How To Frame Photography
|In the last weeks, we have been talking a lot about photography and how to edit the mobile phone. However, the best apps or editing programs will not do you any good if the picture we have taken is not unusual. So today I want to give you some advice on how to frame a photograph.||It is one of the most important aspects, in which we will mainly decide what will come out in the photograph and what will be left out. But not only that, but the way in which we frame can determine the hierarchy between the different elements and many of the sensations that the image will transmit.|
|Mostly, the framing is the portion of space that will capture the objective of the camera, and that will ultimately result in the plane that we will obtain in the photograph. The process begins in our head when we see something worthy of being photographed, and we imagine the capture.|
What Is The Frame?
Framing is one of the most critical elements of photographic composition – it is not the only one, we cannot forget others such as lighting, perspective or focus – but it is usually the first one we decide.
Types Of Framing
There are several types of frames, which depend on different aspects such as the format of the photograph (if the final capture is square, panoramic, ultra-panoramic …), but also the position of the camera:
Simple Tips On How To Frame A Photograph Properly
Next, I want to give you some tips that will help you to make your frames more accurate and have higher strength:
The rule of thirds
A classic in photography, the first rule that is usually heard. It consists of dividing the frame into nine parts with two imaginary vertical lines and two horizontal lines parallel and equidistant. This means that we will have four points in which they will cross, called strong points. We must try to ensure that the essential elements of photography are found in those points or lines.
Tips on How to Choose the Right Professional Wedding Photographer
Getting married is something that people do (or at least hope to do) only once in their lives. No room for mistakes because there’s no Take Two. If you’re gearing up towards this monumental day, you’re probably shopping around for someone who’ll capture moments of the actual day (and maybe some before shots).
You want to be able to go back to that day years later and still feel like you’re right there in the church saying “I do” or sharing a heartwarmingly awkward dance with your dad.
With the increasing affordability of professional cameras and the prevalence of “how to” tutorials online, more and more people are calling themselves “photographers”. Here’s how to distinguish real ones from pretenders, and how to get one that’ll give you wedding photos you’ll cherish forever.
DON’T: Automatically go for the cheapest
Like how a $2,000 designer bag is perceived to be of better quality than a $20 one, photographers are pretty much the same. Professionals price according to their skill and service quality, so you should stay wary of ones who offer dirt-cheap prices. Of course, like any other vendor, there are times when elite photographers give discounts, so do your research well to know if the low price is a result of a sale or not.
DON’T: Be swayed by photography lingo and equipment
Some shutterbugs will try to delude you into thinking they’re highly skilled by bombarding you with camera specs (“35mm, macro, mirrorless, 120fps”) or specialized photography equipment (“stabilizer, crane, rail, filter”) or even fancy photography terms (“tracking, panning, underexpose, desaturate, long exposure”).
Unless you’re an expert yourself, you don’t really need to know these things. All you’re after are gorgeous photos in the style that you want. So be careful of those who spout these phrases without showing solid proof of their works.
DON’T: Assume that business is a sign of great work
One of the signs that people equate with quality is the demand for the photographer. Of course, there’s a reason that he or she is sought after – a strong portfolio and good service feedback would be some of them. However, with that much work on the photographer’s plate, would he or she have enough time for you?
It’s a common practice for photo groups that are scaling up to take in more work to get their name out there, and just hire associates to shoot if they personally can’t. But in that case, you can’t be sure if the hired replacement does work as good as the original, or if it’s just a random hobbyist available for that day. Ask about this during the interview if you really want to hire that famous photographer.
DON’T: Think that any photographer will do
Just because someone can operate a camera doesn’t mean he’s a photographer. It also follows that just because someone creates marvelous photos of mountains and seas doesn’t mean he knows how to photograph people well. You’re having a wedding, not a children’s party nor a football game. So hire a wedding photographer and not any other sort.
DO: Figure out what you need and want from them
First, you have to know what you need. Do you want a short prenup or engagement shoot? Where are you holding the ceremony and reception? Will it be in the morning or at night or will it span the whole day? What look and feel do you want the photos to exude?
A large part of photography is playing with lighting, so it’s important to know if your venue has enough of it or not. There are photographers who produce great artwork in bright daylight, but struggle in low light.
DO: Have a face-to-face with photographers
In order to determine the point above, as well as assess the photographer’s other strengths and weaknesses, set up a personal interview, or at least a video call. It’s better to connect while seeing each other and not just a bunch of letters or voices.
Take this chance to also get a feel of the photographer’s personality and character. He or she will be with you each step of the way on your wedding day, so it’s important to make sure you’re comfortable with him or her. Some photographers are friendly and outgoing while others simply blend with the guests.
Some do their work almost mechanically or are a bit more bossy when they ask you to pose. Some don’t ask you to pose at all. You need to know which ones you’re comfortable with, and which ones you’d rather not deal with on that high-pressure day.
DO: Ask to see a full sample work
Online portfolios and sample albums all contain their best works, but that could only be a dozen or less good pictures out of the hundreds they take that day. Get a better idea of their skill level by asking to see even reception photos because these are usually the ones that turn out mundane. You’ll at least know if they can handle low light or not.
This is also the opportunity to gauge their overall style. Some like bright happy photos; others like shaded, more dramatic shots. Know how you want your wedding to be told through photos, and pick the photographer that best matches your idea.
DO: Check package inclusions well
Some wedding packages include pre-wedding shoots and a back-up shooter. Some do not give you access to high resolution digital files. Some require you to have photos copied from the photographer themselves, which will cost you extra in the future. So instead of just looking at the price, determine if the number is worth what you’re getting instead.
When the Confetti Have Settled
At the end of the day, when all the champagne are gone and your wedding dress or suit is safely stored in the box, all you have left of your wedding day are the photos and videos of it. So make sure to pick a photographer that you match well with, both in personality and style. That’s the most basic thing to know that that’s the right photographer for you.…
Ways to Choose the Right Camera Lens that Suits Your Need
So you bought a DSLR. You’ve been playing around with it for some time. Maybe you’ve joined photo walks and browsed photography blogs and forums to learn how to “do it right”. One of the things that you probably read so much about are lenses. Words like aperture, focal length, depth of field, and the likes get thrown around a lot but they’re pretty much alien lingo to you.
It may seem confusing and maybe a bit excessive to buy several of these expensive pieces of tubed glass when your camera came with one that gives you good enough photos. Well, if you want GREAT photos, then you’re going to need a change of lens. How do you know which lens to buy? They look as alien as how their features sound. Don’t worry. If you answer the four guide questions below, you’ll be able to determine which lens will fit your needs best.
What Camera Do You Have?
The lens needs to fit your cam before you can use it, right? Do you have a Nikon, Canon, Sony, Fuji, or other? Often, brands produce lenses that are specific to their cameras. The front of your camera has the lens mount, and it can fit only lenses made for their size (usually same-brand lens).
This is why the first thing you should do when picking a new lens is to look at your camera’s brand’s lens line. There are dedicated lens manufacturers (that only sell lens and not cameras) that make ones that can fit other brands as well. If all else fails, you can always buy an adapter!
Close Distance or Faraway Shots?
Where do you imagine you’d be taking the photos? Will you have access to the immediate vicinity of your subjects, or do you need your lens to cover great distances just to capture them?
There are two main kinds of lens: prime, and zoom.
Prime lenses are steady. You’d have to physically get closer to your subject if you want a closer shot. Prime lenses usually have wide angles so these are perfect for scenery shots or really large group photos, like a graduation class picture. Prime lenses usually range from 18mm-50mm. This is the focal length, and the lower the number, the wider the angle.
If you need to take photos of things far away, then you need a zoom lens. Kit lenses (ones that come with the camera) are usually standard zoom lenses, and they’re usually 35mm-80mm.
Bright Surroundings or Dark Venues?
Here, we’ve come to discuss aperture. The size of the aperture determines how much light reaches the camera sensor. If your aperture is opened wide (the lower the number, the wider the opening), more light is taken in. This is great for shaded, indoor shots or evening events. It will allow you to take good photos without relying so much on your flash.
A wide aperture also decreases your depth of field. What is that, you ask? This is how you make the background blurry while keeping the subject of your photo sharp, making it stand out more. If you have large depth of field, then everything will be equally sharp, which is achieved by a smaller aperture opening (larger number).
The things written like f/2.1 or F2.1 or 1:2.1 is the number for aperture. They come in a range like f/2.1-5.6 somewhere on the lens, indicating the min and max aperture size that the specific lens can give you. If you’re mostly shooting under the sun, then you’d be okay with an f/4. But if you’re aiming to get night concert shots, then try to look for an f1.8.
What or Who are You Shooting?
Are you aspiring to be a sports photographer and need to capture split-second moves? Or are you more of a portrait photographer or maybe even still life? Or do you just want to take great photos of your travels?
If you need to capture a lot of movement without moving from your spot, you will need a zoom lens, maybe even a telephoto, capable of a very wide aperture. This is because you need to offset the effect of high shutter speed (needed to capture fast action, but decreases light taken in by sensor).
If you want to take posed portraits or maybe even do food photography, a 35mm standard lens or macro lens could be good. Standards are the most “natural” looking – like how you see something with your naked eyes. If you want to take super close ups, then a macro would give you that power.
If you want to travel, you don’t want a camera that’d break your neck with its weight. Usually, a standard kit lens will serve your purpose if you’re not planning to sell your photos or enter them in professional contests.…
The Rule Of Movement And Law Of The Look
These two rules are very similar. What they indicate is that when you have an object in motion, you should leave a larger space between the object and the edge in the direction it is moving. Precisely the same thing happens with the look of a person. This will provide images with higher dynamism and naturalness.
The rule of lines and horizons
If you have compelling vertical lines in your composition, such as a road or a road, you can frame the photo in such a way that you direct your gaze towards an object that you want to have particular importance in photography.
On the other hand, you should try to make vertical horizons or lines coincide with one of the edges of the rule of thirds. Keep in mind that a high background will give more weight to what is below, while a low one will give greater prominence to the sky and clouds.
Product photography, basic concepts: Opening and Shooting speed
Product photography can be something very complicated or something straightforward; it depends what we want to do. Many cameras (and especially some phones) are capable of taking large photographs without great knowledge, however the more we know, the more game we can get out of all these automatic and manual modes that these devices put at our disposal.
In photography, there is a fundamental element that will condition any image: light. With right view, it will be straightforward to take good photos, with the lousy light it will be much more complicated. The cameras offer three elements that allow us to control the incoming light: aperture, speed, and ISO sensitivity. It is the so-called triangle of the exhibition.
The opening is how much the diaphragm will open. Apparently, the more it begins, the more light it will enter. The speed is how long this will remain open. Again, the longer, more light will come, but it is also more comfortable for the image to move, and from a certain point will force to use a tripod. The ISO is the sensitivity of the sensor or film. The higher this sensitivity, the brighter the photo will be, but the noise will also tend to appear.
To understand it more accessible, imagine a tap with a lot of small glasses underneath, which you have to fill. You can open the valve so that more or less water passes. That would be the equivalent of opening. The time you keep the tap open would be speed, while the number of cups would be the ISO.…
Opening Of The Diaphragm
As we have already explained, the aperture of the diaphragm refers to how much the diaphragm is opened, a piece of the lens composed of several fins that open and close to let light pass. This is reflected on your camera’s screen as the F-number, an indicator that says F / XX. But beware, contrary to what intuition can tell you, the smaller the number, the higher the opening. That is, F / 1,2 is a huge opening, while F / 22 is a tiny one.
We must bear in mind that the opening not only affects the light that arrives at our photo but also at a depth of field, subject to which we dedicate a whole post. The higher the aperture, the less the depth of field will be (the space that will appear focused in the photograph). Thus, with an f / 2.8, you will have a thickness of just one meter; with an f / 22 you can reach up to 5 meters. It also affects the sharpness of the image. Each objective has a “sweetspot ” or sweet spot, where the image is sharper. Usually, this point is not in any of the openings ends but in one of the intermediate steps.
If the aperture refers to space we leave light to reach the objective; the firing rate obviously relates to time. The slower the shot, the lighter it will enter, but it can also be photos moved, and at a certain speed it is necessary to use a tripod. But beware; slow pace makes the images are blurry is not necessarily bad, as it can help us achieve some tremendously magical effects.
Light effect in motion. You can see the flash of light due to the cars in action. To achieve this effect, a slow tripping speed (prolonged exposure) and a tripod on a stable surface are necessary.
The importance of depth of field in product photography
We continue with the review we are giving to the product photography in these last entries. We have talked about many very different aspects, from the equipment we may need to lighting tricks, from photography with mobile phones to the different types of objectives we may need for product photography. But I had the feeling that I was leaving out something significant, and that’s what I want to talk about today: the depth of field in the product photography.
If you have ever seen one of those striking photos in which an object stands out against the background because it is out of focus and you have tried to imitate it, but you do not know how you need to learn more about the depth of field. The same thing happens to you if you want to photograph two objects that are at a certain distance from each other and you do not manage to get the two correctly focused.…