Are you into macro photography? Are you into eBooks? Good, because I think you’re going to love Introduction to Close-Up & Macro Photography by Ed Verosky. The eBook seeks to alleviate much of the anxiety surrounding macro photography by addressing the most pressing points of inquiry and providing the reader with a roadmap to producing wonderful macro images.
Blurry images are the bane of a photographer’s existence. I’ve yet to meet a photographer who has ever stated anything even remotely resembling the following: “After spending a day out with my camera, I don’t mind unloading my memory card and discovering that 75% of my photos are blurry.” Nope. Never. Unless you intend a shot to be blurry for some artistic reason, blur is something everyone tries desperately to avoid and rightfully so, as this can easily render a perfectly composed shot of your ideal subject useless.
What do you think of when you hear the term “special effects”? Given the ubiquity of “Photoshopped” images in our culture, I suppose we have to forgive people who immediately and singularly relate photographic special effects to digital manipulation. In a pre-Photoshop world, photographers had to endure hours of darkroom work in order to achieve the look they desired for their photos. These days any one of us can totally transform an image in a matter of a few keystrokes and mouse-clicks. But there are, in fact, special effects of a certain kind than can be achieved in-camera — no fancy software needed.
Chances are you’re using Lightroom and getting along with it just fine. But, as is the case with nearly any application, there is always some “hidden” or overlooked feature that would certainly be beneficial if only you knew it existed or knew how to use it. So whether you’re a recent Lightroom convert or adoptee just getting acclimated to a new workspace, or a longtime Lightroom user who has simply been content to use the same few tools each time you work, I will show you 5 Lightroom tools that you may want to put to use on a regular basis.
When thinking of landscape photography, we typically make an instant leap to large scale subjects — mountains, deserts, beaches, canyons. Landscape, however, isn’t necessarily a synonym for colossal; compelling landscape photography isn’t limited to big ticket items, so to speak. In fact, there are times when smaller is better — or at least just as good. Case in point: Japanese gardens. Japanese gardens are in many ways microcosms of the natural world, albeit highly stylized versions of the natural world.
When you think of fearsome predators, which ones come first to mind? Wolves? Lions or bears? How about snakes or sharks? Some of you might even be in the midst of a bone-chilling flashback about a menacing spider you once encountered. But what about birds? There are some real rock stars among birds. Eagles, owls, hawks, falcons, and other raptors characterized by peerless vision, powerful beak, and piercing talons are some of nature’s most efficient hunters. The photos below capture various birds of prey in flight, some in active pursuit of their next meal.
What follows is a collection of photographs consisting of concepts and subjects you’ve no doubt seen thousands of times over, concepts and subjects you’ve probably incorporated into your own photography. The ideas on display here aren’t original and there is a good chance that some of you have simply seen enough them; they are cliché. Here are 7 photography clichés that, despite being exceedingly commonplace, we still love. I’m sure at least one of these holds a special place in your heart.
You’re familiar with the concept of reverse engineering, aren’t you? You may be wondering what reverse engineering has to do with photography — I’m not suggesting that anyone take apart their camera and try to put it back together…am I? No. This is about reverse engineering a photo — looking at an image and using visual clues to figure out how to recreate the shot in your own way. While reverse engineering an image is hardly an exact science, there are three basic elements to pay close attention to when attempting to decipher the makings of a photograph.
To suggest that color is of utmost importance to photographers would be a grand understatement. Discussions dealing with the fundamentals of photography typically address exposure, composition, lighting, etc., but the topic of color sometimes fails to make an appearance. This is unfortunate because, unless you are one who shoots exclusively in black and white, color can be equally as important to the success of an image as composition and exposure.
I may be biased, but I think the appeal of macro photography is rather obvious: the wonder and fascination of being able to capture in fine, “life-size” proportion the details of things otherwise beyond the scope of what the naked eye is capable of discerning. Macro photography is like experiencing another dimension of reality. You will be glad to know that successful macro photography rests primarily on four essential factors.