Photography 101: Digital Photography Basics

A simplified digital photography course aimed at new photographers out there who want to know where to start.

by Kelly Paal

If you really want to learn digital photography the first thing you need is a good and reliable camera. It must, and I repeat must, be able to shoot in fully manual and fully auto focus modes. To really learn digital photography you must understand the equipment. You’ll need to learn how manipulating the shutter speed, aperture, and focus will have a dramatic effect on your digital photos. Meters, if you have a camera that can work in a fully manual mode it should have an internal meter suitable for what you will be doing. Tripod, you’re going to need one whether it’s portrait work or landscapes you’ll need one eventually to improve your digital photography. Luckily you don’t have to spend a lot here. Just something lightweight and durable. Flash, you can buy a separate camera mounted flash, which is great if you can afford it. Consider what kind of digital photography that you will be doing though. If you’re going to do mostly nature and landscape digital photography, you may only need the fill flash that comes with most cameras today. If you plan on doing portraiture only you will definitely need a camera mounted flash that has an adjustable angle.

Film Speed
ISO setting to be exact. Slower speeds (25 to 400) are intended for portraiture and landscape digital photography. Faster speeds (600 and above) are intended for actions shots and photojournalism. So first you need to know what you going out to digital photograph and make sure that you have the appropriate film for the job.

Shutter Speed
Now that you have the camera loaded with film consider the shutter speed. Do you want to blur motion, or freeze it? If there is no motion at all what shutter speed do you need to expose the scene with natural light. Shutter speed plays a very important role in digital photography. From 1/60th and down to the bulb setting will blur most motion. For example if you want to blur the water in a waterfall, a setting of 1/30th should work. (You’ll need a tripod though.) 1/125th is a normal setting for most shots. On many cameras the 125th setting is marked in a different color to make it obvious. If you want to freeze action you’ll need to start with 1/500th and work up from there. The faster the motion the faster the shutter speed needed to stop motion. Many digital photography cameras go up to 1/2000th of a second. If you’re trying to use natural light alone in a scene you will want to determine the aperture first and then see what shutter speed you need to properly expose the scene for available light. (Keep in mind sometimes there isn’t enough light.)

Aperture
These are the set of numbers on your lens closest to the body of the camera. They can go from 1.8 to 22, and they are also referred to as f-stops in digital photography. These numbers determine how much light reaches the film inside of your camera. Most internal meters will blink on the appropriate aperture for the shutter speed that you’ve set, or the speed you’ve set will blink if your f-stop is correct for the speed. Both the f-stop and shutter speed can be changed to expose the scene correctly in digital photography. Consider that the faster the shutter speed the more light will be needed to expose the scene correctly. This makes logical sense if you think about it. If the shutter isn’t open as long, fast shutter speed, then there is less light able to make it to the film and so the scene must be brighter to expose correctly. To learn, bracket your digital photography shots. Take the first shot at the aperture suggested by your meter, move one stop up, take a photo, one down, take another photo.

Flash
I personally like shooting with natural light whenever possible and at most I use a fill flash in digital photography. But if you’re going to do portrait work then most of the time you may be indoors and you will need a flash sometimes. For the amateur the fill flash units that are on the top of most of today’s cameras are wonderful for basic work. You will have to read your manual on your particular flash unit to learn what it can and can’t do. This is where the camera that is fully manual and fully auto is great for the amateur. You can usually set it so that the camera will meter and set the flash output accordingly and then you still can control the shutter speed and aperture.


About the Author: Kelly Paal is a freelance nature and landscape photographer, exhibiting nationally and internationally. Recently she started her own business Kelly Paal Photography. She has an educational background in photography, business, and commercial art. She enjoys applying graphic design and photography principles to her web design.

Photography - Rules of Composition

by Richard Schneider

Composition is defined as the combining of distinct parts or elements to form a whole. In photography that definition is very important in taking quality pictures. The following rules of composition should be learned and considered but not necessarily used in every photo. Once you have learned these rules you will be more observant of the possible photo opportunities that surround you. But keep in mind that the really famous photographers usually find a creative way to stretch or break the rules of composition.

Rule of Thirds
The rule of thirds has been used through the centuries and is probably the most recognized rule. The rule of thirds directs that the frame can be divided into three vertical sections and three horizontal sections. Wherever the separating lines connect is an ideal spot for a subject or point of interest. By positioning your main subject at any of the four intersection points, you are giving your subject more emphasis than if it is right in the middle of the photo. The intersection points can also work if there is more than one main subject in a photo. Most famous photographs and paintings have the rule of thirds applied to them in some way or another.

Simplicity
The simplicity rule directs that you should keep the items in your photo relatively simple. If your main subject is close to the lens, then your background should be very simple in order to avoid distractions. Another good idea is to avoid objects or lines that lead the eye away from your main subject.

Contrast
The contrast rule directs that light subjects should be placed against dark backgrounds and vice versa.

Framing
The framing rule directs that using natural surroundings mindfully can add more meaning and focus to your subject. The surroundings could be anything such as bushes, windows, trees or even a doorway. When using this rule be sure to focus on the main subject and not on the surroundings that are framing it. It is also a good idea to use a narrow aperture (high f/stop) when using this rule in order to create a high depth-of-field.

Texture
The texture rule can add a great amount of interest to most photos. When people see texture in a photo it can spark their imagination and make the photo more real to life. Texture would be a good idea when taking photos of rocks, walls, surfaces, hands or even leaves. In order to create texture try to compose your photo so the light is coming from the side and therefore casting shadows in key places.

Diagonals
The diagonal rule directs that diagonal elements or lines can make a photo more dynamic. Diagonal elements could be fence posts, roads or even tree branches.

Leading Lines
The leading lines rule can be used to direct the eye deeper into a photo and commonly to the main subject. Leading lines can lure the eye to a subject by leading to it from any side or depth of the photo. Leading lines could be roads, rivers, tree branches or even bridges.

Color
The color rule is what adds interest and emotion to your pictures. Different color configurations can inspire and amaze viewers. Colors can also be used to accent certain parts of a photo.

It might not be a bad idea to keep these key terms with you when you practice taking photos. The best way to learn and improve your composition is just to use them often and to experiment.

Great Landscape Photography

By: Mark A. Fenwick

Be at One with the Land.

Buyers and collectors have accepted photography as art for some time, but only if it's of significant artistic merit. Great landscape photography sells because the buyer is searching for escapism and the need to dream. As a species we have always been linked to and drawn to the landscape. Do you have a love for the countryside and an understanding of the landscape?

When you're out in the great outdoors, away from the bustle, what do you see

• sunlight filtering through trees and dancing on the landscape?
  
• snow on the mountains and a gushing river in full flow?
  
• coastal cliffs with the shimmering sea lapping onto the shore?
  
• a brooding sky casting a spell over the windswept moors?
  
• the warm glow of the sun setting at the close of day?
  
• or mists and changing patterns of wind, clouds and magical light?
  

Do you see the beauty and feel the connection?
To produce a great photo landscape you need to understand the countryside and how light affects it. You need to have a passion for the land and experience an intimate connection with nature. The best way of doing this is to explore an area on foot and become part of the landscape before taking any photos.

On your walk look for:

• Light (shadows and highlights)
  
• Shapes (round and angular)
  
• Color (harmony and discord)
  
• Texture (rough and smooth)
  
• Composition (strong and weak)
  
• Tones (light and dark)
  
• Patterns (even and odd)
  
• Mystery ( ? and ? )
  

So the next time you're out with your camera looking for that open vista of rolling hills and mountains, also observe the intimate details in the landscape and maybe just photograph a small section of the bigger picture.

Where do you go to find the perfect or most interesting images? Do you have a favourite place or do you simply like to travel and see what you find?

The world is full of wonderful locations and the image creator is blessed with so much choice. Some of you will specialize in a particular area capturing the wildlife silhouetted against golden sunsets in Africa; the architecture of ancient civilisation in Egypt; the vast skies and tumbleweed of Nevada or the diverse, often moody landscape of the British Isles. Whatever gives you the most joy and satisfaction, go there and get creative!

If you only have a vague idea of the landscape work you would like to do, the best idea is to just go out there and explore. Start locally. It's surprising what you'll find literally on your back door and this will give you a chance to experiment and see what locations you are drawn to.

Your personality and your vision must come through in every photo you take; it's up to you to capture the essence of the landscape in front of you. If your photograph works, the person viewing your image will feel they can step into your picture and experience the emotion of being there. A great landscape photograph is a great escape.

Author: Mark A. Fenwick is a Fine Art Photographer. For tips and tricks of professional photography, and photography jobs and opportunities, visit Photography Update

Article source: Articlecat.com