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post by ableh

Tips for your maternity photography

During the nine months that you are pregnant an amazing transformation takes place. Are you taking pictures to capture this important moment of your life? You’ll love to remember how you felt when you were taking them and your child will enjoy watching them, knowing that he or she was in your belly. Whether you get a photographer or stage your own photo, take the time to document the remarkable, loving bond between you and your baby starts well before birth. Maternity photography is a unique and fun way to celebrate your pregnancy and new family.

Here are some tips to share with your photographer or use on your own:

- Shoot in your home if you are comfortable with letting go. It’s also nice to really show what your life is like when your baby is born.
- Consider taking some photos outdoors. Add the natural beauty of nature with the beauty of new life is simply breathtaking.
- Go simplistic. Allow the miracle of speaking for itself.
- To highlight the relationship with the family. Take photos with the rest of the family who are anxiously awaiting the arrival and adding new ones.
- Take some of the proposed UN. Capturing the middle of an activity if the photo speaks volumes about your personality or interests.
- Include an illustrative point. Something that you loved during your pregnancy, such as ice cream or candy can add interest and tell a compelling story.
- Remember that you are beautiful. Women do not usually feel very sexy when they are pregnant. But just because you do not feel sexy does not mean you’re not a total blow. Keep in mind of men think pregnancy is HOT!
Here are some tips on what to wear:

-Simple dress .Wear a solid instead of busy prints draw attention to yourself, not your clothes.

- Bare your belly. Bring a shirt that can be pulled up or unbuttoned to reveal your beautiful belly.

- Be creative. Use a blanket or a simple white sheet to drape on your chest, leaving the belly exposed.

- Coordinate. If you take photos with your husband and / or other children, coordination so that

everyone  wears  the  same colors.

- Capture this special moment and special. If you do not, you do not want

post by ableh

Canon x0D series has, throughout his life has been the society for a number of amateur photographers and semi-pros with certain benefits that have appreciated to have a light option. Each model has a sufficiently high specification (usually in terms of build quality and sophistication AF) to ensure it was both ambitious and achievable for users who had grown out of their series Rebel/XX0D. However, the feature set still left a large gap below full society “pro” models.

The arrival of the EOS 7D, with its highly configurable system 19-point AF and 8 frames per second capability greatly changed this – this was a mini 1D which has attracted the attention of many people who previously have been customers x0D. However, the price (a premium of 30% compared to the 50D at launch), he pushed beyond the reach of most people who were not at least a little money from their photography.

The 50D (and by extension the range x0D) began to look a little redundant: expensive (and in some ways obsolete) compared to the rebellious (EOS 550D) T2i, low power compared to the EOS 7D. Seems clear that Canon need something to balance the EOS bridge the large gap between the rebels and the 7D. And so we have this, the EOS 60D.

With the Canon 60D has moved shamelessly x0D range of “tranche semi-pro” and focused on the amateur photographer looking to improve their Rebel. Therefore, it is not the natural continuation of the 30D – 40D – 50D grounds that its name might suggest. Rather than being a substitute for direct upgrade from 50D, it is perhaps best understood as a “Super Rebel.

So Gone is the magnesium alloy construction that appeared in previous models. Instead we have a consumer (and tripod) friendly 3:2 ratio articulated LCD and a handful of modes easy to use program variable, and some key “strengthen” features (LCD panel, rear control dial, the high rate of failure), including some that have dripped from the EOS 7D. It also provides mid-range EOS line with those from above and below by Upping the resolution of the 18MP sensor around and adding full HD video capture.

Thus, from a point of view specifications and features, it is almost exactly halfway between the EOS 550D and the EOS 7D, which is exactly where it should be (although I suspect that There will be a few howls of protest at the apparent “dumbing down” of the venerable online x0D).

Key features

• 18MP APS-C CMOS sensor
• ISO 100-3200 (expandable to 12,800)
• 5.3 fps continuous shooting
• 1080p HD video recording with manual controls
• SD / SDHC / SDXC storage
• In-camera raw development
• Subject modes with ‘Ambience Selection’ (Standard, Vivid, Soft, Warm, Intense, Cool, Brighter, Darker and Monochrome)
• In-camera Creative Filters (special effects)
• Fully articulated 3.0″ screen (3:2)

post by ableh

Canon today unveils the world’s first fisheye zoom lens Offering Both circular and full frame images, thanks to year extreme wide-angle focal range of 8-15mm. Replacing the EF 15mm f/2.8 Fisheye, the new EF 15mm f/4L 8-Fisheye USM Is The latest addition to Canon’s L-series range of professional lenses, Providing Outstanding image quality, constant aperture zoom THROUGHOUT the range and a robust design for Challenging reliable shooting in weather conditions.

When paired with Canon’s full-frame DSLR Bodies Sucha have the EOS 5D Mark II or the EOS-1Ds Mark III professional photographers can choose to capture circular or full-frame fisheye images, Allowing Them to view a scene in A completely new and unique way. This new level of choice Provides Enhanced Flexibility When shooting scenes creative SUCH as the night sky, Where the full 180 º horizontal and vertical fields of view (FOV) allow to Be Every detail captured with incredible clarity in one single image.

When Used with EOS Bodies featuring APS-C or APS-H sensors, the EF 15mm f/4L 8-Fisheye USM Produces a more traditional, full frame fisheye view. A zoom-lock Mechanism measures is the lens body Allows the ranks to Be Limited to the focal length That Ensures the best possible full-frame view unsightly Without vignetting around the edge. ‘C’ and ‘H’ Markings can Be found next to the zoom operation ring, INDICATING the wide-angle zoom position wher

post by ableh

One reason many people choose to live in Colorado is the 325 days of blue sky and sun. And it’s a great thing if you love the outdoors as we do.

However photograph in direct sunlight has its own challenges. With a portrait, you can usually schedule early morning or late at night to capture the soft light. But what about a wedding that takes place in the middle of the afternoon? You can not carry a marriage just because you are looking for better lighting conditions. So you adjust.

1. Use the sun to your advantage. Instead of placing the object with the sun behind you – shining in the eyes of the subject and making them squint – play with the placement. If you put the sun at an angle of 45 degrees, you’ll begin to see the size of the object. Or to put it behind your subject, and use the sun to create interesting touch.

2. Use reflectors. You can use light reflectors and diffusers to control the light source, bounce again stresses on the subject, and block sunlight toughest directly above.

3. Find the shade. No matter where you are, you can find a shady spot to escape the sun. Look about you tuck behind a building, or in a grove of trees. You can always get beautiful lighting, beautiful backgrounds, and less chance you have a topic strabismus.

4. Create your own shadow. Use accessories to create a shady place everywhere. Caps, umbrellas, find something that gives your personality issue.

5. Tell a story. Instead of focusing on the typical portrait with the subject, smiling at the camera, to find a different view. Perhaps walking along the beach, or enjoy a moment alone in a field of flowers. Be creative and look for something that takes you beyond the typical photographer.

6. If in doubt, use a flash. If you take a portrait where the emphasis is on the face, make sure you have adequate lighting on the face to compensate for the sunlight. Although we personally do everything we can to avoid flash, sometimes it can be your best choice.

7. Try using a different angle. As portrait photographers, it is easy to rely on a standard lens and over again. When you are in a difficult situation, trying a variety of things. One of our objectives is a favorite fish-eye. Get closer to your subject and the background shot completely out of proportion. You are subject love the different perspective, and you may find yourself with a touch surprising.

post by ableh

The Canon TS-E 17mm f/4L (around $ 2,499) is a unique and never before has such an extreme tilt angle shift lens wild / was available on a digital SLR.

Kudos to Canon for the construction of such a lens is a revolutionary exotic “first”. In early 2010, Nikon has nothing comparable, most Nikon tilt / shift being the 24mm f/3.5.

Architecture and landscape photographers in particular should be the review of this lens.

A major overhaul is in DAP as compared to the review of the Canon 17-40 and 16-35 zooms.
Solves problems without any objective can

The 17/4L Canon is expensive, but if I buy a lens tilt / shift, it would probably be my first choice because it is unique. Although expensive, it is a great value, because no other lens offers its capabilities.

The displacement capacity and low distortion of 17/4L architecture means that shooters have a very powerful tool at their disposal to create professional quality images. Landscape shooters will also benefit, with the possibility of moving away distractions and control depth of field through angle.

The ultra-wide viewing angle lets you take pictures of small spaces in a way that has hitherto been impossible without a camera. Think inside buildings (kitchens, churches, etc.), the exterior architecture, etc.

The Canon 17mm f/4L is reviewed in depth in DAP.

A standard (not change) ultra fisheye could be used with the correct software perspective, but with a large quantity of the harvest and the loss of resolution.
offers tilt Canon’t change /

Canon lenses available tilt / shift a number of years, including the f/3.5 24mm, 45mm f/2.8L f/2.8 L and the 90mm. In 2009, Canon introduced the 24mm f/3.5L II and 17mm f/4L.
Build quality and ergonomics

Build quality is very high. The 17/4L is almost exactly the same size as the TS-E II 24/3.5L, that is to say that this goal is fairly large, in agreement with the tilt and shift functionality.

The 17/4L weighs with sunscreen and hats to 897g (2 pounds). By comparison, weighs 815g and II 24/3.5L original weighs 625g 24/3.5L. This extra weight is not relevant in light of its purpose-built features, kudos to Canon for making the lens big enough to do the job well done.

There is no sun visor. This is very close to a fisheye rectilinear reflect the functions of slope and displacement at 17mm.
Buttons and controls

I found the tilt and shift very easy to use. They are much improved over the (original) Canon TS-E 24/3.5L. The issues I found are a bit tight when rotating squeeze past the viewfinder on the Canon 5D Mark II.

The 17/4L offers an amazing 12mm of passage, traditionally the absolute maximum for longer focal lengths, it is surprising to see it available on a 17mm lens! One would have expected and readily accepted a reasonable limit of 10mm or even 8mmm the shift, but to offer 12mm is amazing.

The tilt mechanism can be rotated to any angle independent shift, allowing an unprecedented versatility, something simply not possible with a Nikon tilt shift lens /, although this offer has SuperRotators Hartblei possibility first. It is easier to use Canon’s movements due to the smaller lens and front / rear shift mechanism.

Examples
The comprehensive review has many examples of much larger sizes. Examples of features are below.

The benefit change

The shift function can eliminate the disorder, or be used to “glue” a picture for a better resolution.

Not shown is the use of tilt, which may distort the plane of sharpness of the depth of field much more.

Unshifted (zeroed)

Shifted up (“rise”)

Stitched image, approximately 30 megapixels

Conclusions

My full review of DAP covers much more, including vignetting, distortion, flare and examples.

The 17/4L is unique in being both an ultra wide angle and tilt of the lens / delay, so some photographers could legitimately consider a camera accessory for the lens.

Based on what I observed in actual field shots, and its unique capabilities, I never hesitated to give the 17 / 4L my highest recommendation.

You can get the B & H Photo 17/4L, thank you for using these links.

See also my list of recommended gear and Canon lenses, and the pages of speed.
Learn more about Canon lenses

For in-depth reviews of lenses that fit Canon cameras (Nikon and others), subscribe to Diglloyd Advanced Photography (DAP).

DAP is not only about the lenses, these cameras and technology and to better images, written to be affordable for beginners, but valuable for professionals. The new material is constantly added, so sign up now!
Learn more about the Zeiss ZE for Canon

You can read an overview and mini reviews here. For in-depth coverage on line Zeiss ZE, see the Guide Zeiss ZF/ZF.2/ZE.

The guide has many examples of a much higher resolution, with real-crop pixels for each objective, in most cases, several pages of examples per glass. The new material is added regularly said the guide, so sign up now!

post by ableh

Taking photos around the candle can be a bit of a challenge, but it is not difficult at all. Candles can be turned in either on or in low light conditions, depending on the mood you are trying to capture. To this picture, you must:

* A camera with manual focus
* A candle lit
* A tripod

It is essential to use a tripod or some form of camera stabilizing device, like a bag of sand so a tripod is unavailable. Set your camera to the angle you want to capture the spark plug and tighten all the mounting points. Any vibration during this plan will create a state of concentration and you will not be satisfied with the result.

Take a moment to reduce any residual light that might interfere with your photo. All this backlight can create lens flare, reflections strange, or other adverse effects. You will also need to turn your flash off before taking the picture. A sudden flash caught in a dark almost certainly be an unpleasant sensation.

The photo illustrates, the device was set to Av mode (aperture priority). Using AV mode allows the photographer to choose the aperture setting and set the camera automatically selects the best shutter speed. The photo below was shot with the opening set to F32. By setting the f-stop until the narrowest point, the amount of residual light is significantly reduced.

When shooting in low light conditions, the slightest vibration can ruin a shot because of slow shutter speed needed. Use the camera self-timer to avoid creating an excessive vibration by pressing the shutter button. For more sophisticated, the candle shown here was placed on top of a compact disc to create a strange glow. The reflection is subtle, but you can detect the effect of prism behind the halo.

Once you perfect the art of photography candlelight, experimenting with various objects to create an interesting still life. Include items in your intimate shots, such as books, lace and wine glasses. The more you experiment with candles, the more interesting the shots become.

post by ableh

Visiting a wildlife sanctuary or zoo provides a photographer can photograph exotic animals. Of course, the owners of these facilities on the lookout for your safety, so that the animals are usually behind some kind of barrier to prevent you from getting too close. Fortunately for many, these barriers are designed to prevent people from animals, but bars and barriers tend to lose another perfect poses made by a Bengal tiger. Here are some ways around these obstacles.

It is possible to overcome some obstacles by working with your equipment to maximize its potential. If you are able to get near a barrier, but not close enough to bypass obstacles like fences, set your zoom and set your aperture as wide as possible. This technique creates an effect of bokeh, who will do anything, but the subject in the fall of development. You’ll have more success if you set your lens to manual. Many automatic cameras will try to focus on the nearest object, such as fencing, which will not return the desired effect.

There are other times when obstacles impede the shooting simple and there is no way around it, such as buildings, signs, or other customers. The best solution in many cases is to capture the shot as cleanly as possible and rely on editing post-production. The bird in this plan was just over a sign and perched on a branch in front of a building. I have changed my perspective on knelt sufficient to remove the sign (at the cost of his tail feathers, unfortunately). When I loaded the image on my computer, I cropped out the side of the building, which has created a major distraction. I could have blurred over the remaining portion of the building, but I decided to leave the way it was and enjoy my little friend, as he sits.

When you visit a zoo or animal shelter, it is always best to arrive as soon as possible. The animals are much more active during the early hours of the morning. They also seem more vivid than they would at peak. Visit early in the day, it will be easier for you too. Do not forget to take the time to really have fun and not focus only on your camera. Photography is a wonderful hobby, but you can not see everything through a viewfinder.

post by ableh

When composing a photograph powerful or memorable, keeping things simple often carries the most impact. The viewer can identify the subject of photography easier and to appreciate its qualities. A photograph is made for simplicity is often attract the viewer’s attention and emotion in a way more important than a shot that is too “busy”, has a cluttered background, or ” too many things to do. ”

There are a few things to keep in mind during the composition of simplicity in photography. A shallow depth of field helps to minimize clutter background and focusing the attention of the viewer. Consider this photo, one of my own:

If I had used a greater depth of field on this picture, the single rose would be lost among other roses and greenery of the bush, reducing the level of interest in the photo printing.

Use a minimalist eye to compose a picture with greater depth of field. For example, consider this picture:

The eye is naturally attracted to the person in the photo, the size of the surrounding area is clear, without distraction, and the use of a neutral background increases the visual impact of the image.

It is possible, however, for a photograph to be too simple, making it just a boring picture. For example, consider this picture:

In this photo, the sky is beautiful and the grass is green. You can say it is a photo of a beautiful day. But there is not much in that shot that captures the interest of the viewer. Put an object in this picture – a colored ball, blanket, picnic, a person sitting in the grass – to increase the level of interest.

Finding the right balance between simplicity and purpose takes time, practice and patience. Once this notion of composition is controlled and understood, the reward is visually stimulating, striking photographs.

post by ableh

Portrait photography is not only a genre very popular with professional photographers, it is also a topic almost inevitable for photographers of all skills. Whenever you compose a picture with a person the subject, you take a picture. While the world of photography continues to grow, we strive to make portraits that capture more of the essence and personality of the person, rather than just a picture of how they look.

Here are some tips to help you improve your skills as a portrait photographer:

one: Come in close. Focus on one part of the person, rather than the whole body. Shooting hands, half-faces, eyes, profiles, feet … even photos with the subject facing you.

Two: to move far away. Take pictures that cover an entire environment of the person. Person’s position that the subject using the rule of thirds.

Three: Taking pictures continuously. Photograph your subject in motion, walking, having a conversation, cooking in the kitchen, dancing, or interact with their environment. Put your camera in burst mode and shoot in burst mode to capture a series of gunshots. This works especially well for children who have a status worse.

Four perspectives on change. It is not necessary to shoot your subject at eye level. Shoot above or below the mix a bit. Tilt your camera angle to capture movement and action.

Five: Take pictures of your subject that he or she likes to do. If they like the painting, photograph them while they are painting. If they like to ride, photographed at the arena riding or pasture. If they are motorcycle enthusiasts, have spent the ride while you take pictures continuously. If they were in a group, become a groupie for a night. Their enthusiasm shines through the quality of the portrait.

We encourage you to share your stories and examples of portrait photography in the comments!

post by  ableh

If you take your average snapshot photo – or even a well-composed, well thought out picture – you do not always need a tripod. I may be a photo enthusiast who can not leave home without a camera (although I’m just walking the dog), but I guarantee you that I most certainly did not lug my tripod everywhere if I do not know for certain I will have it.
When I use a tripod taking pictures of the moon, every night photography, low light, but high energy shots (like a band in a dark place), etc. In addition, chances are good that I don ‘I had no tripod with me. There are even moments when you could use one, but can not, many museums and zoos and prohibit, like them, because they can easily move people or taking valuable real estate in the crowd (but you can be allowed to use a monopod, do check first!).

So what can you do when you’re in a situation where a tripod would be helpful, but you do not or can not use it? Here are some tips:

1. Keep your camera with both hands. This is one of the most obvious solutions to reduce camera shake when you do not have a tripod, but it is amazing to stand and watch people cling to their devices with one hand loose in low light. I’m sure they must be a little disappointed when they see the results. Using both hands to hold your camera allows it to stabilize.

2. Prepare. If you hold your camera properly, use your body as a tripod. Expand your attitude as the legs of a tripod (I know, you only have two and three but it always helps, I promise!) Lock the lower body and press your elbows close to the upper body help others stabilize your camera.
3. Get help. If you have something you can rest your camera, use it. I used all kinds of surfaces to help my shot. Outdoors I used the trunks of trees, tree branches, fences and park equipment. Inside I used tables, shelves, and the back of a chair. If you hold your camera, go ahead and rely on something to help support you.
4. Take a deep breath and move. Once you have aligned your subject and targeted appropriately, are not immediately fire your shot if you can avoid it. First, exhale. Then, take a deep breath and hold. This is when you shoot in, breathe again after the shooting. It is difficult to believe that a simple act and natural as breathing could get in the way of a good shot, but it may help to stabilize the camera when you’re slow shutter speed. Try it and see the difference!
5. Use a tripod alternative. With my tripod base, I also own a Gorillapod. Less than the length of my arm, “pod is an acceptable means of lining on numerous occasions. It is totally flexible, but has a super strong grip so I can use it to perch my camera on an uneven surface, like a rock or a hill, and I even (nervously, to be sure) used to hang my camera equipment in the park. There are also many mini table tripods are available – make sure you get the right camera as an SLR, it will take more robust versions of a light point and shoot will be.
6. Use a screw. I’ve never tried it myself but have heard good things about it. You can attach a rope to a screw at one end and a small piece of wood or similar object on another. Put the screws in the bottom of your camera like you would with a tripod attachment. Drop the chain on the floor and put your foot or feet on the wood. Make sure the chain is fully extended before firing a shot. Obviously, it helps to stabilize your camera in a manner similar to struts across your body as the tip # 2.

Have you any other advice you want to use when you should be on a tripod and can not? Share them here!

post by ableh

Creating intimate photos taken artistic eye to be achieved. Intimate, or glamorous photography in high demand and can significantly improve your portfolio, if presented with care and with a tasteful manner. It is appropriate to mention there are ethical standards that photographers should be responsible. Unless the subject and presented signs of release, potentially compromising photographs should be protected to prevent the subject from the effects of embarrassment or perhaps as a result of illicit love affair of a photographer. If the subject is comfortable with you as the photographer and you are able to produce quality photos, you can expect to do quite well in this niche as a professional photographer.

Get to Know Your Subject

Before the subject will be submitted comfortable in an intimate atmosphere, very important subject at ease with the photographer. Take a few minutes before the shooting to know your subject and what they are most comfortable pose. Most professional model will have a good idea where their strong points, as well as their weak point. Listen to the subjects and integrate their favorite pictures at the beginning of the session. This will help them relax in your settings and will build a positive relationship with the subject.

Spatial arrangement

Settings used for intimate pictures is very important. subject would not feel comfortable in a big studio where the subject does not feel he has established control over access. If you shoot in commercial settings, consider establishing a portable obstacle to creating a more personal environment. Likewise, make sure the setting has ample space in which the subject does not feel his personal space being compromised. If your subject is not comfortable with the arrangement, their concerns will be evident in their prints. Discuss arrangements with the subject of early and asked if they felt comfortable on the set.

Lighting

Almost all the photographs, intimate achieved with large softboxes and soft lights. You want to create an environment where lighting gently as possible. The best you can achieve this by introducing the color contrast between subject and background. If the subject has a light-colored clothing, or light skin, then use the material to absorb light background, such as dark red and black. Likewise, if the subject was wearing dark clothing or have dark pigment, white or gold introduced into the background to enhance the appearance of the subject.

Liability

Most intimate photography session involves nude or near-nude settings. It is recommended the photographer have a responsible and mature assistant, preferably the same sex as the subject, available to witness the photo shoot. Video taping the session may also be an option providing the subject agrees ahead of time. Most people will not object to the session being video taped providing legal and ethical standards are followed.

Post Production

Intimate shots are brought to life in post-production editing. You should be familiar with photo editing software, such as PhotoShop, to enhance your photographs. Use filters, such as Gaussian blur to soften the subject’s skin, especially around the eyes, nose and chin. Once the photograph has been “softened” use masking to remove the blur around the iris, hair, jewelry, and areas where more detail is desired. Applying a dodge effect to the eye whites and teeth can also enhance your photograph, but be careful not to overdo the effect.

post by ableh

If you’ve already seen pictures of the tracks of light and wondered how the photographer reached the end, look no further. The effect of the light path is easy to achieve. Just camera capable of taking long exposures (about three seconds), a tripod, and a security point of view, far from ambient light. A digital single lens reflex (DSLR) camera with a bulb (B) the establishment and a mirror lock-up option and a remote shutter are optimal for achieving this purpose.

Setup

The example used here is to photograph vehicles in motion, so personal safety is essential. It is strongly recommended to wear reflective material, like a safety vest during the installation. It is not necessary to be so close to the road that you’re in danger. So you want to ensure the movement of vehicles does not create vibration of your camera or your photos will capture the vibrations.

Find a location that offers the best view of the road which has a relatively constant flow of traffic. You are better off having the lane closest to the movement away from you, to avoid shooting directly into the headlights. Be sure to avoid roads that have traffic control devices, such as stop signs or red lights. Set the camera on a tripod stable at about a 15 degree angle to the movement and chest height. This angle will capture the full effect of the Light trail.

The Shot

You’ll need to take several shots to determine the best shutter speed to the speed of modern traffic. high speed roads the better because the effect can be obtained with an exposure time. Stabilize the camera on a tripod on the level, stable ground. As you go shooting with long exposure, no wind or vibrations will surely appear in your photos. Take a moment and be sure your flash is set not to fire, the lighting is all you need for this move, but you can experiment with flash if you have items you want to appear on photo.

Set your camera to the television, or shutter priority, and set the time about three seconds. If you have an option to lock the mirror, this would be the best time to use this feature from the movement of the action mirror can introduce some vibration. If you do not lock the mirror, then adjust the camera timer so you do not touch the camera during shooting. Snap the shot that traffic is at a steady pace (do not forget to compensate for the delay timer).

Review your plans and adjust the shutter speed accordingly until you get the desired result. This technique requires patience and practice to perfection, do not feel frustrated if you do not end with a picture perfect the first time. The photograph below illustrates, posted on Flickr by Geoff Greene, demonstrates this very well. Study the installation of the photographer used. It is about a 15 degree angle to the road and traffic at a safe distance from his position. If you look closely you will notice that there are breaks visible in traffic. Perhaps a slightly longer exposure would eliminate disruptions, as the volume of traffic. Take the time to experiment and take notes during your photo shoot for future reference. Above all, enjoy your day and learn from your experiences.

post by ableh

Sports pictures are usually broken into two categories: victory and defeat. Freezing action”Each category will include a picture that shows key elements of a sporting event / game / match / race.

Before the photo was taken, you should think about the following things to ensure you capture the best picture possible.

1. Composition of a Picture

How is the picture composed?

• Who/what is in the sports picture?
• What position and scale of photo do they take up in the image?
• Exact location in the picture of the subject? Centred? At the top? Bottom? To one side?
• Composition elements of the picture balance with the sports player?
• What other elements make up the sports picture. What else is in the image? Crowds? Pitch? Racetrack?  Do you need additional licensed rights to use the image?
• Are they given equal or less space? What is the main focus of the picture (what can you see most clearly)?
• What is the depth of field in the photograph?
• What is in the background of the image?

2. Content

What is this Sports Picture showing?

• Does the picture say 1000 words? Can you add a good caption to the picture? Is it suitable? Does it make a statement or joke?
• Who is the subject/team in the image? Who is in the picture? How important/famous are the people? Does the picture reflect their status and talent?
• What body language do the players show?
• What expressions are on their faces, do they enhance the picture?
• Are the sports people in the air or on the ground?
• Is the content of the picture eye-catching and memorable, or has the photographer managed to ‘freeze’ the action at a moment that is unique and unusual?
• What details do you notice in the picture – equipment, logos, sweat, injury, etc? Can you get rights for the image?

3. Effect

A great picture needs little or no introduction.

• Does the picture grab your attention? What attracts you to the picture? Would it make you read the article or buy the publication?
• Is the picture effective in showing the ‘moment’ of the particular sport/ game/match/race?
• Does the picture convey victory, defeat or a decisive moment in the event?
• What are your expectations of pictures depicting individual sports? Does this picture challenge the usual codes and conventions?

Advice for Amateurs

One of the hardest things to capture on camera is that split second moment of action, which will define that particular game on that day. To help achieve this you need the right equipment, a natural ability to take the perfect shot and plenty of patience.

If you’re a sports photography amateur, we’ve listed below a few pointers to get you started.

It may seem obvious but photographing different sporting actions requires different cameras, lenses and techniques.

Modern digital DSLR cameras can shoot to memory cards thus allowing frame after frame of images to be captured on the camera. This means that you can take picture after picture in rapid succession, maximising your chances of taking the best possible photo.

Knowing where the action is going to happen and positioning yourself in the right location. The best way to do this is to know your sport, i.e. the style of play used by the coach/team/player.

For fast moving sports you will need a telephoto lens and, for sports played indoors or at night, you will need fast lenses with large apertures that let in a lot of light to illuminate the image.

The best pictures focus on the players, who should be centred in the shot. The scenery around the subject should almost fade into the background.

Another obvious point, but the image must be focused. AF or Automatic Focus is ideal for beginners, however it is worth bearing in mind that professional manual focus can produce superior results.

At major sporting events photographers are allocated areas to take pictures; bear in mind that to access these areas you will need a “Press Pass”, and these passes can be vary difficult to obtain.

Finally, and perhaps most obviously, keep practicing! If at first you don’t succeed, try, try again!!

post by ableh

The graphics are in nanometers. Visible light is approximately 390-650 nm (the human eye can see very faintly in the range 700-800nm). Graphics used with permission of the coast of the optical system.

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spectral transmission - B + W 103 ND 0.9

Although called a B + W neutral density, shooting a gray card for white balance is good because the spectral response is not entirely neutral (no completely neutral for ND filters). Images tend to be a bit hot (yellow).

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For the shooting of visible light, the range 400-650nm is relevant here.