How to make more interesting photos (Part2)

Part one located here

Part 2. Matrix metering, Expo-correction, Bracketing, Histogram - what that means and how it can help you


Matrix metering, Pattern Evaluative, E

It is also called multi zonal, multi segment, evaluative. In an auto mode the camera sets standard matrix metering exposition meter which is used more often than other. It is the most intellectual metering; the exposition is measured by the camera in several matrix zones. The zones - segments are distributed on the frame area for all cameras variously, and zones‚ priority is different too. The camera analyzes the data of each zone, luminance's ratio of separate zones, compares the information to the own database standard, of the most frequently repeating scenes. The matrix exposition meter is the most universal, however there are limitations for it, as illumination is not always identical and even on frame area, and the objects can be different. The matrix exposition meter is easy, when illuminating intensity of the scene area is approximately identical. But it is not always predictable, though in most cases you receive an exact exposition. It is recommended for beginners, who have not learned to use manual settings. Yet the matrix exposition meter will not manage in following cases:

In a mode of exposure priority or aperture (to expo correction will help to some extent),

Locking illumination, when a light source (sun, lamp, floodlight etc.) are arranged opposite of lens or sideways,

If it is necessary to make an accent on main, to set an object out of a background,

When you want to make a snapshot lighter or darker those, having changed a general snapshot tonality.


Art photography

The matrix exposition meter makes an exposition of all frames. The bright segments become overdone, and shaded become dark.

There is three-dimensional (3D) spatial segmental matrix exposition meter. In this variation of matrix meter the exposition is determined in different frame places separately from each other. Brightness, visibility and spacing interval up to different objects of the scene are taken into consideration. Three-dimensional exposition meter is applied basically in reflex cameras.

If there is a desire to learn to shoot not only in an auto mode "direct and click", having received traditional "photo on memory", and if you want to receive more expressive and interesting snapshots, it is meaningful to learn other ways of expometering.


Average metering, A

At this method the scene illuminating intensity averages on all frame area. All frame zones have identical priority. The integral metering aims at medium-gray tone predominance. The advantage of integral metering is that average value will be used without dependence from intensity of an indirect light. It is not for filming of the contrast scenes, and also black and white surfaces, clothes, animal, as a risk of an incorrect exposition occurs. Also it should not be used at poor illumination: the light objects will appear insufficiently light and dark will appear too dark. Shooting evening, you risk receiving a too light snapshot. The exposition in this case needs to be reduced on 1 or 2 stages. At filming white objects the back action a large exposition on 1 or 2 stages will help.

There is a spot and central - weighted expo metering. They will help you, when the light conditions will be unusual, when you will shoot the intricate plots, when you will plan to receive original outcome.


Spot metering, S

It is often called call as partial. This way of metering provides the most precise outcome, the exposition of an object becomes optimum. The spot metering is present at cameras with manual settings. The exposure meter of the camera in this case measures brightness on a small frame segment - usually 1-3 % of the area (or up to 9 %), depending on model of a photographic camera.

The measurement is carried out in a central point of frame. If the object of filming is not in the centre of frame, then, having directed a central spot on object and having half clicked the push button (not releasing it) or having disabled an exposition, you can recompose a frame. In more perfect cameras, for example professional reflex ones, the exposure meter spots are mated with points of the auto focusing and they can be displaced on the area of frame. They are mated with spots of an auto focusing. The number of such spots depends on concrete model of the camera; it may be 5 or more

At spot metering the background can be overexposed or underexposed, but the main object of filming, which you targeting, will be good, worked with maximum quantity of parts. The spot metering can be used at filming of contrast scenes, in locking light. That is when it is important to define an exposition for a plot frame part.


Centr-weighted metering, CW

It is called an average one. At this method the system estimates general scene brightness, but the main attention is given to a central part of frame, which covers approximately 9 percents or little bit more. This way of exposition metering is expedient for applying in following cases:

Portrait filming,

When the object takes a main part of a centr of a frame,

When the object is at a contrast background


Multi Spot metering, MS

The exposition is targeted on several spots of frame, and the camera averages the obtained values. Basically multi point exposition metering is applied in professional reflex cameras.


Expo-correction

The different surfaces reflect light obtained from the same source variously. That is for each subject the reflection is coefficient. A mean reflection coefficient is 18-20 %.

At filming of a medium-gray object the matrix metering will define an exposition - value of the aperture and exposure correctly. For object with echoing property of 20 percents the reflection coefficient will be 0, 2, for a black velvet tissue - 0, 02, and for snow - 0, 8. In order that these objects on a snapshot were not gray, it is necessary to make allowance in an exposition - that is to do an expo-correction. The summer landscape reflects on the average about 18 % of light, 8-10 % - if in frame verdure, leafage is present. If there is a sand, dry surface - 30-40 %. The skin of the person has large range of echoing property, the concrete factor depends on race and sunburn. For a light skin - 0,35, for very dark - 0,035-0,06.

In modern digital cameras there is a set of the subject programs, and frequently rich enough. So, for example, if you establish a mode "Snow "/ "beach", the camera will establish of set-up so that the snow will be similar, white on a snapshot. In this case expo-correction shouldn't be applied the push button " + /- " on a body of the camera controls expo-correction. Turning the disk of set-up or pressing the corresponding push buttons, it is possible to introduce the correction. Also for more simple models of cameras this function can be available through the menu.

Expo-correction is denoted by EV. EV (in abbreviated form from "exposure value". Value, value of an exposition.) is a conditional value including every possible combinations of exposure and aperture number, which provide identical expositions under invariable conditions of filming. The change of value EV per unit of (on one stage in any direction) corresponds the change of an exposition twice. If you enter +1 EV, the exposition will be increased twice. The step of expo-correction usually makes 1/3 stages EV. For example, to be saved from "gray color" in a bad weather, introduce the correction of an exposition on +1/3 or+2/3.


Bracketing

Bracketing is a series of frames, when in each frame the exposition parameters vary: the first frame is underexposing, the second one is exposed correctly, and third one is over exposed .In cameras there is a capability to set a step bracketing- difference of parameters of an exposition from the norm. Bracketing is applied in a case, when the illuminating intensity in frame is difficult for defining and it is required to make "a test".


Histogram

If the histogram is biased to the left, it means, the picture is with predominance of dark tones, if to the right - with predominance of light tones. It is desirable, that the histogram was not "lacerated", that is had no sharp differences, "splashes".

In a number of digital cameras the histogram enters in a structure of the service information recorded together with a snapshot. It allows at possible repeated filming of frame to improve its balance or helps to select a method of a light-tonal correction of the picture at editing it on the computer. In more perfect photographic cameras the histogram is superimposed atop of the picture of selected frame on the display. It allows previously to evaluate quality of the future snapshot and at once to change light conditions or composition, or to enter exposition meter correction.

Noise of digital cameras is a very actual problem today. How do the different cameras behave at increase of photo sensibility and what to orient at selection of cameras on?

The matrix of a modern photographic camera is a digital clone of a film. The small microcircuit of the rectangular form on which the picture is projected through a lens. Sensing elements - pixels, the converters of light in an electrical signal, play key role here. The more physical size of a pixel, the more area of absorptive light and the lower a noise level on a snapshot. Furthermore it is necessary to take into consideration, that in a work-time the sensors are heated, that also causes a noise. That's why the noise appears show at filming long exposure. The noise appears on a snapshot as chaotically distributed color spots. Noise in shades is specially seen. Also noise can be seen as grain, on a highly sensitive film - such distorting do not influence chromaticism and contrast of a photo and do not irritate (if, certainly, this grain is not characteristic of all snapshots).

By camera choice the number of mega pixels often becomes a convincing argument for the benefit of definite model. However it is not necessary to run behind mega pixels, as the sizes of pixels and sensors are much more important accordingly. You see the more pixels are located on a matrix, the less their size is and the more tightly they are arranged. Densely "packaged" sensors are fast heated, and noise can appear at a minimal sensitivity and at a short exposition. Therefore try to select a photographic camera, which has more matrix area - actual sensitivity will be higher.

Most low level of noise for full-frame format reflex cameras with the size of the sensor 36 24 mm. It is such cameras as Canon EOS Mark II 1Ds, Canon EOS 5D. They manage with ISO 800, and even at sensitivity ISO 1600 the snapshots, made by them, look not bad.

The matrix of reflex cameras such, as, for example, Canon EOS 20D is less than a film frame, it is 22,5 15 mm, that also allows to shoot on enough high sensitivity. This format of the sensor has received a title APS-C. Certainly, although they are inferior to full-frame format reflex cameras with full-frame format matrix, but comparatively with any compact cameras the outcome will be much better.

For today the only camera with a fixed lens, which has a large matrix of the format APS-C is Sony R1 Its noise level at high photo sensibility is comparable with a level of reflex cameras.

For majority of compact cameras the noise appears at sensitivity from 200 units ISO already and above. So that, despite of a capability to establish ISO 800, 1600 or even 3200, forget about these values, as the picture most likely will be simply unsuitable for usage. The noise, even at short exposure, becomes so strong, that it is possible to forget about detailing and valid color transfer. The sharp sensitivity, stated by the producers, in practice appears simply non-working. Do not trust to what that is written, trust your eyes! See raw test full-scale snapshots made in different light conditions and on different sensitivity.

However not all compact sets are "friends" with a high sensitivity. For cameras Fuji film sensors are made of own unique technology. Due to matrix design features , the noise level really notably is reduced as contrasted to by remaining types of sensors at the same physical sizes. What is it explained by?

The conventional film contains chips of argentumhalogenid of the different forms - from highly sensitive grains with large area of surface, sensitive to a poor light, up to low-sensitive grains with small area of surface reacting on a glare.

And the off-the-shelf camera FinePix S6500fd allows changing sensitivity from ISO 100 up to ISO 3200. Certainly, so high sensitivity as 3200 hardly will ensure you a reasonable picture. But there is no doubt that the camera will work fine on ISO 400,

But this works for cameras Fuji only! For the other compact sets high photo sensibility is very weak place. For example, for the popular ultra zoom Sony H5. the maximum sensitivity is ISO 1000 But the camera starts having a noise already at ISO 400 practically, and at higher values the snapshot precisely will lose all attractiveness. There is noise at the installation ISO 400 for Canon PowerShot S2 IS In many cases the flash helps to solve this problem.

The ultra compact sets have the worst characteristics in the amateur class. At first, their matrix has the smallest sizes. The tiny sensor has a noticeable noise, of course Secondly, optics is also extra small, and that does not promote image quality too. Though, optics does not influence the noise, the sensor is responsible for it only.

Some advantages have the cameras with optical stabilization. If there is an optical stabilization in the camera it allows to increase exposure and to not increase value ISO at a lack of illumination. But the optical stabilization helps only on two, maximum three stages. And if the camera has the small sensor, even the stabilization will not help here. A vivid example - super popular series of cameras Panasonic Lumix FZ. Available for many photo amateurs FZ30 today. As a whole it is a very good camera, having a lot of advantages: excellent design, ergonomics, functionality, high detailing, color transfer etc. But the main minus of this fine stylish camera is its noise. It is very visible on the picture even at low sensitivity, not speaking already about ISO 400, when the noise makes the picture impossible for usage simply.

The every possible system of noise blanking built-in in a photographic camera does not save from noise. They smooth grain effect, of course, but after that the detailing is degraded, and the color transfer is distorted. The picture looks unnatural, "tinted". You will not receive the real qualitative picture at such a high sensitivity at such approach. It is better to underexpose frame on 1-1,5 stages and then to "prolate" it at the graphic editor processing, than to receive noisy and useless picture at the end.

There are certain advantages at the filming in the RAW format, as this format contains more information. The snapshot does not pass processing inside the camera; therefore this format is called "raw". It is much easier to "prolate" snapshots which were written to RAW, in the special converter.

The JPG format supposes a lossy compression and introduces a distortion to the picture. Thus the part of details is lost. At preservation in the best quality the distortion is not visible to an eye, but at further editing and saving the file it is compressed, the data are lost again. If you are going to process the JPG-file (for example, it is necessary to reduce a noise), you should reconvert the file JPG to the graphic format which is not introducing distortions to an initial picture, for example TIFF.

At filming at long exposure there is an effect of so-called "hot pixels". This is because of the technological causes. The matrix for different copies of the same model can differ by their availability in different segments of different sensitivity that becomes noticeable at a long exposure. It is well visible at increase of a picture. The cause may be the tiny motes, which accumulate on a matrix. If you raise matrix sensitivity, "the hot pixels" rush in an eye even more. It is possible to clean them by image processing on the computer also. The function Pixel Mapping is built - in some cameras: the camera makes a snapshot, not opening the gate, the obtained picture is analyzed by the processor on presence of light points, and then the camera corrects them by built-in software. Hereinafter light segments do not show any more.

As a whole conclusion is unfavorable, though it is predictable good activity on high photo sensibility for compact sets and ultra compact sets is rather an exception, than the rule. To avoid noise appearance on snapshots, set minimum sensitivity ISO value which ensures reasonable result.

How to make more interesting photos

So, you have purchased the digital camera to make more interesting photos, haven't you? Follow our guidelines, and it will be possible for you.

Making a photo, we run into with two main problems: it is focus and exposition. As to a digital photo both they become complicated also by that the CCD-MATRIX, which registers the picture is not so sensing and fast-acting as a film is

The CCD matrix which size is of half-in. on a diagonal is established in the average digital camera, and in professional cameras the matrix sized three quarters of in. and less is used. On the first view, such small difference may seem unimportant, but think, what huge looks like the TV with a 28-inch screen on a diagonal in comparison with a TV of twenty one in.s. The less of size a matrix is, the less of light is fixed by the camera and, therefore there is more probability of underexposed snapshots obtaining. As the majority of digital cameras are automatic, camera compensates this lack by increase of an exposition, and it, in turn, generates problems with a focusing. Besides the majority of digital cameras have sensitivity, equal to a film of100 ISO, that is little and it affects the quality: as the result you may receive your snapshots which will be like amateur snapshots during holidays.

Fortunately, these problems are easy for overcoming. If think over the filming beforehand, the improvement of the snapshots quality will take a pair of seconds. Don't worry: it is not necessary to purchase anything.


Little tips: illumination

The quality of your snapshots directly depends on how you use illumination. It is very important at filming indoors, irrespective of a light source.

Though it may seem, that the flash is necessary for filming this or that scene but sometimes it happens, that the object looks more realistically and attractively at dispersed, daylight illumination.

In such cases "automatic" set-up of the majority of digital cameras attempts to set up object illumination to that, which is considered normal in the given situation. Often at such illumination installations it appears to be either too much, or it is not sufficient.

1. At an auto tuning of the camera the snapshot can appear underexposed.

To correct this, establish large or smaller exposure that will allow you to control the result.

2. For the greater object illumination at filming use a "filling" flash.

If the design of the camera does not allow to make it manually, it is possible easily «to "deceive" an exposition auto mode .For this purpose direct a camera lens on a subject, which you want to shoot, and then displace a little center of a frame on more light or more dark area. Then slightly push the push button of the gate so that the camera has measured an exposition for this point. Keeping the push button (which fixes an exposition) pushed -in, shift the camera in an initial position and push down the gate push button up to the end.

3. It is possible to achieve the same effect by an automatic exposition "fraud"

Certainly, if you are on a party, where the people go here and there and the light is muffled, because of large exposure the picture may be blurred. In such cases it is best to use a flash.

4 Take the object in a frame, shift the camera on darker place, slightly push the push button of the gate, then again direct the camera on the object and shoot.


Remain in focus

Ton order that your snapshots were sharp and pleased an eye, we present the basic advices on overcoming of a large exposition effects, because of which there may be a blurring.

1. Take an exact position

One of the simplest ways to avoid camera move is to use your own body. As the greater time for filming is necessary for the digital camera at dim illumination, it is very important to get it fixed. Lean your elbow on your sides so that your body represented something like a mount.

2. Find a footing

You celebrate a New Year and you are tipsy a little, therefore you are not sure of your hand's hardness Take something from furniture as a footing (it is desirable to be fixed) and put the camera on it. For such a case a table will suit, but also other fixed object will replace a mount for you.

3. Do not hurry

If you click the push button sharply the gate can move on the traditional 35-millimeter camera, and the snapshot will be blurred. As the digital cameras do not have a gate, their owners for some reason think, that such will not happen with them. Nevertheless, it is so, because the matrix of the digital camera fixes the picture much more slowly, than a film one. And it is more problematic.

4. Use the LCD-display.

The majority of digital cameras are supplied with the LCD-display. When you use the view finder, you, probably, economize batteries but so it is more difficult to hold the camera fixed. Though you risk discharging batteries faster, as when you use the display you reduce the camera shaking and you can receive a clear snapshot.


Portrait

Let's illustrate where there should be a photographer in relation to object of filming to receive a qualitative portrait.

1. Rather close and personal.

Typical situation, when photos are made indoors: the photographer tries to stand close to object as much is possible.

2. Do I look so pale?

Typical situation, when photos are made indoors. The photographer and object are close from each other for about one meter. Therefore almost all energy of a flash was mirrored from object back in the camera. As the result the face of the person has received absolutely "faded" colour, it has lost its depth.

3. Keep your distance from the object

If your camera is supplied with a zoom lens, you can make the same snapshot, but from the greater distance, having achieved the same size of a frame by change of focal distance.

4. It is pleasant even to your mum.

As your snapshot was made from greater distance, the light from a flash was dispersed on the large area. It means, that you got more contra photo is with saturated, deep colors. Therefore objects on your photo will not blink, and screw up their eyes!


Computer programs: we correct an underexposure.

There are no ideal photos. Fortunately, in a digital photo there is a possibility to correct easily small errors.

If the snapshot is underexposed the simple computer manipulations will change it.

Problems with an exposition is the typical error, however is necessary to remember, that it is easier to restore a snapshot with an underexposure, than with an over-exposure. The reason is that in the overdone pictures there are burnt segments, which do not contain any information about color, while the snapshots with an underexposure contain the full information, because they are simply darker than it is necessary.

In the graphic editor, Adobe Photoshop, for example it is possible to clarify or to shade segments of the picture.

If you have got typical underexposed picture and you want to correct it, you should use the program Adobe Photoshop. You open in its initial image in the format JPEG. Let's keep it, as the Photoshop file, so that it will be better to work with the images layers. We have added picture a layer to the image and tried to treat it in a Curves Adjustment mode, having selected an option Auto in a dialog box. But in the obtained picture you will see, that this way was inefficient. Instead of it you have to make a conversion manually, by adding some points in a dialog box to clarify one segment of the image or to black out other.

After balancing light and dark levels of the picture just relax and enjoy the result of your activity.

The idea is that you should brighten more dark segments only. However this mode also will clarify all points above the given segment, as the line will be converted to a curve. To avoid it, you should add three points: one in more dark area (to clarify the image), two - in the field of middle tones (that they did not become too light), and displace one white point a little downwards (to avoid "burn-out"). The final version will be more similar to the image with a correctly established exposition. With the purpose of further improvement try to use three layers in a Curves Adjustment mode instead of one, for colors R, G and separately.


Technology: digital "dark room"

You have purchased the digital camera, but you do not have computer. And what to do with snapshots? The answer is that you should equip a "digital dark room".

Just some years ago for those who had personal computers, the digital cameras were just expensive toys. For today the abundance of cheap megapixel cameras has reduced them up to a level of consumer goods. For those owners of digital cameras, who have no computers, there is a problem: what to do with the pictures?

And, though some developing rooms already offer digital printing services, they are expensive. But, thanks God, some producers of printers have elaborated devices permitting to print out digital photos without the computer.

The printer Epson Stylus Photo 895 is designed just for these purposes. Using the card slot PCMCIA on the forward panel and Compact Flash adapter, you can print out extra small copies of the images ("control") located on a memory card. With the help of printer control panel you can simply select images for printing out, quantity of copies and necessary format.

And how about printing quality? It is rather high. If you do not have computer, having purchased the printer, for approximately EUR 300 you equip a "dark room" for yourselves for printing photos. However, even if you have a computer, the quality is worth of this money.

At printing photos on the Epson Stylus Photo 895 printer computers are not necessary. Simply download them through the Compact Flash adapter and select the size. That's all.

What means an exposition? This is a detection of precisely dosed quantity of light, which should get on a photosensitive element (film or matrix) at the moment of frame filming, that is in the moment, when the gate of the camera is open. If poor quantity of light will get on the sensor the snapshot will be dark, "under lighted". It will be very difficult to "pro late" it in the graphic editor because the colors will appear distorted, there will be color noise and a grain effect. If too much light falls, the snapshot will appear "over lighted" It is impossible to correct such "whitened" frame, as the parts are hopelessly lost.

If optimum quantity of light will get, on the camera the snapshot will be well worked, all parts both in light, and in dark segments will be kept. If a camera volume range is small, and the very high photo sensibility is established too, in deep shades details can be lost, though the main object will be quite normally done. That's why it is very important to establish an exposition correctly, because of a not so broad volume range of a matrix in comparison with a film there is a probability of in light and dark areas loss in the image details. Different cameras react to illumination differently in different conditions.

Since film photo times there was a special device, which measures illuminating intensity this is an exposure meter. It measures light, which drops on filming object. There is also a so-called "spot- meter" with its help a quantity of light is measured, which is reflected by filmed objects.

Quantity of light falling on a matrix is determined by brightness of the shooted scene and lens speed. By aperture control it is possible to change quantity of light, which gets on the sensor. The aperture value is imaged by aperture numbers. The time of exhibiting is determined by exposure. The matrix photo sensibility also influences the time of exhibiting - the higher photo sensibility is, the shorter exposure is, for example. It is taken into consideration by automatics built-in in the camera. The established aperture values, exposure and photo sensibility - are called as exposition parameters. The competent exposure pair installation, exposure and aperture, will ensure an exact exposition at established photo sensibility.

Earlier in a film photo the exposition was detected by two ways: with the help of an the object illuminating intensity exposure meter, that is luminous flux intensity dropping on object was detected; besides the indirect light intensity was measured. Today, when exposition meter devices have appeared, built-in in a digital photographic camera, the second method is applied only.

For the photo amateurs which have taken the digital camera in hands for the first time, there is auto mode practically in each model. You do not need to reflect ", clever" camera electronics will count all this for you such small as the exposure, aperture, photo sensibility . You focus on composition only. Is it bad or good? It is good, when you in manual modes will shoot worse, than the automatics of your camera will manage it. But it is bad, when there is a capability to achieve the best outcome manually, than a middle result in an automatic mode control unit. Why is it so? Let's try getting clear.

In digital photographic cameras it is possible to establish different kind's exposition meter kinds as it is determined depending on a shoot scene.


Here the official photographers page

Practice: how to use a light in a photo correctly

It's not the secret that the basis of successful photo depends on right illumination- without light it is impossible to make a snapshot. Everybody wants to receive bright, colorful snapshots which resemble to those on a cover of the glossy log-book? The illumination is very significant both for a portrait, and for a still-life, together with other kinds of filming. The main requirement is that there should be enough light. Long exposure results the blurred image, increase of photo sensibility and appearance "of noise" on the image. When it is enough of light, the snapshot will be colorful, bright, saturated with well visible details. Therefore it is very important to ensure sufficient light. The second and more complicated problem is to make a light drawing expressive and to accentuate spectator's attention on main. Beautiful exotic light becomes an integral part of a snapshot, part of composition. It is absolutely not necessary to use expensive studio facilities for experiments and obtaining of interesting snapshots.

To achieve good result at filming with different light sources, you need to acquaint first of all with manual operational mode of a photographic camera. It is better to forget about auto modes at creative activity with light. At filming portraits outdoors built-in flash will allow to improve a snapshot. In a gloomy weather the photo will be brighter and saturated. At sunny bright day the application of a flash will allow to avoid strong shades and black falls. Most appropriate illumination for a portrait filming outdoors is indirect illumination in a cloudy weather.

You may often run into shortage of light indoors: at home, on a visit, at school, children's garden etc. Application of a built-in flash is not the best way to increase illuminating intensity. The flash gives rigid light, and, as a light source is small and light is not dispersed, the shades will be brightly expressed. The flash makes a face of the person flat, and the portrait looses art attractiveness. Instead of unique of model's eye expression all wrinkles and skin defects are visible. Besides while shooting portraits at home, it is better to combine the flash with natural light only. And the combination of a flash and traditional bulb may result not the best colour effects.

The illumination should be chosen so that a form and face features were well transmitted, without deep shades. Light is desirable to be made mild, it is possible to apply scatterers for this purpose. Such illumination will be not contrast, and it will create smoothly varying tone transitions, smoothing the image, thus the skin defects become less noticeable.

The light sources in a photo can execute following roles:

Drawing light. The source of a drawing light should be always the only one. Theoretically it is the main light in the composition. It is the directional light, which reveals the shape and parts of a subject, this light can be rigid or mild. The different power lamps need to be used or it is necessary to remove them on different spacing interval from the object. The part of light from a drawing light source can be mirrored from the reflector, and you receive a filling light, which highlights the shades. The light source should be put usually not closer than 1, 5 or 2 meters from object, but not too far at the same time. A function of drawing light can execute the role of a sunlight, which passes through a window, a door etc. Drawing light creates a shaded contour. At a surface illumination the light source from the side of the camera, arranged under different angles to light rays on separate segments, shaded segments creating a contour will be formed.

Filling light should illuminate object evenly, it should create such illumination level, that the parts were well worked over, and there were no visible shades. It makes shades more light. Filling light should be mild - for example, the source can be routed to a light ceiling.

Modelling light plays a role of additional filling light. It highlights shades in the necessary segments. Modelling light can be obtained by small sources of mild light. It allows receiving dazzles, reflexes on reflecting parts of filmed object.


Counter illumination. The light source is placed behind the object of filming. There is a light contour, and it also will be used for air mist detection, pattern illumination, "play of light" on transparent subject's creation. The closer to the camera the light source is the wider will be zone of the light contour. The further light source from the camera is the lighter zone is narrowed down.

Background light illuminates a background. Mild and dispersed or directional light may be used. Background light accentuates filmed object, creates a difference of illumination between it and a background. To receive object against an ideal white background, stronger light than on object is routed on a background. To point out an object on a colour background, the background is illuminated less, than the object of filming.

The light accent it is a narrow directed beam of rigid or mild light which is routed on a part of object, which needs to be lightened and accentuated compositely

The illuminating intensity of object of filming is directly proportional to the brightness of a light source. At highlighting light twice illuminating intensity of an object will be doubled. At candlelight the illuminating intensity depends on spacing interval between a light source and object of filming. The relative illuminating intensity of a point light source is inversely proportional to a square of this spacing interval.



The rule of inversely squares means, that:

At increase of spacing interval between object and light source twice illuminating intensity decreases four times more;

At increase of spacing interval between object and light source three times illuminating intensity decreases in nine times more;

At reduction of spacing interval between object and light source twice illuminating intensity increases in four times more.

Than electrical light in a room is much weaker, than sunlight. At usage of a lamp its luminous efficiency in due course becomes less. The voltage oscillations of an electricity supply network influence a spectral content of light. The increase of nominal voltage intensity in a network up to 10 percents increases a luminous efficiency of a lamp almost in 1, 5 times, and the colour temperature of light is increaseed. The voltage drop down on 16 percents reduces twice luminous efficiency, and the colour temperature is reduced.

The cold light lamps are used rarely as light sources for filming. For obtaining the greater illuminating intensity try during the filming to twist in power tubes. The illuminating intensity of a room becomes notably higher. It is good to use frosted bulbs disseminating light softer as contrasted to traditional ones. However one light source gives not the best light drawing. You quite can experiment with additional light sources. It can be a desktop lamp, floor lamp, lamp-bracket etc. (the Model is possible to be lighted sideways or behind, from above (desirable with white lamp shades) you may experiment and search for the most successful and interesting illumination. The lamps can be directed on a wall, to a ceiling or on the reflector. Select that light drawing, which will give models larger expressiveness and will help to point out nature, mood, and face expression. The illumination should work on general composition and to underline main successfully to make an accent. You will achieve success faster competently and creatively using illumination, than if you will go by a method of own cuts and tries.

But the light source will not ensure a good photo. Rigid directional light can be used variously. To make light mild dispersed, it is possible to use gauze, tulle, dispose a light source on different spacing intervals from the scatterer to receive different effects.

As such of constant light source beams a lot of heat it is heated very much and it is impossible to cover it by gauze from above. And to make light from it by more dispersed, it is possible to arrange it behind a hanging white tissue on some spacing interval. The powers floodlights are heated hard, and with the purposes of safety do not leave them turned on. Especially if there is a tissue, a paper, film etc. Be very careful, using such lamps - do not put them on a sofa, chair, and seat. It is very dangerous. They should be fixed on a bracket.

To receive a good portrait, certainly, one light source, even with the scatterer, is not enough. You will need two as a minimum, or three and even more will be better. The most simple and accessible solution - low-budget office lamps with clamps or with clothes-pegs. They produce mild, small, beam good even light. The frosted lamp on 60-75 W will be enough. Combining them, you receive a rather interesting illumination. Comparing with a pulse light (flashes), it is easier to work with these lamps - you will see at once, what you receive on a snapshot. Constant practice, the search will allow you to achieve original results fast. However when you will shoot people, they can get tired fast: you see they have not got used to a glare, directed in an eye. Especially it concerns to small children. The kids about one year should not be blinded neither glare, nor a flash as it is very dangerous not only for their vision.

Routing a lamp on the reflector, you reduce a flow of light. Therefore it is necessary either to increase exposure, or to "score" photo sensibility ISO. If the large power of a directional light source is required, as low-budget, additional light sources in domestic conditions, it is possible to use halide floodlights by power from 150 Watt up to 500 Watt. But take into consideration that a colour temperature of such lamps is low - about 3500 K, while sunlight gives on the average temperature 5500 K, as a result of which snapshots will be in a "yellow tone". According to this it is necessary, to take care of a white balance. Establish it on a white sheet or manually indicate a temperature. Or shoot in the RAW format, and then at computerizing establish an exact color balance.

Such economic floodlights can be purchased in a complex with special racks - holders with three legs similar to a mount. They are convenient for using you may fast to move it and tilt a floodlight. Even if you will not find the rack for the floodlight in sale, it is possible to adapt a customary photo mount.

If there is no mount, it not a reason to stay on route of creative development - use everything that is under your hand. As a last resort most universal means - adhesive tape. The self-made construction can be shaky and unstable, therefore it is necessary take care, that all this has not fallen.

The very good result will give the light, directed on an umbrella reflecting and disseminating light. There are special photo umbrellas colored from inside. Also there are umbrellas which can be used on a lumen, as a soft box. For example, you can take a children transparent umbrella which is not colorful, certainly. The application of an umbrella will give much better result - light drawing on a photo advantageously differs from one obtained with two directional light sources.

When the light source is directed on object, from the counter part the shades are watched. To level off shades, use reflectors with white, golden or silvery surface. The white frosted reflector gives neutral tint; such surface has the greater luminous reflection factor. At usage of the silvery reflector the range of colors of a snapshot notably moves to cold color range. Golden one makes object of filming warmer, gives more joy mood. Light resembles illumination at a sunset, the skin of the person gains golden tint.

It is not so necessary to pay large money and to purchase professional studio reflectors. Though, certainly, holders, lightdisks (reflectors) soft boxes are very convenient to use in your work. You can produce reflectors by yourself, which will help to make a snapshot more interesting. For this purpose the building polystyrene, cardboard, hardboard, veneer, resin-bonded chipboard will be useful. On an equal flat surface, the frosted white paper or a metal paper (golden or silvery) is pulled. Besides you can make a framework of screw racks, tubules, thick (hevy-gauge) strand, and stretch a tissue or paper on this framework.

The reflector will help you, for example, at filming of the model near the open window, through which daylight goes. And one half of face will be well lighted, and the other will be dark on a snapshot. To correct this situation the reflector must be arranged vice-versa of a window so that an indirect light will highlight shades. For this purpose it is possible to use even a sheet of a white paper. The reflector can be fixed on a support, rack, or ask somebody to hold it during the time of filming.

Light can be "colored" if you use light filters - plastic coated from both sides with a colored film. But take into consideration that from a potent light source the plastic in due course becomes transparent. And it is necessary to know, that any light filter occludes a part of light. For example, a 500 W lamp, depending on density of the filter, can turn into a light source with power of 250 W.

A color of a back background plays a role in achievement of the necessary color effect. The background of neutral color (white, Grey) well transmits color of light tone, which leaks through the filter. The dark background occludes light, and thus the intensity light source should be more powerful.

So that be not afraid to experiment and remember that the good snapshot is not made by the equipment but by the photographer.

5 advices for mobile photographer beginner

A mobile photo, or as it is called, mobilography, has its specificity. The success of any snapshot depends not only on the precisely selected moment, but also on skilful tool management, in our case - camera phone. In this article we shall give you some simple advices, that your work could be appreciated by other mobilographers

The first advice. Come to know the particulars of your mobile phone adjustments
First of all, it is necessary to set correctly set-up of a built-in photographic camera, for this purpose after purchasing the telephone it is necessarily to read the instruction. Factory set-ups, as a rule, are oriented on obtaining of the image of mean quality. Establish the maximum size of photos, but check up, whether you are satisfied with a speed, with which the camera records the snapshots.

Establish a compression level (compression ratio of the JPEG-image) on minimum value. It will allow avoiding compression artefacts, however the size of the final file will be increased. Then establish the necessary illuminating intensity condition (white balance). The installation of the necessary type of illumination (« solar day », "«overcast", "indoors" etc.) will allow to achieve an exact colour transfer, though in some cases automode will be enough.

The second advice: Use a flash when it is necessary only.

It is better to not use a built-in flash of the mobile telephone if there is no need in it. Owing to its low-power it is effective on small spacing interval only, however at close- up it can give dazzles and light a part of the image. It is impossible to correct an over-lighted photo in the graphic editor.

In order that the photo was not too dark, try to take a photo at sufficient illumination, however you should not over-illuminate it, as the matrix volume range of the mobile telephone is rather narrow and at poor (or excessive) illumination half-shades will not be processed.
At shortage of light, whenever it is possible, use all accessible illumination, and use the light from a window, approach closer to an object of filming. Experiment, change angle of cameraphone lean, its position concerning filmed object. But mind that the rays of a light source should not fall directly on a lens of the telephone (it is possible to create a shade by a sheet of a paper). And main, do not forget to set the necessary modes of filming (day or night, natural or candlelight, indoors or outdoors).


The third advice: It is possible to improve mobile photo on the computer
For some models of telephones are provided with the capability of brightness and visibility control. The truth is this function is provided with electronics engineering activity and, accordingly, does not promote increase of a snapshot detailing level in dark and light segments. Therefore it will be much better, if you will treat the obtained snapshot in the graphic editor on the computer (for example, will add sharpness). Also graphic editor wonderfully will manage colour correction.
Also it is not necessary to be surprised, if the photo on a screen of the PC (and especially, printed) will differ from that snapshot, which you saw on a screen of the telephone.

The fourth advice: Do not use "zoom"

Pay attention, that some telephones at "«zoom function activating do not close up a picture actually, as it is visible originally on a screen, and it will cut "off" the image up to the borders of closed-up object only. Even if the camera of the telephone has the "real" zoom, it is better to take a photo without it, and to execute necessary framing already in the graphic editor on the PC, which will make it incomparably better.

The fifth advice: Do not hurry up

Do not try to approach (on 5-20 cm) mobile telephone very much to filmed object, otherwise you will receive an indistinct image (though on a screen of the mobile telephone everything may look quite normal). However, you may use such method for obtaining of original snapshots. Try to make some snapshots from different spacing interval (change a filming place), then select that, which is the best.

In order that the snapshots were not blurred, try to not photograph moving objects. The moving object will appear blurred. The built-in camera of the mobile telephone is not capable to transmit motion because of many constructive constraints. Therefore try to catch the moment, when the motion on a short instant ceases (catch a space in motion), if it is possible. Often during motion of the people, animal, engineering etc. there are moments of a stop, of turn etc. Then take a photo.

You know the traditional digital photographic cameras suffer of so –called “inertness” quite often. This inertness for each model is measured in temporary parameter. Therefore, when you guide a lens on one object, and then displace on other, the camera of the telephone needs to get "used" to a level of illumination. Do not hurry, otherwise you will receive wrong colour, poor sharpness. After you have directed your camera on a new object let it to be "stabilized" to the image, then take a photo. It is necessary to depress the push button "of shutter" smoothly and accurate. Do it without hitches and sharp motions. Try that at the moment of filming the mobile telephone was fixed as much as possible.

On the other hand, such features of matrix of camera phones can be used for obtaining effective snapshots. For this purpose at photography you may displace camera phone either in a horizontal plane, or in vertical. Besides it is possible even to twist the telephone around of an axis of a lens. In other words, experiment.
After you have filmed a frame, do not hurry to hide the mobile telephone at once; the reason is that unlike the traditional cameras, the camera phone matrix reads out the image long enough. A lot of good shots were lost by beginners’ mobilographers because of this!

Summing up, we shall mark, that in mobilography as well as in any kind of photographic art, first of all, the mood of a snapshot is appreciated. Therefore not only camera built-in parameters are important, but how much skill is used to realize its capabilities. In this case its some lacks can be used successfully for obtaining original, extraordinary photos.

How to take a portrait photograph ( Part 10)

Illumination

If at filming portraits « on the automode” you are not satisfied with the result, and there are problems with manual settings, it is possible to make autobracketing- a series of snapshots with a different exposition, - and then to select the best ones. Complexion of different people is not identical: someone is lighter, someone is darker therefore surface of a skin mirrors light variously. Thus, it is required to make an expo-correction, that the colour of a skin was natural on a snapshot.

If there is a capability, take a photograph in the RAW format, then it will be easier to correct defects on the computer. The result after processing will be better, than if you take a photograph in the JPG format.

The capabilities of the modern software are huge. Using them, it is possible to improve snapshots essentially. It is possible to correct an unsuccessful exposition, to make frame more abruptly or more soft, to correct shades, to compose from several frames a one, to remove all unnecessary details. It is possible even to change an age - to make a face young and beautiful. The modern programs allow change a model in other clothes, to change a hair and even a facial expression.
It is impossible to correct over-lighted and blurred photos it is necessary to delete them. But do not hurry at once to remove all unsuccessful snapshots. They still may be of need for you - and not only for the analysis of your own errors. Quite often unsuccessful snapshot is possible to treat in the editor, skilfully having applied filters, different effects, and then the photo will turn into a photo picture, and it will become a very successful stylized art portrait. It even may be printed out on a special canvas ink-jet printing. All you have to do is to dress it in a baguette and hang up on a wall.

Take more photographs, and then your snapshots will be better after each time. Photograph permanently, thanks God you don’t have to economize on a film with digital camera. Study on examples of real masterpieces. Esteem the works of the professional- photographers, artists, sculptors. Add their methods to your arsenal.
Study. But thus try to search your own style in a photo. Remember about main: the person, who you take a photograph, demands attention. Each person differs from other by something. Underline and strengthen its individuality. It is possible to correct on the computer practically everything, except the indifference.

Please check out great wedding photography in Austin by Dave Hill

How to take a portrait photograph ( Part 9)

Illumination



In the creative work there are no limitations: if there is a model, it means that photo needs more time to be taken. How to do it, it’s up to you. Sometimes, it is possible to make the most successful photo, having broken all rules. And only then if this snapshot is pleasant to a model. But for this purpose it is necessary to know rules very well and to know how to put them into practice. Then don’t be afraidd to break them: experiment, try, otherwise there will be no forward motion in photo art. You know someone should open new horizons.

Listen to your internal vision, to what that suggests your subconscious mind. If everything protests inside it means you should not to act this way - search for other composition, light, aspect angle, sort out different versions, do series of snapshots. If you like the photo, it invokes a desire to look at it for a long time you are on the right track.

At filming of portraits all advantages of digital technologies are present. It is not necessary to wait, while the developed film will be returned from the lab, you see the result on the display at once, and if it is not good, it is possible to remake it at once. In general, it is not necessary to be limited by one frame - always it is useful to make some snapshots, and then to select the best of them for printing. Someone will be with closed eyes, someone will turn away sideward, the image can appear insufficiently sharp, what you cannot see at once on the LCD-display, etc.

Therefore always it is necessary to do some takes.

The majority of digital cameras have portrait filming mode - in practice it often provides quite good result. And if you still do not have skills of manual filming, undoubtedly, it is better to use a portrait mode, than automatic completely. Certainly, more various capabilities and the full control provide a manual filming mode, when you can establish the necessary aperture, exposure, sensitivity. If take a photograph by a digital reflex camera, the most appropriate lenses for portrait filming are "fixed" - lenses with fixed focal distance of 85 mms and 100 mms, and also 135, 150, 180 and 200 mms. Only thus it is necessary to take into consideration, that the focal distances are increased at a usage on digital cameras with a "cropped" matrix. You should calculate accordingly overall dimensions of a room, where the filming will be made. Zooming will provide less qualitative result, doubtlessly, it is easier to use them. Especially when there is no time on "«zooming by legs”, there is no capability to go further during the reporting, excursion etc.

Among zooms will be lenses with focal distances of 70-200 mms most preferential. All the rest is just a matter of taste and financial capabilities. But there are quite poor lenses. Therefore before purchasing see in the Internet test snapshots, examples, communicate on forums and only then already purchase in order not to change them for more qualitative ones.

... continue to Illumination (part 10) of How to take a portrait photograph

How to take a portrait photograph ( Part 8)

Illumination

The success of a portrait depends on light. Light is a major component of a portrait. At what light you should to take a photograph? The best illumination is a daylight of course, then you can exhibit minimum sensitivity value100 ISO and even 50 ISO, if the camera allows. The low sensitivity provides a better and detailed image, best tone transitions, clean and bright colours.

The higher a sensitivity ISO is, the more roughly and "dirtier" image you will receive, which yields to the original. Therefore define a maximum possible sensitivity of your camera, when the skin does not look like grey sandpaper.
Sometimes sensitivity is intentionally uprated to create artificial effect of a granular film for a black-and-white photo. But it is not the rule but the exception
Even if it is enough of illumination for filming from arms, it is better to establish the camera on a mount and to ask model to not move. Sharpness and definition of a snapshot will be better. But everything should be within reasonable limits. Even if the camera on a mount, a long exposure will not help - as a model is alive person and does some small motions. If there is stabilization lens in the camera, certainly, use this capability, the snapshot will be better in its microsharpness.
At what time it is better to take a photograph in the afternoon? The most inappropriate time is a middle of a sunny day, midday. The sun is high, light is dazzling bright, and the shades will be sharp and deep. At filming in a shade a face is almost black. In such cases it is necessary to activate the filling flash mode. It will allow much more to cushion shades and will make a face uniformly lighted. If there is a capability, take a photograph in the morning or later in the evening, when sunlight becomes mild, very good from the point of view of a photo. This is the most successful time. Very good conditions for photography are in a gloomy weather. The even, mild illumination promotes obtaining of the well worked mild portraits. But also then it happens often it is desirable to use a filling flash, especially if it is dark enough outdoors.

If you take a portrait photograph indoors, try to use light from a window in the afternoon. Open curtains, turn your back to a window so that light from a window dropped on a model. Light from a built-in flash - not is the best solution for filming portraits indoors. It is necessary to take into consideration, that from spacing interval is closer one meter the built-in flash transforms a face into a white flat pancake. And at a further distance of three or six meters, depending on model of the camera, the built-in flash is practically useless. Therefore in restaurants, banquet halls, houses or celebrations do not take a portraits photograph with a built-in flash on large spacing intervals, especially with zoom application. You will receive much more best and qualitative result, if you take a photograph with usage of an additional external flash. For portraits indoors this is optimum solution. Certainly, the best result will be ensured with professional lighting devices. But it is very expensive, and it is inconvenient. External flash cheap enough and at the same time easy and effective solution of the question of illumination. The snapshots will be notably better, than with a built-in flash. It is better, when the external flash has the rotary head, then it is possible to direct it in a ceiling to receive dispersed even illumination. But when the ceiling is very high, and also have the rough colour and shape, they occlude light from a flash. In such cases it is necessary to incline the blitz head to the side of the person. Whenever possible try not to flash straight at a forehead.

If take a night portrait photograph of the person at the night, on a background of night darkness, except of a flash it is possible to use a pocket flash. With its help it is possible to achieve interesting effects, highlighting model.

... continue to illumination ( part 9 ) of How to take a portrait photograph

How to take a portrait photograph ( Part 7)

Snapshot depth resolution

For portrait filming the depth resolution has a very large, the key value is possible to say. The full-length portrait should be sharp, but not always. For this purpose the diaphragm can be set on f5.6-f11 and even above, if the camera allows. The portraits with blurring very advantageously, when a model is distant from a background. It is can be made with the widely uncovered aperture f2-f4, in this case depth of focus decreases very much. And everything, behind the object of a focusing and before it appears "blurred". Before the person in this case there should not be foreign objects. The background should be whenever possible one-ton, without different unnecessary details. It is good, when this role is executed by leafage of trees, marine blue, a mountain mist or a sky. It is worse, when there are many-stored buildings, sharp branches of trees, chimney-stalks etc.

At a focusing watch, that the eyes were in focus. The snapshot will seem blurred, if eye will appear not in focus even if features will be sharp. An eye should be always clear and open because they reveal a human’s soul. The portrait will be quite successful, when in a zone of sharpness there will be only one of an eye. If there is no capability to transmit sharply both eyes, direct focus on an eye, which is closer to the spectator.

For filming portraits the telelenses will do. In order to point out the person from a background and to make a blurred background a telelens is necessary. For filming a portrait the lenses with focal distance from 50 mms (standard) and above in an equivalent for a 35-millimeter film will do. You should not take a photograph of the person by a wide-angle viewer otherwise, you will receive the distorted proportions of a face. Though for portraits filming formation, certainly, the wide-angle viewer is necessary, or it is necessary to move out on very large spacing interval, that in the majority of situations is simply unacceptable.

...continue to part 8 - Illumination of How to take a portrait photograph

How to take a portrait photograph ( Part 6)

Aspect angle






Certainly, the portraits look wonderfully, when the photographic camera is arranged at an eye level of a model. In that case there is a direct contact with the person. But it is not always the best solution. There are tens different variants, and your problem - to select from them the most interesting and dynamical one to show the person from the best side. You can take a photograph from below, from above or sideways. Besides the people often have defects of appearance: the bald head, low forehead, large nose etc. While making a portrait, is necessary to try to not stress attention on these defects. Whenever possible they need to be hidden.
When a model has very small eyes, take a photograph from a close range, that the camera was closer to the eyes, and a little from above. If your model has an aquiline nose a nose, take a photograph in front. If the face of the person is long it is necessary to take a photograph from above, if a face is broad, you should take from below. When a nose is large, attempt to change a point of filming - little bit below than face, the model thus should throw off a head a little. It is not necessary to take a photograph of the full-bodied people, in a profile - it is necessary to find a point, that the double chin was invisible. Behind the growing bald person arrange a dark tissue or select a dark background - forehead and head will be darker.

Always be delicate and respect the people, carefully hide their defects on snapshots. For example, if you take a photograph the elderly people, do not make it from a close range, close up, that all wrinkles and a skin facture were visible on the foreground and accentuated the age. Pity nerves of the people. If you do not take a photograph especially of old age as such, make it so that the snapshot was not too sharp, and cushion it. For this purpose open aperture more widely (f2-4) and do not take a photograph in sharp light.

...continue to ( Part 7) - Snapshot depth resolution of How to take a portrait photograph

How to take a portrait photograph ( Part 5)

The quite good and rather interesting portraits which are made at a close up mode, when the face or even a part of a face is transferred only on a photo. It will not be an error at all, if you will not place a face not in borders of a frame completely. Don’t be afraid to take a photograph without a crown of a head, ears and you may even leave one of an eye only. This is your right the view of the photographer can be justified in any case, when the person is good recognizable on a snapshot. It is better to show a character look of the person, than the ordinary-looking full-length portrait on a stand at attention. When the close up portrait is taken, the artistical value of each element increases, everything becomes important. Therefore cosmetics, hair, unshaveness - all this will be well noticeable.

>>>continue to ( Part 6) Aspect angle of How to take a portrait photograph >>>

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How to take a portrait photograph ( Part 4)

Full-length portrait

If you want to take a full-length photograph of the person for example on a background of the sea or mountain landscape, do not try to embody all the beauty of the landscape simultaneously. You should take a photograph either arrange a snapshot so that the person was not lost on a background of a landscape. He should be transferred large enough, visible. And a background should be just a nice addition for the whole composition. Recollect old grandma’s photos, when in photo interiors were fashionable painted landscapes just small fragments. And you should try, that the spectator saw not a landscape, but a portrait.

Before you make a snapshot, check up once again whether there is anything unnecessary on snapshots. Take for a rule before clicking the push button to check everything once again. Very often the empty plastic bottles, sleeves, packages and other waste are visible on snapshots. Firstly the photographer does not notice them simply. Try, that there were no some ugly details such as: tubes, gates, old rotten boards and other trash in frame. Unless all of these isn’t author’s idea for photo competition on ecological theme. The snapshot should be balanced on composition: if it is a lot of a sky, sea and so on, and there will be too much blank space on a photo, which does not work for the idea, in our case for a portrait.

One more widespread mistake: pay attention, that “nothing grew” on a head of the person. It happens often that behind a head sticks up a lamppost or a twig on snapshots.

Try before making a snapshot to observe, that the clothes sat normally, were clean, there was no mud on them. Or recompose a frame to hide unsuccessful segments from frame. Set clothes, hair, if it is necessary. Observe that on a background there were no strangers. It is better to wait a little and to choose the moment, when there will be no strangers people behind, than to take a photograph where near to your relative will be the occasional passer - by.

The photo looks much better, if it is divided into three parts, both in vertical direction, and in horizontal direction, and the compositionally important parts (head, eyes, mouth) were arranged in interception of these parts.

The group portrait needs to be taken a so that the people stood closely to each other, that between their shoulders (arms) there was no space. High persons should be placed little bit further, the children can be put on the foreground. Certainly, in this case everyone should look at the photographer. When someone yawns, looks sideways or has shut of his eyes, the snapshot is unsuccessful already, and it needs to be remade. The aperture should be restricted so that the frame was sharp on all frame area - f8 and more. Set an eexposure no more than 1/60 seconds to avoid "shake".

You may not to make a full-length portrait it is possible to take a photograph of the person up to the waist. In this case arms already play more important role. It is good, when they do not simply hang. It is possible to take a photograph the person, when he talks on the mobile telephone, holds a bouquet of flowers in arms, smokes etc. Such snapshots are more expressive. In each case check up - whether the selected version suits to your model. Whether the posture, environment, scene are not forced. For example, it is not necessary to take a photograph of the adolescent with a cigarette, serious man with a bouquet of flowers, and a woman with a hammer.

The posture of the person should be relaxed, the model should not try from all forces to straighten his back etc. It looks unnaturally. The portraits look well, when the model is arranged on 45 ° to the camera, and tilts a head naturally. It would be better if there will be a natural smile. When the person sits, pay attention to his legs. It is possible to ask to cross them. But there are when it is better to avoid situations, when the model puts a leg on a leg, it may spoiled the frame.

... continue to Full-length portrait of How to take a portrait photograph ( Part 5)

How to take a portrait photograph ( Part 3)

Most important, whenever possible, avoid filming directly, it is not interesting. It is not necessary, that the object of filming looked strictly in a lens and, forced to smile, waiting, while « the birdie » will appear. Even children know that from modern "«digital cameras" birdies do not appear for a long time any more. Invent a joke, recollect a joke, something ridiculous, then the natural; joy smile will appear on a face of a model. Or tell something interesting, fascinating. Communicate with your model, involve her (him) in talk, then the face expression will be natural. Observe a facial expression; take a photograph, when the expressive emotions will appear. Prepare a sweet for children, a mini-surprise etc. When you show a toy or a sweet before clicking the push button joy will appear on a face of the child. Then take an advantage of the moment. If the child is unfamiliar, spend a little time to become friends with him. Small children need a little time to get used to the unfamiliar person. Firstly child can play up, is demonstratively make faces, to turn away. Display your patience and ingenuity, then your efforts will be rewarded by excellent snapshots.

Well, it is simply wonderful, when the people look sideways, instead of in a lens. When the people at the moment of filming are busy with their affairs, the snapshots will be natural, and lax. Spontaneous snapshots made “incidentally “are the most interesting. People look relaxed and naturally on them usually. Such snapshots discover person better and allow embodying him that way as he looks in his life. Spontaneous portrait will transmit nature, without the stretched postures and forced smiles. The art value of such portrait will be much higher.

After you have chosen the model and imagine the future frame, you have just to realise it in practice. There is a problem with framing. It is necessary so to set line borders of the future frame so, that everything was well balanceв in it. One more important moment: try, that in frame there were no unnecessary details. The camera lens fixes everything that we sometimes simply do not remark. And then on a snapshot there can be a completely stranger person, somebody’s arm, head, subjects which do not having any attitude to a scene. If it is possible to remove these details without damage to a photo try to do it. The snapshot will be improved after you have done it. Leave those details which will help to supplement the composition of a portrait. For example, it is very good, when on a portrait photo there are arms of the model. They can add some expressiveness, open nature of the person better. The portrait can supplement well such subjects only: a hat, a pipe, mobile telephone etc. However when there too many objects, the view is lost.

Do not dispose model strictly in the centre. When the person on a snapshot is in the middle of frame and looks directly in a lens, it is not the most successful photo. It is much better, if you displace an object a little sideward: to the left or to the right. But do not try it too hard. If there will be too much blank space, such photo will seem unbalanced.

... continue to part 4 - Full-length portrait

How to take a portrait photograph ( Part 2)

Rather often before filming the people start to hesitate, being confused and embarrassed. Often one may hear, that the people don’t like their image receive on photos, they think they are not photogenic. And that’s why they do not want to be photographed. They are wrong!!! They are photogenic, it is the photographer, who photographed them before, treated this activity formally. There are no bad models, there are bad photographers only, who must learn to be friends with the camera, and like and respect the people.

You may take any person in the world so, that he will like it very much very much he will thank you very much. Absolutely any person is photogenic, moreover - than more unusually person is, especially expressive and interesting it is more possible to make a scene and even a genre photo.

It may seem, it is very simple just to direct a camera lens, click the push button, and the portrait is ready. All you have to do is just print out those “masterpieces” only. If everything were so easy, there would not be tons of dull and uninteresting pictures such as « It’s me», « We on a background o the sea » etc. Such snapshots are interesting to their owners only, and that’s all.

So what does the good portrait start, with? From patience and observation. The good photographer is not an artist only, but a psychologist. Do not hurry up to click the push button. Study your model. Find characteristic gestures, facial expression, leans, turns of a head, reaction on different events. To make a successful frame, often it is necessary to do a considerable series of snapshots. The majority of the people get tired to posture after the third double already. In order not to terminate filming and to achieve desirable result have an easy talk.

continue to Part 3 of How to take a portrait photograph

How to take a portrait photograph ( Part 1)

Practically every person might have taken a photograph of the people at least once. If not by his own camera, then, when he was asked to do this by the owners of a photographic camera. It is very interesting to look through the photos of your relatives, friends or acquaintance. And on order that these snapshots were not similar to a photo on the passport driver’s license or army papers, you should read this article attentively. When the spectator after the review of several snapshots starts to yawn, it means that you didn’t manage to make a good photo. So try to take a photograph so that after the review of these snapshots the objects of your photoart were smiling with delight, and you could hear the words of thanks. And children and grandsons could be proud of their parents, grandfathers and grandmothers.

continue ...So what does the good portrait start with?

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