater part.

Like any housing, you need to keep the housing clean and free from sand or grit that could create a leak. Since the main seal is not really an o’ring, I was very careful to clean the surfaces with a cotton tip (Qtip) and apply some o’ring grease to the surface as well as a thin film on the seal itself. The seal is sort of a wedge shape, so it should provide a good positive pressure seal. The clean part is more for all the little control buttons that allow you to change settings of the camera underwater. We’ll get into the best settings we found when using the camera underwater.

When they say the housing is good to 15 meters or around 33 feet, they are not lying. Not that we were trying to flood the housing or anything, but at 60 feet the camera is not operational because the pressure is squeezing the controls and shuts the camera off. At 40 feet, you might get the camera to work, but don’t count on changing the settings. At 35 feet the camera seems to work fine with all the features and settings operational. For many divers, this will be too limiting because most of your dives will be deeper than 35 feet. However, keep in mind that the red/yellow/orange end of the spectrum is filtered out beyond this depth too.

The camera and housing combination are well matched and easy to operate. With the clear plastic housing, you can easily see the settings on the camera. Like most digital displays certain angles are more difficult to see, but with the proper shading and angle everything is visible on the 2 inch screen. Even though you can change the lens focal length from wide angle to zoom, we kept the setting on wide angle for the dives during the whole process because of the water. Keep this in mind for all underwater photography; stay close to your subject and use the widest angle possible for better results.

For the still shots, the camera was set for the strobe to fire with each shot. This uses up your batteries faster, but if the subject is closer than 8 feet, you’ll have better imaging and color. The best results were our macro shots where we set the camera for ‘close-up’ and used the flash. When using the movie mode, you’ll be impressed with the sharpness of the images, but don’t expect high quality audio. The housing must absorb a lot of the sound as much of the underwater audio is muted. More than likely, you’ll edit with some musical background anyway.

The color balance was a little off. We did change the settings according to the instructions and the results were that the color balance was a little on the blue side for topside shots. This was not an issue for the underwater shots as the greenish tint of the water was eliminated. Most of the color balance issues can be handled in the editing phase.

The claim of being 12.0 mega pixels is a little deceiving because this is the ‘hardware interpolation’ not the ‘image resolution’ which is 5.0 mega pixels. All in all, we were not disappointed in the quality results of the better pictures. However, some of the shots showed camera shake even with the built in flash. This means that the shutter does adjust for the amount of light, so it’s important to squeeze the cameral and hold it as still as possible.

We used an 8 GB SD card because we expected to take a lot of video and had ample memory space for two dives. We didn’t use the provided USB cable because we use a card reader to our laptop and then back up the memory to a portable hard drive. The power source uses two triple A Alkaline Batteries, so it’s not a problem having new batteries for each dive. We didn’t use the ‘voice recorder’ feature, but from our underwater video experience, it would not be recommended inside the underwater housing.

Now for the bottom line advice on this gear: If you plan to take your underwater imaging seriously, save your money for a more comprehensive system. This could be the perfect outfit for a sport diver that wants to share their diving experience with their friends and family. For less than $100 (prices range from $70-100), not including your SD Memory card or batteries, it is a value. The SVP cameras are available at some dive shops and are directly marketed from several importers online. The next “point and shoot” underwater outfits, without an external strobe, will most likely cost over $500. So, if you are going on vacation and thinking about having your own digital camera outfit for shallow water, this is the answer. Of course, for around $35 at most diving centers you could rent a camera with everything included. Sometimes the choice is not easy, but you can know a lot more from someone who has tested the SVP out. It is a great still and video camera outfit for around the water and underwater to about 35 feet.

Ways to Earn As You Shoot

Sell your photos at local art shows

One of the best ways you can make money from your photos is to sell your prints at local street fairs and art shows. You can turn your best photos into small postcards, framed prints, or canvas art pieces and set up a stall to display your work. Look online for art shows and fairs in your local area, and set aside a budget to have your photos printed in a number of different formats in professional quality. You never know who might see your work, and selling your prints could lead to a number of different work opportunities.

Take on some paid jobs

Although it might not be the type of photography you want to specialize in, you can make money from taking photos at weddings, anniversaries, birthdays and engagement parties. Create a blog or website that lists your fees for these services and post examples of your work online. When taking a job, always discuss with the client about the particulars of the project. You can even take photos that you are particularly proud of and add these to your portfolio. Leave business cards with local businesses, such as hair salons and florists, or take out an advertisement in the classifieds section of your local newspaper. You might even want to offer to take free photos at a charity event in order to network and meet potential new clients. Talk to friends and family members about whether they know anyone who requires a good photographer for a social function or event, and start planning how you can make money from offering this service.