may look outdated but when taken by professional photographer they can good and many people will appreciate the work well done. As professional photography one of the black and white photography tips is to shoot the photos camera and then convert to black and white using a computer. This way you have a good chance of modifying the photos to the satisfactions by applying the black and white photography tips. It is always advisable to learn and understand your camera before undertaking any assignment.

It is always advisable to shoot your photos in low contrast situations meaning that put to consideration the day’s weather. In black and white photography tips put in mind that in low contrast situations; the photos will look clearer and professionally taken. Learn and practice when to use the camera flash and when not. Mingle with experienced professionals to share black and white photography tips which the have encountered in the line of duty.

Black and white photos may not look attractive compared by the colored ones, but try to apply such as choosing the frames to put to a particular photo. Also consider shadows, textures and shapes which forms the large part of black and white photography tips and makes the photographer look professional.

Digital cameras also work very well in shooting black and white photos. To emerge professional understand how the digital camera works and since the digital ones has many functions the outcome will look good. Black and white photography tips include the Photoshop techniques which lays more emphasizes on factors like levels and curves which has effects on the photographs improvements. Filtering of the colors is also a factor to consider as one of the black and white photography tips to be able to come up with the desired results.

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Many of us attend weddings from time to time and this is an opportunity to grab some memorable moments for the family album. People often complain they can’t take good photos. But modern cameras, even basic models are quite sophisticated and can eliminate many of the errors that used to lead to poor quality. By following these simple tips you can vastly improve your photos not only at weddings but at other parties, outings, vacations and much more.

1) When you obtain a new camera read the operating instructions and become familiar with basic functions. If you turn up at a wedding with a camera you are unsure how to even switch on there’s little hope of decent photos.

2)The ‘official’ photographer will organise and compose the happy couple portraits, family groups and mass photos. Take advantage by grabbing shots from beside or slightly behind the official photographer but don’t get in their way and make a nuisance of yourself.

3) Understand lighting or your snaps may poorly lit. Early morning will give weak sunlight, midday strong light, afternoon weakening light. Overcast / cloud also give subdued light so you may require a flash.

4) Think about composition. Straightforward ‘portrait’ shots are fine but can you make it more interesting from using a different angle? Try to vary poses. Lots of the self same snaps are boring.

5) Consider backgrounds. Have you got a tree, lamp-post or something else weird growing out of the top of your subjects head? Check before you shoot.

6) Large groups such as family wedding gatherings are often difficult to shoot even for professionals as people look away, talk, yawn, wander off, comb hair and much more. Don’t spend all day waiting for the perfect shot as it probably will never arrive.

7) Try to capture ‘off guard’ moments as these are the kind of shots that will make the occasion memorable. People do the silliest and most interesting things when they don’t realise they are on camera.

Having your subjects staring into the sun may cause them to squint. Shooting into the sun will likely cause your subjects to be silhouetted against the light and turn out just a black shape. Test the lighting before you shoot.

9) Know the limitations of your camera. If you camera doesn’t have a great zoom facility don’t waste shots of the horizon or distant features. Instead concentrate on closer subjects but be also aware of being TOO close or your pictures may end up out of focus.

10) Be aware of camera shake. It’s not easy to hold a camera, frame a shot, focus and press the shutter button. Try to take a breath and hold it for a few moments as you press the shutter as this will reduce the chance of the camera shake that results in blurred photos.

Keep these easy tips in mind and your photos can dramatically improve.

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While it’s fun to look at baseball photos in newspapers and magazines, you don’t have to be a world-famous photojournalist to take exciting baseball pictures of your favorite team, its players, and the drama and elegance that is baseball. You can do it too. All you need is some baseball photography tips.

What about equipment? The good news is that you don’t need a 600mm lens and a ten-frame-per-second motordrive SLR like the “Hot Shots” have. Of course, heavy artillery like this can help, but you can take great baseball pictures with just about any camera. Here’s how…

There’s one fundamental principle for capturing baseball pictures we made up, that we call the Inverse Access Law. It relates to what you have to expect when you go to the baseball game. Simply stated, the “Law” is this: The bigger the league, the farther you’ll probably be from the action. Don’t be discouraged. This “law” applies equally to professional photographers as well as amateurs. In a Major League game, when the umpire cries “Play Ball,” no one is allowed on the field. No one. Period. End of story.

Realize, the professional sports photographer with the right Press Pass and the big lens can be on the sidelines at a football or basketball game…but not at a baseball game. With America’s “National Pastime,” everybody — professional and amateur alike — shoots from the stands though there are press boxes in a few key locations for the pros. However you still have a lot of photo opportunities even from the stands to capture great baseball photos.

And, there’s the rub — even for the professional. The bigger the stadium, the greater the distance from the playing field to the stands. So be prepared: Major League games will give you minimum opportunity for great baseball pictures — especially if your seats are way out in the bleachers. But don’t despair just yet — we’ve got some hints later in this article that can get you closer even in Major League stadiums.

In any event, at the local little league field or humble sandlot diamond, you won’t have any problem positioning yourself close to the action. Usually, you can walk right up to the backstop behind home plate, and stick your camera through the fence for an over-the-umpire’s-shoulder close-up view. Only the catcher will have a better view. And if there are some seats along the first-base side of the diamond, you may be able to claim the front row and make it your personal press box!

What does this all mean? Simply that you’ve got to be realistic and realize that you’ll get closer to the action and get better shots at the small ballfield. But, as we just said, don’t give up on the BIG stadium yet.

First, let’s go over some baseball photography tips for handling the action at all types of baseball fields. We call these baseball photography tips, the Six Commandments.

Wherever possible — in big stadium or sandlot seats — try to nearly fill the frame with your subject rather than have him or her show up as a distant speck.

How close is close enough? The closer the better. Following our “Inverse Access Law,” you know that you probably can get right on the sidelines — or in the first row of seats — at a sandlot, Little League, or high-school game. For college games, semi-pro, or spring-training Big League games, you can usually get pretty close — especially if you apply some added charm or “weight.” If you’re an NYI student, your NYI Press Pass can provide this added “weight.” With or without the pass, if you have any trouble getting close to the action at these games, we advise that you call ahead for a later game and speak with the press or public relations office. Explain that you’re a serious photographer (if you have any exotic equipment, here’s a good place to name-drop) and you’d like to get access to the press box for the game. If this fails, ask for permission to photograph the pregame warm ups.

What about the regular season Big League game? You probably won’t get really close to the action. (As we said a moment ago, no one does!) But this doesn’t mean you’re out of luck with trying to take great baseball photos.

It simply means that you’ll have to use a longer lens to fill the frame. How long a lens? This, of course, depends upon where you sit. From most seats in the stands, a 200mm lens (or an 80-200mm zoom) will probably do fine. But realize this: Unless you have professional gear, the maximum aperture of your 200mm lens is probably around ƒ/4.5. It’s not very fast. This means that you may not be able to shoot at a fast-enough shutter speed to stop the action, especially when your subject is in a shaded area of the field. It should, however, be fine for action in sunny areas — so concentrate on those. (At the end of this article, we discuss the equipment brought by the big-time pros. What we’ve said here may give you an inkling of why he or she probably uses a 300mm lens with an ƒ/2.8 maximum aperture.)

Another point, it’s all well and good to sit in the bleachers and have your 200mm ready to catch the action, but…. Be realistic. What happens when that home run is hit out of the park or there’s a close play at home? Right. Everybody stands up! This means that your 200mm will get an out-of-focus view of the back of the shirt of the person in front of you, but little else.

How can you avoid this? By planning your position in advance. If possible, try to get seated in a front row where your view will be unobstructed. You can’t get such a seat? OK.

How about going to a game when the stands aren’t crowded, and sitting where there’s no one in front of you. Sit in the last row in the stands if necessary. But get an unobstructed view!

Still, there are more opportunities for you to get close at the Big League ballpark. Pre-game and postgame activities can be ideal for access to your favorite players. Get to the stadium early, an hour or more before game time, and don’t be surprised if you can walk down to the first row with your camera. Frequently, you’ll be able to shoot closeups of players taking batting practice, standing around waiting for their turn at bat, practicing fielding, signing autographs, or just talking with fans in the stands. You should be able to get some great !

Lots of players are also generous with their time when they’re leaving the stadium after the game as well. In a large professional ballpark, you won’t have a hard time finding the players’ entrance; it’s generally crowded with fans waiting for their favorite heroes to emerge.

To boil all this down: Try to get as close to the action as you can. Use a long lens if you’re seated way back. Make sure your view is unobstructed. And consider pre-game and post-game photo ops when all else fails.

When you shoot a baseball action photo, whether it’s the batter taking a mighty swing or a close play at first base, the picture is much more effective if it shows the ball too. Or, if you’re shooting the outfielder circling under a fly ball, try to capture the ball in the same picture so that we see the subject of the fielder’s concentration.

Of course, not every shot can show the ball. For example, the baseball photo showing the kids in the “dugout” while their team is at bat can’t show the ball. And there are some action shots that work fine without the ball: The runner sliding into third, for example, may make a great shot even if the ball is still on its way from the outfield. That means this is a “Commandment” that has to be used with intelligence.

ISO 400 is good, 800 is better, and 1000 or 3200 is often even better — or absolutely necessary. That’s because you want to use the fastest possible shutter speed to stop the action. But what about graininess?

For years photographers worried about excess grain the way mothers worried about polio. Science has made both ills a thing of the past.

Yes, you can still find some photographers who dither on about grain in a photo, but they probably haven’t dusted their specs in years. Graininess in photos, or rather the perception of excess grain, has been virtually eliminated from today’s films — fast ones and slow ones. You want to use fast film so you can “stop” the action even in shaded areas of the field. With digital cameras, a high ISO setting can cause noise in the image, so you’ll want to experiment to find the lowest ISO setting you can use while still being able to set a high enough shutter speed in order to stop the action.

In photojournalism, they call this a “reaction shot.” This is one of many important baseball photography tips: It’s the look of triumph or tragedy written indelibly on the player’s face. It’s what every good photo editor looks for in baseball photos that will make tomorrow’s sports section. And reaction shots — facial expressions — will make your baseball pictures too. What types of facial expressions? We’ve already referred to the look of triumph or tragedy — on television, what they refer to as the look of “agony or ecstasy.” That’s what you want to capture in your picture: The joyous grin of the batter as he watches the ball sail over the fence. The exultation of the pitcher after he throws a third strike. The look of disgust as the batter slams his bat down after striking out. The cheers — or dejection — of the waiting players in the dugout as they watch their teammate get a crucial hit…or strike out. The grimace of distress on the pitcher’s face as the umpire calls “Ball Four.” And, of course, the angry look of the coach as he argues with the umpire.

But, don’t forget, all reaction shots are not on the field. Turn around and take pictures of the fans in the stands whose faces reflect the action on the field. There’s human action everywhere you look – on the field and in the stands. And good reaction photos are winners!

Realize this: You can’t always capture the critical moment of the action. Sometimes it takes place out of your camera range. Sometimes you just plain miss it. But you can, and should, try to get great reaction shots at every game.

We’ve just referred to the “critical moment.” Those of you familiar with the works of Henri Cartier Bresson know he thought that every great photo resulted from capturing, what he called, the decisive moment. Let’s refer to it in baseball as the critical moment. While we’ve said you can’t always capture the critical moment, you certainly should try. And this means anticipating where the action is likely to occur.

If you want to take some classic baseball photos of a runner who’s on first, either set yourself up near first base (to get shots of pick-off attempts) or near third base (to get the runner if there’s a hit). If your subject is the batter, either get as close as you can to the batter’s box (so you can have a good angle to record the mighty swing) or close to first base (where you can grab a shot after he or she connects with the ball…or strikes out). What about that “over-the-umpire’s-shoulder” shot from behind home plate that we mentioned earlier? It’s a great position for using a long lens to capture the pitcher’s grimacing facial expressions as he delivers the ball (or watches it sail over his head), but not a great position to capture the batter’s face. A bit off to the side (toward first base) is better for this.

What do we mean by anticipate? We mean that you should aim your camera at the point where you expect the action to be, and preset the focus for that area. (If you’re using a quick-reacting autofocus camera, you may not have to deal with this.) Let’s say there are runners on second and third. The big play is most likely to be at the plate, so it makes sense to train your camera on the plate, set focus (and, as we explain in a moment, exposure)…and wait for the action to unfold. If you’re right, and there is a play at home, you’re ready to capture the critical moment. But don’t take your eye away from the camera after you shoot the first shot. Be ready to shoot a second…and a third. Anything can happen. The ball might be dropped by the catcher. The runner may exchange a photogenic “high-five” with the on-deck batter. The manager may come storming out to protest the call. Be ready!

One other advantage of anticipating where the action will be, involves exposure. (If your camera offers quick-acting auto-exposure, you may be able to rely on it when you shoot.) Typically, one thing you have to consider during day games is that one part of the field may be in bright sun while the rest is in shadow. If you anticipate the action at home plate which is in bright sun, you can set your exposure for the bright home-plate area in advance. If you don’t anticipate — and your camera does not offer quick-acting auto-exposure — your exposure may be way off.

Another important baseball photography tip: Where you have a choice of shooting action in a sunny area or a shadow area, opt for the sun. You want to shoot at the fastest possible shutter-speed to freeze the action. Deep shadows may call for a slower shutter-speed that won’t stop the action. Of course, if you have no choice the first rule is: Go where the action is!

While it’s great to be able to follow all five of the prior Commandments, they’re not a straitjacket they are photography tips. Be alert for the possibility of something that makes a good picture, even though it’s elsewhere on the field and you couldn’t possibly anticipate it. In the words of the Boy Scouts, “Be prepared.”

(We should point out that these Six Commandments are valid for just about any action team sport — be it football, soccer, hockey, basketball, volleyball, or cricket.)

We can’t leave this topic without discussing what the pro uses at a baseball game. We noted earlier, that the typical professional sports photographer probably uses a lens like an ƒ/2.8 300mm. Why? He or she wants to be able to stop the action wherever it happens, whether in the shade or bright sun. Your ƒ/4.5 200mm may stop the action in bright sun, but it may not be fast enough to stop the action in shady areas. That’s why we advise you to use fast film or a higher ISO setting on your digital camera. The faster the film, or the higher the ISO setting, the less light you need to stop the action with your ∞/4.5.

As an alternative, you can run out and buy an ƒ/2.8 300mm or some other long and fast lens like the pros. Very impressive artillery. But should you rush out and buy one? Not unless money means nothing to you. Longer lenses are available at higher prices!

But that’s not the only equipment the pro uses at a baseball game.

Naturally, pros carry more than one camera body. Plus an assortment of long lenses. Plus a monopod or tripod to steady those heavy telephoto lenses.

Professional digital SLR bodies offer high speed capture and a buffering system that allows rapid firing. This was accomplished with film SLRs using a motor drive. Pros also bring spare batteries, a charger and possibly a laptop to review and edit their pictures. The pro’s gear usually includes back-up camera bodies, a light meter and a flash for close-up work before and after the game.

Today, digital cameras are the standard for photojournalist sports photography. However, you can also take photos at a baseball game using the more affordable digital point-and-shoot cameras provided you understand the limitations that many of them have.

The moral of all these baseball photography tips is that you don’t need the pro’s heavy artillery to take outstanding baseball photos. Just combine your existing camera with some “smarts” — apply some of the knowhow we’ve presented in this article — and the next time you go to the ballpark, you’ll come home with some really great baseball pictures.

www.photography-tips-online.com Photography tips revealed by professional photographer Karl Taylor. This knowledge will probably change the way you plan your photography composition from now on! Get More FREE Training at my website: www.photography-tips-online.com
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Are professional photographers becoming exinct? With digital cameras becoming so high-tech and readily available, and so much easier to use than the old days of film, it seems everyone these days is a photographer. Overnight photographers are popping up everywhere.

So where do we draw the line as a society as to what level of photography is worthy of payment, and how do we set boundaries between the true professional photographer worthy of our admiration and money, and the amateurs posing as a professionals?

The truth is the real professional photographers are still alive and well, but many are out of work, and many are frustrated.

The one area that can never afford to hand itself over to the amateur photographer is commercial photography. But with the economy struggling, the print industry declining, and many commercial photo studios not taking in high-dollar projects, many studios have closed their doors, and professional photographers are being forced into entirely new professions.

Large companies are still investing money into their advertising, but on much tighter budgets and on a much smaller scale. Gone are the extravagant days of high-dollar photo shoots with a large staff and catered lunches. Instead, these shoots are being replaced by more economical scaled down shoots with quick trips through the local drive-thru.

But with changes in technology and a bad economy, the industry must adapt.

One new company on the horizon in the Dallas- Fort Worth, TX. area is a direct result of the bad economy and current changes in the industry. Visual Advantages, LLC. , is not an agency, rather an independent commercial photo production company. The owner, Sallie LeBlanc, not only serves as shoot producer, but depending on the budget and shoot, also serves as stylist, and sometimes even the assistant. “I do not rent a studio nor have employees, so I am not under the same monetary constraint as other companies” said LeBlanc. “We are finding creative solutions to an ongoing need for great commercial photography, with the ultimate goal still always being happy clients and an amazing shoot.”

Technology, in a way, has evened the playing field. “A small local business 5 years ago probably could not afford these professioanl photographers, but today they can. My business is making professional photography accessible to everyone, big or small. And with so many people using websites as their primary way to advertise, I see the need for these types of photo shoots becoming more prevalent. Plus, we are putting professional photographers back to work!”

Visual Advantages, LLC is 100% commercial photography,covering the categories of Fashion, Food, Architecture and Interiors, Concerts, Lifestyle, Corporate, and Product. http://www.visualadvantages.com

So is professional photography dead? Not necessarily. It is just going to take more creative people to recreate it and serve it back to the public in new and better ways!

The general area is more dominated by covering such opportunities as weddings, senior portraits, family photos, you know the general sort of stuff. A good example of this is David Wadley, who provides Birmingham Wedding Photography. Most of the photographers in this area will not be using this income as their primary source.

Commercial photographers will work for businesses rather than the community. This will be shooting for the likes of magazines/catalogues, newspapers, architectural business, any type of corporation that require photographs to be taken. This could mean that you will be a staff photographer or working as a freelance. Freelance means that your hours are much more flexible but you’re generally not able to rely on a steady income. If you do work in this area then you will probably specialize in a specific area, such as food, concerts or motoring.

And as for advertising, well it’s a bit of an obvious one really because the clue is in the name. These photographers will help companies to advertise. This area is hard to break into, but when you do, you will find your name pretty much everywhere from magazines, tv shows, billboards and other types of media outlet. To get into this area you will have to find out how to climb the ladder to success and be prepared to spend a lot of time and effort doing so.

So before choosing what area you want to get into in your Photography career, make sure you know what it’s going to take and which would be best suited for you.

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The photography information that I have for you today is going to be about creativity and how an amateur photographer that is having a problem with knowing what to shoot and even more so knowing how to shoot it, can use a few simple techniques to come up with some amazing photos. Lucky for any amateur photographer we have digital photography and with digital photography your creativity is only limited by the imagination.

It use to be that you needed to have a high dollar camera and several different types of lens to capture the kind of photos that you can from today’s point and click style digital camera. That is why I say the amateur photographer is lucky because these digital cameras have in side functions that allow you to use different techniques to take more creative pictures.

As a amateur photographer it has been drilled into your head that you must be still and steady.

You are told about the importance of keeping the camera still so that you come out with the sharpest image possible but sometimes you have to go out of focus to capture new and exciting photos. You need to experiment with your photography and think past your formal training.

A great way for you to experiment with your photography is to add motion to your images. This can be done by moving your camera or to have the subject moving. You could even create motion in the photo by having the background in the photo moving while the subject and the camera are still. By using any of these simple methods you can create images that are unusual and stand out from others.

One simple way to add motion is to simply twirl around and take a shot while you are twirling around. Take more than one photo while you are going around because you are sure to come out with a different image each time. I should add a word of caution here, twirling to fast can lead to fallen. No fun, especially if you land on your camera.

A safer way to capture motion is to stand still with your subject still and use the zoom on your digital camera. You will want to zoom in and out while you are actually taken the photo. Again here you will want to take more than one shot because you will capture a different image each time. You have the option to delete any images that you may not care for and remember it is not a bad shot if no one else sees it. As you can see, it is simple photography information like this that can have an amateur photographer shooting like a pro in no time at all.

In this episode Mark explains how the shutter works, shutter sync, and how to control the ambient light exposure while using a flash. Visit us online at: www.snapfactory.com
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It is surprising how often close-up or macro photography can be useful for both everyday life and dedicated work or projects. Although macro photography can be challenging, it is a skill that is definitely worth learning. Technically, macro photography is defined as photos which are made between 1/10 life size and life size.

The handiest cameras to use for macro photography are the digital SLR and 35 mm SLR.  Most point and shoot compact digital cameras have built-in macro modes which let you get as close as an inch. And with TTL flash, the lighting is effortless. Most bug photographers use two flashes mounted on opposite sides of the lens. You can also use a Lepp Bracket, which holds a flash on each side of the camera.  Here are a few more invaluable tips for shooting macro photography:

Often your zoom lens works well for close up shots, but for photos that are even closer, use a real macro lens. Macro lenses focus continuously from infinity down to their closest limit. A macro lens is the best choice because fiddling with close up lenses and attachments may cause you to miss your shot.

105 mm macro lenses are the most popular. This is because they are only slightly more expensive than the 50 – 65 mm lenses, yet offer about twice the working range.

Most bug photographers want 200 mm macro lenses. The 200 mm lenses usually give the same 1:1 life size magnification, but at a far enough range that you don’t scare your subject and you don’t block your light.  The only drawback with this amazing lens is the 00 price tag!

There is no depth of field at macro distances. Try to orient your subjects so they lie in the plane of focus. For example, if you photograph a butterfly, its wings need to be lying flat. If you can achieve this, the entire insect will be sharp and it won’t look like an amateur photo.

Because there is so little depth of field you need the smallest aperture possible without causing diffraction. Set your film camera to an effective aperture of f/32. Experiment and see which works best for your setup. To do this well, you need a lot of light. For digital  cameras, you could try f/22 or f/16 to minimize diffraction.

Manually set the camera to f/32 for depth of field and set the shutter to the flash sync speed (1/125 to 1/500 depending on your camera) to eliminate ambient light. Use the TTL flash system to let the flash control itself for perfect exposure as you vary distance.

For more professional photography tips and techniques, look no further than Red & Gold Photography. Based in Dubai, Red & Gold offers you a wealth of photography resources including quality cameras and equipment, workshops, and study opportunities. Please take a moment to explore the site at www.red-gold.net.

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One of the most satisfying forms of photography, and one of the easiest to master is macro photography.

A practical way for defining macro photography is by the strength of the lens, or how nearby it can focus. For true macro photography, you’ll want to have a lens that focuses down to a 1:1 range. For example,for 35mm film,your camera has to have the ability to focus on an area at least as small as 24×36mm ,because this is the size of the image on the film.After having the film developed,the picture of the subject on the negative or slide will be exactly the same size as the subject photographed.

What makes macro photography seductive is the level of detail that you see, sometimes for the first time – familiar objects become unusual and abstract and unusual objects become even more interesting.

There are many applications for macro photography: flowers,plants,butterflies, minerals,snowflakes… Your own backyard, a local garden,beach or forest can provide you with hours of fun with macro photography.

Of course macro photography isn’t always centred on the natural world. Collectors use macro photography to record coins,stamps and other collectibles that are very small.Some people use macro photography for documenting their possessions for insurance purposes or to illustrate their auction listings online.

Working with macro photography can be a whole new visual event for even the most advanced photographers.Every day can yield another subject and an endless supply of captivating images.The possibilities of macro photography are limited only by your imagination.

If you are interested in macro photography, then by all means consider purchasing a dedicated macro lens.SLR digital cameras with interchangeable lenses are ideal for macro photography.If you’re primarily interested in outdoor photography, consider a 180mm or 200mm macro lens.

Alternatively you can use extension tubes,reversing rings, or close-up diopter lens.

An extension tube is placed between the camera body and the lens.There is no glass in the tube – its purpose is to move the lens farther from the film (or digital sensor) so that magnification can be bigger.

Reversing ring is attached on the front of a lens and makes it possible to attach the lens in reverse.

Close-up diopter lens are placed in front of the camera’s main lens. These screw-in or slip-on attachments provide close focusing at very low cost.However,the quality of the pictures is variable.

Macro photography is one of the most attractive and popular forms of photography. According to some experts it is very easy to master the art and techniques of macro photography – and that is, perhaps, the secret behind its fame.

Strength of the lens or the range of the lens determines whether the style can be called macro photography or not. A camera with a lens that has a 1:1 range should be used in macro photography so that the image size on the negative or slide is equal to the actual size of the subject.

Hence, if you are using 35 mm photographic film, you should use a camera that can focus on 24×36 mm small area. Then only you can take picture of a subject where the image size on photographic film is equal to the real size of the subject.

Macro photography opens up the doors of a new world. It captures minute details of the subjects – such details are not at all visible in the naked eye. Hence, the viewer can reveal a lot of new things in most familiar subjects while watching the photographs. And unfamiliar subjects become more attractive in macro photography. According to photo critics – macro photography is not only attractive, but seductive!

For example, when someone takes a picture of a rusted chain in 1:1 range, you get to see the exact texture of rust. How rusts look like, what is the exact color of rust and many other minute factors come into notice. That’s what makes macro photography attractive.

People with a knack for photography find the subjects their own. They are artists and they have the eye for the right thing. However, those who are new in this field and about to start their career might need help finding the subject.

Snowflakes, water drops, minerals, butterflies, plants, leaves, flowers and flower petals, baby feet and fingers, eyes, spiders and spider web, insects etc. are the common subjects. Get out in your backyard garden and you will find plenty of subjects worth taking a picture. Macro photography ideas are available online to help you develop the ability to find the right subject.

Nature has always been the main subject of photography and art. However, macro photography experts often take photographs of items such as stamps, coins, automobile parts, wrist watch, pen parts, and other small things and collectibles.

Working in this field is a new experience even for those who have been involved with photography for long. Opportunities are unlimited here – new equipments and techniques are invented everyday. With the advent of digital photography, entire world has been revolutionized.

Digital photography tutorials for macro photography help photographers make full use of digital cameras and other equipments in the process. However, it is not mandatory to use digital cameras. Traditional film based cameras are still popular and will be in the market for next few decades if not centuries.

Experts prefer SLR digital cameras for macro shooting. However, compact point and shoot cameras can yield good result too. To know more about photography, take some lessons or tutorials online. Know about photography techniques and equipments; become an expert photographer.

This video shows you in simple steps how to do close-up using Micro-Nikkor and third-party close-up lenses and how to do 1:1 magnification. Remember, this tutorial is for controlled situations (which means we won’t show you how to do bugs, portraits, or pets at 1:1 magnification). Enjoy! Music: My Favorite Things by John Coltrane
Video Rating: 4 / 5

Getting Close

Photographers use a number of artificial techniques such as chilling or gluing to keep live subjects still. In some cases the live subjects aren’t actually alive. However there is something about capturing a living creature in a natural setting that these kinds of artificial setups can’t match.

Live subjects may get spooked as the photographer gets close. The best close up photography requires the patience of a hunter. It may take many long minutes of slow movement to get close enough to snap a detailed picture. Often, just as the photographer is about to snap the picture, the subject wanders out of frame. As frustrating as it is, all the photographer can do is remain calm and try again. Human subjects often aren’t much less skittish. Close up images used in fields such as medical photography can make subjects feel nervous or self-conscious and the photographer must be patient and wait for the subject to be ready.

The Perfect Image

Natural subjects often benefit from natural lighting. The perfect outdoor environment is brightly lit but also lightly overcast to minimize shadows. Of course Mother Nature is not always that cooperative, so photographers need to be prepared with artificial lighting. Direct flash is typically too bright, so flashes need to be diffused or reflected to give less harsh lighting. Long exposure times in dimmer lighting are possible if the camera and subject are both very still.

Automatic focus may be fine for far away shots but isn’t precise enough for close up photography. Manual focus allows fine changes that can turn a mediocre image into a breathtakingly sharp picture. Manual focus can be frustrating at first but with time allows photographers to hit that sweet spot quickly and easily.

Framing The Subject

A common mistake in close up photography, or in fact any kind of photography, is to put full attention on the subject and nothing on composition. The subject is only one element in the photograph and ignoring other parts of the image yields lower quality photographs.

Backgrounds can detract from the subject. A subject that looks clear and perfect to the naked eye may get lost against a busy background in a photograph. Other objects in the frame can draw a viewer’s eye away from the subject. Proper composition is not only aesthetically pleasing but is also important in scientific photography because it enhances the information presented in the image.

High quality close up photography takes experience and patience, but the breathtaking final images will make your efforts worthwhile.

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