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Canon EOS 7D – A DSLR Worthy of Praise

Canon EOS 7D – A DSLR Worthy of Praise | By Wayne Rasku

All the stops have been pulled out in creating the new Canon DSLR. It is the replacement for its popular X0D line of cameras. The last of that line was the 50D. And while it was an excellent camera, it was not as well received as previous models, basically because there was not enough improvement to warrant a big WOW from the photography audience.


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The newest and best camera in the line has a different name, and it is already building a new reputation. The Canon EOS 7D has upped the ante in the battle with Nikon for the top spot among APS-C cameras. (APS-C is a category just below the top professional cameras – the sensor is not full-frame, meaning there is some cropping going on inside the camera).

Here are some of the key features:

  • 18 megapixel APS-C CMOS image sensor
  • 3.0″ LCD with 920,000 pixel resolution (this high resolution makes for excellent viewing even in high light situations)
  • Dual DIGIC 4 processors for faster performance (similar to computers with dual processors)
  • Excellent noise control in low light photos
  • Full frame viewing with 100% coverage of the image about to be captured in the viewfinder
  • 1080p HD video recording with an external microphone port
  • 19 point Auto Focus system (you can set the focus to any one of the 19 points or use all points for a perfectly focussed image)
  • 8 fps (frames per second) continuous burst speed
  • Improved ergonomics for comfortable handling

When you have a camera of this quality, there are so many positives that can be mentioned. But let’s face it, if the image quality does not match up to the expected level, the camera will not be successful. As with all the other cameras that came before it, the Canon 7D has image quality that is “best in class”. That said, there is no match for the full-frame sensor cameras, but the difference in price is also a consideration. You will pay a quite a bit more for full frame. Many professional photographers are totally satisfied with this model.

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It all boils down to one really nice camera.

You should continue to read about the Canon EOS 7D because there is so much good to find out. Do check the full feature breakdown at http://www.digital-photographic-resources.com. You will be glad you did.

Happy Shooting!

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http://EzineArticles.com/?Canon-EOS-7D—A-DSLR-Worthy-of-Praise&id=3285156

 

58mm PRO Accessories Kit f/ CANON EOS 800D 750D 700D 650D 600D 550D 500D

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Canon EOS Digital Rebel XT Model DS126071 With 3 Lenses, Flash, Accessories Case

Canon EOS Digital Rebel XT Model DS126071 With 3 Lenses, Flash, Accessories Case
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LED Light Logo Emblem symbol sign badge Under Door Step courtesy car FIRE WOLF

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Canon EOS 7D Review

Canon EOS 7D Review | By Phil Craig

With the recent introduction of the Canon EOS 7D, the popular camera company is set to regain it’s number one place in this highly competitive market. Instead of replacing the EOS 50D, the new model will effectively become a step up from previous offerings. In this Canon EOS 7D review, you will see just some of the features that make this an exciting edition for the advanced photographer’s needs.


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As anyone who upgrades from a point and shoot to a digital SLR knows, it can be very challenging to learn about f-stops and exposure. However, you can often get better shots than with automatic settings. While most SLRs feature automatic shooting, the SLR really shines with manual controls and the Canon EOS 7D is no exception. It does, however, have really great automatic programs. The company actually designed the camera around the specific needs of professional photographers, so there are some very exciting features.

One of the things that really stand out in any Canon EOS 7D review is the ability that the machine has to focus so accurately. The photographer is able to take advantage of the 19 point cross type AF system, making for extremely precise shooting options. The extensive sensor system also allows the camera to automatically select subjects, making each shoot more foolproof than ever. It is simple to select the presets that come on the camera, or you can create up to three custom settings of your own.

Of course, no Canon EOS 7D review is complete without discussing screen size and image resolution. This camera has a 3″ LCD monitor. Compared to older models, it appears to be a bit smaller. However, it is actually the same size. The older models have a frame around the screen that gives them the illusion of being bigger. The screen is also more accurate. Finally, what you see is what you get! The camera has an image resolution of 18MP. This model is even self cleaning. Every time you turn it on or off, it will vibrate quickly to remove dust from the high quality lens. You can disable this feature if you prefer. The Canon EOS 7D takes a CF or Compact Flash card and also supports microdrive cards, leaving you with plenty of options.

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As you can see, this camera is a professionals dream! It is made to compete directly with the popular Sony and Nokia digital SLR cameras. As such, this camera is not on the lower end of the digital SLR price range. It is made to be the top performer in the professional market and is priced accordingly. However, if you have the need for truly professional results, this may be just the ticket.

Phil has been writing online for years. Not only does this author specialize in diet, fitness and weight loss, you can check out his latest website on Canon 7D Reviews which provides reviews and information on the new Canon EOS 7D camera for your photographic enjoyment.

Article Source: http://EzineArticles.com/?expert=Phil_Craig
http://EzineArticles.com/?Canon-EOS-7D-Review&id=2942692

 

Professional 58MM Accessory Bundle Kit For Canon Rebel T6i T6 T6S T5 T5i T7 T...

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CANON SPEEDLITE 430 EX III & 430 EX III RT CASE ASSEMBLY ACCESSORY HOT SHOE NEW

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Canon 32GB VIXIA HF R62 HFR62 Camcorder Video Camera + 128GB Accessories Bundle

Canon 32GB VIXIA HF R62 HFR62 Camcorder Video Camera + 128GB Accessories Bundle
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Candid Photography and Good Manners

Candid Photography and Good Manners | By Lance Carr

This doesn’t really apply of course if you’re taking shots of inanimate objects. A tree is not likely to get offended if you shoot it at a moment when its branches look forlorn and sad – but a person might.

For example, you’re prowling the backstreets of some Third World city, or even your own, trying to capture a mood of desolation or estrangement – don’t ask me why, but people like shooting this kind of thing – and you get an old woman in your viewfinder who has obviously seen better days. Nevertheless, there’s a certain grace in her pose, and a nobility in her expression, so you shoot.


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Later you can zap the pix in Photoshop, give it a good color balance and your friends will admire it. You get that pleasure for your efforts – but what did your model get?

Back when I was first taking photos I caught sight of a one legged man on a crutch hobbling towards me along a city street. It was a striking image, so being a god with a Nikon I brazenly stepped out and took it. The subject got very upset – and I immediately saw his point: who wants to be immortalized looking your worst?

When I returned to the darkroom I threw the negative out and made a vow not to do that again. Should I have asked his permission first? That would not have solved the situation and he most certainly would have said no. The point was, why was I taking that shot in the first place? If I’d thought about it I would have taken a shot from the back and at least spared his feelings.

Sometimes you take a candid snap and the value of the shot is that the person is unaware of your interest. These pictures can be great and the effect would be spoiled by going up and announcing your intention beforehand. However, what you can do is once you’ve got your shot, approach the subject, let them know you’d like to take a photo and do the best job you can of taking a flattering picture of the person. They may never see it, but here, as in many things – it’s the thought that counts.

Another variation, especially if you’re in that same Third World country where the locals have probably been photographed every which way by thousands of tourists, is to carry some small denomination notes or coins in your pocket, and politely offer payment for the modeling work. This is usually appreciated and it’s good for your conscience.

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Some other examples: one time I did my own personal photo essay on a school. It wasn’t practical to offer every student and teacher a print but I cut a CD of the best shots and presented it to the principal.

Another time, I shot a dog class and made some small prints of the ten best shots and gave them to the trainer to pass out at the next class.

All this comes under the heading of good manners, and good manners are always appreciated. Furthermore if you want or need to return and re-shoot, you’ll find yourself welcomed not resisted.

Try it.

Lance is an ex-patriot Australian living in Taiwan running a business consulting company. His grasp of the Chinese language ranges from poor to laughable and in most circumstances his actual use of the Chinese language results in laughter. | Photography Tips | Candid Photography

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http://EzineArticles.com/?Candid-Photography-and-Good-Manners&id=2214003

 

Lot of 2 photography tutorial books assortment

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Lot of 4 photography tutorial books assortment

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Portrait Photography Secrets dvd photography tutorials

Portrait Photography Secrets dvd photography tutorials
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Esquire Magazine – The Meaning of Life

Esquire Magazine appeared, for the first time, in October 1933. It was conceived at the darkest moment of the depression and was born at the dawn of the New Deal. The magazine began as a racy publication for men, published by David A. Smart and Arnold Gingrich. It later transformed itself into a more refined periodical with an emphasis on men’s fashion and contributions by Ernest Hemingway and F. Scott Fitzgerald. In the 1940s, the popularity of the Petty Girls and Vargas Girls provided a circulation boost. In the 1960s, Esquire helped pioneer the trend of New Journalism by publishing such writers as Norman Mailer, Tim O’Brien, John Sack, Gay Talese and Tom Wolfe. Under Harold Hayes, who ran it from 1961 to 1973, it became as distinctive as its oversized pages. The magazine shrank to the conventional 8½x11 in 1971. The magazine was sold by the original owners to Clay Felker in 1977, who sold it to the 13-30 Corporation, a Tennessee publisher, two years later. 13-30 split up in 1986, and Esquire was sold to Hearst at the end of the year.

David Granger was named editor-in-chief of the magazine in June 1997. Since his arrival, the magazine has received numerous awards, including multiple National Magazine Awards—the industry’s highest honor. Prior to becoming editor-in-chief at Esquire, Granger was the executive editor at GQ for nearly six years.

In October 2008, to commemorate the magazine’s 75th Anniversary, Esquire Magazine published a limited edition digital cover that featured electronic ink with moving words and flashing images.The electronic cover was used in only 100,000 copies that went to newsstands — its overall circulation is about 720,000. Esquire has exclusive use of E Ink’s technology for use in print through 2009.

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Maximizing Depth of Field and Sharpness

Landscape Photography – Maximizing Depth of Field and Sharpness | By Brian T Davidson

Maximizing depth of field and sharpness when you’re shooting landscapes is not the black art that many people seem to think. There is a lot of confusion, misleading information and incorrect assumptions being made on the Internet when it comes to f-stops and focusing distance.

Common Mistakes

One common and misleading assumption is that to get maximum depth of field you simply choose an aperture of f16 or above and focus about one third of the way into the scene. This method may work to a degree, but you are not getting the maximum depth of field or maximum sharpness from your lens, particularly if you are using an ultra wide lens in the 10 to 24mm range.


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Maximizing Depth of Field

If you look at any depth of field table, which incidentally are freely available on the Internet, you will notice that the depth of field increases as focal length shortens, which means that a lens with a focal length of 50mm will have less depth of field than a lens with a focal length of 17mm at the same f-stop. I highly recommend you to check your own focal length against these tables to get the approximate hyperfocal distance for your lens.

For wide and ultra wide lenses you will want to set your focus point to roughly four feet into the scene, as this is approximately where the hyperfocal distance will be for these type of lenses. This will mean that everything from about two feet in front of the subject to everything behind the subject will be in sharp focus. Remember, as you increase the focus distance you actually decrease the amount of sharpness in front of the subject.

Maximizing Sharpness

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If you want to maximize sharpness, especially if you are planning on doing large prints then you need to ensure that you are using appropriate apertures. A common misconception is that setting the aperture to f22 will make everything sharp. Not true! All lenses, even the most expensive pro models suffer from diffraction. It has nothing to do with build quality but rather the law of physics! Diffracted light is light that is reflected off the edge of the aperture blades. At large apertures it is not a problem but at small apertures the amount of diffracted light increases to the point of affecting image sharpness quite noticeably. Therefore I would not recommend using anything beyond f16.

If you are doing very large prints at A2 and above then I would not recommend using even f16 but instead using f11. Obviously if you do use f11 you will not get the same range of depth of field as you would with f16 but what you can do in this instance is take two exposures. Take one exposure at the hyperfocal distance then take another at infinity. This will ensure you have maximum sharpness across the two. You can then blend them both together in Photoshop for a super sharp image.

Brian Davidson – landscape, macro and still life photographer

Stock Images and Fine Art Photography http://chasethelight.co.uk
Blog – http://photography-ctl.blogspot.com/
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Learn Nude and Glamour Photography by MR Simon Q. Walden (English) Paperback Boo

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Digital Portrait Photography 101: Learn to Take Better Pictures of Your Friends

Digital Portrait Photography 101: Learn to Take Better Pictures of Your Friends
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SUPER POSE BOOK NUDE Vol.2 FOR ARTIST ART PHOTOGRAPHY LEARN DRAW MANGA ANIME F/S

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Black and White Photography


Black and White Photography | By Daniel Sach

Black and White photography, it draws one’s self into the detail of an image rather than the vibrant color which is absent from their eye. A color photograph draws one to a specific color. A black and white photo can draw one’s self into the depth in which it captures. Depending on the style, a photo may encompass a shadow as the main subject or rather the lack thereof. Black and white develops into a pursuit of detail and majesty. I would like to share some tips on shooting the best possible black and white photos as possible.
I will refer to Black and White as B&W.


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Tip #1 Shoot in RAW
It is obvious that most people are unaware of the now loved RAW setting on their cameras. All things considered I am aware that not everyone has a camera capable of shooting in this mode. Shooting in Raw offers more control not only in the post processing period but also when converting the picture to B&W. If your camera does support RAW, Use it! The normal JPEG format will work, though in the end RAW will produce a far superior photo. Once you become familiar with RAW you will never go back.

Tip #2 Do Not Use the Built in B&W setting.

Most people, when wanting to shoot B&W, flick their camera to this setting. Even though you are able to produce a black and white photo with no need of post processing, you lose the overall quality and control of the final outcome. If you do not have a RAW setting, shoot in color mode.

Tip #3 The Lower the ISO the better.

Turn your ISO down to the lowest possible setting. Most photographers understand the difference between 100 and 800 ISO. If not please stop and read my article “I don’t know my ISO”. This is an important step. B&W will show the grain and while sometimes a grainy B&W can be very stylish, it is not always wanted. B&W create more noise and grain. Turning down your ISO will make it less noticeable.

TIP # 4 Do not shoot when you would normally shoot a color photo.

LIGHTING ! LIGHTING ! LIGHTING !
A good photo is all about the lighting. Most of the time, a typical person would shoot a photo on a sunny day with a lot of light. B&W is opposite. For me, I choose to shoot when it is overcast creating a softer lighting effect. The best days to take B&W are the worst days to shoot color.

Tip# 5 it is all about the detail

When shooting B&W, one needs to understand that the goal is not to produce sharp bright colors but rather to capture intricate detail and ominous shadows. It is good to try different techniques and setups. Try shooting a scene at different times of day. A bridge that may seem plain and dull during sunrise may be a wondrous spectacle of lighting and shadows during sunset. Different lighting and shadows create different effects. A good way to practice is to pick an object outside and shoot it 4 times a day to find out what the best lighting is. Sunrise, early morning, late afternoon and sunset are a good starting point. Another element to and intrigue to your photo is shooting in different weather. A layer of fog can turn even the dullest of photos into a masterpiece of success.

Tip #6 Keep your focus on your subject

A common error in any form of photography is not drawing you viewer’s eyes to what you had intended to. An all too common issue is when shooting a photo of an object is when there is another object in the background which causes the viewer to drift away from the subject being photographed. If the subject being photographed is movable, try moving it for proper framing. If the subject is not movable the moving your setup would be the next step. The idea behind capturing an image is to capture what you envision and what y0u want the viewer to see.

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Another key difference when shooting B&W is that you use detail, shadows, and focus to draw the viewer’s attention to the desired object rather than different color. Things to look at when shooting your photo are the different shapes, tones and textures. Be sure again to use the shadows and lighting available to create the desired image. Highlights may also be used as another source of framework for you image.

Tip# 7 Final thoughts to remember……
Be sure to be more thorough when choosing your subject matter to photograph. Objects which may look great in color will not necessarily look the best in B&W and may turn out dull or flat with no depth. One aspect of B&W is the ability to create and unexpected or dramatic portrait in that removing the color places the focus on the detail, lighting and shadows. When shooting B&W; remember that it is about the detail, not the colors

Daniel Sach

http://www.Sachphotography.us
Article Source: http://EzineArticles.com/?expert=Daniel_Sach
http://EzineArticles.com/?Black-and-White-Photography&id=2470393

 

VINTAGE UFO EXTREME SPORTS PINUP GIRLS SUMMER FUN VERNACULAR PHOTOGRAPHY PHOTO

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PHOTOGRAPHY OF YOUNG Handsome MAN Framed photographs 1928 Vintage Black White

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VINTAGE ALTERNATE REALITY CHILDHOOD DOUBLE EXPOSURE VERNACULAR PHOTOGRAPHY PHOTO

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After Light It’s All About Composition in Landscape Photography

Landscape Photography – After Light It’s All About Composition in Landscape Photography | By Jamie Paterson

You’ve heard time and time again that landscape photography is all about the natural light that nature provides to you at the time of taking the photograph. This is extremely true, but even if the light is perfect your photo won’t stand out unless you composed it in the best way that you can.

Okay, so what constitutes great composition is always going to be extremely subjective and there are no 100% right or wrong answer and yes sometime you have to go against the norm to tell your story. However, there are four major things that I look for when I’m taking a photo.


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The first thing I always try to follow is the rule of thirds, do a Google search to find out more but essentially try to avoid having your horizons going straight through the middle of your photos and definitely try to avoid putting your subjects in the centre of your photo. If you’re taking a photo of a really impressive rock then don’t put it bang in the centre of your photo. Perhaps you could take a photo with ¾ sky and the rock placed on the right hand or left hand side it would make for a different and interesting landscape photograph. Always try to think outside of the box.

If I’m taking a landscape photograph of something like a mountain range that is a little distance away I always ensure that I include something that qualifies as foreground interest. Here’s an example, I want to take a photo of a hill that is perhaps 500M away, no just taking a photo of that hill would look pretty boring. If I managed to include a nice rock or tree in the foreground then that adds depth to the photograph and makes it significantly more interesting.

Using the same scenario as above another composition trick is to add leading lines into your photo to literally ‘lead’ people’s eyes towards the main subject in your photograph. So how could we include this in the above photo? Well we’ve found our hill and we’ve found our tree, is there a fence for example leading up to the direction of the hill (this in itself is also foreground interest), is there a creek running down from the hill as this could be used as a leading line as well. Leading lines work really well if you get them right.

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One of the last composition techniques when taking landscape photographs I employ is called framing. What do you think might be more interesting? Taking a photo standing on a beach or standing back in the tree line with a shot of a branch at the top of my photo ‘framing’ my photo? Again do a search on Google images from examples of this.

So using a combination of great light, the rule of thirds, foreground interest, leading lines and framing you’ll be able to produce some stunning landscape photographs. If you have a look at some of my work you’ll see where I have tried to use at least one of these techniques in each photo.

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http://EzineArticles.com/?Landscape-Photography—After-Light-Its-All-About-Composition-in-Landscape-Photography&id=2462379

 

NEW Moodscapes: The Theory and Practice of Fine-Art Landscape Photography

NEW Moodscapes: The Theory and Practice of Fine-Art Landscape Photography
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Szekelyföld, Transylvania, Romania paintings, landscape watercolors, TIbor Vakar

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Dslr Photography - Antelope Canyon: How to Photograph Landscapes with Your Dslr

Dslr Photography - Antelope Canyon: How to Photograph Landscapes with Your Dslr
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Portrait Photography Tips – Shooting Wow Pictures

Portrait Photography Tips – Shooting Wow Pictures | By Jonnie Blaylock

All budding photographers, as well as those who’ve been shooting for awhile, are all looking for the same thing. They want to shooting stunning photographs that capture the “wow” factor. It is not an easy thing to do, since beauty is in the eye of the beholder. However, it is not impossible and rather than following rules, sometimes it is necessary to break them. Be random and boldly follow your instincts to find that special picture that makes everyone stop and take notice.


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1. Change the Perspective – Nearly all portraits are taken with the camera at eye level. Change the perspective by changing the angle from which you’re shooting. Get up high over your subject for one effect. From that vantage you may see an even more interesting aspect. Experiment with your composition.

2. Play with the Eyes – Eye contact or the direction in which the eyes are gazing heavily affects the effect of the portrait. Looking directly into the camera isn’t always the most interesting way to shoot someone. It may be more intriguing to have the subject look off to the side, drawing those who look at the shot to wonder what’s there, off camera, unseen. But be careful how you do this, because drawing the viewer’s eyes to the side also takes their eyes off your subject.

3. Staying Focused within the Frame – In other words, have your subject holding an object, like a woman holding a baby, or a child holding a toy keeps the viewers eyes focused inside the frame and on the subjects. It creates a second point of interest and helps to create a story within the frame with the subject.

4. Composition Rules – Composition rules as listed in portrait photography tips, are made to be followed and broken. The rules are great to know and to use, but stretching them, or pushing to the outer limits makes for more interesting portrait art. Learn the rules, get comfortable using them, then learn to break them in order to achieve a more eye catching result.

5. Experiment with Lighting – The possibilities are endless with lighting. You are hindered only by your imagination and ability to be creative. There is no good and bad. So go ahead and play with the lighting. You might surprise yourself. Sidelight, back-light, silhouette, the possibilities are infinite.

6. Make Subject Move – Interesting portraits happen when you take the subject out of his or her comfort zone. Make them move. Put them in clothing or in a setting where you wouldn’t ordinarily find them. Surround them with stuff that says who they are, but make them react differently to it. For instance, put them in business attire in an office, but have them jump up and down or read a book upside down. Again, be creative.

7. Don’t Stage the Photo – Shooting candid shots are better than posing the subject. People, and kids in particular tend to tense up and hide rather than reveal their personality when the picture is staged and they are required to pose. Photograph your subjects while they work or kids while they play. Try to catch them reacting naturally to their environment.

8. Using Props – Enhance your shot by creating another point of interest with a prop. For example, if you’re shooting a doctor, let them be wearing a stethoscope or holding a skull. Be careful not to let the prop dominate the picture, let it be part of the picture telling part of the story.

9. A Part of the Whole – Try focusing on a part of the whole, for instance, instead of shooting the head and shoulders of your subject, take a picture or two of their hands, or their back, or maybe even a shoulder with a special tattoo, keeping the face in shadow. Be dramatic and bold. Sometimes what is left out of the shot is as important as what is left in.

10. Variation on a Theme – Obscuring your subject in order to focus on one particular aspect works well too. In other words, shrouding a woman in a shawl leaving only her eyes visible and looking at the camera. Possibly making the shawl match the eyes of the subject making for a dramatic color statement.

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The possibilities for taking creative and dramatic shots are limited only by your ability to think outside the box. Know the rules, know how to work them, then learn how to break them for a more creative effect. Finally, take a series of shots… not just one… shoot often and quick… sometimes, in order to get what you want.

I hope you have found these portrait photography tips useful.

Jonnie Blaylock is a hobbyist photographer that helps new photographers learn the fundamentals with his Portrait Photography Tips and more.
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5500K 18" Fluorescent Dimmable Ring Light w/Bag Portrait Video Light Photography

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How to Pose Glamour Photography Models

How to Pose Glamour Photography Models | By Kathy Amarati

No director of glamour photography models need be given a list of reasons why a head is invaluable in a picture. Some directors do, however, welcome ideas on how to bring the model’s best face forward – whether it is one of beauty, character and/or expression.

Before we come to our views of the subject, however, we would like to acknowledge the presence of the controversy existing over the candid versus the controlled pose. Some directors contend they never direct their subject. ‘To place a head or a mouth in a pre-determined position,’ they say, ‘would destroy all of the spontaneity and naturalness of the picture.’


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Others, just as vehemently, contend that ‘In a business that calls for consistent results, lucky mood and coincidence are not enough. They are not reliable and cannot be depended upon.’

We feel that when both director and model have a working knowledge of technique, each individual job will determine whether the pose requires controlled, candid or controlled-candid treatment.

Experienced directors practice many ways of getting a glamour photography model to act and react realistically before the camera. Each has developed ways of controlling a model without having literally to push her into position. Adroit use of words, exemplary action, strategic suggestion and psychological motivation all bring forth expression that is dependable as well as spontaneous. At the same time most directors have found in actual practice, that with intelligent direction from behind the camera, any capable model can accept correction and rearrange parts naturally without showing strain and losing spontaneity!

In photography we lean heavily upon the model’s capabilities, yes, and in many instances even upon her ability to inspire us by doing something her way from which we can select or perfect a pose.

So, part of a director’s success lies in his ability to keep a model suggesting ideas within the scope of the camera’s ability to record them.

Many models feel they have exhausted the possibilities for different head positions when they have turned their head slowly from the left of the camera to the right of the camera! This can be most exasperating to a director (especially if you believe that you get the fullest creative contribution from a model by allowing her to move freely instead of placing her). Try a suggestion that will take her into several other positions from which you might select a pose.

You might ask her to repeat the horizontal turn – this time with her chin up a little higher. This gives you at least six additional positions to choose from. Then ask her to lower her chin and repeat the horizontal turn – six more positions! By repeating each of these eighteen positions with her head tilted right and then with her head tilted left, you’ve added another thirty-six possibilities without yet putting her in any exact position.

If your model has trouble with the tilt, which is the most difficult direction to understand, you might try this. Hold a pencil vertically in front of your model’s face. Let the tip of her nose touch the pencil and divide it equally lengthwise. Ask her to put her chin on one side of the pencil and her forehead on the other as you repeat the word tilt.

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With encouragement, let her try a few combined movements such as, ‘Turn your head slightly to the right… that’s good … now tilt the top of your head right (or tilt your chin left).’ If she loses her conception of tilt, hold the pencil before her again and she will usually remember it for the remainder of the sitting.

Work with your glamour photography model to give her confidence, and you will surely get some great pictures.

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Various Wrestling Poses Outdoors, Physique Photography Western Photography Guild

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SUPER POSE BOOK NUDE Vol.2 FOR ARTIST ART PHOTOGRAPHY LEARN DRAW MANGA ANIME F/S

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Digital Camera Lessons – Macro Photography

Digital Camera Lessons – Macro Photography | By Gene Rodman

Now that we are getting a few hints of spring, a few Robin and a Bluebird sightings, I’m keeping my eyes out for crocus and pasque flowers. It means that our world is going to shake off winter and make its mad dash to grow like crazy. Now everyone that has waited to photograph something a little less white knows that these flowers mark the beginning of another year of recording our beautiful Montana world.


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Flowers come in a close third next to our children and pets as something we are drawn to photograph. Anyone who has attempted to get a good picture of a flower knows two things; they are usually quite small and they are very near ground level. The ground level thing is easy to fix if you are willing to get down to their level. If you are not willing to get down and personal then flowers are going to be hard for you. Sure there’s the old shoot-down-on-them-from-above method but that limits your perspective. Camera manufacturers also know we love to take pictures of flowers because nearly all automatic cameras have a little flower icon on a dial somewhere on the camera. By turning the dial to the flower icon we are telling our camera that we are going to photograph something close and small. Mostly it will adjust the lens so we can focus closer than for a normal picture. It probably adjusts the aperture (the camera’s iris) to let in a little more light too. Yes, like our eyes, cameras have an adjustable iris to regulate the amount of light that exposes the film or camera’s sensor. Sometimes you’ll hear the word f-stop interchanged with the word aperture. An f-stop is a precise measure of light. Each full f-stop is twice as much or half as much light depending which direction you turn the dial.

So now we are ready to get down in the dirt and start photographing flowers. The one thing about photography that most people don’t understand is that it is not that easy to get a good shot. Here are a few hints that will make the going a little easier:

  1. Do not photograph flowers in direct sunlight. It is way too harsh of a light and contrast will be too great, washing out bright colors and killing shadow detail. Many flower photographers carry a diffusion screen to solve this problem.
  2. Photographing flowers on a cloudy or foggy day allows for great color saturation and low contrast. Low contrast, diffused light, allows for more fine detail. One misconception about photography is that colors are muted when the sun is behind the clouds. Colors are still there but the decrease in light makes it appear they are less colorful.
  3. Watch out for bright backgrounds or highlights that detract from the flower. To set off the color and shape of the flower a darker background is usually desired. I often use the green foliage of the flower as the background. Shooting a flower with the sky as the background seldom works unless you really know what you are doing because it is brighter than the flower.
  4. If one is good then more is better. A basic rule of composition is that an odd number rather than even number of objects is more desirable. Arrange your composition so your eye moves from flower to flower easily. But still remember, one is an odd number too.

Those that are a bit more advanced and have a more adjustable camera with changeable lenses might want to know other tricks. There are several ways to get close to flowers with special lenses and filters. Many zoom lenses have a macro setting allowing for closer focusing, though nothing beats a macro lens. Nikon calls their macro lenses micro lenses. Most allow for close to 1:1 or life size reproduction. A 200mm macro lens allows for a greater working distance from your flower than say a 60mm macro. However a 60mm will have slightly more depth of field than the 200mm even though there’s not much depth of field with macro photography.

One of the first tricks photographers used to get close was to reversing their normal lens on their camera body. They did this by using a reversal ring. The reversal ring has the camera’s mount on one side and a male screw thread on the other allowing the lenses filter thread to be screwed onto the ring. Since the idea of a lens is to gather light and focus it into a smaller area (the film) reversing the lens allows the light (image) to be magnified.

Those of us old photographers have always known that when a lens focuses to a closer object the lens moves away from the camera and the lens gets longer. Many lenses now have internal focus (noted as IF on the lens) and the lens does not get longer as it focuses closer because all the focusing is done internally. To increase close focusing, camera manufacturers make hollow tubes that fit between the camera body and the lens. These extension tubes, usually in three different sizes, allow any lens to focus closer because the lens is further away from the camera body. Another item along this line is the bellows extension. The same principle applies because the bellows is placed between the camera body and the lens except rather than being a fixed size tube the bellows allows the photographer to precisely determine the objects size and magnification during focusing.

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Close-up filters are another handy item to include in your camera bag. Like other filters that screw onto the front of your lens these filters, usually also coming in three different magnifications, are like reading glasses for us old folks. They simply magnify what the lens is already seeing. They are less expensive than macro lenses and extension tubes and may work for you.

Now I mentioned earlier that there is not much depth of field the closer you get to an object. Depth of field is basically what’s going to be in focus optically. It is often better to allow as much light as you can into the camera by using a large aperture. There usually isn’t much light to work with in macro photography and you’ll be fighting slow shutter speeds if you close down your aperture for a little more depth of field. Focusing also becomes much more critical the closer you get. Using extension tubes, bellows extension, and close-up filters or a combination of these allow you to get extreme close-ups (larger than life size).

Gene Rodman

Montana Photographic Arts | http://mtphotoarts.com

For a copy of my FREE REPORT “How to Avoid The 12 Mistakes People Make When Purchasing Art” (a $12.95 value) which will help you avoid making the wrong costly decisions when buying art including photography and how to get the most out of your purchase visit my website at http://mtphotoarts.com/1/19be7/#/page/free-reports-and-newlettersArticle Source: http://EzineArticles.com/?expert=Gene_Rodman
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95mm Close Up Diopter Filters Kit Black Macro Photography + Nylon Wallet NO TAX

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How to Improve Your Photographs

How to Improve Your Photographs | By Chin Yong Sak

Have you ever wondered why your photographs seem to be too common or unattractive? This is a common problem especially for new photographers with little or no photography experience.

This article will share on some basic ways to improve your photographs and will be a good place to start if you are new to this exciting hobby. To render eye catching photographs, it is important that they are sharp and well exposed with strong composition.


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There are a few reasons which contribute to blurry photographs and the more common ones are due to camera shake or poor focusing techniques.

It is important that you hand-held the camera correctly and make sure the grip is stable and firm. If the shutter speed is too slow, make sure a tripod is used to avoid camera shake. If you do not have a tripod, try resting or leaning on something to give a firm support.

Most DSLR in the market offers image stabilizing function either on the camera body or lens. You may want to use the image stabilizing function if available.

When focusing on your subject, make sure you are aiming and focusing at the right area (the area which you want the image to be sharp). Always remember to lock your focal distance if there is a need to recompose the image.

You will need to understand the relationship between ISO, Aperture and Shutter Speed for a properly exposed photograph. I have another article which explains the relationships and it will be worth reading for a better understanding.

A strong composition will definitely attracts viewers’ eyes as compared to a weak one. Instead of placing your subject in the middle of the frame at eye level, it is worth exploring other angles to “tackle” them. You may want to try kneeling or lying on the ground to take a low angle shot, or stand on higher ground for a high angle approach.

I believe Rule of Thirds is a common terminology used in photography and it is useful and important for photographers to know this. Imagine there are 2 evenly spread lines running vertically and horizontally across your view-finder. You may want to frame your subject of interest on the imaginative lines (especially at the area where the lines intersect).

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Although Rule of Thirds is a powerful tool commonly used by many photographers, it does not mean you have to always apply this technique. Using this technique as and when necessary together with different angles approach can help render a stronger composition and make your photographs more attractive.

Photography is just like swimming, just learning the theory is not enough. After reading this article, grab your camera now and start shooting!

Yong Sak is a Singapore Photographer who enjoys taking photographs and sharing his knowledge in photography to those who are also keen in this hobby. He shares many Photography Tips and Techniques which are useful to beginners. He owns a Photography Portal which house many Beginners Photography Fundamentals which are essentials for those who are new to photography and are hungry for more information.

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Lot of 6 Photographer's Books Photography Lessons Taking Pictures

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Vintage Set Of 18 Lesson Books, Amateur Photography, Slipcase, 1965

Vintage Set Of 18 Lesson Books, Amateur Photography, Slipcase, 1965
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The Art of Travel Photography 6 Expert Lessons DVD Nat Geo The Great Courses NEW

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