When we first started up the Lakeshore Photo Group, Megan Hilton shared a list of photo websites and blogs with us. For those who are interested, here it is again.
3/5/08
Hi Photo Group Girls! I am writing because I said that I would send a list of photography websites and blogs that I have found over time and have kept bookmarked. I like to look through the photographer's work on a site or two when I want to get ideas for composing shots. As I am very much a beginner, I love to look at other people's work to try to get some ideas. I hope you find some of these sites as interesting and educational as I do!
Megan Hilton
http://www.tarawhitney.com/
http://www.jennifereliason.com/
http://www.peekaboophotos.com/
http://peekaboophotos.blogspot.com/
http://www.atjphoto.com/
http://xpressivephoto.com/
http://www.jessicabellphotography.com/
http://jessicabell-tutorials.blogspot.com/
http://reneeoakenfull.typepad.com/
http://teyaphoto.com/index2.php
http://www.chelseahudsonphotography.blogspot.com/
http://www.chelseahudson.com/
http://www.shelbyleigh.com/
http://heatherkeilphotograp.aminus3.com/portfolio/
http://www.ezactions.com/
http://www.shesawthings.com/
http://flickr.com/photos/hopscotchkids/
http://maureenwilson.com/
http://www.peanutphotography.com/indexN.html
http://www.malloryphotographics.com/
http://www.kimheffington.com/
http://www.jinkyart.com.au/
http://www.jenniferskogphotography.com/
http://www.imagesofgracephoto.com/
http://www.heidilynnephotography.com/
http://www.capturedbycarrie.com/
http://www.bwphotos.net/
Saturday, January 31, 2009
Wednesday, January 28, 2009
Where do we go from here?
In our previous photo group classes we have focused on some of the basic elements that are common to all good photographs...simplicity, composition and lighting. What we need now is the last important element and that is PRACTICE. If you're like me, you may have gone away from our group meetings with the best of intentions to try out all the great tips and tools, but somehow can't find the time to do so. As helpful as all the information we have been given is, it won't change a thing about how our photographs turn out unless we use it.
Learning photography, like learning any art or skill, means we have to learn a new language and how to think in a new way. We have been given many new terms, explanations, instructions and demonstrations. There is much to absorb and to be aware of as we create our art. It may seem overwhelming at first, but we will grow in confidence through practice and through supporting each other.
Learning photography, like learning any art or skill, means we have to learn a new language and how to think in a new way. We have been given many new terms, explanations, instructions and demonstrations. There is much to absorb and to be aware of as we create our art. It may seem overwhelming at first, but we will grow in confidence through practice and through supporting each other.
All about Light
More helpful information (thanks to the internet)
Color of Light
The color of daylight has a profound effect on the atmosphere of a photograph, and knowing how it affects the emotional content of an image enables you to control the mood of your photos. Changes in daylight's color occur most rapidly--and are most dramatic--at the beginning and end of the day, so work quickly at these times if you want to capture a particular mood.
Light Quality
Is it the hard light of a blistering sun streaming down from a clear, cloudless sky? Or the soft, diffuse light of a hazy sky soothing your subject in a soft embrace? Hard light blasts its way across the landscape, zapping subjects with brilliant highlights and creating jet-black shadow areas. Soft light awakens worlds of subtle hue and gradation and provides a gentle but pleasant modeling in both landscapes and portraits. Because you can't alter the quality of light (other than by waiting for it to change), the key is to match it to a compatible subject: hard light to accent the graphic lines of an industrial landscape, or soft light for a group portrait.
Direction of Light
The direction from which light strikes a scene, relative to the camera position, has a significant effect on color, form, texture, and depth in the resulting photo. Frontlighting spills over your shoulder and falls squarely on the front of your subject. Because frontlighting is very even, auto-exposure systems handle it well. It produces bold, saturated colors, but when too strong can actually wash out some colors. The downside is that, because all the shadows are falling behind the subject and away from the camera, frontlit scenes lack a sense of depth or three-dimensionality.
Sidelighting comes from the left or right of a subject. Because the light is scraping across from side to side, it catches every surface blip and imperfection, leaving a trail of large and small shadows and exaggerating surface textures. It is ideal for landscapes, like desert badlands or beaches, where you want to convey the tactile qualities of a subject. Sidelight also imparts form and three-dimensionality to objects, giving a pumpkin its full roundness or a tree trunk its volume. Gentle sidelighting, especially from slightly above, works well for portraits because it creates a delicate modeling of facial features.
Backlighting can produce theatrical effects, particularly with landscapes. Shadows coming toward the camera exaggerate depth and distance and help lead the eye into the scene. When backlighting is used behind partially translucent subjects, like leaves or human hair, it creates a bright fringe called rim lighting that helps separate subjects from their surroundings. In backlit portraits, however, you may need to increase exposure by 1 to 1 1/2 stops over the metered value to keep faces from being lost in shadow. An alternate solution is to use flash fill. Keep the sun itself out of the frame or it will trick the meter into severe underexposure.
With many subjects, you can change the apparent direction of lighting by changing your shooting position--by taking a short walk if you're shooting a close-up of a barn or a horse, or a drive if you're shooting a landscape.
Color of Light
The color of daylight has a profound effect on the atmosphere of a photograph, and knowing how it affects the emotional content of an image enables you to control the mood of your photos. Changes in daylight's color occur most rapidly--and are most dramatic--at the beginning and end of the day, so work quickly at these times if you want to capture a particular mood.
Light Quality
Is it the hard light of a blistering sun streaming down from a clear, cloudless sky? Or the soft, diffuse light of a hazy sky soothing your subject in a soft embrace? Hard light blasts its way across the landscape, zapping subjects with brilliant highlights and creating jet-black shadow areas. Soft light awakens worlds of subtle hue and gradation and provides a gentle but pleasant modeling in both landscapes and portraits. Because you can't alter the quality of light (other than by waiting for it to change), the key is to match it to a compatible subject: hard light to accent the graphic lines of an industrial landscape, or soft light for a group portrait.
Direction of Light
The direction from which light strikes a scene, relative to the camera position, has a significant effect on color, form, texture, and depth in the resulting photo. Frontlighting spills over your shoulder and falls squarely on the front of your subject. Because frontlighting is very even, auto-exposure systems handle it well. It produces bold, saturated colors, but when too strong can actually wash out some colors. The downside is that, because all the shadows are falling behind the subject and away from the camera, frontlit scenes lack a sense of depth or three-dimensionality.
Sidelighting comes from the left or right of a subject. Because the light is scraping across from side to side, it catches every surface blip and imperfection, leaving a trail of large and small shadows and exaggerating surface textures. It is ideal for landscapes, like desert badlands or beaches, where you want to convey the tactile qualities of a subject. Sidelight also imparts form and three-dimensionality to objects, giving a pumpkin its full roundness or a tree trunk its volume. Gentle sidelighting, especially from slightly above, works well for portraits because it creates a delicate modeling of facial features.
Backlighting can produce theatrical effects, particularly with landscapes. Shadows coming toward the camera exaggerate depth and distance and help lead the eye into the scene. When backlighting is used behind partially translucent subjects, like leaves or human hair, it creates a bright fringe called rim lighting that helps separate subjects from their surroundings. In backlit portraits, however, you may need to increase exposure by 1 to 1 1/2 stops over the metered value to keep faces from being lost in shadow. An alternate solution is to use flash fill. Keep the sun itself out of the frame or it will trick the meter into severe underexposure.
With many subjects, you can change the apparent direction of lighting by changing your shooting position--by taking a short walk if you're shooting a close-up of a barn or a horse, or a drive if you're shooting a landscape.
How Do I Compose A Photograph?
By Andrew Hudson
Composition is the key to an interesting photograph. Despite all the technical jargon, photography is essentially an art form, and its most important aspect is composition. To improve your art skills, find photos you like and study them, asking yourself: 'Why exactly do I like this picture?'
Composition is the key to an interesting photograph. Despite all the technical jargon, photography is essentially an art form, and its most important aspect is composition. To improve your art skills, find photos you like and study them, asking yourself: 'Why exactly do I like this picture?'
Subject. When you take a photograph, identify what the subject is. Answering 'a person' or 'a building' is not good enough. You need to go deeper and specify 'the curves of the body' or 'the crumbling stonework' -- something that activates your senses, that you can touch, feel, smell, or taste. This process is the most overlooked step in photography. Although it may be tempting to simply snap your photos and rush on, I urge you to take time to visually explore the subject and see what appeals to you. Ask yourself: 'What is the purpose of this photograph?' and 'What is the reaction I want a viewer to have?'
Context. Next find a 'context' -- a simple backdrop which adds relevance, contrast, and/or location to the 'subject.' You can add depth by finding a 'context' in a different spatial plane than the 'subject.' For example, if the subject is a building in the background, make the context a flower or person in the foreground. Now combine the two in a simple way. I like to say that a good photograph is a subject, a context, and nothing else. Remove any clutter that detracts from your message. Get closer -- zoom in -- and crop as tightly as possible.
Subject Placement. The placement of your subject in the frame denotes its relevance to the context. The center of the frame is the weakest place -- it's static, dull, and gives no value to the context. The more you move the subject away from the center, the more relevance you give to the context; so juggle until you get the right balance. Each item has a 'weight' and, like a waiter filling up a tray, you need to balance the weights within the frame.
Lines and Paths. Create impact by using real or inferred lines that lead the viewer's eye into and around the picture. Railway tracks, rivers, and fences are obvious choices, but there are also inferred lines from the subject to the context. Lines have subtle effects. Horizontal lines are peaceful; diagonals are dynamic or tense; and curves are active and sensuous. You can also connect lines in a path or shape, such as a triangle.
A picture is a playground for the eyes to explore, so provide a path of movement, and some space for the eye to rest.
What Makes a Good Photograph?
I found the following on line. I thought it was well stated.
A photograph is a message. It conveys a statement ("Here we are in ..."), an impression ("This is what ... looks like"), or an emotion. You are an author trying to convey this message in a clear, concise, and effective way. But how?
Like any message, you first need a subject. This may be your traveling companions, a building, a natural vista, or some abstract form. The subject is the central point of interest and is usually placed in the foreground of the shot (towards the viewer). Now we compose the message by including a second element, a context, which is often the background. The context gives the subject relevance, presence, location, or other interest. It is the combination of the two elements - subject and context, foreground and background - that tells the message.
A photograph is a message. It conveys a statement ("Here we are in ..."), an impression ("This is what ... looks like"), or an emotion. You are an author trying to convey this message in a clear, concise, and effective way. But how?
Like any message, you first need a subject. This may be your traveling companions, a building, a natural vista, or some abstract form. The subject is the central point of interest and is usually placed in the foreground of the shot (towards the viewer). Now we compose the message by including a second element, a context, which is often the background. The context gives the subject relevance, presence, location, or other interest. It is the combination of the two elements - subject and context, foreground and background - that tells the message.
Just as important as knowing what to include, is knowing what to exclude. Anything that isn't part of the subject or its context is only a distraction, cluttering up the image and diluting the message. So eliminate extraneous surroundings - usually by moving closer to the subject - and make a clear, tidy shot. A painter creates art by addition - adding more paint - whereas a photographer creates art by subtraction - removing unnecessary elements.
The recipe for a good photograph is: "A foreground, a background, and nothing else."
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