Hobbies Healthy: Agustus 2008

Minggu, 17 Agustus 2008

Film Verses Digital – What’s the Difference Anyway?

by: Tedric Garrison

In the old days, if your camera (35mm of course) had a battery die on you in the middle of an important shoot, you still had options. I mean after all; the only thing you needed the battery for was the light meter, it’s not like your whole camera will shut down if you have no battery. Oh, I’m sorry . . . if you are using all digital that might have stung just a little bit.

The point was if your battery died, you still had a way to get a good picture. If you were using 100 speed film you could set your shutter speed to whatever the flash sync speed was (usually 1/60th or 1/125th of a second), set your f-stop to f-16, and bracket every shot. Besides the obvious dependency on batteries, there are other differences between film and digital cameras.

If you have ever shopped for a digital camera you have no doubt heard the phrase: “35mm equivalent”. This means that the optics are not exactly the same in a digital camera. Since the 35mm SLR camera has been the standard for so long, that’s what newer cameras are compared to. The difference between the two is a ratio of 1:1.4. Simply put, a 35-200 zoom on a digital camera would be like having a 49-280 zoom lens on a traditional 35mm camera.

The main reason the optics are different is because the sensor (the device that actually reads the light) is also a different size. Film cameras use film (sensitive to light) that is placed directly behind the lens. When the correct exposure is calculated, that image is literately burned into the film. Digital cameras use a sensor; that also sits behind the lens. This sensor is made up of millions of individual points that each represents 1 pixel. Once the sensor has gathered the information for each pixel it transfers that data to a digital media card (which can be used repeatedly.)

The sensor is the physical device that gathers information about the quality of light coming into the camera. The process of “how” the sensor goes about gathering information is referred to as “metering”. The human eye can distinguish a range of about 16 different f-stops; camera meters only have a range of about 5 f-stops. This is why camera meters are calibrated for a “mid range” exposure of 18% gray, because 90% of the time that is as close as they can get to the human eye. It’s not the camera’s fault that it can not see as well as you do, it’s simply a fact of life.

There are basically only three types of metering systems.

A) Spot Metering
B) Center-Weighted Metering
C) Matrix Metering

Spot metering as the name indicates only reads a small spot or portion of the overall image (usually 1% to 3%). This type of metering is useful in any situation where the lighting is extreme. Backlit subjects, macro shots, or even pictures of the moon can benefit from this type of metering. This type of metering is usually found on the more costly upper end cameras.

Center-Weighted metering averages the overall scene with an emphasis on the center area of the frame. Usually this type of meter bases its reading with 75% of the light hitting center frame and 25% for everything else. It assumes that the subject is dead center, most of the time. It is worth noting that most center weighted systems have a greater sensitivity in the bottom half of the frame; to avoid an overly contrasting sky from throwing off the readings. This type of system is the most common used in both digital and traditional cameras today.

Matrix Metering splits your image up into anywhere from 3 to 16 metering zones and evaluates the different zones to come up with one over all reading. In this process of evaluation it takes into account factors like: subject size, position, distance, point of focus, over all lighting, color and more. This system uses a microchip which has been exposed to thousands of different picture-taking situations. Currently this is the most complex and the most accurate metering system to date. This system is usually found on the higher end Digital SLR’s.

I used the word “digital” several times, but these are the same types of metering systems used in traditional film cameras as well. The only other way of reading light has to do with “reflected light” verses “surface light”. Most meters in the camera are reading reflected light (light reflected off the main subject that goes back toward the camera.) Every so often you might see someone with a hand held light meter that will go right up to the subject and read the light that falls on the surface of that subject. Some photographers still debate which way is more accurate. In my opinion; “Spot Metering” does basically the same thing.

All photographers have their favorites; Canon, Nikon, Kodak. Some choose digital, some choose film. The thing to remember is what we actually need to get a great photo. Things like composition, leading lines, framing, and the rule of thirds are much more important to our success as great photographers than the physical tools we use. On the other hand, knowing what your camera can or can not do, let’s you know if you have the right tool for the job.

About The Author

Award winning writer / photographer Tedric Garrison, has 30 years experience in photography. As a Graphic Art Major, he has a unique perspective. His photo eBook “Your Creative Edge” proves creativity can be taught. Today, he shares his wealth of knowledge with the world, at: http://www.betterphototips.com

Repetition a Visual Tool - Turning Chaos into Art

by: Tedric Garrison

Repetition is a creative tool. When you repeat a certain size, shape, or color you add strength to the overall image. Repetition is a basic concept in the art world. A really good photo tip worth remembering is: if you repeat something once or twice it becomes more interesting. If you repeat something many times it becomes a pattern and takes on a life of its own. Patterns give us order in an otherwise chaotic world. There's something fundamentally pleasing about seeing order in a photo and knowing what to expect. In most cases, repetition is a tool used to calm the viewer, making them feel comfortable and at peace while enjoying the view.

A single, simple subject with a plain non-distracting background definitely has its own strengths, but it is NOT the only way to keep a viewers attention. Patterns are to photography, what Rhythm is to music. Without the limitation of just a single point of interest, repetition helps your eye dance from point to point with pure delight. You are not asked to make a judgment of the subject, simply to explore it. Like music, you are not expected to just listen to a single note, but to take in the high notes, low notes, the movements, and the beat. The goal here is not to just look a good photograph, but to experience it. Thus, when repetition is used correctly . . . it can greatly increase the emotional impact of your images.

Patterns and repetition can be found all around us: a row of trees, a field of sunflowers, or a line of children waiting for a bus. When you get into the world of Close-Up Photography, you will start to discover a whole new world of patterns. Often things that you perceive as solid or even as a single texture are made up of much smaller patterns. Look at the surface of an orange for example. Each dimple, each bump, each hill or valley contributes to what most viewers consider one smooth surface. Of course not all repetition is 100% uniform. Think of a choir in a concert, every individual may be wearing the same robe to represent their organization . . . but they are still all individuals.

Obviously too much of a good thing; can, sometimes become bad (or stale or boring). It’s like when you first start taking photos using a star filter. Occasionally, it makes some really cool effects and you have some unique images. But if you used it ALL the time; what at first seems unique now becomes common place, or worse yet . . . out of place. A shot of a race car, doesn’t really need a star shinning off his front windshield, to be interesting. There is a time and place for everything, and repetition will not cure all boring shots. In fact . . . if you’re not selective about when you use it, it could make things worse.

Another photo tip to keep repetition from becoming boring is to deliberately “break” the pattern. Think of a fruit stand with an entire box of big red juicy apples. Now take one of those apples out and replace it with an orange. This technique is often referred to as creating a “Spot”. A spot is nothing more than the deliberate use of opposition to force the viewer to look again and again. It may seem overly simple, but changing a single element in your shot can often make the difference between boring and fascinating.

Keep patterns and rhythm in mind when you line up a number of people for a group portrait. Here you will be dealing with similar shapes. Try to place them in a pleasing pattern. Start with three people and have them line up so that their heads form a triangle. As you add people form another triangle. You are adding to the pattern by creating a rhythm of triangles that dance together. A group of nine people on their own could form an ugly mob . . . or they could form a very pleasing family portrait if you use the concept of repetition. Remember repetition is a tool, what you build with it determines if people consider you a Master Photographer or just “weekend warrior” who takes snapshots.

About The Author

DPI and Why - Resolution Does Matter

by: Tedric Garrison

When I started on the internet I was a photographer and a science fiction fan. Since I had no science fiction photos of my own, I started surfing the web. After several months of looking through many Sci-Fi web sites, I realized that most of those sites used small thumb nail size prints (usually 1 inch x 1 ¼ inch or smaller). This was back in the days that a 28.8 modem was considered high speed.

The reason these thumb nails were so small was that it took so much time for the pictures to come up on the page. When you clicked on an individual thumb nail; a larger version of the picture came up (usually 4x6 or bigger), but it would take a very long time to do so.

Searching all the big images I could find; I saved the ones I liked, and brought them into Photoshop where I could compress them. I made my own site with images that measured a whopping 2 inch x 2 ½ inches, which was better than the small thumb nails I saw every where else. I quickly found that over 90% of their images were saved at 72dpi; so that’s what I did. For several years, I saved all my photos at 2 inch x 2 ½ inches and at 72dpi.

As my interest in photography continued to grow; I realized that a Sci-Fi web site might be cool but it made me no money. I needed to put up a web site of my own photos. By now I was using a 56k modem and decided my pictures needed to be bigger. When I scanned in my pictures I usually did them at 100% at 72dpi; so that all my images on line where now 4x6 in size.

After a few years my lab started offering pictures on CD. They were also 72dpi so I didn’t have to scan them in anymore. Life was good; but they used file sizes like 44 inches x 56 inches which at the time I really couldn’t figure out. I didn’t know anyone who ever printed something that big; so again I took those images and compressed them back down to 4x6 inch size.

Eventually, I started doing the same thing but saving them as 5x7 inch size. My new site (betterphototips.com) looked impressive and actually loaded very quickly. Yes, I also eventually stepped up to real high speed (1.5mbs per sec.) Life was good again; until I went back and started pursuing one of my other great loves (writing). I figured rather than just using this site as a gigantic portfolio; why didn’t I offer something for sale as well. You know the old adage “write about what you know best”? To me it made perfect sense that I should start writing about photography “how to” tips. That’s when things started to get complicated.

When I looking around at self publishing and print on demand publishing, I found that they all wanted pictures to be 300dpi or greater. This was a total shock to me. I had thousands of images ready to use, but they were all saved at 72dpi. I thought that Photoshop could save me again, so I started converting them to 300dpi but something didn’t look right. My 300dpi images looked worse than my 72dpi images. I was at a loss. Then I went back and did my research.

The reason the images on a CD from the lab are so huge (in measurement) is so you can use the images in either format. 72dpi is exactly 25% of 300dpi. If you want your 300dpi images to look as razor sharp as your 72dpi images do on line, the print has to be 75% smaller. In other words, an image that measures 44 inch x 56 inch at 72dpi would be the same quality as an image that measures 11 inch x 14 inch at 300dpi.

If you take an image that was originally 5x7 inches at 72dpi and try to convert it directly to 300dpi, it is not a pretty picture. Similar to the equivalent of the right f-stop and the right shutter speed, you have to take both factors into account! DPI and Size are forever tied together. You can not change one without affecting the other. It is much easier to make something smaller that looks good, than to try to enlarge something after the fact and try to make it look even close to the original. That being said, the best photo tip I can give new beginners today is: ALWAYS save your images larger than you expect to use. Do not waste 15 years of your life and thousands upon thousands of images that can only be used in one way. Always save large!!

About The Author

Understanding Light - And Shooting It Right

by: Tedric Garrison

In 30 years of photographic experience, I’ve made several great friends who work in Photo Labs. When asked about the biggest mistake they see every day; the response is always the same. They usually answer after a long sigh, "These people just don't understand light."

Remember: all cameras average the existing light. What that means is, just because you can see it . . . doesn't mean the camera can. The human eye is far more sophisticated than the most expensive camera money can buy. If . . . for example, you stand someone in front of a bright window, your eye can still tell who that person is . . . but the camera can not, at least, not without help. Your eye will zoom into a person's face and ignore that bright light around them, but the camera will not.

The camera's whole purpose in life is to make an image that is 18% gray. Long ago, someone decided that 18% gray was as close to the human eye, as a camera can get. But if for example, 80% of the picture frame is filled with light that is brighter than 18% gray, what does the camera do? It tries to average out the given light. It will take your best friend and makes him or her, a silhouette. Don't get mad at the camera, it's only doing what it's told to do.

Remember, if you want a subject to actually be white (a wedding dress for example) you will have to give the shot more light than the camera suggest. If you want it to actually be black, (a black horse for example) you have to give the shot less light than what the camera is indicating.

I like using a flash and do so about 80% of the time. Some events won't allow a flash indoors. If that's the case, get a higher speed film (400 or 800 ISO) and use a tripod. If you can't give a subject more light, give it light for a longer period of time. If you use a flash, the camera speed is usually about 1/125th of a sec. or faster. But if you’re not allowed to use a flash for example, you may shoot available light at 1/30th of a sec. or slower. (That's why I also suggest the tripod.)

I use flash more than most photographers I know, even outdoors, (when I happen to be shooting people, that is). Why? Just because there’s plenty of light, doesn't mean that it's the right kind of light. Bright light (like at high noon) causes harsh shadows. I can give a short burst of flash (commonly called: "Fill Flash"), and suddenly my colors are more vibrant and the shadows are less harsh. Keep in mind, if you don’t want the flash itself causing harsh shadows it has to be higher than your subject. That’s why studios use those light stands to begin with.

You have to make the decisions about how to expose your photos, not the camera. The camera is only a guide, but it has no artistic taste. It will only do what it knows how to do, which means it will give you an average exposure. If you want your shots to look extraordinary, don’t rely on just an average reading. There are 26 letters in the alphabet, but not every combination makes a great novel. What you do with those 26 letters determines if you are a great writer. What you do with the information your camera has, determines whether or not you are a great photographer.

About The Author

Lines - Your Best Friend or Your Worst Nightmare

by: Tedric Garrison

In music; if you had to start at the very beginning, you would start with “Doe, Ray, Me” or so the song goes. In art it would be “Line, Texture, and Light.” Keep in mind that if you want to be a great photographer, you also want to be a great Artist. Anybody can go out and buy a cheap camera, and push the button. That does not make them a great photographer. But the truly great ones like: Ansel Adams, Imogen Cunningham, and Edward Weston all had one thing in common. These people knew art and the elements of design.

Lines can be seen or not seen. They can be solid objects or merely implied. Lines can be straight, curved, or jagged. They can lead your eyes into your photograph, or distract you and force you to look elsewhere. A line may be continuous and unbroken; or it may consist of isolated points that are visually connected by the human eye on some deep subconscious level. In short, they can be your best friend or your worse nightmare.

Vertical Lines represent vitality and strength.

Horizontal Lines represent tranquility and being at peace.

Straight Lines represent tenseness and precision. These lines are often used to make a

positive statement.

Slightly Curved lines are loose and flexible. These lines are often thought of as sexy.

Vigorously Curved lines change direction more rapidly. These types of lines are considered more active and forceful.

The Arc of a Circle is very consistent in change of direction. These lines used carefully can demand attention, however . . . used casually it can also be the most boring.

Diagonal Lines lead the eyes. If you are aware of that fact, it can be good, if you are not,

it could be a disaster for your image. They can lead towards your subject or away from it.

The Jagged Line with its sudden, abrupt change of direction suggests energy, activity, or conflict. If you want an emotional response, be aware of these lines.

So who cares about all these different types of lines? You should, if you want your work to look its best. If you shoot a tall powerful waterfall; do you hold your camera in a vertical position or a horizontal one? If you want to shoot a calm peaceful lake with a mountain reflecting off the surface, which direction would you shoot? When your picture says one thing, and you shoot in the opposite direction, you've lost all credibility as a great photographer. Even if the scene is beautiful, if the format doesn't fit the image, you just got lucky.

When I was in High School, I took pictures of everything. I won several awards. Everybody knew I was a photographer and life was good. When I went to college, a teacher reviewed my portfolio. After studying every picture, he said, “Do you know what you’re problem is?”

Unaware that I actually had a problem, I nervously replied, “No. What’s my problem?”

“Your problem is . . . you were told you were good,” he answered calmly.

Confused, I humbly asked, “and why is that a problem?”

He grinned as he replied, “You’ve been told you were good, by people who have no idea what good really is. Now, I’m going to teach you how to be good, according to standards of those of us in the art world who know what good really is.”

The very first photo tip that this great teacher taught me was about lines. Leading lines lead. That’s what they do. They can lead your eyes deeper into the image, or . . . they can lead it off the page all together.

Occasionally the line in your photo is the subject (like a wall or a fence), but most of the time lines are the thing that introduces your subject. If you were to be introduced to a new potential customer, would you want that introduction to be positive or negative?? For most of us when someone views our work for the first time, that is our introduction. If the lines in your image support or lead to the subject, that’s a good introduction; but . . . if the lines are in conflict or actually lead you away from the subject, that’s a bad introduction.

Different types of lines send out different messages. The good news is you control how the viewer sees those lines. Being aware of lines, both seen and unseen is one of the first steps in becoming a great photographer. Using lines to your advantage is one of those little known photo tips that can take your work to the next level.

About The Author

The Rule of Thirds - Raising the Bar of Excellence

by: Tedric Garrison

The three greatest photo tips of all time as far as photography is concerned include: leading lines, the rule of thirds, and framing. This article will only address one of these, but once you master all three of these, your photography will look better than 90% of all photos out there. Don’t believe me? I once did a project where I looked through 200,000 professional stock photos and was only able to find 50 that had mastered all three of these elements.

Centuries ago, Greek artists discovered that the eye tends to focus on certain points in any given image. If you divide your picture into thirds both horizontally and vertically, the points at which those lines intersect are the points where most people focus comfortably. You don't have to draw an arrow, in most cases this is where they will look without any coaching from you or anyone else. This is commonly referred to as the "Rule of Thirds".

By placing your subject (or point of interest) at one of these natural focus points, you have greatly increased the odds that the viewer will indeed be captivated by your work. As you do this more and more; people will notice that for some reason your work seems more interesting than their "Bull's-eye" type snap shot. They won't understand it, but they will be drawn to your work just like a magnet.

The Greeks and Egyptians were great mathematicians. I on the other hand; am not great at math, but I do understand the concept of 1/3rd in from the left or right and 1/3rd up or down. Those who know the formula will argue that it's not exactly 1/3rd, but that's OK. One of the things the rule of thirds does for your image is to give it movement. But wait a minute; you're asking what if my subject isn't moving? That's fine, but it gives your mind somewhere to go with the image. When your subject is dead center, your mind takes one glance and says, "Ok, next." Remember: "It's kind of hard to experience a photograph, if there's nothing left to the imagination."

Even when doing extreme close-ups it is possible to use the rule of thirds. Think of a beautiful models face, what's the first thing you look at? Do you immediately look at the nose? No, I doubt that very much. Usually you either look at the eyes or the lips. Both of these happen to be located where? Both of these heart stopping subjects are located 1/3rd up or 1/3rd down from dead center. Since the nose is usually located dead center; that's why I tend to doubt that it was the first thing that would catch your attention. I'm not saying a person can't have a cute nose, but where it's placed in the picture will determine just how much attention it will get.

Most girls are self conscious about their looks, that's why they tell you to back up. But in reality, that's exactly why you should NOT back up, in fact, you should probably get closer. If you shoot full body on a regular basis, what is usually at 1/3 from the bottom? If a girl is thinking she's fat, you don't want people staring at her waist. Force the viewer to look at her strength's. Draw his attention to her dreamy eyes; or her wonderful smile, not a few extra pounds at her waist.

This same concept works for other subjects besides people. Let’s say you have a beautiful stream coming down a mountain side. If you shoot horizontally with the stream dead center, you cut the photo in half. Now in this example, we also have to consider leading lines. If you shoot the stream diagonally and it ends somewhere in the lower left third of the picture, you have still taken advantage of the rule of thirds. This is one of those “professional photo tips” that allows your viewer to experience your photo and not just glance at it.

When you can guide someone into an image and allow them to have an emotional response, your work is much more likely to be remembered. When you use the rule of thirds on a regular basis, you have raised the bar of excellence in such a way that people can not help but to be refreshed and invigorated by your work. If they feel that good just by experiencing your photo once, think how much better they will feel when they start buying your work and enjoying it everyday.

About The Author

Size Does Matter - Creating a Visual Reference

by: Tedric Garrison

Take a waterfall, tall and beautiful. Now visualize a small stream trickling over the edge of a few large stones. If you shoot it just right, they could look the same. “Wait a minute,” you're saying, “those are as different as night and day.” That’s a good point, but unless you also include something to compare the water to, you have no point of reference. This concept is generally referred to as opposition.

Say you’re hiking in a National Park, and find a really cool waterfall. You get close to capture detail, and shoot against a clear blue sky (so the background won’t distract.) You tell your friends about the adventure, and eagerly await your pictures from the photo lab. When they finally come back, you flip through the shots looking for your master piece. When you finally see it, your heart sinks. It looks OK, but there’s no magic, no majesty. It’s just not the same.

What happened? When you saw it live, you were there. You climbed over rocks; you walked through streams, and pushed pine branches out of your way. When you looked through the view finder of your camera, these images were also in the back of your mind. The human mind is a wonderful creation; it takes images, sounds, and smells and blends them all into wonderful memories. The problem lies in the limitations of the medium.

A photo tip worth remembering is; we experience in three-dimensions; but we photograph in two-dimensions. Opposition is one of several creative techniques that makes your photo appear more three-dimensional. The more three-dimensional you photo appears the more likely your viewer is to experience at least part of what you did when you took the shot.

Size is relative. A small mountain may seem big compared to a boulder. A boulder may seem huge compared to a rock. Even a small rock will seem gigantic compared to a grain of sand. In the world of micro photography, even a grain of sand could look like a vast landscape if there was nothing to compare it to.

At one time or another, most of us have seen a close-up of something that made to make us think it was something else. Why did we not recognize the item for what it was? Simply put, you had nothing to compare it to. You had no point of reference. This works in both directions, small and large. I'm a big fan of simplifying an image when you can, but there are times when you can simplify too much. Leaving a rock or a branch in the edge of the picture can often mean the difference between a nice shot and a great shot!

A few years back I did a series of nature shots in which I included a “Barbie Doll” in every shot. This was the California doll; because her skin was more tan than most, so from certain angles she did look more realistic. Most of the shots I did either had the doll in silhouette or they were looking over her shoulder from behind. In most cases, I could have used a real model, but not all of them. One shot in particular showed this beautiful girl who had apparently hiked through the woods (pine needles were framing the shot) and she was looking at this gorgeous waterfall. The catch was: the waterfall in question was only 24 inches tall.

Think of your subject as the star in a major motion picture. Often that star does well, because of his or her supporting cast. No one is expected to go through life as a one man show. The people we meet, hang out with, or interact with also influence how people see us. Your subject; be it human or nature, is the same way. Include elements that support your vision, eliminate the distractions that do not. I firmly believe that in order to get the big picture, you need to include the small details. One of those details is showing size, by using opposition.

About The Author

The Power of Opposition - Make Them Feel What You Felt

by: Tedric Garrison

Have you ever hiked for two or three hours to get somewhere; took tons of photos, but when they came back you were disappointed? Somehow you lost the magic; it just didn’t feel the same. How do you know the difference between a waterfall that is 200 feet tall, or an extreme close-up of a creek trickling over some rock 2 inches tall? In some cases you don’t. Now if you are doing that on purpose, that’s cool. It’s called an optical illusion. But . . . if you’re doing it by accident, that’s called poor photography.

If you have ever seen any of the King Kong movies, there is usually a scene where a man steps into the huge footprint of Kong. It’s a great visual! Even before you see this gigantic gorilla your mind starts to comprehend how big he is. This is also a great example of positive and negative space. Positive space usually refers to the main subject, which is usually in the foreground, but not always. Negative space is usually NOT meant to be the main subject, and is usually in the background, but not always. As far as opposition is concerned, the hunter would be the positive space; the footprint would be the negative space.

Using opposition in your own photos can be almost as dramatic. Let’s take flowers for example; they can be as small as a dime, or as big as a basketball. If you shot a picture of a flower and a bee hovered over it looking almost twice it’s size, is that flower big or small? On the other hand; say you shot a picture of a huge sunflower and you had to look twice to notice there was a bee on it, is that flower big or small?

Not every shot needs that type of clarification, but that would also depend on the experiences of your viewer. Believe it or not, not everyone has seen flowers bigger than a human head. If you had to hike in for two to three hours to find a certain waterfall, the odds are that most people you show the picture to will not know how big it is, unless you use your skills to show them in a way that they will always remember.

There are times when photographers; myself included, will add something to a shot on purpose. This adding of a new element is not "Faking" the shot or cheating, but rather giving the original subject something to be compared to. This technique is often used in advertising. Why would you want to have that, when you could have this? Usually the item being added is a more dominant one than what was there before, this helps your mind lean toward the "New Product", whatever that may be.

Most photographs are printed on flat, plain paper. The difference between a snap shot and a work of art is an emotional response. Opposition is one of several tools that helps transform a flat boring piece of paper into a dramatic, emotion driven, work of art.

Similar to good and evil, it is hard to have a dominant subject unless there is also a lesser subject. Often opposition is used specifically to call attention to it’s self. The difference becomes a type of "Spot" in your photograph that draws your attention regardless of the size, shape, or texture. If you can catch your viewer’s attention by using opposition, you can usually sell them on your products or ideas.

You’re probably saying to yourself, “But I’m not selling anything.” Not true, my friend. With well over a million photographers in the United States alone, you are selling your work each and every day. This is one of those principles that starts to separate you from the crowd. You become the master craftsman, the story teller. Even those people who are not visually oriented start to go “Oooo” and “Ahhh” as they look at your work. You lead them into your world and share what you saw in a way that they can also feel what you felt. That’s what opposition can do for your photography.

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The Shape of Things - What to Leave In, What to Take Out

by: Tedric Garrison

Shapes define your photograph. Similar shapes form patterns. Dissimilar shapes draw attention. Imagine if you will a long row of small rubber balls, placed together in a semi circle. The roundness of the ball reinforces the curve of the semi circle. Seeing the roundness causes a familiarity in the image, in other words, it creates a pattern that your eye wants to follow. On the other hand, picture that same long row of balls with a small square block in line about two thirds of the way back. Your eye may still follow the row of balls, but it will stop and look longer at the square. That's not because the square is more interesting, but because it's a different shape.

This process of forcing a viewer to stop and look again is commonly known as creating a “Spot”. A “Spot” does not have to be formed by a different shape. It could be a different color, texture, or size. Most often it's something that is totally different, like a rose in a field full of daises. Being aware of shapes is similar to being aware of lines that can lead your eyes either into or out of a photograph. Shapes can be obvious or not so obvious. They can be real, or they can be implied.

When my wife and I were engaged we had a friend take some photos of us for the wedding announcement. We went to a local park and found a nice interesting big rock to sit on. When our friend took the shots, she was not aware of the shapes in the background. In the distance there was a street lamp. The way the shot was taken the lamp pole was not in the shot, but the lamp part itself was. To this day, we still have friends that say: "Remember that UFO in the background of your announcement pictures?"

Shape adds feeling to the unemotional canvas of a photograph. Edward Weston understood this concept better than most. His study of bell peppers and sea shells lead to some of the most artistic nudes in history. If you want to comprehend shape, study shape, and observe shape in its truest form, look at the pictures of Edward Weston. (1886-1958)

When some photographers seem to take forever to arrange a group of people, what is it they're looking for? More than likely, it has to do with shapes. Three people standing in a straight line is boring. Move one of them up or down and suddenly you've formed a triangle. Take a shot with two couples directly behind each other and visually you have a square. Take a moment to have one person go high and one go low and now the two couple form a diamond. Which one do you think would be more interesting? Take a look at any portrait studio shots and rarely, if ever, will you see people arranged in just a straight line.

Obviously not all shapes have the same impact. Circles and Triangles tend to grab attention. Squares and Rectangles on the other hand tend to blend in. Combining shapes is often what makes the difference between a great shot and a boring one. Shape often goes hand in hand with texture. The roundness of the female form is usually more pleasing to look at than say the coldness of a long rectangular steel beam. If you are really into construction, feel free to disagree with me.

Sometimes shapes are formed by the lack of something; this is often referred to as: “Negative Space”. Positive space is simple. That’s your subject, usually in the foreground. But negative space on the other hand, is what most people are not aware of. Remember the shape of a UFO in the background? Sometimes colors or shapes that are totally opposite of everything in the Positive space, leaves the viewer confused. You might even be saying to yourself, “Something is just not right.” When in doubt, start looking at your negative space. The bright round shape between subjects may actually be pulling your eyes away from the main subject itself. This is a classic example of: Negative Space.

Lastly, don’t forget that where you place the shape also matters. If you are taking a family portrait for example and the father is huge (round or tall) you don’t want to put him right in the middle up front. Why? People will have a hard time looking at anyone else in the shot, if his shape dominates the picture. Place him behind someone else, or have him kneeling so he doesn’t tower over everyone else. Like many elements of design, Shapes can help the images or hurt them. Being aware of shapes can make all the difference in the world.

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Depth of Field - A Major Player in Creative Control

by: Tedric Garrison

When people talk about Depth of Field (also called DOF) you may wonder why you should care as long as your pictures are in focus. Well since DOF is generally referred to as the range of over all sharpness in a photograph; and most people are instinctively drawn to the sharpest part of the photo first, I would say, it is a major player in creative control.

Most articles on this subject immediately jump into talking about f-stops. These are numbers like f-1.4 or f-32 that represent how much light the aperture lets into the camera. I will explain more in a moment, but this is not where I want to start.

There are three basic things that affect Depth of Field and they are:

1) the lens aperture (f-stops)
2) the lens focal length (the size like: 35mm vs. 200mm)
3) the subject distance (how far it is from the camera)

Keep in mind that most digital cameras do not have f-stops as per say. In fact if you have a straight point and shoot camera with a set lens, it may feel like you have no control at all. Do not get discouraged. Although it does take more effort there are things you can do with any camera to enhance your DOF experience.

Both the point and shoot and even many of the more advance digital cameras are based on a false premise. They assume that all people want all their photos, all the way in focus, all the time. “Now wait a minute”, you say. “I want my pictures in focus . . . don’t I?”

When we say in focus, we are not talking about some 110 year old lady who can not hold the camera steady. Here’s a photo tip that many don’t realize; depending on where you focus in any given photo; so much in front of the subject and so much behind the subject will also be in focus. Generally, more will be in focus behind the subject than in front of it. So if you really want a photo sharp from edge to edge, focus 1/3rd of the way into the scene, not dead center.

There are several really good reasons for wanting to choose a narrow DOF verses a wide DOF. Remember Wide DOF means everything in focus all the time. For those who are not quote “into” photography then this mode will satisfy their needs 90% of the time. But for the rest of us; here are some examples of when you may NOT want to shoot that way.

A) Portraits: focus on the person and blur the background. This is helpful when there are distracting elements behind the subject.

B) At the zoo: focus on only one animal. The idea here is to obscure the fact that you actually took the picture in the zoo. You want to make your photo look like you took this animal in its own natural environment.

C) Flower shots: focus on one flower or better yet even just part of a flower and let the others around it become like a painted background for your photograph.

D) Sporting Events: focus in on the one who crossed the line first, jumped the highest, or ran the fastest. You can show the winner better by using creative DOF.

Back to the basic problem, how exactly do we control Depth of Field? Shooting an object that is 5 feet from the camera will have a much smaller DOF range than shooting that same object from 25 feet away. So, regardless of what type of camera you own, move in closer!!

If your camera has a zoom lens (say 35mm -200mm) the smaller the size, the wider depth of field. Most set lens are in the range of 28mm – 38mm, so there is less to adjust, less to think about, and unfortunately less control. However, here is another photo tip you may not be aware of; if you photograph someone using the 35mm end of the scale, more of the photo will seem in focus. The opposite is also true, if you take the same photo using the 200mm length of your zoom lens, much less of the photo will appear as sharp. This is selective DOF, and it has nothing to do with f-stops. Remember that you control which part is in focus.

If you do close-up photography (flowers, insects, etc) the close-focus or macro mode of your camera will already give you a fairly narrow amount of depth of field. But you can push that even further by using filters. Most cameras, will now accept filters. But even if yours does not (set lens again); you can actually hold the filter in place and shoot. Close up filters allow you to shoot much closer than the lens will by itself. They also usually narrow the depth of field and require a little more light.

Many of today’s cameras have more than one auto mode. In a fully automatic camera you have not gained much if any control, but if you have the option for Aperture priority or Shutter Priority you are back in the driver’s seat. Basically put: Aperture Priority means that you control the aperture (or f-stop) and the camera picks the right shutter speed to get a proper exposure. Conversely, Shutter Priority does the exact opposite, you control the speed and it will pick the correct aperture for the given light conditions.

Since I brought it up, I guess now would be a good time to explain f-stops. The words aperture and f-stop usually refer to the same thing. I have absolutely no idea why we don’t call them “a-stops”, but just so I don’t confuse anybody, I will call them f-stops. The f-stop controls how much light enters the camera. Many books and magazines confuse people by referring to how big the opening is and how small the depth of field is. Most people don’t care about the mechanics of the process they just want to understand the end result.

A small number (like f-1.4) means only a small amount will be in sharp focus. A large number (like f-32) means a large amount will be in sharp focus.

But wait, you’re saying to yourself, “I don’t even have an aperture mode.” Maybe you do, and don’t realize it. If you’re camera has little pictures or icons on it like, many cameras do, you may have more control than you realized. The picture of the small head means portrait mode. (Your girlfriends smile will be in sharp focus but not the tree behind her.) The picture of the little mountain means landscape mode. (Your girlfriends smile will still be in sharp focus, but so will the waterfall 20 feet behind her.)

Remembering that most people are attracted to the thing that is in the sharpest focus, it becomes very hard (visually) to be attracted if the entire photo is in complete focus. There is nothing specific to draw the viewers’ attention. By using the creative possibilities that depth of field offers; no matter what kind of camera you have, your images will be much more powerful and interesting.

About The Author

Guitaring Posture and Position

by: Patrick Carpen

Playing guitar has always remained a strong passion among youths and elders of various generations. It is a social instrument that spices up the mood of any social gathering, or of a solitary air in the right harmony. Portable plus multi-stringed, the melodious instrument is particularly designed for public hearing. Even today, guitar plays a significant role in churning up the flavor of life on a musical note.

If you acquire in-depth knowledge of the chords, then you can play thousands of songs without having to struggle much. But there is more to playing the guitar than simply striking the right chords. An apt technique will help you sound like an expert, sizzling a song with its tuneful charm. Taking the guitar in your lap and playing it is not the end of the story. The guitaring posture and position adds to the master stroke of getting tunes precisely right.

You may want to sit in the most comfortable position with your guitar so that you can smoothly play it. It depends upon you to select the right position while playing the guitar, but there are certain guidelines that determine the right position to choose. First, make sure that you enjoy sufficient freedom of hand movement and can easily meet all the technical demands. Secondly, make sure that the instrument is placed in a stable position, to avoid any shaking of the strings. Thirdly, avert any muscular tension in the posture in which you sit.

To ensure a more relaxed sitting posture, beginners sometimes tend to pull the guitar in closer towards them, and then look down to the strings or the fret, which makes it more complicated for playing. Again, placing the arm higher or lower can lead to muscle cramps, so start by sitting on a stool or a chair with your left foot on a foot rest, which should be 10-20 cm in height. Then, place the waist part of the guitar on your left thigh.

To ensure that you do not get a muscle cramp, place the right forearm on the top front edge of the guitar. This will enable you to strum the guitar without much hassle. Keep your shoulders relaxed so that you can lean forward. Place your hand behind the neck and fret board of the guitar so that your fingers reach the strings flexibly. This whole technique of sitting posture ensures a relaxed way of striking the cords without any physical tension.

When standing and playing the guitar, make sure that your guitar is properly supported by a strap. Depending upon the weight and dimensions of the instrument, the breadth of the strap will vary. The guitar should have a hole at each end for attaching the straps. Make sure that the guitar neither hangs at knee-level nor just below the shoulders. Remember that a good seating posture and positioning of the guitar are the basics to technique development.

Hence, if you can maintain the right guitaring posture and position, then you can strike the right note with the perfect tune.

About The Author

Patrick Carpen is the designer, writer and owner of the website http://guitaring.infobay.ws/

Infobay.ws is a content based, consumer oriented website that provides professionally researched, and up to the minute content on selected subjects.

Basics of Guitaring

by: Patrick Carpen

Has the guitar ever fascinated you? If you dream of playing it, your first step should be to learn the basics of guitaring. The guitar is used in a range of musical styles. A guitar normally has six strings, but there are those that have two, four, eight, or even twelve strings.

In forms of pop-like blues, flamenco, country, and rock music, one can play the guitar acoustically. Here, the tone is produced when you vibrate the strings with the help of the plectrum or with your fingers. The vibration of the strings is modulated by the hollow body. For better sound quality, you can also go for an amplifier that will manipulate the tone electronically.

Luthiers are those who repair as well as make guitars. Various kinds of wood are used for the making of a guitar.

You need to tune the guitar before you start trying to play it. There are a number of ways to do this. You could have a guitar tuner, such as a pitch pipe, harmonica, or a tuning fork. Simply play the tuner and try to match it with the note of the guitar strings. Start tuning at the sixth string of the guitar. This is the thickest string among all the strings, and the note played open here is an E note.

Continue tuning with the five other strings in the same manner. Once you do all of this, you have a tuned guitar that invites you to hold it in style and play well. This process of tuning is actually the standard tuning that (EADGBE) you will find the majority of the guitarists use.

The most versatile instrument in modern music, the guitar is a great item that all of you who have a passion for music should learn. If playing the guitar seems difficult, then the reason may be that you are not practicing enough. The truth is, it becomes easy to play if you give it the time and dedication it requires.

When learning to play this fabulous instrument, it is advisable that you start with an acoustic guitar. You also develop good guitar habits when you play the acoustic guitar. The strings of this guitar have more tension and are bigger, enabling your fingers to gather more strength and develop calluses.

Remember, the six strings, EADGBE, by remembering the phrase, "Eat All Day Get Big Easy." Once you can play the acoustic guitar well, you can shift onto playing the electronic guitar.

Also try learning to play some chords. This is an essential part of the basics of guitaring. Start playing the C, D, G, E and A chords first. When you can play these chords really well, try playing the barre chords. Playing a barre chord requires a bit of expertise. It is played by laying your index finger across all the six strings and making up the rest of the chord with your remaining three fingers.

There are other basics of guitaring that you need to acquire if you want to master playing the guitar. Nothing comes easy, so if you dream to play the guitar well, you need to practice. There is no alternative.

About The Author

Different Types of Guitars

by: Patrick Carpen

The guitar is one of the most popular musical instruments, and it has earned a world-wide fame throughout the decades for its melodious sound and tone. These amazing instruments are found in a wide variety of sound quality, playability, and in terms of overall appearance. There are different types of guitars, each of which are chosen depending on certain factors and convenience of the professional guitarist, or the aspiring guitar players.

The first major variety in the list of the many types of guitar includes the Acoustic guitar. There are scores of guitars under the brand Acoustic, varying widely from one another. An acoustic guitar is made of a wooden structure, fixed with a soundboard, and it is free from any external inclusion. The sound emerging from this category of guitars is generally softer than the other instruments included in the orchestra bands. However, they can be accordingly amplified and modified with the needs and requirements of the musician or that of the band. There is, again, a broader variety of these acoustics that include classical and flamenco guitars, steel string guitars, and many more to be discussed. The category extends to both amplified and non-amplified guitars that are used in the different registers, such as the acoustic bass guitar.

Designed exclusively for the execution of a solo polyphonic melody, the magical guitar produces music similar to that of a pianoforte. The finely placed nylon strings on the guitar sound melodious with any music, from jazz to classical. The modern forms of classical guitars were pioneered by Antonio Torres Jurado. There is a roster of classical guitars classified distinctively according to their functions and usages. These include the tiny requinto, the larger guitarron, and many more. The requinto is a well-famed type, found mostly in the Latin-American nations as an associated part of the guitar family.

There are also the more reformed and simplified versions of the classical guitars. The Renaissance and Baroque guitars are smaller in size and are comprised of only four to five courses of strings attached to it. Often used in an ensemble for rhythmic purposes, these two types are quite common in musical performances. While the Renaissance guitar is comparatively simple and plain, the Baroque guitar comes highly embellished in the on its entire structure including the neck and body.

Included among the many other guitar types are the Portuguese guitars, the twelve-string guitars, which are exclusively meant for their traditional Fado song, the Archtop guitars, the Flat-top (steel-string) guitars, the traditional seven-string Russian guitars with an open G major tuning, Acoustic bass guitars, Tenor guitars, Harp guitars, the smaller Guitar battente, extended-range guitars, and the resonator, resophonic, or Dobro guitars.

The electric guitars have become one of the most common and significantly used instruments in any musical ensemble or performance. These guitars basically use electronic pick-ups to amplify the sound and vibration of the strings. They come in a solid or semi-solid structure, and do not use much of the body structure to produce sound. They use amplifiers to produce the maximum amount of sound that is emitted from the instrument.

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Learning To Draw? You're Gonna Need A Pencil

by: Adam Valentine

If you're going to be doing any pencil drawing you're going to need a pencil. I know, I know, thank you captain obvious.... But, in this article I want to talk about some of the different options available.

Here are some of the options:

Mechanical Pencils, Lead Holders, Woodless Graphite, And ofcourse traditional wooden pencils

Mechanical Pencils: You're probably familiar with these. They're the ones that hold the lead (graphite actually) inside and when you push on the eraser more lead comes out. What you may not know is that, like traditional wooden pencils, the leads are available in various degrees of hardness which can be used to achieve lighter or darker tones as needed. We'll talk more about that later.

Lead Holders: These are somewhat similar to mechanical pencils in that you can use various leads with them. But rather than push a button to release more lead, these pencils actually have sort of a claw that grabs onto and holds the lead. Hence the term "lead holder".

Woodless Graphite: These pencils are basically a piece of graphite in the shape of a pencil. There are also some woodless graphite pencils that are encased in a laquer coating rather than wood.

Wooden Pencils: Okay. We all know what a wooden pencil is. It's the yellow one with a pink eraser on top and a number 2 on it. You know, the ones we used to fill in the little circles on our multiple choice tests in school.

Well yes, those are pencils, but a set of good quality drawing pencils comes with a lot more variety than that. All of the pencil types mentioned above come in varying degrees of hardness and are labled with a number and the letter H or B. The pencils labled H are on the hard side and the ones labled with a B are the soft ones. I don't know where the "B" comes from but that's the way it is. Pencils range from 9H (the hardest) to 9B (the softest).

The number 2 pencils we're so familiar with are right in the middle in terms of hardness. They're equivalent to an HB pencil. If you're just starting out drawing or you're just doing some doodling or sketching an HB or #2 will work just fine for you. But, if you want to get a much more interesting drawing you'll have to have some contrast between lights and darks. If all you've ever drawn with before is a number 2 pencil, the way you achieve your darker tones is simply to press down harder.

But there is a better way. That's where the softer pencils come in. After #2 in terms of softness comes B then 2B, 3B ect. all the way up to 9B. Although many artists never use anything softer than a 6B. With a 6B you can get some very dark tones and it's not going to be as soft and thus crumbly as a 9B.

For the harder pencils, I rarely use anything harder than a 2H and that's usually just for the initial line drawing before any shading takes place. Doing the initial line drawing very lightly allows you to erase any mistakes you might have made. Once your line drawing is acurate, it's time to get the softer pencils out and start shading.

So to wrap this up, if you're planning on getting a little more serious with your drawing you'll want to get a set of pencils. There are some sets out there that have just 4 pencils in them. So if you're strapped for cash this is an option. Pencils are also available individually so you can pick and choose whichever number / letter combo you need.

I prefer traditional wooden pencils for my drawings and my brand of choice is Derwent. They make sets of 12 pencils that range from 4H to 6B or from H all the way up to 9B. And, you can get a set of 12 pencils for about $12 - $15 so it's not terribly expensive to get into drawing.

So now go out, get yourself some good pencils, and start drawing....

About The Author

Adam Valentine is a professional artist specializing in realistic graphite pencil drawing. His work can be seen at http://www.adamvalentine.com. He also has instuctional DVDs available at http://www.adamvalentine.com/dvd.html

Christmas and New Year Celebrations on a London Party Boat on the River Thames

by: Keith McGregor

Searching for a unique venue to celebrate Christmas and New Year in London, be it a company Christmas party or group of friends or family, you will find a Thames boat hire an exciting and different venue.

With festively decorated boats cruising the Thames you and your guests will get to take in London’s most famous landmarks lit up in all their splendour. The size of your group and type of Thmaes boat party you want to have will guide your choice of vessel. The Thames in London has many different boats of different shapes and sizes. Options include:

An exclusive meal for 2 on your own private luxury power boat
Company Christmas party for 20 – 300 guests on a Thames party boat
Tickets to join New Years Eve celebrations on a London Party boat
Scheduled Riverboat Disco Cruises for small and large groups

Land venues simply cannot compete, the Thames offers views of the most famous of London’s landmarks, viewed through unique and exciting venues of every style and price range imaginable. Funky contemporary party boats such as the Erasmus or Silver Barracuda contrast with the traditional Elizabethan replica paddle steamer or Edwardian replica steam ship. For smaller parties, a Sunseeker charter provides a luxury or a traditional wooden speed boat for the ultimate in exclusivity. All are fully heated and comply with the most rigorous of Europe’s safety standards – the strictest in the World.

When researching which boat is best for your Christmas or New Year celebrations I strongly recommend you view the boats that match your requirements. You will get a better idea of the size and quality of the boat and straight away see the level of service you can expect when onboard. Generally you get what you pay for, but there are exceptions – London Party Boats that do not present the quality the price they are charging suggests they should.

Once you have chosen the boat make sure you provisionally hold the date and times you would like. Friday and Saturday evenings are very popular so I would highly recommend booking several months in advance if you are after a key date. For example New Years Eve tickets are usually sold out by the beginning of December.

Once booked the operator will take you through the process of designing your boat party. Be aware you will need to pay in advance, often in full.

Boat hire in London is truly a fantastic and memorable way to celebrate this Christmas and New Year.

About The Author

Keith McGregor is a partner of Strawberrysoup, a web design agency with offices in Chichester and Bournemouth. Strawberrysoup specialise in creative web design, content managed websites, search engine optimisation, search engine marketing and graphic design

http://www.strawberrysoup.co.uk/

Aerial photography has many different uses and this will usually dictate the type of photography required. Oblique aerial photography is one of the mo

by: Keith McGregor

Private charter speed boat rides and Thames jet boat experiences are relatively new to the Thames and a welcome change from the traditional slow moving sightseeing Thames boat hire.

Now in their second year Thames speed boat hire is no longer a new fad, but a proven exciting way to view the wonderful sights of London. Generally more popular in the spring, summer and autumn RIB speed boat charters on the Thames have grown in popularity.

Developing from the RIB speed boat rides and other general boat hire in London, earlier this summer London saw the arrival of an exciting new craft, a custom built Jet Boat.

A jet boat experience is like no other speed Thames boat hire available on the water with high speed twists, turns, spins and phenomenal acceleration the Jet Boat Experience provides passengers of all ages with a unique and exciting way to enjoy the river Thames in London.

The boat is on a design used by the Special Boat Squadron and the Royal Marines and has been custom built for operation as a passenger carrying speed boat on the Thames.

With an Aluminium hull, hard cell core foam collar and mid engine twin diesel 250 Steyr on twin Rolls Royce Kamewa jets, this is a rapid and highly manoeuvrable speed boat.

The large RIB’s are still offering the traditional speed boat rides and themed adventure games such as James Bond style blasts down the river. The jet boat experience simply takes this concept of speed and manoeuvrability to a new level of raw adrenaline thrill rides.

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Oblique aerial photography – What is it and how is it used?

by: Keith McGregor

Aerial photography has many different uses and this will usually dictate the type of photography required. Oblique aerial photography is one of the most common forms of aerial photography primarily used for the commercial and residential property markets. The word oblique means having a sloping direction, angle or position, therefore oblique aerial photography is an aerial photograph at an angle.

Oblique aerial photography is usually undertaken using a high-wing light aircraft and a photographer with a hand held camera. A high quality digital SLR is best, not only due to the quality of the images but the weight of the camera body will aid the photographer in providing a sturdy platform from which to take photos.

Construction photography will usually use oblique aerial photography to some degree as it can provide a variety of angles from number of different directions. Where a large building is being constructed this type of photography will allow the customer to visualise the building in its surroundings before it is finished. Computer Generated Images (CGI) can also be used for this. A construction company may also commission progress photography which will use oblique images to show the progress of the building work at regular intervals.

Oblique aerial photography has several advantages over vertical photography:-

# It can show the front/vertical aspect of buildings.
# It can show a greater area of the ground looking into the distance.
# It can give a better perspective of height in surrounding terrain and buildings.
# It provides a more dramatic platform for CGI.
# It is more aesthetically pleasing for display event aerial photography.

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Aerial Photography – Is the supplier legal?

by: Keith McGregor

Although there are many different sectors to the aerial photography industry such as event photography, oblique photography and survey photography it is comparatively small and competition between companies is high. Complying with all the regulations and certifications demanded by the aviation industry is tough but these regulations are there to ensure the safety of the aviators and photographers as well as people on the ground.

In one of my previous articles ‘Aerial Photographic Pilots – Licensing Requirements?’ I outlined the qualifications necessary to undertake aerial work, whether the images are for immediate sale or sale at a later date from an aerial photographic library. The licensing requirements for the pilot are a current and valid JAA CPL.

It is obvious with this type of aerial work that it is not just the pilot who is subject to certification. Although the aircraft often used for commercial aerial photography are high wing light aircraft such as Cessna’s which will automatically fall into the Private Category Certificate of Airworthiness (C of A) commercial aerial photography falls into the category aerial work which means the aircraft must have Public Transport C of A.

A public transport C of A increase the maintenance schedule and decrease the amount the operator can do. For example an operator can change the engine oil on an aircraft with a private category C of A but can not do so on an aircraft with a public transport C of A. This increase in the certification of the C of A must be adhered to or the company will be operating illegally.

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Considerations when choosing an aerial photographic supplier – Deadlines to meet?

by: Keith McGregor

Businesses are constantly working towards deadlines, when aerial photography is used as a marketing tool for commercial property or organisations this is can play an important role in choosing the Aerial Photography Company to supply your images.

When sourcing a supplier for your aerial photographic needs you must ensure that you make your deadlines clear to the company. If an aerial photographic company has a large amount of work to complete and knows that it will be unable to provide the necessary service then they should advise you that they will be unlikely to meet the deadline.

One of the largest problems in the UK is the weather. The weather will not only affect the operation from an aviation perspective, but also and to a greater extent from a photographic perspective. This is the most likely reason for an aerial photographic company to miss a deadline! Although a supplier can’t change the weather they must be able to react quickly, having full time professional pilots and their own aircraft is one way of achieving this.

The type of aerial photography required will also dictate the level of influence the weather has. For example oblique aerial photography of a large area will require good horizontal visibility, usually above 10 kilometres. However, if it is event aerial photography then the work will normally be completed providing the weather minima is above the pilots and aircrafts flying minima. Often large events will be over several days so the supplier should carefully select the day when the weather is at its best to enable the best event photography to be completed.

When a deadline is close it is of up most important to ensure good communication between the supplier and client. It may be possible for the client to accept photography in not perfect conditions, e.g. with cloud shadow. If this is the case then there will be more chance of the supplier meeting the deadline and more chance of a satisfied customer. Construction photography is one area where this maybe possible. The construction industry often uses progress photography to show a large developments taking shape and therefore the timing tends to be more important than perfect conditions/

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Aerial Photographic Pilots – Licensing requirements?

by: Keith McGregor

Aviation is a huge industry worldwide, it employs approximately 29 million people which is more than the employed population of France. For some it is just a hobby and the different levels of training and certification make this possible without the huge costs of further training. However, the lower levels of certification and training also restrict what a pilot can do.

Commercial aerial photography can be a demanding job for both the photographer and the pilot. Many pilots in the United Kingdom who hold a Private Pilots License (PPL) will have taken a camera with them and snapped away to take advantage of the interesting views. This is perfectly legal although the Civil Aviation Authority (CAA) does specify that the minimum crew should be two – how can you fly the plane if you’re taking photographs! If however the images are commissioned or will be sold at a later date, even in several years from an aerial photographic library the operation becomes a commercial aerial photographic flight which falls into the category of Aerial Work. This therefore requires the pilot to have a minimum of a current Commercial Pilots License (CPL).

The difference in training between a PPL and CPL is huge, both in cost and commitment. For example a PPL requires 7 written exams and can be done in several weeks. However a CPL requires all this plus a further 14 written exams as well as hour building and an additional flight test.

Therefore a pilot employed for commercial aerial photography must hold a valid CPL. For this to be current he must have completed 3 landings and takeoffs in the preceding 90 days and must also be current on the type of aircraft he his flying.

Further training and certification maybe required for certain types of aerial photography. For example survey photography or high level vertical photography may require flying at a greater altitude. This may well take the aircraft into Class A airspace which would not only require the pilots to hold a CPL but also a valid Instrument Rating (IR) and of course the Aircraft must also be certified for Instrument Flight Rules (IFR).

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Rubber Stamping – Simple Tips for Enhancing with Age

by: Susan Rice

The element of age in rubber stamping projects adds dimension, zest and your own unique sparkle when you are looking for something new and distinctive. Aging (also known as distressing) your rubber stamping creations can be done simply and inexpensively with common household items. In this article you will learn how to use things like sandpaper, ink pads, candles, scissors, and glue to enhance your rubber stamping projects with age. Use these techniques on their own or in combination with one anther to achieve different distressing results.

BEFORE YOU DISTRESS

First, before you distress your paper, do a layout of the card or page you wish to create. With everything cut to size you are ready to age your rubber stamping project. You may wish to stamp any rubber stamping images where you desire them before you distress. Keep in mind it will depend on the project as to whether to do your rubber stamping before or after the aging techniques.

SANDING

Heavy colored paper with a white core shows this technique well. Using medium rough sandpaper or a sanding block, lightly sand the edges of the paper you wish to rubber stamp on. Sand all other edges where you wish to have an aged look.

INKING

Using a dye based or pigment ink – these are your rubber stamping ink pads – brush the ink pad across the edges of your paper. Hold the ink pad at a 45º or smaller angle as you do this. The smaller the angle the more ink you will see around the edges. You may wish to use the same color that you are rubber stamping with.

CRUMPLING

Try rubber stamping a faded image randomly over lightweight paper. Crumple into a ball and smooth out. At this point you may wish to do some inking over the uneven surface you have created. Complete your rubber stamping project as planned.

TEARING

For this technique be sure to do your rubber stamping first. Tear somewhat unevenly through the image in a couple of places. Ink the edges. Put the image back together on a solid background. This will give the rubber stamping image the look of being broken or cracked. You may wish to run a bead of white glue on the seams.

BURNING

For this method, be sure you practice first. Do not use your finished rubber stamping images on your first attempt. Using a candle, hold your paper horizontally above the flame, high enough that it does not catch fire, hold in this position just until it begins to smoke. Burn edges as desired. Complete your rubber stamping project once the desired effect is achieved.

SCISSORS

Using your scissors as you would to curl curly ribbon, gently curl the corners of your rubber stamping images. Once the desired effect is achieved, complete the rubber stamping creation.

FOLDING

Using heavy paper, fold randomly, sand the folded edge, ink, and unfold. Do this repeatedly until the desired effect is achieved. You may want to do some rubber stamping before unfolding. At this point, smooth out the paper and emboss your rubber stamping image in a contrasting color in the center.

Rubber stamping is a fun and creative hobby. No matter the aging technique used, rubber stamping projects can be enhanced in many exciting and different ways.

About The Author

Susan Rice

To view photos of these aging techniques please visit http://www.clearlyrubberstamping.com/page/1780476

Photographing the Human Body

by: Suzanne VanDeGrift

The human form has been the subject of art for thousands of years. Drawings inside cave walls depicting man and woman as stick type figures were early examples of such art. No matter how bizarre the interpretation of the male and female form appears, it's almost always identifiable. They could be drawn round, thin, short, tall, standing up or laying down, with or without faces, with or without limbs and they're still almost always distinguishable as the human body.

Art classes featuring nude models teach students how the body's connected, so that they can begin to sketch and paint it accurately. Students volunteer to pose nude in college art classes all over the country, where they sit motionless for extended periods of time while students attempt to simulate the angles and shadows created by the model's limbs. Models of all different sizes, male and female, are available and provide an opportunity for students to observe and practice a variety of lines, shapes, shadows and contours. Some classes may be sketching, some may be drawing, some may be painting, where they would learn how to mix the flesh colored paint for their subjects.

Now we've gone from the cave wall, to the canvas, to the camera. The human form is one of the most photographed subjects in advertising. It's photographed fully clothed, partially clothed and fully nude. There are pictures of models in magazines, on billboards, on posters, on book covers, on CD cases and a myriad of other items. The fully and partially nude images can be found in adult magazines, calendars, and adult movie publications.

There's not much needed to take quality, tasteful nude or semi-nude photographs. You need to load your camera case with your camera and accessories and find a private place, with good lighting, where you both will be comfortable. Have some white sheeting to use for backdrops and to spread on the floor, so there'll be no distractions from the beauty of the model. Keep the location at a warm temperature, for the model's comfort. Most important to the end result is your lighting. Just as the sketch artist uses the pencil to add shading, use your lighting to add shadows to accentuate the model's natural curves. If you're using natural sunlight, consider filtering it with something to produce a soft, subtle image.

As with many areas of photography, there can be a good income to be made freelancing in nude or partially nude photography. Research the market to find out what kind of pictures are in demand. And, who you might be able to market your product to. Keep your camera bag stocked and ready and have a couple of models, if possible, available for photographing. Then just start shooting from all angles. You'll be sure to get some priceless, marketable shots.

About The Author

Suzanne VanDeGrift of has developed this article for http://M-ROCK.com, manufacturer of exceptional quality camera bags that are functional and ideal for all levels of photographers.

Creative Ways to display Your Photos

by: Suzanne VanDeGrift

You have a terrific digital camera that you use to take awesome pictures. A great quality camera case that holds that camera, plus all the accessories you need on your photo shoots. You have the memory cards and the equipment to transfer the images to your computer once you get home with your treasured photographs. And you have boxes and boxes of those wonderful photographs that, occasionally, you sit down and look through and then put back in the closet.

Wouldn't it be great to be able to enjoy some of those beautiful shots of that skiing trip you took to Colorado every day? Or those great shots of the kids at the beach last summer? And, how about those wonderful tintypes of your ancestors who came into this country through Ellis Island years ago. Wouldn't it be special to see them proudly displayed, rather than stuck away, forgotten, except for those rare occasions when you drag them out to show the kids? There are so many ways to display photographs today, the possibilities are almost endless.

The traditional way to display photographs is to frame them, or put them in a frame, and either hang them on a wall or place them on some surface. The best way to see how a group of pictures is going to look on a wall is to lay them out on the floor. Move them around, work with them. After you get the placement that is right, then start putting them up on the wall. Remember the general rule for hanging any art, hang it at eye level. And, as with most things, odd numbers are more eye appealing than even.

If you have a staircase, it's the perfect area to display your photographs. It removes the need to hang the pictures in a perfectly straight line, and the effect of the photos traveling up, following the stairs, can make a dramatic statement. It can be made into a theme wall, such as a wedding wall, hanging wedding pictures dating back as far in your family as you can find them. Pictures can be set on anything, a fireplace mantel, piano, dressers, coffee tables and end tables, the television, basically, anything that has a flat top surface can have a picture placed on it. But, you want to place them with purpose. Group a few like pictures together and combine them with a couple quality accessories to make a beautiful table arrangement.

When hanging your photos, there are many options, the most traditional is the picture hanger and wire on the back of the picture. But, there are some other, more creative ways to hang pictures. Using ribbon, for example. There are many techniques for hanging photos with ribbon. You can take two lengths of ribbon and attach them to the back of the picture frame at the top corners. Then bring them together, tie them in a bow, and hang the picture on the wall. A couple pictures hung like this along with a few complimentary pieces, makes a lovely grouping.

Armed with these creative ideas for displaying those photographs you're going to be taking, you'll want to be sure to keep your camera and camera bag close by. Because once you have your photographs arranged, you can cycle the photos with new photographs in some of the frames.

About The Author

Suzanne VanDeGrift has developed this article for http://M-ROCK.COM, manufacturer of highly functional camera bags with an incredible array of user-friendly features.

Creative Ways to Display Those Special Photos

by: Suzanne VanDeGrift

Framing and hanging your prized photographs is always an effective way to display and enjoy them. There are many ways to place them on the wall for variety and to fit the space you're trying to fill. But there're also so many other ways to present those treasured photos that will add an array of variety to your decor.

Take a mirror, for example. You can turn a mirror into an incredible picture frame. First, find a framed mirror that will compliment the style of your furnishings. If you're unable to find one that you like already framed, buy the frame you want and have a piece if mirror cut to fit. Select the picture you want to "frame" in the mirror. Based on the personality of the picture, decide what shape you want around the picture. Lightly draw the shape on the back of the mirror. Then, using a razor blade, carefully remove the silver backing. Take care to make the opening smaller than the picture you're using or use a matte behind the picture for a finished appearance. Tape the picture and the matte to the back of the mirror. When finished, you'll have a very unique and beautiful piece of art.

Shadow boxes aren't just for things. They're a perfect vessel for your prized photos. Shadow boxes are intended to be theme-oriented. Whether you're a professional photographer or an avid amateur photographic enthusiast, you'll take pleasure in a well-done shadow box. Gather together some of your most special pictures and photography items, such as a camera, camera case, and film. Arrange them in the shadow box and display them predominantly for all to enjoy.

A serving tray is another unconventional means of displaying your treasured images. These are particularly nice for photographers who take pictures of such things as flowers and botanicals. The trays can be purchased finished or unfinished at craft stores. They can also cut a piece of glass for you to fit inside the tray. Finish the tray, if needed, then place your photographs on the tray and cover with the glass. If you don't glue the pictures down, you can change them periodically, changing the appearance of the tray. Take your camera bag, your camera and other accessories and spend some time getting those great floral shots to keep changing your tray's pictures.

Wearable art is very popular. You can make your own by scanning your picture onto fabric sheets using your computer and an ink jet printer. Once you get the picture copied onto the fabric, you can place it on a number of items...shirts, hats, totes, jackets. Bedding is a wonderful and interesting medium for picture transfers. Select some of the best pictures of a couple's wedding and transfer the images onto a set of lovely sheets and pillowcases. Or, consider making them a wedding quilt with those same photographs. Either one would make a most memorable gift for the newlyweds.

Put your camera and accessories in your camera case and start shooting. The more pictures you take, the more likely you are to find those pictures worthy of being placed on that set of sheets or the serving tray. Take all the pictures you can and display them uniquely, with flair. Use your imagination and have fun.

About The Author

Suzanne VanDeGrift has developed this article for http://M-ROCK.COM, manufacturer of exceptional quality camera bags, complimented by professional good looks.

Container Gardening - How Do You Start

by: David Redfoot

Simple! Buy a pot or use something you already have. Buy plants, compost and add water. Your miniature garden is almost complete. OK. It's not quite that simple but it's not rocket science either. If you are a novice to gardening, container gardening is great way to dip your toes in the water.

Container gardening has become increasingly popular in recent years for many reasons. There is wide range of containers available to suit whatever space you have available and a wealth of plants that can be grown in them. It's great for the modern lifestyle. You can enjoy the relaxing effects provided by beautiful flowers with little time and effort. It's the nearest you'll get to an instant garden.

So, let's get started. Only a little research is required. Visit your local garden centre and you will usually find a display of plants suitable for growing in containers. And, depending on the time of year, you will be able to see some of them in all their glory. There will also be information on their requirements.

First, the right sized pot. How much or how little will they grow in a season? Some plants will need room to expand, while others will prefer to be snug. Also, check the pot for drainage. Although frequent watering will be needed through the summer, you have to prevent the root system from becoming waterlogged, depriving the plant of oxygen. A layer of gravel, stones or broken pots can help with this.

Most plants will be happy with a general, multipurpose compost. Some need special conditions. Lime haters will need ericaseous compost. If your plants will stay in the pot for more than one year, you need a loam based compost. If you are mixing plants, make sure that they can all tolerate the same conditions.

To reduce your maintenance workload, add a slow release fertilizer and some moisture retaining granules at planting time. Water the plants thoroughly before you start. Position your container to provide the right amount of sunshine and shelter from the wind.

Add a layer of compost to your drainage layer. Try positioning the plants in the container before you remove them from their pots. When you are happy with the layout, make up the compost to the level of the bottom of the largest pot. Backfill with compost and bring all of the plants up to the same surface level. Gently firm down the compost, leaving the surface an inch below the top of the pot to allow for watering.

Sit back, relax and enjoy your handiwork. And consider what would be a good position for your next masterpiece. The great thing about container gardening is that it can grow with you. As you become more knowledgable and enthusiastic, there is always something knew to try. How about some home grown vegetables. Or something more exotic. Where will your imagination take you?

About The Author

David Redfoot provides information and resources on Vertical and Container Gardening at http://www.verticalgardener.com Container gardening is perfect for the modern lifestyle. It can be adapted for the time and space you have available and your physical ability. It is an easy way to experience the joy of gardening if you've never tried it before. Visit http://www.verticalgardener.com and pick up a great FREE Container Gardening Secrets report.

This article is copyright verticalgardener.com and may only be reproduced with this resource box intact.

Creating Elegance With a Plastic Pipe Project

by: Doug Stahnke

Just like with any Woodworking or Furniture Building project, the key element in doing elegant work with PVC Plastic Pipe & Pipe Fittings, is craftsmanship. Work carefully and pay attention to details. Some people do not understand that making things from Plastic Pipe can lead to beautiful creations. That is what needs some explanation.

For example, making a project like the Platform Bed out of PVC Plastic Pipe is easier than making it as a woodworking project. For instance, making a bed with this much detail out of wood, would require cutting each piece to width, height and length. With our Plastic Pipe Platform Bed, you just have to cut the various pieces of Pipe to the lengths in the "Cutting Schedule" provided in the Project ePlanSet. The equivalent woodworking project requires making special joints. The Plastic Pipe project does not. The assembly of a Plastic Pipe Project requires the use of a rubber mallet. If you choose to build our Platform Bed, the alignment of all the pieces and gluing are made very easy, if you follow the Project ePlanSet instructions.

As another example, making a very simple project, like our Under Desktop CPU Holder out of CPVC Plastic Pipe, is much easier than making it as a woodworking project or a metal working project. All PVC Plastic Pipe fittings have a natural aesthetic beauty. It has something to do with the implied “flow” or flowing characteristics. Adding to the beauty and character is the way the socket bells of each fitting are expanded to fit around the Pipe.

There are, however, some inherent distractions to this natural, flowing beauty. But those can easily be corrected by the craftsman. For instance, Plastic Pipe fittings are made of injection molded Plastic. This requires the craftsman to remove all the flashing, and stubs from the sprues, spurs, gates, risers and flues. Knockout bosses, manufacturer’s logos, and mold parting lines all need to be filed or sanded flush and smooth to the contour of the fitting. All stick-on labels need to be removed. Also, the glue for the labels must be removed with a solvent – if you don’t, it will mess up your finish later.

The other item the craftsman can do to add elegance to a project is to round over the sharp corners of the Pipe Fitting’s socket bells. This can be done by hand filing, but that is quite tedious. The best way to do this is with a small wood router with roundover bit. As the Table below shows, the roundover bit should have a pilot bearing and be of the correct size for the socket bell wall thickness.

A small wood router can work well for this task. In fact, if you can gently hold the router in some sort of clamping or holding device like a vise, bit side up, then hold the fitting as you feed it into the cutter. Be careful not to squeeze the router case too hard. A router table may work, but sometimes it can be too restricting. Be careful not to get your fingers too close to the cutting blade. Also, it's always a good idea to wear safety goggles, a dust face mask over your nose and mouth, plus ear plugs.

Platform Bed - Roundover Instruction

Nominal Fitting Diameter

Bit Cutting Radius
CPVC
(Beige Color)

1/2" - 1"

1/16"
PVC
(White Color)

1/2"

PVC or ABS
(White or Black Color)

3/4" - 2"

1/8"

3" or More

1/4"

The photograph shows how the rounded over fittings look on the footboard of

the Platform Bed. They have even been accented with simulated brass trim. http://www.eplansets.com/

About The Author

Doug Stahnke

I design & build elegant furniture, furnishings & fine crafts out of PVC Plastic, CPVC Plastic or ABS Plastic Pipe & Pipe Fittings. From each design, I create a set of Project Plans called Project ePlanSets. These projects are great alternatives to traditional woodworking, using basic woodworking machines & woodworking tools. Also, these projects are generally much easier & more economical to build than an equivalent project made of wood. http://www.eplansets.com/

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Minggu, 17 Agustus 2008

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