Photography Talks: January 2015

Thursday, January 29, 2015

How to Create Motion in Black and White Photography

You can create an impression of motion in photographs by applying a variety of techniques. It is not always necessary for a subject to be in motion. Use of shutter speed, flash camera movement and exposure are creative ways to impress viewers. This creative use of technique is helpful when you conceive of other possibilities for subjects that normally are static or allows you to freeze motion in picture form.

Instructions

Use a high shutter speed. How high depends on the apparent speed of a subject, its angular velocity and the degree of motion relative to your camera. A car traveling 60 miles per hour across the len's field of view requires a higher shutter speed than a car moving at 60 miles per hour toward or away from the camera. A moving object that is close to the camera requires a proportionally higher shutter speed than the same subject at the same speed and direction, but farther away from the camera.

Freeze objects in motion with an electronic flash. Conditions permitting, the fastest moving subject can be frozen. The duration of the flash stops motion regardless of shutter speed. The main limiting factor is the distance of the subject. If a subject is too far away, a flash will be ineffective.

Pan the camera to create the impression of a static subject in motion. Panning results in a sharp subject against a blurred background. "Are you looking to know digital photography techniques that deliver professional photographers to where they are today? Well, The Top Secret Photography Techniques would support you out in doing so. To acquire amazing pictures we initially need to have to look at some imperative photography techniques. The initial one I am able to share with you is determine about light. You can find every little thing concerning photography techniques on , The Top Secret Photography Techniques. Each time you discover about light and in what approach it interacts with the direct environment then your pictures will get superior..". If this technique applies, it is the most effective form of motion because it combines the symbol of sharpness and blur contrast, producing a completely recognizable image of a moving subject, which a moving subject blurred cannot achieve.

Create motion symbolization through blur. Directional blur is the result of wither subject or camera movement during exposure. Its effectiveness as a symbol depends on the degree of motion. Too little looks like a mistake, whereas too much motion results in an unrecognizable subject.

Apply proper timing and select the right shutter speed. The slower the shutter speed, relative to the speed of a subject, the more pronounced the blur and the stronger the impression of speed and vice versa.

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Wednesday, January 28, 2015

How to Set the Correct Shutter Speed on a DSLR

DSLR cameras are a mix of the convenience of digital cameras and the control of film-based SLR cameras. They have their roots in simple mechanical devices and have grown in to sophisticated electromechanical marvels, yet an exposure still consists of nothing more than a combination of shutter speed and aperture. Read on to learn about selecting the proper shutter speed on your digital SLR camera.

Instructions

Determine what your minimum shutter speed is. Your minimum shutter speed may be determined by your subject, your camera setup or both. If you are photographing a subject that is moving at a high rate of speed you will have to use a high shutter speed; anything lower and the subject will not be in focus in the final image. Even if you subject is not moving you will still have a minimum shutter speed below which hand held shots will produce blurry images. A rough way to determine the minimum shutter speed is to invert the focal length of your lens. "Are you looking to discover digital photography solutions that carry professional photographers to where they are today? Well, The Top Secret Photography Techniques could help you out in doing so. To acquire spectacular pictures we primary want to look at some fundamental photography strategies. The most important one I am able to share with you is uncover about light. You can discover all the things about photography techniques on , The Top Secret Photography Techniques. Whenever you learn about light and in what technique it interacts with the direct environment then your pictures will get superior..". If you are shooting with a 100-millimeter lens your minimum shutter speed will be 1/100th of a second.

Set the desired aperture. Set the camera's aperture based upon what look you would like to achieve in your image: a shallow depth of field to isolate a subject, a wide aperture in low light conditions, or a large depth of field for landscape images; the choice is yours. Set the aperture via the camera's controls on the body of the camera or on the body of the lens.

Meter the subject. Using the internal light meter or an external light meter, take a reading off of the subject or the light that the subject will be in. Meter off of known references such as grass and the sky which should be within one or two stops of neutral depending on how light or dark they are. Adjust your shutter speed until a proper exposure is indicated by the light meter. If the shutter speed indicated by the camera is slower than your minimum shutter speed, increase the "iso" value in camera and repeat the process.

Take a test shot. Using the shutter speed found while metering and the aperture previously selected take a picture. Using the histogram and image preview look at the image and determine if you need to adjust the shutter speed. If there are any blown highlights increase your shutter speed. If the image is too dark lower your shutter speed and re-shoot. Repeat this process to further fine-tune your shutter speed.

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Tuesday, January 27, 2015

Landscape Photography Tutorial

Landscape photography is a fun hobby and can be a rewarding career as well. There is art in photography. The art is in the composition of the photographs you take and letting other people see things as you see them. It's true that anyone can point a camera and click, but what comes out isn't always interesting or even good. Here are some strategies to help you turn your landscape photography into works of art.

There is an array of cameras, filters and photography equipment on the market. Choosing the right equipment is largely a matter of personal taste. Some professional photographers spend thousands of dollars on equipment, while hobbyists may spend a couple of hundred dollars on a digital camera and still take quality pictures. The equipment itself matters to an extent, but good pictures can be taken with minimal equipment. Don't let your budget hold you back.

Options for landscapes are abundant. Beaches, woodlands, cityscapes and farm landscapes are all popular. Sometimes the landscape will find you. Most photographers keep a camera handy wherever they go. There is no determining when a barn house set against a pink and purple backdrop will catch your eye.

Find the key feature of the landscape and bring it out in your photograph. "Do you want to understand digital photography methods that carry experienced photographers to where they are today? Well, The Top Secret Photography Techniques might guide you out in doing so. To get amazing photographs we first want to look at some imperative photography techniques. The preliminary one I am able to share with you is find out about light. You can find all the things regarding photography techniques on , The Top Secret Photography Techniques. Each time you learn about light and in what method it interacts with the direct environment then your photographs will get better..". Not every landscape needs to be centered. Many photographers put the focus on the element of the landscape that attracted them to want to photograph it in the first place. This might be the horizon and the color of the sky, it may be a building in the landscape, or it might be the contrast of a modern aircraft flying over a quaint farm setting. Put the focus where it goes and try to tell a story with one picture.

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Monday, January 26, 2015

How to Develop 120 B&W Film

Photography has been a popular hobby for more than 100 years. While most people have switched to digital cameras or take their film to a retailer for processing, you can develop film yourself at home with supplies you can buy at a local camera shop. It might seem like a daunting task at first, but the more you do it, the easier it becomes.

Instructions

Rinse the developing tank and all of the parts that come with it in hot water and thoroughly dry it. Be sure you have removed all traces of chemicals.

Choose a room where you will transfer the film from the canister to the developing tank. This should be an interior room with no windows, and you'll have to stick a towel at the bottom of the door, and maybe use electrical tape around the edges of the door. The room needs to be completely without light, or you could ruin the film.

Before turning out the lights, lay out the equipment you'll use so that you can work with it in the dark. If you don't have a lot of experience doing this, you might want to simulate the process in the dark a few times before you actually try to load the film into the developing canister with an old roll of film.

Before turning out the lights, put the center column back into the canister. If the reel isn't already adjusted for 120 film (it will most likely be set for 35 mm), you'll need to set it. Twist the wheel past where it would normally stop, taking care not to break it. When you separate the two parts of the wheel, you'll see a long groove on one of the pieces, with three smaller grooves that intersect it; the outermost groove is for 120 film. Put the wheel back together by sliding the pieces together using that groove.

Turn out the lights and be sure the room is completely dark. Use the bottle opener to open the film canister.

Take the spool of film out of the canister, and unwind it until you feel a piece of tape. This tape holds the paper backing to the film. Slowly remove the tape and paper from the film. When handling the film, handle it by the edges.

Cut off the lead from the film so that the edge of the film is straight.

Take the end of the film, and feed it into the tabs on the reel. Slide the film a few centimeters into the reel, then twist the reel back-and-forth. This will load the film onto the reel. When you get to the end of the reel, cut the spindle off and load the last of the film onto the reel.

Put the reel into the canister by sliding it over the center column, then put the lid on the canister. Make sure the lid is on straight and that it's on tight. You can now put the lights back on.

Pre-soak the film by putting water in the canister. The best way to do this is to put the canister in the sink, and pour water in until it's overflowing (this will ensure that the entire roll will go through the pre-soak). Let it soak for five minutes.

Pour the water out. Don't worry if the water is discolored, as this is normal.

Determine how long you'll need to use the developer. "Do you want to know digital photography approaches that deliver skilled photographers to where they are today? Well, The Top Secret Photography Techniques could guide you out in doing so. To obtain spectacular pictures we initially need to have to look at some essential photography techniques. The primary one I am able to share with you is find out about light. You can obtain every little thing concerning photography techniques on , The Top Secret Photography Techniques. Anytime you discover about light and in what technique it interacts with the direct environment then your shots will get better..". If this information is not available on the packaging, you can look it up on the Massive Dev Chart on DigitalTruth.com, but it will usually be between seven and 12 minutes.

Now determine how much you'll have to dilute the developer. If the label says 1+9, you'll use one part developer to nine parts water; if it's 1+7, it will be one part developer to seven parts water, and so on.

Pour the developer mix into the tank, making sure you have enough to completely submerge the film. Start the timer and put the cap on the tank. Once a minute, agitate the tank for 10-second intervals by flipping the tank over several times.

When the time is up, take the cap off the tank and pour out the developer.

Even though the developer has been poured out of the tank, the developer still on the film's surface is active, so it needs to be removed. You could do this by using a chemical called stop bath. Pour the stop bath in so that the film is completely submerged, then shake the canister. Let it sit for one minute, then pour it out. You could also use water. Fill the tank with water, shake it up and pour it out. Do this two times.

The next step is to add the fixer. During this process, the images on the film will be set and will no longer be light-sensitive. Dilute the fixer the same way you diluted the developer (it's usually one part fixer plus four parts water, but check the package to make sure). Pour the fixer in the same way you added the developer and agitate it for 10 seconds (do this once every minute). Check the packaging for the length of time the fix needs to be used, but it's usually five to 10 minutes.

When the time is up, pour out the fixer. Fill the canister with water and agitate it, then dump out the water. Repeat this step twice. The film can now safely be exposed to light.

Take the lid off the tank and pull out the reel. Keep the film on the reel, but look at it to see if it developed properly. It's normal for the film to have a slight purple tint, but if it's dark purple, put it back in the fixer for another two or three minutes. If you need to do this, rinse off the fixer like you did in Step 9. If not, fill the tank about halfway with fresh water and put the reel back in. Screw the cap back on, shake the canister vigorously for about 30 seconds, and pour out the water. Do this for about 10 minutes.

After the film has been cleaned, empty the water out of the canister. Pour a little bit of wetting agent into the canister, then slowly fill up the canister with water until the reel is submerged. If it foams, tap the side of the canister to prevent any bubbles from sticking to your film. Let it sit for 30 seconds, then pour the wetting agent out of the canister and remove the reel. Do not wash the film.

Twist the reel apart and take off half of it. Without touching an exposure, grab one end of the film and unfurl it by lifting it off the reel. Don't let the wet film touch the ground or any other objects. Hang the film somewhere dust-free to dry. Use a clothespin to attach one end of the film to a clothes hanger, and another clothespin at the other end of the film to weigh it down (don't put the clothespin on one of your exposures). Leave the film hanging up to dry for four to eight hours.

Once the film is dry, take it down, and cut it into short strips so that it's more manageable, so you can print contact sheets and make prints. Just make sure you cut the film between the exposures.

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