How to Take Better Photos While Travelling

Everybody loves to travel. Whether alone or with company, many of us use a good portion of our money to afford our dream destination. Fortunately, with our cameras and smartphones, it becomes easier and more convenient to access cherished memories with our photos. While seeing the sights is one thing, being able to capture the essence of a breath-taking view is another. Sure, an expensive camera may help you improve the range of your images, but skill and experience are the best teachers when it comes to improving your photography expertise.

Photography is a means of building awareness across cultures, communities, and countries. Stunning images that depict a city's spirit, for example, can speak volumes about a particular place-which parts of the city light up at night, the color of the sky, how the people look-small details that give people a virtual experience of the place. If you love travelling and taking unique pictures of your journey but haven't mastered the art of bringing your photos to life, here are some tips you can use to enhance the impact of your travel photography: Pack light - don't bring the entire house with you when you travel. Scale down your equipment to what's really important and pack only the essentials.

This way, you can challenge yourself to improvise during tough shooting conditions. Sometimes a masterpiece could be the result of a fortunate "accident". Get up early - capturing early morning routines of the locals and how the place looks like before it gets busy is a great way to start your day and learn more about the place. Feel the place - it may be exciting to take lots of photos as soon as you arrive at your destination, but taking pictures for the sake of getting things done might hinder your creativity. Find the time to get to know the place by immersing yourself in the small details. Get off the beaten path - while most photographers need to fulfil standard postcard shots, it's also good to explore non-popular locations. Who knows what you might discover on your path? Don't be afraid to get lost and wander off to unfamiliar areas.

Just make sure safety comes first always. Get to know the people - connect with the locals, other tourists, or even other photographers. You can gain new friends and learn new insights about the place. Additionally, each of your photos would have its unique back story. Experiment with composition - go beyond standard techniques and try going for different composition techniques. Feeling the place has helped you gain a deeper perspective. Perhaps you can tell a story by breaking a few rules. By all means, rule of thirds, balancing elements, depth, etc. are tried and tested techniques, but you can always experiment with your own. Make the most out of the golden hour - whether it's before sunrise or sunset, be there ahead of time to prepare for the magic hour.

Make sure you do your research and ask about the best places to shoot during the golden hour. Remember, good photography is about capturing and manipulating light. Your camera is an extension of your eye. Whether you're using a DSLR, a mirrorless camera, or any other brilliant photography staples, remember to watch with an open mind. Thru your lens, you can tell many wonderful stories and inspire your audience with captivating photos. Ultimately, the most rewarding thing about taking good photographs is being able to capture and share the heart of a moment, which indeed, is priceless.

Colors Theory For Photography

One of the essential elements of photography is color, and it's the most overlooked element. We spend all the time in thinking about the framing, rule of thirds, selecting between vertical and horizontal compositions. But the shades blends used in a picture are as essential as any other element in drawing the attention of the viewer. You should know the primary shades theory for photographers to make your images stand out of the crowd. For years, it's been known that hues has physiological and emotional effects. For example, the red color is revealed to raise the heart rate; blue is linked with a calming effect. Color is used to create balance, make an element stand out from a background or propose chaos or conflict.

Let's understand the color theory of photography: Primary Colors Many of us know about the primary shades, we all have learnt about them in school. They are the colors that can't be made by mixing two colors, they are primary colors of a color wheel. While a standard artist color wheel makes use of red, yellow and blue as primary colors many photographers think regarding RBG (red, blue and green) color spectrum. Secondary Shades Secondary colors are a result of the mixing of primary colors. On the photographers color wheel, these shades are orange, purple and green. Tertiary Hues Tertiary colors are created by combining the secondary and primary shades.

For instance, when using the first yellow, blue and red hues wheel mixing the orange and red or green and blue would result in tertiary hues. Complementary Shades One of the most common links is between the additional hues. Complementary colors fall in the opposite from one another on the color board. These colors develop high contrast and grab the viewer attention. Analogous Colors Analogous hues are next to each other on the wheel. Making use of similar shades create a more harmonious shade scheme and low-contrast.

Monochromatic Hues The monochromes are usually referred as black and white; monochromatic shades are made from hues of just one hue, for example, several different tones of blue. Monochromatic shades are low in contrast and usually create a soothing look. This article just gives a brief knowledge of the color theory and how to work with it. The more you know about shades and their impacts on your pictures, the more you can control your composition and become a pro photographer.

Acrylic Photo Frames Are More Than Just Frames

Acrylic photo frames are more than just picture frames, they are the epitome of elegance when we come to putting up pictures on the wall or just positioning them for a nice display. The fineness with these frames is that they come in a classy glass look yet they do not shatter or break like glass. They are light and superb to hold any picture size. In this article, we look at acrylic photo frame being more than just another photo frame in your house.

The invention of these frames followed the desire to have a frame that resembles glass and does not easily break. These frames have gotten a wide preference in art gallery centers and museums due to their many merits that outdo any other type of frame. Acrylic photo frames types and their merits The common types are three based on the finishing done on the frame.

There is the clear type, the matte, and the UV, these frames differ on how they reflect light and how well they protect the photos in them from too much light and other damages. The other category is based on the design of the entire frame, for example, we have horizontal frames for single photos or multiple photos, and we have others that come in different shapes. Based on their different sizes, these acrylic frames can either be made to allow them to stand on their own or be suspended on a wall. Mostly the larger the size the more difficult it is to hang them. This, therefore, makes them the best choice for you when you variations in the frames.

Acrylic photo frames can be customized to carry all the fancy details that you may want to accompany the photo; these may be messages about the picture, or details like the photographer's name and any other information or decoration that adds up a meaning to the photo in the display. These frames are readily available and they are more environmentally friendly when compared with other types of photo frames like PVCs and wooden frames that have some environmental impact in one way or the other.

They also last long before they lose their shape like wood and glass frames that can easily break when packaging or stacking them. Conclusion Acrylic photo frames are more than just frames, they offer great services that are incomparable to other types of frames. They are affordable and when purchased from the right stores they can prove their worth in every way.

How to Pick the Ideal Digital Camera

Do you know how to pick the best camera? What features do you consider? How costly should it be? Here's the answer: the best camera out there on the market today is... the one you're actually going to use. For most amateur photographers, any camera is the best camera. Okay, you probably didn't want to hear that. But it's true. No camera will instantly give you great photos if you lack great composition and exposure. Cameras don't take pictures, photographers do. Fine, we hear you. So what camera should I buy? If you're an amateur photographer, keep to the low-end of cameras, one that you can afford. Then teach yourself about composing photos, exposure, along with other techniques.

Once you determine that you enjoy photography as a hobby and you would prefer some advanced functions, then you can sell your old equipment and graduate to higher-end models. If you figure out that you've got a secret gift in taking great pictures and you're thinking that you may genuinely wish to make some money from your talent, then you can spend more money on fancy equipment. But your cash goes furthest if you get quality lenses. This will make a bigger impact than buying a costly camera body. What features should I look for? The biggest misconception when picking a camera is that the megapixels make a big difference in the quality of your images.

Unless your image is going to be plastered on a billboard, every camera presently on the market should be perfectly sufficient to satisfy your MP needs. Instead, think about these distinctions between high-end DSLR vs. low-end DSLR vs. point-and- shoots. Price (the difference between the top and bottom could be a few thousand dollars) Response time (the time it will take the camera to take the photo after you hit the shutter) Auto-focus Functionality in low-light conditions Video functionality Weather-proof bodies So here's how to tell if you are a true photography buff: if you're always snapping pics with your camera, particularly of things that many people probably would not consider photogenic, then you can consider yourself a real aficionado. In this case, you're probably a person who would take advantage of the extra features of a DSLR.

So be honest with yourself and figure out exactly how much you will use your camera before you spend the money. If you plan to carry it with you constantly, then go for it! 

A Strange Course of Photography

What do we mean when we say we have made an experience? How to photograph and photo-retouching of food images to follow the rules of its archetypes. The experiences in my life I have always held for me jealously. It was a bit 'my system to make a barrier between me and the other because there is always someone who wants to be your own business and to tell everything they have heard from you, so my experiences were as a result, it became insignificant. So I learned to lie about what I was doing it my mood about all my experience. In fact, it is very hard to describe their own experience and make it clear to your listeners exactly as you saw you because it is something that touches some of our internal emotional strings. Ropes that are unique in all of us. An experience to remember because it is accompanied it our emotions experienced at the very moment in which we have had that experience. And tell our experienced it downgrades to a simple image that others have of you. But you can do an analysis of what and experience to understand how it binds to our ability to live, to love, to communicate and to understand things. You always have to start from knowing what you want to understand, know what they do not teach in school not because it does not exist as knowledge, but it seems that it is not important to know what we should know all, for example on key natural laws of our universe, on his geometry, on his lack of perfect symmetry, the symbology on the archetypes, what makes us sensitive and allows us to understand things, etc. etc... But you can do an analysis of what and experience to understand how it binds to our ability to live, to love, to communicate and to understand things.

You always have to start from knowing what you want to understand, know what they do not teach in school not because it does not exist as knowledge, but it seems that it is not important to know what we should know all, for example on key natural laws of our universe, on his geometry, on his lack of perfect symmetry, the symbology on the archetypes, what makes us sensitive and allows us to understand things, etc. etc... We must always start from the origin of what you want to understand and then try to necessarily start from the archetypes of all things. What is an archetype? Basically, it's the idea of something. It still has a meaning, not yet, but it has the idea of how to that particular thing. All we know of this universe we live in is recorded in our mind in the form of an idea how to be everything and these primordial ideas we have just called archetypes (a definition that is found abundantly on the Internet and on any dictionary). To explain their meaning and to understand why is there all this talk with photography I can give an example. We can use the food. What are the ideas of edible food, qualitatively good and palatable? To put it directly, we see what are the archetypes regarding food photography. Well, first of all, I must be very saturated. Any other non-vivid colour would correspond to the exact opposite of what constitutes an idea of palatable food. Then it must have a lot of glitter on the surface, because this means that the food was freshly cooked and then, in addition to having the right degree of humidity, especially fresh.

And finally the last archetype concerning the palatable food: is very good light to pass through the mid-tones. What does it mean? It means that if the light passes through the mid-tones (light has a spectrum, a range of frequencies, the mids are simply the frequencies that are in the middle), the food is soft, it is still young. But what exactly determines that it is a qualitatively good food to eat? And 'where the light passes through the mids that the colours become even more saturated. As the light cannot make it cross the colours are switched off or become much less saturated. If you want proof, take a slice of butter and look at it through the light of a bulb. Or a hand, a part of your body. The saturated colour of our archetypes is the life, is all that is natural is healthy. Anyone who faces food photography or photo-retouching of food unless it takes into account these simple archetypes does a poor job. You might even talk of meanings in photography because in this case, we would not have exceeded even the basics that are accessed by the inexperienced. There is another aspect to consider. A photograph is processed using the RGB colour space that has the quality to contain many more variations for each colour of the CMYK colour space instead is used for printing. In practice, it means that the RGB picture can contain very highly saturated colours even fluorescent colours. Be careful because once you convert photos to print, fluorescent colours disappear and then the food to our eyes, instead of switching on freshness archetypes, we turn on the stale food archetypes. Infinitely complex or evolved?- Digital photography I would like at this point to clarify the difference between complex and evolved. In the chapter on I introduced the archetypes but even if I went in that direction I would complicate my story.

I would immediately arrive to discover that photography is geometry, a geometry that embodies archetypal meanings, symbolic, conceptual and especially emotional, but I risk to get into complicated for me as I already wrote it. But what I want to realize with these items, it is a constructive talk, always in that direction, but always constructive and without complications within the theme doing photography. As an example of complication or evolution can be used in the advent of digital photography. Do you think the fact that the art of photography has gone digital is a complication or an evolution? The same comparison you could also do to the human race when you look at the West compared to African countries. The photographic art actually always respects the same rules, a photographer artist never based his art on the knowledge of the computer or camera, but his art he uses the moment they look into the camera viewfinder and shoot! This is its art, namely being able to take at the moment, in the position and perfect brightness. So the evolution of photography in the digital is not an evolution in photography, but a complication because all the photographers have had to learn new technologies. If anything, one can speak of an evolution of the cameras. Nor does the fact that today's cameras can take thousands of times instead of one is an evolution because the real artist photographer knows when to shoot and do it once. All other digital shots, they go down the drain.

The art has remained so since she was born, are the techniques, it is technology that has evolved. As evidence of this, I resurrected an old problem that had been at the beginning of the digital age. For any analogue photographer was a humiliating moment the digital switchover. Once, before the digital, development occurred through chemicals and various processes on an exposed film from the light, that was, in the sense if they could not change a single part in the colours created by the original light. It was completely altered with the products. Today the same photographers who initially developed the colors or black and white in the darkroom, some of them not all, claimed that the computer does not use it and do not even want to learn to use it because at this point the people in front of a beautiful photography would have said that was also photo-retouched. Today I think we are all adapted to computer use, it can not do without if only for the size of the files, but at the beginning of the digital era as well. That is their fear that it could be diminished the photographer's art urged them not to learn the use.

Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. That is their fear that it could be diminished the photographer's art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels.

Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. That is their fear that it could be diminished the photographer's art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong.

Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching.

But there is nothing more wrong. green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong.

E 'can still perform a development of the photo without changing the numerical values of the same, that is, without performing editing. E 'possible with a Photoshop technique to perform a second development changing what has been achieved in the first. This is not photo-retouching because they are not altered the colour information contained in the three channels. A real shame because maintaining this confusion, that is not addressing this complication at the time, has only contributed to downgrade the category. This method I learned from the man who is internationally regarded as the father of colour correction, Dan Margulis. Dan Margulis has always used Photoshop and knows every secret... Of consciousness and colours Geometry But what it does that have to do the technology (and science) with human consciousness and (therefore spirituality)? What has to do primarily a photography course with human consciousness? When we hear that word, they were taught to think of religion to Catholicism if we are Italian, which means being bigots and even a little 'annoying, because if we are, we are also moralists in the sense that we preach well but we scratch about very bad and there have inculcated that speak of consciousness is a big waste of time as well as much of a hassle. It is not marketing, it's not something you eat, is not money, and above all is not science, and therefore, what is the use? I disapprove totally. As I mentioned earlier, we live with no one teaches us that between religion, or spirituality (I prefer the latter term because with religion we enter more specifically and complicated) and science there is a deep bond. Deepening these arguments one can not see a relationship difficult to ignore.

 I began to introduce the archetypes, talking about food, but I've only talked about archetypes thousandth class. The basic archetypes are little more than twenty, beginning with those who speak the sacred geometry of our universe. Leonardo certainly knew them as the Golden Spiral, the Vitruvian Man, he drew them precisely describing our geometry. A unique geometry throughout the universe. The number Phi, the Vitruvian Man, the Golden Spiral, the Mandala, the Fibonacci sequence, the Mandelbrot set and consequently the fractals, the Julia sets that show us how the Golden Spiral can draw all things in the world we know, everything coincides and describes only one geometry, our. Among all these archetypes, which basically are few, there is the first that could be precisely the idea of ​​geometric existence (because geometrical described by geometric archetypes) of our consciousness. After Consciousness is energy, modern scientists say it also, and it is energy occupies a space that must necessarily have a geometry. I say that could be the description of what in essence is consciousness because no one has ever tried this, but I would get with simple observations. Only Dr Malanga to my knowledge, scientist and chemist and physicist genius, I met many years ago during a conference on the Super Spin, went on to explain consciousness through the archetypes. I will not pretend to do the same thing now I mean, I would not have either the skills. It 'a process that may be able to make a longer because of very complicated time. So instead of wallow in an attempt to show that the face of consciousness than simply Matches between archetypes, I step back and I look again all over again trying not to stare any complexity. You could also consider the quantum physics that states that only by taking into account the existence of the observer consciousness, you can explain certain laboratory experiments. But in addition to being very complicated, I find it rather boring and I do not have a laboratory capable of using photons for today. Instead, we offer our observation skills that not even centuries of Inquisition and other wars of all kinds have been able to take off. Our common sense and Treccani says common sense (or bonsènso; most com. COMMON SENSE) sm [expression cast fr. bon sens].

- natural Capacity, instinctive, judging uprightly, especially in view of practical needs. Now tell me if our common sense, it should not be an option for anyone, it is not really our conscience? The word consciousness, according to Jung, accurately defines what remains as a result of having had a positive and constructive experience. Any experience long as it is positive. There are many dictionaries from which I extract this meaning, but Jung, who knew something about the human psyche, defined the word conscience in this way. Technically it is what allows us to be different from others because everyone does their own experiences. What makes us different from the others that are in the first analysis, the consciousness born of the experiences we have with our parents when we are born, then the experience of the school, then for the experiences at work, with friends, with colleagues etc. etc. Where education is knowledge, and experiences are the conscience. It 'a little' how to join the Spirituality and Science.

We are made of these two components, why this nonsense of enemy makes in our history? Yes, if we think about it, we are more aware of the areas where we have developed more experience, we are not where we have not developed, but it is also what others recognize us without this happening with a logical reasoning. We are a bit 'as the works of art, if we are beautiful works we are nice people, if we are not it means that we have gained little conscience in our lives. It can also be inborn, of course, he inherited from the life of grandparents, great-grandparents and transferred to us as a form of memories and energy within us when we are born, but already born with two parents who know what love is, and grow with them, creates in us a certain (very specific and character) generous consciousness. It 's a bit like photosynthesis, if you are born when you come nourished by light, grow up healthy and strong if you get nourished by you will be able to play the same love, and you will have a strong vitality, normal, but not so much in common our society. The consciousness is the thing that distinguishes a work of art by an artisan work done as it should. What on earth will the work of art that stands out from everything else done as it should? It contains aware of the meanings that arouse in us emotions can make us feel an experience observing the work itself.

The work itself will watch and we look at it through the emotions that she always did well for us. In practice an artwork contains the author's message, contains the meanings aware that the author himself wanted to impress in his work. We all have a conscience, but we are losing the idea that consciousness is for us the most important thing in our lives. And it is true that every person, every animal, everything has its own consciousness. Although it may be little awareness of an object, as it expresses its use and that's it, but it is always consciousness. Have you ever used a tool of another for the first time without knowing its true and proper use? beginning do not understand it, then when you see it used by the owner who has understood rather well the meaning, we understand well the meaning us. Seeing it used properly, it makes you recognize something about the object that only with our eyes do not see, of course, his conscious meaning.

That is so simple and that's all. A particular person who has made it his unique technique a real art, he always said: it is foolish not to teach because the person who comes to us the same, that we can not even if unable to explain it. What did he mean by that, he meant that those who acknowledge that manages to get close to his art learn it, those who do not have it he cannot even if he explains. It 'very important to observe this in us when we approach to photography, in its development and in the eventual editing. One has to understand well what we are led to be able to do a job with passion, love and perhaps with a "conscience." If we can find our passion when we work we reload, rather than if we do something we do not like, we consume. One thing that no one wants to learn, for example, in photography or in the photo processing is the use of colour spaces, ie the use of the colour geometry. But there is, it is a complication which required digital photography and does photography with a passion we have to understand what it is. Article Source: http://EzineArticles.com/9926959

How to Pose Like a Model for Photos

Everyone loves photos that appear picture perfect. We all want to see the best versions of ourselves in photographs; pictures similar to those of celebrities. But when put in front of the camera, most of us are not quite sure what to do with ourselves and transform into a cringe-worthy klutz. With no experience, it could be frustrating trying to get that perfect selfie shot even in good lighting and sometimes having a friend/photographer do take your photo could prove even less fulfilling. The truth is, for both the poser and the photographer there are a few ground rules to follow for expression, posture, and style before you can obtain a model-like photo that is both natural and sexually appealing. Check out these tips to nail a model selfie every time.

 1. The Classic Hands-On-Hip It's always a good idea to not leave your hands limp or rogue. Perching one arm on the hip, weight shifted to one side and relaxing your shoulders. This "Teapot" pose is so popular with models, it slims your figure and creates a tall and dignified look that makes the waist appears slimmer. Be sure to position your lifted arm that's placed on the hip to show off any fancy accessories or nail polish art.

 2. Use the Mirror Pose in front of your new BFF, the mirror, until you are near perfect at it. Learn your body shape and pick sides and angles you love. Forget about feeling guilty about your vanity, and remember "all is vanity". Use your imagination and pretend someone else is behind the mirror, camera in hand and snapping away. Keep your feet in check for full-body shots, they are always closest to the mirror and you do not want to appear big-footed.

 3. Go Lower When sitting your camera height should be well above your eye level and your photographer standing a little far for the best result. This particular technique would show all your features, hair and makeup and also give you the illusion of a more petite, skinny frame. Photographers often totally forget their own height and shoot from below the model's eye line and you should never let them do that if you want the perfect photo. The chances that a shot from below help increase the height of subject or create the dramatic heroine shot you may be looking for are slim, and failed results with disappearing chins, weird shadows and dwarf shots are nearly always the end game. For selfies, keeping your phone lens above your head will capture only your best angles and keep your neck looking elongated and swan-like.

 4. Turn Your Head If your face is asymmetrical in any way, not to worry you're in good company. The easy fix for photos is to turn your head a bit when snapping and let the perfect tilt and camera angle hide that crooked smile of yours. Tilting your head is also a great trick for slimming your profile so if you really want to pose like a model, try turning slightly rather than facing the camera head on.

 5. Stand Straight, Chin Out Let the one thing you do not forget about perfecting your photo posture be to put your best foot and chin forward and stand up straight. Cameras are only two-dimensional, meaning a photo cannot display its subject in all three dimensions unless it is shot that way purposely. When posing in front of the camera and looking straight at it, pushing your chin out, down and forward can extend your jawline, creating the sharper and stronger facial lines that are associated with model features.

 6. Bounce Your Shoulders Positioning your shoulders is often thought of as a small detail but shoulders play a major in determining how the face is highlighted or not in a photo. Rolling your shoulders back can allow your face pop up and instantly slim your upper body's appearance. Popping one shoulder up higher than the other can also create much needed dimension in an image.

 7. Bend Your Knees Bending one leg slightly at the knee and putting one's weight on the straight leg would help define your waist and emphasize curves if you have them, or create them when you don't. Cross your knees slightly for the great camera effect this pose gives!

 8. Stick out Your Hips The trick is creating the illusion of hips by keeping your arms slightly loose and posing in an exaggerated S-shape. To do this, you can position yourself to camera and show off only the false waist you want seen by placing your hands to cover some of your "hips".

 9. Give Yourself Curves When you are not quite blessed with the pockets for plastic surgery and squats aren't doing the job, just strike the right pose and voila! Turn your preferred side towards the camera, with your head tilted and back arched, place one foot in front of the other and put your hand closer to the camera on your hip. Instant curves.

 10. Have Fun with the Camera Once you are aware of all you need to do to ensure you capture yourself in a flattering pose, feel free to play with the camera with the casual "caught-off-guard" look, or straight back at the camera like you know what you're doing. Incorporating moving shots and just pure "I'm having fun" shots, can help build confidence because hey, if the photo comes out with you looking not so photogenic... at least you can show you were having a good time while at it! 

Things That Make a Great Photographer

Great photography does not result from a pile of clicks that are no more than flukes. It is an exemplary demonstration of consistency and character throughout the work. Such beautiful body of work which every established photographer proudly wears as badge is the result of hard work that one does at the professional photography courses. There is a difference in being a photographer by accident and a photographer by choice.

If you are gifted, try to get an edge over others by earning a degree in photography and make recruiters sit up and notice. 5 core teachings of a photography school India There are various interesting and untouched aspects of photography that you are surely going to overlook if you do not learn photography with a more cognitive approach. DSLR photography can create wonderful results when you pay attention to concepts like: 

1. Orientation: How you place the camera is going to make or break the situation. When you have imagined the scene in your mind fully and are all set to capture it the way you have conceived, align the camera to your imagination. This is an art you need to learn and it comes by sheer practice. Many a times, you must have faced this problem that the captured shot is way different that what you saw in actual. This is a case of flawed orientation. Sometimes, flukes happen and a great shot is captured. But to make that fluke a habit, train under a professional and make as many mistakes as you can. You will learn better and last like forever eternity in the business.

 2. Organization: How elements are placed in respect to each other in a frame decide the end result of the click. It is called composition. In a photography school, you may learn to learn about composition of colors, of sizes and of background elements that make the photo hard-hitting.

 3. Depth: The Depth of field is the study that a photographer needs to master for delivering fabulous pics each time. It is one the most easily ignored part of study which deserves all the attention actually. There are a number of misconception about aperture sizes, etc. but the real game lies in choosing the correct point-and-shoot.

 4. Lighting: In photography, light is actually the master and photographer is the slave. One needs to set the schedule according to weather conditions to get a perfect shot of nature. In studio environment too, the game is to allow the light from the windows and other elements to play their part the way you want them to. It all comes by continuous practice and undying determination. Photo-editing tools are some of the easy hacks to master the amount of light, but nothing is possible without guidance and correcting. 

5. Brightness: Also, known as exposure, it means how much bright you want your photo to look, so that it retains its natural appeal. This aspect is quite subjective though, but the second opinion of your mentor in school can help you improve your perspective. So, when you have a good DSLR camera and determination in mind to become a photographer, enroll for a photography course for learning deep nuances of this art. 

Seamless Portrait Editing Idea

It's every photographer's dream to take beautiful portraits. The idea of capturing seamless beauty of a best friend or beloved one often ransack the brain of college-going students, who wants to establish himself as a renowned snapper, at least before his girlfriend. But capturing seamless beauty is not easy as you think, because in reality there is nothing absolute. There must be some flaws on face like hairline, blemish, dark spot or wrinkle.

You must remove all these to impress your beloved one. In this article I will tell you the easiest way to edit a portrait, keeping focus on the face. When I was pursuing my bachelor degree I felt in love with a girl. After two years of sweet and sour romance, we decided to marry. My parents were not aware of my secret affair, because I never exposed my love letters before them. I was so afraid of showing my girlfriend's photo to my parents, because she had a face full of pimples. After reading some articles on how to edit portrait in Adobe Photoshop CS 6, I decided to apply it on my girlfriend's photo.

Believe it or not I succeeded to make my parents impressed and get married. The method I used is called frequency separation. Before getting into the process let me give you a clear idea the term. You heard about megapixel and you know that digital image is made of pixels, which is considered as the unit of digital photography, but have you ever heard of frequency? There are many frequencies in an image. We can easily divide them in two parts, namely higher and lower frequency to retouch our image flawlessly. In fact using frequency separation technique is very easy. Follow the simple steps below to apply this special effect.

Open Your Portrait After opening your portrait on Photoshop make a duplicate of the image twice by pressing Ctrl + J two times, because we don't want to affect the original image. Naming the layers Edit the upper layer name to 'High Frequency' and lower layer to 'Low Frequency'. Hide the upper layer by clicking on the eyeball icon. Applying Gaussian Blur Effect Select the lower layer and go to the Filter and click on Blur then select Gaussian Blur and drag the slider to right to get a slightly blurry effect so that wrinkles and pimples disappear. Now bring back the visibility of the upper layer and select it.

Apply Image Selecting the upper layer, in our case 'High Frequency' go to Image and click on apply image from the drop-down menu. When the dialog box appears, select 'Low frequency' and for blending mode select 'Subtract'. The Scale should be 1 or 2 and offset 128. After altering all the values properly, click on OK. You will notice the upper layer turns to grey embossed type. Now change the blending mode of the upper layer to 'Linear Light'. As soon as you change it your photo gets back to its original appearance. Selecting Lasso Tool Now select the 'Lower Frequency' layer and the select Lasso tool, change the value of Feather of Lasso tool to 25 or 27. Cover the forehead of your portrait by drawing with the lasso tool. Now go to Filter again and select Blur then Gaussian Blur.

Drag the slider to vanish all the spots and pimples over the forehead. When you feel happy with the result, click OK. Now you can cover the areas on chin and cheek by drawing with lasso tool, apply the preset Gaussian effect by pressing Ctrl + F. If you can do it properly, you will get a spotless beauty at the end. Editing pimples and dark spots Select the upper layer and pick the Spot Healing Brush tool from tool menu, make the size of brush slightly bigger than the pimple or spot and holding the Alt key click on a spotless area near to the pimple and then release the Alt key and click on the pimple.

 In this process you will get rid of all the pimples and spots on the face. Isn't it a simple process to glorify the seamless beauty of your beloved one? If you don't have Photoshop then you can try other application too. I hope every famous image editing software have some kind of tool to retouch a portrait with ease. 

How to Take Good Beach Photos

When you play at the beach, you just want to take some good pictures to keep the happy moments. When the sexy bikini is showing your charming figure, the wide beach that is highlighting your elegant temperament and the sunglasses is featuring your mysterious smile, you are happy like a baby. But most importantly, you are having fun with your loved family or friends. So undoubtedly, you want to keep such beautiful memories in mind for a longer time. There is another easy way: taking wonderful pictures.

 However, not everyone is good at making all kinds of nice poses in front of the camera. Don't worry, this article will suggest some very simple but really nice poses to you. Recommendation 1: You can ask your traveling companion who is holding the camera to capture your turning around moment with a big smile and looking straight at the camera. Capturing the exactly turning moment is the key to make this pose successful, which requires privity between you and the photographer. Recommendation 2: Back facing the camera, you can fondle your hair with your left hand and take your large brim hat with the right hand.

 Your should face towards the direction of the wind at the each so your hair and brim hat will sway like dancing along with the wind. What a beautiful moment that would be! Recommendation 3: When the sunshine become soft at dusk, you can capture the scene when the sun is sitting in the horizon of the sea. Stand on your toes and ask your partner to squat, with the sunset ornament your body, you would become part of the beautiful sight. Recommendation 4: You can make a good use of the sands. Sands can be the easiest tool for taking beach photos.

Actually, it can be very useful for many poses. Today I recommend you this simple one: just fiddle up the sands and shoot the exact moment when they are spreading down, PS with a nostalgic grounding color, your eyes won't want to leave such a picture in the photo albums. Recommendation 5: You can also lie down at the beach to let your companion take the photo from your head side. With both of your hands at the wide brim beach hat and kneels stay higher than your head, you can make a lovely photo pose. The hat is better being white, the same color with the clouds, or blue, the same color with the sky and the sea.

Photographic Image Licensing Explained in 2 Minutes Flat!

So you are hiring a photographer to do some work for you and he/she mentions licensing. What is licensing, why do I have to deal with it and wouldn't it be easier if we just forgot the whole thing and you just give me the pictures? Well, the short answer is that there are countless way to use and abuse a photograph that you might never imagine in a 100 years, but U.S. Copyright law is there to protect the artwork's creator when things get complicated. Okay, so how do things get complicated? Let's imagine you made a lovely painting of your dog.

You show your painting at the state fair and it sells for the princely sum of $20. You hear a couple of years later that the painting is hanging over the mantel at the new owner's house, they love it and enjoy it everyday. Now, what if you heard that the same couple, took a photo of your painting and shopped it around to the dog food companies, landing a big contract. They licensed your work to be used on dog food bags for 5 million dollars. Well, luckily for you that would be illegal, because you own the "intellectual property" of that painting.

 Even though you no longer own the physical painting. That is because the artist always owns the copyright to his or her own images. The couple could burn the actual painting or throw it away because they own it, but they cannot transfer the copyright because it was never theirs to sell. Usually the dog food company would know better than to use an image that they don't have the rights to use. So, let's say the dog food company calls you up and wants to use your image, they want a very limited run of dog food bags and offer $500.

Then, after you agree to the terms they decide to use your image for all of their products, a national ad campaign, billboards and every single dog food bag they make. They also decide that they already paid you so there will be no additional payment. Again, luckily for you, the dog food company didn't buy the copyright. They simply paid for a usage license specific to their needs. If the company decided to use your image on a big campaign then you would license your image based on how much use the image will get.

So what did we learn? First, the artist keeps the copyright for their creative work, and as such, the artist can go on to sell prints or license that very same image. Second, if you buy an image there is no transfer of copyright implied, so you can't share it with other businesses because it is not yours to give. Third, licensing is how you go about getting images for use in advertising, and the licensing is tailored to the way the image will be used. So who wins when images are licensed for use? Everyone, the current system insures that images cannot be exploited by a third party, the artist gets paid for their work and the client pays only for what they need. 

Choosing Professional Event Photographers

There are different events that we hold from time to time and as such, it is important to capture those moments for the sake of memory. There are professional photographers for the various events that you may have including concerts, street photography, sports, fashion events, birthdays, weddings and so on. When you deal with a professional photographer, then you will be able to remember most of the events that you may have been to in a much easier and responsible manner. Even for people aspiring to set up an online business, there is still the need to have a professional photographer who will showcase all the items that are on sale.

When your photos are of a great quality, then you can easily impress your audience. Hiring the best photographer is, therefore, an essential thing to do. There are various ways that you can use so as to get the correct photographer for any event that you may have and they include: 1. Interviews: you need to carry out the initial interviews if you are really determined to find the best photographer. You need to ask the professional some questions so as to be able to know the abilities that they possess and then determine the best ways in which you can use their abilities to your advantage. Get to know the experience they have so as to know if they can handle the task that you may have for them. Ask about insurance, contracts and the experience level.

You also need to know the equipment and the photographic style that they usually use. 2. Portfolios: a great photographer will have a portfolio and it should be used as a guide. The quality of the work they have already done should be scrutinized and if it is found to be satisfactory then you should move to other options. A serious photographer will have a portfolio and this will really help in the decision-making process. 3. The specifics: there are all sorts of professional photographers. Some will take photos of people while others love nature and so on.

If you want to promote products, then choose a photographer in product photography and if you have an event, select an event photographer. Ask the photographer if they can handle your specific event before you hire. Get to know how they will be able to execute the tasks ahead and if they will be working alone or with a team, depending on the size of the project. 4. Your budget: you need to be open about this. There are different budgets for different events. Get to know the budget of the photographer and compare it with your own. It is always important to have a photographer within your budget. There are different factors that can affect the budget of a photographer and this includes the day-rate, retouching, equipment and travel among others. Your location also matters. Get to know the photographer and check out his background, especially in photography. You can invite them somewhere and have a one on one with them.

A Strange Course of Photography

What do we mean when we say we have made an experience? How to photograph and photo-retouching of food images to follow the rules of its archetypes. The experiences in my life I have always held for me jealously. It was a bit 'my system to make a barrier between me and the other because there is always someone who wants to be your own business and to tell everything they have heard from you, so my experiences were as a result, it became insignificant. So I learned to lie about what I was doing it my mood about all my experience. In fact, it is very hard to describe their own experience and make it clear to your listeners exactly as you saw you because it is something that touches some of our internal emotional strings. Ropes that are unique in all of us. An experience to remember because it is accompanied it our emotions experienced at the very moment in which we have had that experience. And tell our experienced it downgrades to a simple image that others have of you. But you can do an analysis of what and experience to understand how it binds to our ability to live, to love, to communicate and to understand things. You always have to start from knowing what you want to understand, know what they do not teach in school not because it does not exist as knowledge, but it seems that it is not important to know what we should know all, for example on key natural laws of our universe, on his geometry, on his lack of perfect symmetry, the symbology on the archetypes, what makes us sensitive and allows us to understand things, etc. etc... But you can do an analysis of what and experience to understand how it binds to our ability to live, to love, to communicate and to understand things.

 You always have to start from knowing what you want to understand, know what they do not teach in school not because it does not exist as knowledge, but it seems that it is not important to know what we should know all, for example on key natural laws of our universe, on his geometry, on his lack of perfect symmetry, the symbology on the archetypes, what makes us sensitive and allows us to understand things, etc. etc... We must always start from the origin of what you want to understand and then try to necessarily start from the archetypes of all things. What is an archetype? Basically, it's the idea of something. It still has a meaning, not yet, but it has the idea of how to that particular thing. All we know of this universe we live in is recorded in our mind in the form of an idea how to be everything and these primordial ideas we have just called archetypes (a definition that is found abundantly on the Internet and on any dictionary). To explain their meaning and to understand why is there all this talk with photography I can give an example. We can use the food. What are the ideas of edible food, qualitatively good and palatable? To put it directly, we see what are the archetypes regarding food photography. Well, first of all, I must be very saturated.

 Any other non-vivid colour would correspond to the exact opposite of what constitutes an idea of palatable food. Then it must have a lot of glitter on the surface, because this means that the food was freshly cooked and then, in addition to having the right degree of humidity, especially fresh. And finally the last archetype concerning the palatable food: is very good light to pass through the mid-tones. What does it mean? It means that if the light passes through the mid-tones (light has a spectrum, a range of frequencies, the mids are simply the frequencies that are in the middle), the food is soft, it is still young. But what exactly determines that it is a qualitatively good food to eat? And 'where the light passes through the mids that the colours become even more saturated.

 As the light cannot make it cross the colours are switched off or become much less saturated. If you want proof, take a slice of butter and look at it through the light of a bulb. Or a hand, a part of your body. The saturated colour of our archetypes is the life, is all that is natural is healthy. Anyone who faces food photography or photo-retouching of food unless it takes into account these simple archetypes does a poor job. You might even talk of meanings in photography because in this case, we would not have exceeded even the basics that are accessed by the inexperienced. There is another aspect to consider. A photograph is processed using the RGB colour space that has the quality to contain many more variations for each colour of the CMYK colour space instead is used for printing. In practice, it means that the RGB picture can contain very highly saturated colours even fluorescent colours. Be careful because once you convert photos to print, fluorescent colours disappear and then the food to our eyes, instead of switching on freshness archetypes, we turn on the stale food archetypes. Infinitely complex or evolved?- Digital photography I would like at this point to clarify the difference between complex and evolved. In the chapter on I introduced the archetypes but even if I went in that direction I would complicate my story.

 I would immediately arrive to discover that photography is geometry, a geometry that embodies archetypal meanings, symbolic, conceptual and especially emotional, but I risk to get into complicated for me as I already wrote it. But what I want to realize with these items, it is a constructive talk, always in that direction, but always constructive and without complications within the theme doing photography. As an example of complication or evolution can be used in the advent of digital photography. Do you think the fact that the art of photography has gone digital is a complication or an evolution? The same comparison you could also do to the human race when you look at the West compared to African countries. The photographic art actually always respects the same rules, a photographer artist never based his art on the knowledge of the computer or camera, but his art he uses the moment they look into the camera viewfinder and shoot! This is its art, namely being able to take at the moment, in the position and perfect brightness. So the evolution of photography in the digital is not an evolution in photography, but a complication because all the photographers have had to learn new technologies. If anything, one can speak of an evolution of the cameras.

 Nor does the fact that today's cameras can take thousands of times instead of one is an evolution because the real artist photographer knows when to shoot and do it once. All other digital shots, they go down the drain. The art has remained so since she was born, are the techniques, it is technology that has evolved. As evidence of this, I resurrected an old problem that had been at the beginning of the digital age. For any analogue photographer was a humiliating moment the digital switchover. Once, before the digital, development occurred through chemicals and various processes on an exposed film from the light, that was, in the sense if they could not change a single part in the colours created by the original light. It was completely altered with the products. Today the same photographers who initially developed the colors or black and white in the darkroom, some of them not all, claimed that the computer does not use it and do not even want to learn to use it because at this point the people in front of a beautiful photography would have said that was also photo-retouched. Today I think we are all adapted to computer use, it can not do without if only for the size of the files, but at the beginning of the digital era as well.

 That is their fear that it could be diminished the photographer's art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. That is their fear that it could be diminished the photographer's art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels.

 Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. That is their fear that it could be diminished the photographer's art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching.

 But there is nothing more wrong. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. E 'can still perform a development of the photo without changing the numerical values of the same, that is, without performing editing.

 E 'possible with a Photoshop technique to perform a second development changing what has been achieved in the first. This is not photo-retouching because they are not altered the colour information contained in the three channels. A real shame because maintaining this confusion, that is not addressing this complication at the time, has only contributed to downgrade the category. This method I learned from the man who is internationally regarded as the father of colour correction, Dan Margulis. Dan Margulis has always used Photoshop and knows every secret... Of consciousness and colours Geometry But what it does that have to do the technology (and science) with human consciousness and (therefore spirituality)? What has to do primarily a photography course with human consciousness? When we hear that word, they were taught to think of religion to Catholicism if we are Italian, which means being bigots and even a little 'annoying, because if we are, we are also moralists in the sense that we preach well but we scratch about very bad and there have inculcated that speak of consciousness is a big waste of time as well as much of a hassle.

 It is not marketing, it's not something you eat, is not money, and above all is not science, and therefore, what is the use? I disapprove totally. As I mentioned earlier, we live with no one teaches us that between religion, or spirituality (I prefer the latter term because with religion we enter more specifically and complicated) and science there is a deep bond. Deepening these arguments one can not see a relationship difficult to ignore. I began to introduce the archetypes, talking about food, but I've only talked about archetypes thousandth class. The basic archetypes are little more than twenty, beginning with those who speak the sacred geometry of our universe. Leonardo certainly knew them as the Golden Spiral, the Vitruvian Man, he drew them precisely describing our geometry. A unique geometry throughout the universe. The number Phi, the Vitruvian Man, the Golden Spiral, the Mandala, the Fibonacci sequence, the Mandelbrot set and consequently the fractals, the Julia sets that show us how the Golden Spiral can draw all things in the world we know, everything coincides and describes only one geometry, our. Among all these archetypes, which basically are few, there is the first that could be precisely the idea of ​​geometric existence (because geometrical described by geometric archetypes) of our consciousness.

 After Consciousness is energy, modern scientists say it also, and it is energy occupies a space that must necessarily have a geometry. I say that could be the description of what in essence is consciousness because no one has ever tried this, but I would get with simple observations. Only Dr Malanga to my knowledge, scientist and chemist and physicist genius, I met many years ago during a conference on the Super Spin, went on to explain consciousness through the archetypes. I will not pretend to do the same thing now I mean, I would not have either the skills. It 'a process that may be able to make a longer because of very complicated time. So instead of wallow in an attempt to show that the face of consciousness than simply Matches between archetypes, I step back and I look again all over again trying not to stare any complexity.

 You could also consider the quantum physics that states that only by taking into account the existence of the observer consciousness, you can explain certain laboratory experiments. But in addition to being very complicated, I find it rather boring and I do not have a laboratory capable of using photons for today. Instead, we offer our observation skills that not even centuries of Inquisition and other wars of all kinds have been able to take off. Our common sense and Treccani says common sense (or bonsènso; most com. COMMON SENSE) sm [expression cast fr. bon sens]. - natural Capacity, instinctive, judging uprightly, especially in view of practical needs. Now tell me if our common sense, it should not be an option for anyone, it is not really our conscience? The word consciousness, according to Jung, accurately defines what remains as a result of having had a positive and constructive experience. Any experience as long as it is positive. There are many dictionaries from which I extract this meaning, but Jung, who knew something about the human psyche, defined the word conscience in this way. Technically it is what allows us to be different from others because everyone does their own experiences.

 What makes us different from the others that are in the first analysis, the consciousness born of the experiences we have with our parents when we are born, then the experience of the school, then for the experiences at work, with friends, with colleagues etc. etc. Where education is knowledge, and experiences are the conscience. It 'a little' how to join the Spirituality and Science. We are made of these two components, why this nonsense of enemy makes in our history? Yes, if we think about it, we are more aware of the areas where we have developed more experience, we are not where we have not developed, but it is also what others recognize us without this happening with a logical reasoning. We are a bit 'as the works of art, if we are beautiful works we are nice people, if we are not it means that we have gained little conscience in our lives. It can also be inborn, of course, he inherited from the life of grandparents, great-grandparents and transferred to us as a form of memories and energy within us when we are born, but already born with two parents who know what love is, and grow with them, creates in us a certain (very specific and character) generous consciousness. It 's a bit like photosynthesis, if you are born when you come nourished by light, grow up healthy and strong if you get nourished by you will be able to play the same love, and you will have a strong vitality, normal, but not so much in common our society. The consciousness is the thing that distinguishes a work of art by an artisan work done as it should.

 What on earth will the work of art that stands out from everything else done as it should? It contains aware of the meanings that arouse in us emotions can make us feel an experience observing the work itself. The work itself will watch and we look at it through the emotions that she always did well for us. In practice an artwork contains the author's message, contains the meanings aware that the author himself wanted to impress in his work. We all have a conscience, but we are losing the idea that consciousness is for us the most important thing in our lives. And it is true that every person, every animal, everything has its own consciousness. Although it may be little awareness of an object, as it expresses its use and that's it, but it is always consciousness. Have you ever used a tool of another for the first time without knowing its true and proper use? beginning do not understand it, then when you see it used by the owner who has understood rather well the meaning, we understand well the meaning of us.

 Seeing it used properly, it makes you recognize something about the object that only with our eyes do not see, of course, his conscious meaning. That is so simple and that's all. A particular person who has made it his unique technique a real art, he always said: it is foolish not to teach because the person who comes to us the same, that we can not even if unable to explain it. What did he mean by that, he meant that those who acknowledge that manages to get close to his art learn it, those who do not have it he cannot even if he explains. It 'very important to observe this in us when we approach to photography, in its development, and in the eventual editing. One has to understand well what we are led to be able to do a job with passion, love and perhaps with a "conscience." If we can find our passion when we work we reload, rather than if we do something we do not like, we consume. One thing that no one wants to learn, for example, in photography or in the photo processing is the use of color spaces, ie the use of the color geometry. But there is, it is a complication which required digital photography and does photography with a passion we have to understand what it is. This is referred to colors, color geometry, resulting in methods of viewing and printing and its translators who are the color profiles (on this subject they have called so many that even today only a few have really understood the use of color profiles and color spaces using Photoshop with its render engine). 

Understanding the Rules of Composition in Photography

With the advent of the mobile phone and tablet, everyone seems to be taking photographs, and for many people all they want is a record of a holiday or family event or a special moment in their lives which they are happy to share with their friends and perhaps to look at some years later when it will bring back a fond memory of times past. Some of us however want to take their photography one step further and turn it into a hobby which we can develop and improve. So we dispense with our point and shoot camera and stop using our phones and invest in a reasonably decent camera. Personally, although I had been taking pictures for almost 50 years, I only took it up as a serious hobby in 2010 when I purchased a Panasonic DMC-FZ38 prior to visiting Kenya on my first Safari.

To begin with, I looked at the 128 page manual, hardly understood a word, so set the camera to auto and went off on safari. I took some great photos but it was only after I joined a local camera club and started to learn about the art of composition that I began to actually look through the lens and think about what I was doing, instead of simply pointing the camera at an object and pressing the shutter. Like me, I suspect that many new photographers get confused, or even totally put off, by such things as focal length, ISO, aperture, shutter speed, focusing, exposure, etc., etc., and while I believe that it is very useful to understand the more technical elements, I do believe that the most important element for a new photographer to get to grips with, is Composition.

All digital camera manufacturers spend a large amount of time and money on software to help the user get the correct camera settings to capture that shot and, as I did initially, if you set your camera on auto, the vast majority of time you will get technically good results. However the one thing that no camera is able to do, no matter how much money you have spent buying it, is compose a photo that is attractive to the eye. So what do I mean by Composition? Putting it into its very basic form, composition can be said to be the way to create a photo that is aesthetically pleasing to the viewer. Sounds simple doesn't it? Google "composition in photography" and you come up with such results as:- 20 Composition Techniques That Will Improve Your Photos: 10 Top Photography Composition Rules 9 Top Photography Composition Rules You Need To Know 18 Composition Rules For Photos That Shine 5 Elements of Composition in Photography 5 Easy Composition Guidelines The 10 rules of photo composition (and why they work) 12 Rules for Effective Composition in Photography: etc., etc.! While you will undoubtedly learn by reading all of those articles, (and I would suggest that you do in time), I will concentrate on a few simple rules that I follow.

 Before I go further, while some of these are called rules, remember rules are there to be broken. What I am trying to do is to encourage you to think about what you are trying to achieve when looking through the viewfinder. I will start then with something that you have probably already come across:- The Rule of Thirds. Basically, if you imagine a photo divided into thirds, both horizontally and vertically, the main subject of the image should be where a vertical line cross a horizontal one. Many modern cameras allow you to place a grid in the viewfinder which can be used to place the object where two lines intersect. While we are talking about the Rule of Thirds, it is generally best to place the horizon on one of the thirds, rather than in the centre of the frame, dependent on whether the main points of interest are in the sky or on the ground. Leading Lines These lead the viewers eyes into the picture either to the main subject or on a journey through the whole of the picture. Examples of leading lines could be a path wandering through the image, a fence line, a meandering road or a stream or river. Symmetry To demonstrate that the rules are no more than guidelines, the next one contradicts the Rule of Thirds. If your image is symmetrical, then it could benefit from being centred either on the horizontal, or vertical centre line. This works particularly well for reflections Rule of Space This rule is talking about giving the subject in the photo, space to move into the frame. This particularly applies to animals and vehicles.

 The object should have the most space in front of it, and not be right up to the edge of frame, giving it nowhere to go. Rule of Odds Generally speaking, it is thought that photos with an odd number of subjects is more visually appealing and natural looking than those with an even number, where the viewers eyes may flick around the image, unsure of where to settle. I tend to use the rule of odds particularly if taking a close up of flowers or the like. I hope that I have given you a brief insight into composition and that when you next look through your viewfinder you will at least stop and think for a few seconds at what you are looking at and how the shot may be improved. But just remember, these rules, and all the others you will come across, are simply guide lines to help you go in the right direction, they are not railway tracks that you have to stick to rigidly. Finally I will end with the words of Pablo Picasso - "Learn the rules like a pro, so you can break them like an artist.

" Tony Murtagh, took photography up as a serious hobby in 2010 prior to going on safari to Kenya in the February. He has had photographs published in the national and international press including the UK, France and Australia as well in the local press. In January 2013 his photo of a 'Three Headed Giraffe' was a finalist in the Wanderlust Travel Photo of the Year in the Wildlife section. In May 2014, his photo of a black-backed jackal was included in A Field Guide to the Larger Mammals of Tanzania (Princeton Field Guides).