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Still Life Photography
Written by Mark Zissis Wednesday, 27 July 2011 10:24
Taking still life pictures is an ideal way to learn about the importance of lighting in photography. A whole range of set-ups can be explored using only basic equipment and without the need of a purpose-built studio. For example, a shot taking colour as its primary theme will demand a different approach to one that concentrates on texture. And, while relatively arsh lighting can be used when shooting single subjects, a large collection of objects will sometimes require softer light. Still-life photography also raises challenges for the photographer - such as what to do with shiny reflective surfaces that give away the position of strong light sources through tell-tale highlights. Each new arrangement you come up with can provide a different illustration of how the position and intensity of the illumination affect the photograph.Foreground composition
Written by Mark Zissis Monday, 23 May 2011 14:13
The composition of a photograph can be enhanced by giving thought to the foreground. A point of interest lose to the camera can lead the eye into the picture or can be used as a framing device. Many amateur photographers make composition mistakes by not observing what is right in front of them. For·example, it is all too easy when a spectacular scene comes into view when driving or walking to just point and shoot. It is only when we see our final prints that we are disappointed with the results. This could be because that view across a lake with the picturesque village in the opposite side is now a great swathe of dull water with blurred building in the distance. Or a view from a hilltop that seems to stretch for miles comes out as a mass of sky and no memorable features. Take time to look for a feature in the foreground or choose a different viewpoint other than just standing at normal height.
Maximising depth of field
Written by Mark Zissis Wednesday, 16 March 2011 13:06
Obtaining sharp pictures is a crucial part of photography, and for this you need to know how to extend depth of field. The general rule for doing this is to set a small aperture, use a wide lens setting, and position the subject far away, so that the focused distance can be increased. But although this can help on most occasions, there are times when it is necessary to be absolutely sure that the flower in the foreground is a sharp as the tree on the distant hilltop.ABSTRACT ARCHITECTURE
Written by Mark Zissis Thursday, 24 February 2011 12:39
When shooting any type of architecture, it is often worthwhile to home in on the detail, including just a small part of the structure in your composition, rather than trying to get the whole structure into the frame. This approach works well with modern architecture, in particular, as the strong lines and geometric designs lend themselves to abstract treatments. By using a longer lens setting you can pick out patterns, shapes, and interesting arrangements of tone and colour that are hard to see in panoramic shots. Not only does this make well-known buildings less instantly recognisable, it also enables tourists and traffic to be easily hidden.THE ART OF GOOD PHOTOGRAPHY
Written by Mark Zissis Saturday, 12 February 2011 15:16
PLACING THE SUBJECT IN THE FRAME
Part of the composition process involves deciding where you place the main subject within the frame. Many photographers simplify the composition of their pictures by having just one principle subject and arranging all other elements so they are subsidiary to it. It is possible to place this main focus in the centre of the frame, which is a useful approach if you want to show the harmony or tranquility of a scene, of emphasise the symmetry you have seen in the subject. However, this approach may make the resulting composition appear to be too contrived. With most subjects it usually pays to place key elements in the scene deliberately and noticeably off centre. This produces a more dynamic looking picture, and as it creates imbalance within the frame. A number of different rules have been used by artists over the centuries to lay down the exact place in which to put these key elements. Unlike a painter, though, a photographer rarely has time to be precise about such things.
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