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267 Tips for Stunning Photography

The document outlines copyright information and a disclaimer for the book '267 Simple Tips for Sensational Photos' by David Peterson, emphasizing that it cannot be reproduced without permission. It introduces the book's purpose of providing practical photography tips covering various aspects such as composition, lighting, and camera care to help improve photography skills. The document also includes a table of contents and several tips on different photography techniques and subjects.

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Fernando Zemor

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0% found this document useful (0 votes)

90 views98 pages

267 Tips for Stunning Photography

Uploaded by

Fernando Zemor

We take content rights seriously. If you suspect this is your content, claim it here.

Available Formats

Download as PDF, TXT or read online on Scribd

Copyright Information

Important Notice:
This is NOT a free book and cannot be given away in whole or in part.

267 Simple Tips for Sensational Photos is a copyrighted work © 2005-2007

David Peterson from [Link].

All Rights Reserved

No part of this book may be reproduced or transmitted in any form whatsoever,
electronic, or mechanical, including photocopying, recording, or by any
informational storage or retrieval system without expressed written, dated, and
signed permission from the author.

Disclaimer and/or Legal Notices

The information presented herein represents the view of the author. This book is
for informational purposes only. While every attempt has been made to verify the
information presented here, the author does not assume any responsibility for
errors, inaccuracies or omissions. Any slights of organizations or people are
unintentional

Page 2 © 2007, [Link]

Introduction
Aren't digital cameras great!
Digital cameras are great! They are convenient, easy to use and small so they're
handy to carry around.

They have one problem though. If you don't know how to operate your camera -
the tips and tricks - you won't get anywhere near the nice photos that
professional photographers seem to produce.

267 simple tips for sensational photos

That's where this book comes in!

You'll find hundreds of simple tips to help you get a better image. There are tips
for composition, lighting, exposure and filters. Some tips show you how to take
care of your camera; how to use the manual settings on your camera; how to
take great landscapes; how to keep your camera steady. And much more.

Enjoy!

David Peterson.

Page 4 © 2007, [Link]

Angles
Hold your camera at waist height and click while walking around. Some photos
will be blurred, but you can usually find some that are very good. This works
particularly well in sunlight when walking around a tourist area.

Alternatively, if you have a monopod put your camera on wide angle mode, turn
on the self timer, press the shutter release and raise the monopod as high as
possible. Then wait for the photo to be taken. You can get some great overall
shots with this method.

When shooting any subject with a lot of straight lines (like someone on a fence),
turn the camera 45 degrees to give a diagonal look to your image that enhances
the mood of the picture.

Sometimes the best images need to

be taken from unusual locations
such as from the top of a building
(for a birds eye shot) or right down
on the ground. Also point the camera
different ways – including straight up
or straight down. Don’t be afraid to
try different angles. Placing your
camera at angles of 30 degrees from
the horizontal or vertical lines work well.

When finding that great angle, don’t worry about looking the fool! Being self-
conscious will affect your ability to find great angles, your concentration, and
maybe even the quality of your photographs.

© 2007, [Link] Page 5

You don’t need to go to extremes to find a great angle – even standing on a step,
or getting down onto one knee can make a lot of difference.

To make small things look large, lie

on the ground and hold your camera
towards the sky. This will make your
small subject look like a giant! This
also works well for tall buildings such
as lighthouses.

Page 6 © 2007, [Link]

Artistic
For a wonderful effect, use a glass
full of champagne in front of your
lens (as a filter) and shoot a sunset.
You’ll capture the sun ‘floating’ in the
bubbles!

Study your shot first and look for

special effects (such as shadows,
reflections, angles) that will make
your photo stand out. Also vary your
zoom and position to see what works best.

To make a stunning night picture

with awesome effects try the
following : In a totally dark room,
place your camera on a tripod in
front of a small object (eg a toy car)
on a table. Set your shutter time to
15 seconds. With a little LED lamp in
your hand, ‘paint’ around the object
while the shutter is open. Your hand
and arm will not show, but your
object will be illuminated and outlined by the LED.

Similar to the above, point your camera (on a tripod) towards a white wall. With
the shutter open for 6 seconds, write on the wall with a small penlight. You’ll see
the words in your image but not your hand!

© 2007, [Link] Page 7

Don’t just take a random image of something. Be inspired by your subject and
take in how you’re feeling, then express that in your image. For instance, if you’re
down or sad you might make the image black and white; or if you’re feeling
happy, take a photo with lots of color.

Going against the ‘norms’ can create some wonderful effects. Try some of these:
Set your subject in between your source of light and your camera. Move the
camera when taking your shot to get a surreal or blurred effect. Or get your
subject to move while you’re taking the shot.

Try photographing the details of life.

The callused hands of a farmer; The
innocent and pure smile of children;
A bunch of sausages on the kitchen
bench; Crowds looking at fireworks.

Zoom in or move your camera while

your shutter is open. If you move it
quickly you can get two ‘copies’ of
your subject in the photo. This only
works well when there is not much light around.

Your best photos may come where you least expect them. Look for the photo
opportunity that others aren’t looking for. Watch what is around you – especially
away from the action.

Go to a garden, set your macro function on and take loads of photos of plants
and insects. Choose just the best ones, or the most artistic.

Place a lit candle in a dark place close to the subject and take a photo without
using your flash. You’ll need your camera on a tripod for this. The candlelight will
make a great lighting source for your subject.

Page 8 © 2007, [Link]

The most mundane of objects can create great photos if you learn to see the
‘drama’ inherent in the object. For instance, the last wall remaining of a mud brick
house; the gate hanging up by a thread; the brand new swing in a playground.
Look at the colors and textures of your object and highlight the best parts.

Capture two different subjects with different themes and combine the images in a
computer software program to make one image.

Try breathing heavily on your

camera lens to fog it up and shoot
immediately. The resulting
photograph will have a soft feel.

Hold a sieve before the lens to

simulate a ‘starburst effect’ filter with
a lot less money!

Taking silhouette pictures during

dawn and dusk will add an extra
artistic flare.

Try photographing someone on a

trampoline while they are at the high-
point of their jump. This works
particularly well with a recognizable
background. It looks as if the person
has jumped a long way up!

© 2007, [Link] Page 9

Backgrounds
Your background is VERY important.
Choosing a nice background for every
photo you take will give your photos a
much more professional look. Simpler is
better and look for a background that
will not take away from your subject.

If concentrating on just one subject (for

a portrait), use the portrait mode on
your camera to create a small depth of
field that will place the background out
of focus. This emphasizes the subject.

Once you have the right background,

check for unfortunate placements such as a tree ‘growing’ out of someone’s head
or objects that appear to be ‘attached’ to the person.

When on holidays, your background may want to have some reference to that
particular place of interest for instance the Leaning Tower of Piza or the Grand
Canyon.

Ensure your shadow is not in the shot. This is the last thing to check for when
checking your background and composition.

Take a black cloth everywhere with you. When your background isn’t the best,
affix your black cloth to a wall and place the subject in front of the cloth so the
attention of your image will solely be on the subject. The cloth will hide any
rooms that (to put it nicely) aren’t photogenic and makes for a much stronger
portrait.

In bad weather conditions such as winter, place your camera in an anti static
plastic bag inside your regular camera bag. Then if it rains, or you accidentally
drop the bag into water, your camera will be more protected. This also helps in
dusty or sandy conditions like the desert or the beach.

If dirt and dust on the ground is a problem, fashion a piece of square material
with ribbons on each corner. Tie each corner to the next to create a ‘dish’ on the
ground that will protect your camera from dirt.

Here’s another great use for your camera bag – place the handle of your bag
onto your tripod to add weight and balance it.

© 2007, [Link] Page 11

Black and White Photography
If you don’t like your color image, try
changing to black and white with
your software program – you may be
surprised!

Use black and white mode with the

midday sun to get high contrast
photos with good shadows.

When shooting portrait pictures near

a window with blinds, slant them at a
45 degree angle. This will let partial
daylight come through and creates
wonderful sheet of light that looks
great particularly in black and white
photos.

A composition that works well in

color will usually also work in black
and white. The reverse is not always true.

Changing the photo to Black and White can give the effect of an ‘old’ photo –
even with photos taken recently.

Page 12 © 2007, [Link]

Batteries
To get more life from your batteries,
store them in your fridge.

Write the purchase date of all your

batteries on the battery itself. This
way you’ll know which batteries are
getting older, and thus can avoid
taking batteries that usually
discharge faster than newer ones – particularly when you’re at a special
occasion.

If your camera uses AA batteries, switch the batteries around when they die.
You’ll probably be able to get another few shots from them.

Purchase 2500mAh rated batteries if your camera takes AA batteries. These last
longer than the regular 2000mAh batteries and the small extra cost is definitely
worth it.

Try to purchase batteries with the same brand as your camera as they are
usually designed to work together and can increase the life of your batteries.

© 2007, [Link] Page 13

Beach
When taking photos of the moving
waves, use a tripod and decrease
the shutter speed to create a smooth
soft-wash effect on the breaking
waves.

If the waves are small and breaking

close to shore, get down low and
use the line of surf for the foreground
of the photo creating a soft dynamic foreground against the background image.

You can get some great images by photographing flotsam on the shore line.
Particularly when you merge man made items with those of the sea.

Remember sunsets and sunrises provide the best lighting conditions. Avoid the
midday sun.

A mini tripod works great to keep the camera out of the sand. Remember, sand is
a deadly enemy to the complex inner workings of your camera.

Try these for artistic flair: The dark shadows of fresh footprints at sunset; Rippling
wind on the sand dunes.

Page 14 © 2007, [Link]

Camera Everywhere
Take your camera everywhere!
Never leave it behind because you
don’t know when the ‘golden
moment’ will happen.

If your normal camera is big and

bulky, invest in an inexpensive
pocket sized camera, Set it for point-
and-shoot – and be prepared for the
unexpected.

I used my camera recently to

photograph my car after it had been
involved in an accident. It proved
very handy later on, and would never
have been possible if my camera
wasn’t with me.

If you live in a climate where it gets

really hot, pack your camera in a
Styrofoam cooler to keep the heat away. Cameras need protection from extreme
heat.

Purchase your flash cards and

memory sticks on Ebay or other
secondhand online location. You can
usually get great deals on almost-
new (or even brand new) equipment.

Don’t take your camera from a warm

environment to a cold environment
without letting it cool down slowly.
This will help to prevent
condensation on the inside of the camera as condensation stops you getting a
good shot.

Page 16 © 2007, [Link]

Children
Don’t throw away those less-than-perfect shots of children – those pouting looks
or sad faces are part of life in the real world, and you may treasure them
someday.

Try taking your shots of kids in a garden. Photographs of children look magical in
a garden – particularly with flowers all around.

Show the children your photos as you go. This will give them more of an interest
and they will be more willing to pose for you.

Getting down to their level to take photos helps – but another idea is to
photograph them going down a set of stairs. You can photograph them at your
level, but the shot still looks great. Normally they will be concentrating on going
down the stairs, making a great shot. If your stairs have open railings, try a shot
looking through the railing.

Tell your little subject you’re about to

take a shot of them and count to 5.
Take the photo at count ‘3’ – when
they are still smiling in a normal way
rather than the fake photo smile.

For young children who like to move

around, give them a cookie (or
special treat) that is not too messy.
They will be more likely to hold still and pose in different places while playing with
the cookie. Cut whatever they are eating out of the shot.

© 2007, [Link] Page 17

Try some different angles – particularly those that will elicit a reaction from the
kids present. For example, get on top of the table at a birthday party and take
photos of the children looking at you with a surprised look.

For young children, the sound of your camera or the light from the flash can
really get their attention, so make sure your shutter sound is on and take at least
2 shots. The second shot will catch your subject looking at the camera.

Try using a small bottle of bubbles or

all day suckers for children who are
uncooperative. Or make it a game.
Not only will this cheer them up, but
you’ll get some interesting photos
too.

Not every shot needs to be a posed

smiling shot. Try differences like the
child winking, frowning, making a
face etc.

Give your camera to the kids! I would not recommend this with your expensive
camera, but you can get some wonderful photos when on a farm – photos
looking up at a horses’ face; close up shots of just his rump; a sheep’s hoof; and
lots of cute dog shots.

Play a game of peek-a-boo with the child using the camera to hide behind. You
can get some priceless pictures of children laughing with this technique.

If shooting outside, use a fast shutter speed because children move frequently
and quickly. The faster shutter speed will help to eliminate blur.

Young children tire very quickly. Be patient and make the most of what could be
a very short time. When the child becomes restless or upset take a break and try
again later.

Page 18 © 2007, [Link]

What hobbies do the children have?
Photographing them busy at a hobby
can give some good images. Avoid
distractions like a flash.

At parties, look for shots of the

children interacting with each other
and the world around them. Once
the children get used to seeing the
camera, they’ll forget you’re there
and act naturally.

Older children can be very self-conscious and often don’t like to be

photographed. Be careful not to patronize adolescents. If you talk down to them
you’ll never get any good shots. Girls will feel more confident if you photograph
them in an environment they are comfortable in such as their room or another
place at home. Posing with friends will also make them more confident and
comfortable. Boys are more comfortable when they are partaking in one of their
hobbies. Musical instruments (if they play) could make an interesting prop as well
as giving them something to hold.

Sleeping babies make very nice shots. Place a low light in the child’s room,
mount your camera on a tripod, turn the flash off, activate the camera timer to 2
seconds and use auto mode so the camera knows what shutter speed to use.
Take several pictures with different exposure settings until you get the best shot.

© 2007, [Link] Page 19

Composition
Remember the rule of thirds. Imagine a tic-tac-toe board on your image and
place your subject or main point of interest on one of those lines. Use the vertical
lines to align people, and horizontal lines to align the horizon.

Simplicity can be everything. Don’t try to put too much into a photograph as it will
look cluttered.

Study good pictures. Spend time on a regular basis looking at great photos and
learn the composition techniques they use. If you don’t have an eye for seeing
great shots, it’s harder to take them.

Be aware of what’s around you while waiting for that perfect shot. The best
picture could be to your left or right.

To ensure your subject is in focus

even when not in the center of the
image, first place your subject at the
center. Then press your shutter
down half way to focus the camera.
With the shutter still depressed half
way, move the camera so your
subject is off center and fully
depress the shutter. Your subject will
be in focus, but will also be in a
pleasing position in the photo.

A tip to show you are improving with your composition is to choose two subjects
to photograph, and just photograph those. Over time, come back to those
subjects and take a few more photos. After 40 or so images you’ll start to see
what works and what doesn’t and where you can improve.
Page 20 © 2007, [Link]
Try thinking about how others would see a scene. For instance, what would a
child look at? What would an elderly person see? What would an eagle see?
Would they focus on a particular detail; take in the whole image; frame it in a
tunnel of something?

To prevent your scenes looking flat, add something in the foreground to frame
one or more sides. This will help to add depth – particularly if your main subject is
some distance away. Good frame sources include doorways; windows; arches;
gates; trees.

Always try to find vivid color around whenever it’s possible and include in your
photos. Red, hot yellow and green are great colors to include.

Sometimes the best images can take a while to create. You may spend half an
hour or more creating that great composition, but it’s usually worth it and you’ll
treasure the photo for years.

Don’t have a good lighting source for

your still art? Try the kitchen! Usually
it’s the lightest room in the house
with lots of windows and light
colored walls.

Behind every photo is a story. Try to

include an impression of WHY you
took the photo IN the photo itself to
pass on to the viewers of the final
image.

Always work around your subject.

Think about all possible angles; the direction of light and the background (among
other things) for the best composition as you make your shots.

Remember to look at your subject as you really see it, not as you would like to
see it.

Rather than directing your camera at

the ‘incredible’ thing happening,
focus on the close up reactions of
the people seeing the event. The
audience then imagines the source
of the emotion which is much more powerful than any actual visual. For example,
rather than shooting a soccer goal, get a fan’s close up reaction to a loss or win.

© 2007, [Link] Page 23

Exposure
When shooting images with lots of sky on a bright day (for instance a hot air
balloon), the auto exposure of your camera can be fooled by the bright
background resulting in a dark or under exposed foreground. To counter this, first
aim at a distant object that’s not as bright (like trees) and press your shutter half
way to lock the exposure there. Then move the camera to your subject and take
the shot. The resulting image will have your subject correctly exposed.

Do your images tend to be over

exposed? Reducing your exposure
value (EV) by 1 will usually work to
avoid this… but experiment.
Sometimes you’ll need to reduce the
EV by more.

In darker buildings where you can’t

use a flash (like a church), change
the ISO setting on your camera to
800 to ensure your camera gets
enough light with a high shutter
speed. If you don’t have a tripod, also set your Exposure Value to –1.0EV to get
that little bit extra shutter speed so you can use a handheld camera. You might
still need to do a little cleaning up of a noisy or dark image in your image
program, but the results are well worth it.

If your camera can show you an image histogram, take your image and then view
the histogram. Adjust your exposure settings and keep taking photos until the
graph is more even.

Page 24 © 2007, [Link]

To ensure you have the correct exposure for a shot, take what’s called ‘bracket’
shots. Take your first shot at 0EV, then change the EV to -1, -2, and then +1 and
+2 and take a shot at each exposure. Using the different Exposure Values will
assure one of the shots will be taken at the correct exposure. The ‘correct’
exposure will be the one that suits the mood of the photo.

Also try taking shots with different camera settings – flash on and off; different
white balance and different preset settings. Look at the results and use the
resulting images as a learning tool so in future you’ll have a better idea of how to
set the camera in situations where you only have once chance at taking ‘the
shot’.

Ensure the metering mode used by your camera matches your scene. Spot
metering samples the center of the image and if your brightest part of the image
is on the top right, the camera will tend to over expose the bright area. In this
case, use the matrix metering system that takes an average of the light reading
over the whole image.

Try using smaller ISO values for shots other than portraits as lower ISO settings
give a richer color to the photo. Leave ISO at 100 for portraits to ensure the skin
tones turn out correct.

While we’re on the subject of ISO, ensure you check your ISO setting each time
you turn your camera on. Your camera may have saved your last ISO setting.
Your camera won’t see much during daylight at ISO1600.

© 2007, [Link] Page 25

Filters
If your camera doesn’t have an Exposure Value
setting and you’re using a flash, try using a piece of
tracing paper to ‘diffuse’ your flash. Also try using a
colored gel or cellophane for some fun results!

A CD wallet case is a great storage place to keep all

your filters clean and organized.

Try a soft focus filter to get that professional glamor

look. Softening the photos blends wrinkles and
blemishes and reduces the need to touch up the
photos later.

For an inexpensive soft filter, purchase a cheap UV filter and place some clear
fingernail polish on the outer surface. Dab drops of fingernail polish over the
surface of the filter with equal spaces between each drop. Ensure the drops are
random so they won’t create a pattern. If needed, add more drops to increase the
softness. More drops can be added to the outside of the filter to increase the
softness around the edge of the image.

Remember, soft focus is not the same as out of focus. Any soft focusing
technique should allow enough non-diffused light to pass through the lens to
maintain details in the image.

If your inexpensive camera does not have a method of mounting a filter, simply
hold or tape an oversized filter in front of the lens.

Use pantyhose as a diffusion filter for soft portraits. Stretch a piece of light beige
pantyhose over the front of your lens and secure it with a strong rubber band.
Wrinkles will be much less visible.

Page 26 © 2007, [Link]

Another way to create a diffusion filter is to affix a used dryer fabric softener
sheet from the laundry to your lens or flash. Or cut a custom shaped hole in the
sheet for a custom matte.

Color filters can also create special

effects. Use colors that aren’t
normally associated with the scene.
For instance, try a Red filter at a
beach scene (with mostly blues,
greens and yellows).

When outdoors, use a polarizing

filter. This will vastly reduce glare
particularly when photographing
water or snow. A polarizing filter is
particularly useful at the seaside.

If you don’t have a polarizing filter, use some polarized sunglasses! Simply take
off your sunglasses and place one lens as close to your camera’s shooting lens
as possible.

Special effects can be achieved

cheaply using a thin single-ply piece
of tissue paper over the lens. This
will give a soft eerie effect that
particularly works well with old
buildings.

A UV (Ultra Violet) Filter also can

create some great looking photos.

Finally, you can use a crumpled up

piece of cling wrap over the lens to create a more romantic effect.

On New Years Eve, if you live by the

seaside, find a vantage point where
you can see lots of towns setting off fireworks together. Try to shoot an image
with one set of fireworks in the foreground, and another set in the background.

It is important when taking fireworks shots to know the direction of the wind so
that smoke won’t blow towards you and obscure the fireworks.

Page 28 © 2007, [Link]

Flash
Placing a small mirror at a 45 degree angle in front of your flash will help to
diffuse the light and avoid red eye. Diffuse light is one of the professional
photographers tricks and places the subject in a much more charming light.

Another tip to diffuse the light is to

place a piece of tissue over the
flash.

Use a flash only when unavoidable.

Using a flash outdoors at night may
change the real theme or purpose
behind the image or just emphasize
part of the picture when you really wanted to take the scene your eyes see.

How can you take a flash picture outdoors (to show the subject) but keep the
background? Eg a person in front of a lake and full moon. Use a tripod and a
long exposure time to get the background image. Have a second camera behind
yours with red eye flash enabled and use the red eye flash (but don’t take the
image). The idea is to illuminate the subject with the second flash but keep the
shutter on your camera open long enough to also see the background.

Another way to soften the harsh light of the flash is to set the ISO as high as you
can go. This will allow more ambient light into the camera and reduce the impact
of the flash.

Don’t forget the possibility of a digi-slave flash. This is a separate flash unit that
fires when your camera takes a photo and is most useful to ensure your lighting
source is further away from the camera, and thus reducing the possibility of red
eye.

Try this experiment: Use an umbrella

to cover the direct light on the flower
and use a white sheet of tin foil to
reflect the light from the bottom left and bottom right of the flower. This makes the
flower appear almost back lit while keeping the vegetation in the background
dark as it is covered by the umbrella. This technique can be very effective for
flowers with thin petals.

Make your flowers look more dramatic by underexposing the shot by a few EV
values. Or try photographing at night using only available light (like a street light).

Using a wide angle lens and macro mode together brings the background into
focus along with the flower. Zooming in using macro mode will throw the
background out of focus allowing the flower to stand out.

Indoors
Normally taking the photo of a TV you
see a horizontal scan line running
across the screen. To remove this, set
your camera to shutter priority mode and
use a longer shutter speed of 1/15 or
1/30 seconds. This will remove the line
as your shutter speed is longer than the
time for the scan line to scan a frame on
the TV.

When taking pictures indoors, ensure

the window curtains are fully closed. Half
closed curtains make an ugly
background and can spoil the light
distribution in the room.

© 2007, [Link] Page 31

Lens
Carry a lens cloth with you for wiping
when unexpected things happen like
sea spray (or hair spray) gets into
the lens.

Most of the time, the lens hood

doesn’t really help the lens. It’s only
effective when there is extra light
striking the surface that could cause
flare. Don’t remove it though – it’s a
pretty good protector in case you bump the lens into something. If there’s a
potential for flare, shield the lens with your hand instead.

An inexpensive UV filter can also

protect against scratches when the
lens cap is off. A new filter is a lot
cheaper than a new lens!

When your images are always

blurred, check and clean your lens
first. It might just need cleaning!

You can also use a spirit level attached to your camera, or purchase a tripod with
a level included. This will give you a perfect horizontal photo!

© 2007, [Link] Page 33

Lighting
When taking photos, the right light
can make a photo incredible. Natural
light is best. When indoors, try
standing your subject by a window.

Take photos in the morning 'cool'

light, or evening 'warm' light. Avoid
the noon sun as it will create harsh
shadows.

Use a mini mag flash light for FX

lighting, or as fill lights when
photographing small objects. Try
using different color gels taped to the
flashlight for extra special effects.

If you have a portable light source, try to reflect the light in your subject's eyes.
This will create 'catch lights' that will dramatically impact your photos!

If there's too much light around, or the sunlight's just not in the right place, rather
than moving to a better location, try waiting around for half an hour (or try some
other shots while waiting). A small change in the sun's position can make all the
difference.

Create a Lightbox. A Lightbox is useful for photographing small objects like

jewelry as it provides an even light all the way around the object with no harsh
shadows. To create one cheaply, find a cheap opaque storage bin and take it
outside in the sunlight. Stand the box on it's end and place a white napkin on the
floor. Place another sheet over the box, your camera and you and start shooting!

Use a tripod because you'll be taking long exposures. Be careful as lightning

tends to be attracted to metal objects.

Drive to locations during the day and search for distractions that might appear in
your end photo like power lines or antennas. Also you might be able to find
objects to help frame the photo.

Use an ISO of 100 as lightning has a lot more light than daylight.

Choose your camera's "Shutter Priority" mode and set the shutter speed to 15
seconds (if lots of lightning) or longer and let the camera set the correct aperture.
Any length longer than a minute will not work properly as any cloud movement
will cause a blur that will make your image look unrealistic. It's always better to
have one or two nice lightning strikes on a frame that is well exposed, than a shot
with lots of lightning but looks a bit blurred and unrealistic.

Another popular technique is to use a 2 minute shutter speed, and keep some
black card handy. Once you think a lightning bolt was in the correct place to

© 2007, [Link] Page 35

record on your image, place the card
over the lens to stop the motion blur
from ruining the photo.

Getting great lightning shots requires

a lot of patience. You might take 100
images in a night only to get 2 or 3
acceptable shots. This is where
using a digital camera really shines,
as there's no waste of film.

Macro Mode
Turn your fill flash on when
shooting flowers or any poorly lit
foliage with the macro setting. This
will fill in the shadows and give you
a more complete picture. Because
your flash can be rather close to the
object, you can dull down the effect
and diffuse the light at the same
time by placing some tracing paper
over your flash. Alternatively, place
your finger over half the flash so only half the light gets out.

If you need a macro picture and your camera doesn't have a macro setting, place
a magnifying glass in front of the lens. Instant macro!

When photographing insects on a macro, get as close as possible to your subject

but remember to focus and move slowly as the insect might notice you and move
away.

Experiment with your camera's manual settings whenever you have a chance.
Learn what the White Balance, ISO, Shutter Priority and Aperture settings are
and how your images change when you change these settings. Experimentation
is the best way to learn! If you don't like the images, simply delete them. Sharing
with others is another great way to learn, so find others who are interested in
photography and swap notes.

Try a different manual setting to experiment with each time you use the camera.
This is probably the quickest and cheapest way to learn!

Another tip while learning the manual settings is to let the camera choose (Auto
setting) and then look at the information provided by the camera to see what
settings were selected for the shot. Then switch to manual mode and attempt to
reproduce the shot using manual settings. You will often find you can not only
replicate the shot, but improve it by changing some of the settings (eg to get
better light or deeper colors).

© 2007, [Link] Page 37

If you're about to take a long trip and
want to use the manual settings,
spend some time learning the
settings before you leave. Practice a
lot as well. Don't try to read the
manual in the plane and try to figure
out manual settings while on the trip.

If you've changed your camera to

manual settings, always remember
to switch the setting back to automatic after you've completed your shoot.
There's nothing worse than using the wrong settings and finding out later all your
shots are ruined! If your camera has a mode to reset to automatic mode when
turned off, turn the feature on.

Always use the highest resolution your camera allows to take your photos. You
never know when you will take that fantastic image.

A simple mnemonic to help remember what manual settings to check is SAFE :

Is it SAFE to take this photo? Check Speed, Aperture, Focus and Exposure
before depressing the shutter.

Catch the amazing view of a volcano

during sunrise or at midnight.

When asking a stranger to take your

picture, set the composition first and
then hand over the camera. This will
give you the satisfaction that you know you've set the scene yourself.

If indoors and using the manual timer to include yourself in a photo, hook your
camera up to a TV. The TV image will allow you to see what the camera sees so
you have time to make final adjustments before the timer goes off.

Taking good pictures requires some effort to ensure you experience the whole
feeling of a family trip. Get up early and catch the sunrise; Stop periodically and
get out of the car; Stay up and catch the sunset. A little effort really pays
dividends with your images.

The difference between a 'snapshot' and a 'photograph' is that a professional

photograph is planned. Take some time to look at the object you want to

© 2007, [Link] Page 39

photograph from different angles, heights, distances and light (different time of
day). Know your subject and keep in mind the reason for the photograph.

Also don't get caught up taking pictures. Put the camera down, breathe easily
and relax. Enjoy yourself and the occasion as well!

Place the camera on an angle in

front of a convex mirror (those car
mirrors that have 'objects are closer
than they appear' signs) and shoot
the landscape for a great special
effect.

Ensure the technical aspects of your

camera (and it's various manual
modes) don't interfere with your
creativity. Remember it's your brain behind the lens that matters, not the camera.
A willingness to experiment with different light, shutter speeds and apertures will
help you master the mechanics and technical concepts of photography and be on
your way to making outstanding images. Put your creativity to test!

At the zoo, to ensure the steel mesh

cage around the animals doesn't
show in your photo, focus on the
animal and use the largest aperture
you have (the lowest F-stop
number). This will reduce the depth
of field so objects behind the animal
and in front will be blurred. The thin
wire cage is in front, so will be
blurred and be almost invisible.

Page 40 © 2007, [Link]

Try never to delete pictures. In a few weeks when you look back at pictures you
thought were no good, they can look different and even be 'winner' photographs.

Try taking various shot types of the one subject. A wide shot, a telephoto shot,
close up and big close up. Move around your subjects and look for different
angles and perspectives. Also try both horizontal and vertical composition. A
good series of different shot types will help to tell your story.

Remember, you are a photographer so be ready to be patient, funny and crazy.

Humorous talk and facial expressions are a great way to get beautiful smiles
from children. Don't be shy to do it!

Share your photos too! Don't just save your images to disk to forget them. Frame
and hang your best images around the house. As you take more shots, replace
existing photos so you always have continually changing photos around you.

To create a fog effect so your

images look like they’re taking on a
rainy or cloudy day, exhale hot air
from your mouth towards the lens.
The lens will get covered with vapor
for a short time – long enough to
take your foggy shot.

The early morning when the sun is

just coming up and the fog is still in
the trees is a magic time to take photos. If there has been a frost, that’s also a
great source of atmosphere.

When photographing a moving subject whose path is predictable (eg a child

swinging in a swing), turn off your auto focus. Manually focus when the subject is
in the place where you would like to take the shot. Then when the subject returns
to that spot, you can take the picture instantly without waiting for the auto focus
to calculate.
© 2007, [Link] Page 41
Moving Subjects
Shutter speed can have an
interesting effect when you want to
emphasize motion. Shooting a
moving vehicle at a 1/1000 second
shutter speed freezes the action and
doesn't allow one to tell if the vehicle
was parked or moving. Instead,
choose a 1/30 shutter speed and
move the camera to keep the subject in the center of the frame while taking the
shot. This will keep the car crisp and allow the background to blur to imply
motion.

When photographing rapidly moving subjects, anticipate where your subject will
be and manually pre-focus the camera on that point. Just before the subject
reaches that point, depress the shutter so the shot is taken when your subject
reaches your focused area.

Page 42 © 2007, [Link]

Night Photography
The simplest formula for night photography is this : Use a fast shutter speed,
small aperture (large f-stop value) and as high an ISO as your camera allows.
Use the manual focus and a tripod.

When photographing a night shot

with a subject, use a long exposure
and flash together. If your camera
has presets, use the "Auto Night"
setting with a "Fill Flash". The flash
burns the subject onto the image,
while the long exposure allows the
rest of the scene to be recorded. A
tripod is essential as any movement
will cause blurring.

For some great streaming colors, set your tripod up near a highway (or on an
overpass) where the cars are moving fast. Use a low shutter speed (10 seconds
or lower).

Great night shots can be found while

driving on a highway (only do this
when you're not the one driving
though!) because your images will
show some stunning lines of colors.
Try using your camera and a long
exposure time (2 seconds) to record
the streams of light when arriving at
a toll station for an extra special

© 2007, [Link] Page 43

effect.

Even with a tripod, depressing the shutter can cause a slight wobble of the
camera and blurry images. Counter this by using a remote release trigger, or if
you don't have one of these, use the self timer feature. By the time the camera
takes the shot, your finger is well out of the way and the camera has stopped
wobbling. Another option I use with a cheap camera is to take advantage of the
time the camera takes to focus. I press the shutter and while it's focusing, I move
my hand away. A third option is to choose a longer exposure time and depress
the shutter while you hold a black card in front of the lens. When the camera has
stopped moving, remove the card.

Taking photos at night time or

indoors concerts. First ensure you
are allowed to take photos. Most
organizers won't let you take any
recording devices into the concert. If
it's OK, turn off the flash and any
preset modes. Press the shutter half
way to focus and wait until the
lighting combination looks great and
then press the button. Use a high
ISO rating (400 or more) and try to keep the camera steady.

If you're not sure of the exposure time you'll need for a night shot, experiment. I
start with a quicker shutter speed and slowly increase the time the shutter is
open until I get the illumination I need for the scene.

Page 44 © 2007, [Link]

Outdoors
Wear fingerless gloves when photographing in cold or windy conditions. This will
stop your hands and wrists becoming stiff while still allowing your fingers to work
the camera controls.

Ensure your photos have personality. The best way to do this is to include people
with your photos of buildings. Without familiar people in your images, you might
as well just buy a postcard and save the time!

When photographing a subject with a building in the background (ie a person in

front of a museum), stand close to the person and let the building fill the
background. Don't stand too far back from the person or you'll have a tiny person
and a massive building.

Spring is a great time to photograph outdoors. Not only is the weather more
comfortable but the leaves on the trees tend to have a brighter color than later in
the summer.

When photographing large buildings,

wait until the sun moves to where it
just starts to strike the front of the
building. Preferably the morning or
evening sun to get some longer
shadows to add drama. Also try to
capture the mood of the building. Is it
old and run down, or new and
sparkling? Include some surroundings especially people or street signs.

Don't just take the whole building. Focus on the detail too. The door carvings on
old buildings and churches can be quite exquisite. Repetitive structures like roof
tiles make great close up shots. Also look for different and interesting angles.
© 2007, [Link] Page 45
Inspect postcards local to the scene to get an idea of what to take and what to
avoid.

A common problem when photographing buildings (particularly from up close) is

the building looks to 'lean inwards' in the photo. This is a perspective problem
caused by the wide angle lens on your camera. To solve this, either use a 'shift
lens' or move further away from the building and zoom in.

When taking outdoor shots, be careful of your exposure. On a bright sunny day,
the camera might set the exposure for the sky and your buildings will be too dark.
In this case, try bracketing (taking the same shot with a number of different
Exposure Values).

Is there any water around your object?

Reflections off the water add an extra
impact to almost any subject.

If you have a cloudy day, take photos

of brightly colored subjects to contrast
the dull skys. Alternatively, use the dull
mood to good effect in your photos.

When shooting in bright sunlight in the

middle of the day, a polarizing filter will
improve your images by reducing the
contrast and increasing the color
saturation. If your camera doesn't have
a filter attachment, hold the filter in front of the lens with your hands.

When shooting people outdoors, it is important (although not always practicable)

to ask permission when taking peoples pictures. It is out of respect and it can
avoid situations. This opening of dialogue can lead to further photographic
opportunities.

Getting up early to take photos not

only has an advantage of catching the soft morning light, but there are less
people around to intrude on your landscape photos.

If your outdoor shots look 'cool' (a blue tinge) even on a bright sunny day, try
using the 'Cloudy' preset on your camera. This warms up the image slightly by
increasing the reds and yellows.

© 2007, [Link] Page 47

Panoramas
Create your own Panoramas! Panoramas are very wide or tall images taken by
stitching a number of photos together. They are not hard to create if you follow a
few simple procedures.

Use a tripod to keep the camera in the same spot, and get a straight line of sight
through each of the photos.

If you don’t have an SLR, zoom in a little to prevent wide angle distortion.

Overlap your images by 40%-50% to enable seamless combinations of the

individual photos.

Lock your exposure so all shots have very similar lighting. Set your exposure for
the brightest part of the scene. Alternatively, bracket each shot (take each photo
with three different Exposure Level values) to help if there is any density or color
difference.

Stitch the images together in your computer. Most camera makers include
stitching programs. Panorama Maker from [Link] is an easy to
use and inexpensive stitching program that has a free trial.

If you have people moving from frame to frame when taking the shots, you can
stitch the images so the person appears several times in your panoramic!

Page 48 © 2007, [Link]

Pets and Animals
When shooting images of animals focus in on the eyes. The expression of the
subject's eyes tells a great story.

Watch animals for a while before you

take a photo. Animals in the wild
(particularly birds) will often repeat
their actions giving you time to
slowly move closer allowing for a
better photograph.

Be aware of the animal's safety

zone. Once you have crossed that
zone the animal will move away out
of shot. The answer is to take a series of shots moving one step closer each time
so that you can get as close as you are able before the animal bolts off. You can
then delete all the unwanted shots and be left with the closest one you could
obtain.

Wear dull colors when you are trying

to capture wild animals to blend in
more with natural surroundings.

Capture birds in flight in the early

morning as the sunrise light captures
them best.

Be careful when giving your pets a

command just before photographing
them - particularly dogs. A dog's
ears will go back making it look like
he's cowering. Instead, wave a ball
and call their name. The dog's ears
will perk up and looks very engaged.

Don't take your pets for granted and wait to take a great shot of them. Animals
mostly have a shorter life span and you may miss out on a photo to remember
'Spot' by.

Don't use a flash, as your pet will look away from the light source, or have 'green
eye' - the animal version of red eye.

Page 50 © 2007, [Link]

Portraits
When shooting a portrait, remove any double chin on your subject by ensuring
your subject is lower than you and looks towards the camera.

Ask your subject to look with their eyes (not by tilting their head) just above the
camera and focus on an object like a tree or picture. This results in a more
natural look for the photo. For photos of babies or small children, ask the child's
mother (or other relative) to stand behind you and place a soft toy belonging to
the child on your head. This will also draw the child's eyes away from the lens
giving a more natural photo.

Never take shots of people singing

or eating because there is a good
chance you'll catch their mouth wide
open which is not a good look.

A 3/4th mug shot always gets a good

profile shot. Let the aesthetics of the
cheek bone and chin lend character
to the photograph.

Don't be too quick to delete photos

where your subject refuses to smile or is looking away. Often these photos can
be treasured because they give an alternative view of the subject.

When taking headshots of a person, have them stand. This stops a hunched
back which will look lazy in a photo. Standing gives them good posture.

Either get closer and crop your subject's arms and legs to fill the frame; or fill the
frame only with your subject's face. If you want your subject's whole body, use a
vertical composition.

© 2007, [Link] Page 51

Most faces look better in black and
white. If you want a color image, try
using subtle tones, a low color
saturation, and low contrast.

Try capturing just the face - even

leaving out the subject's hair or ears.

Use a plain background. A plain

background shows off the subject
you are photographing. Study the area surrounding your subject and make sure
no poles grow from the head of your favorite niece and that no cars seem to
dangle from their ears.

For great glamor shots, purchase some inexpensive king size deep red colored
flat sheets for a backdrop and floor covering. The work really well and are easy to
wash and reuse. Purchase different colors to give your pictures different modes.

Add humor to get a genuine smile: Just before shooting a photo, when people
are gazing at the camera, act as if you are searching for something that is 'lost'.
Search your left pocket, your right pocket, shirt pocket, the skies, and the
horizon. When they are wondering what's happening, scream "SMILE IS
MISSING!" When your subjects burst into laughter, shoot immediately even if
they are not ready. The snap will appear very natural.

Don't put your comfort on top of the subject's comfort. Do everything so your
subject is at their most comfortable, relaxed state including using their favorite
music. If you need to climb trees and look like a monkey to achieve this goal, DO
IT anyway! The result is worth all your freaky stunts!

Take at least two shots for every

picture you take. Take the first one
randomly while you are counting to
three out loud (so everyone is
looking at you) Take the second shot
at '3'. Alternatively, fire the flash so
they think the picture has been taken and they immediately relax with their
genuine smiles and expressions. Then take the picture.

If you are taking a photo of someone who is uncomfortable in front of a camera,

take lots of "test shots". Take picture after picture after picture from every
possible angle. At some point they will start to relax as they get more used to the
camera. Or give them something to hold. Purses, flowers, glasses, a hat etc all
make good props. If shooting outdoors, find a location without a lot of onlookers.

Color match your background with your subject. Use a light blue background if
your subject has a blue dress; gray for a subject in a suit. Don't forget to color
match any props you give them too.

© 2007, [Link] Page 53

Consider the person's skin color as
well. If they have dark skin, use a
darker color for your background.
Using light colors will tend to make
your subject look darker.

In portrait photography, try to

capture the expression and emotion
on the face of your subject instead of
the person. For example, the
wrinkles on the face of an old
woman. This will make your snap
more vibrant and appealing.

Don’t always ask people to smile.

Talk to your subjects to help relax them. Interject jokes and talk continuously to
distract them from the ‘I’m having my picture taken’ anxiety.

Smile yourself just before taking the photo. This will help them feel relaxed and
genuinely smile themselves.

Make people feel like they are Cindy Crawford or Brad Pitt. It really works! When
people feel good about themselves, their picture shows it.

Page 54 © 2007, [Link]

Software
When emailing your photos to friends, don't overwhelm them with oversized
images. Sending large sized images reduces your chances of the email getting
through, and results in a long download time for the recipient. Resize your photos
before emailing. I recommend an image size of 640x480. You can always send
the full sized photos later if they wish to print the photos. If you have Windows
XP, Microsoft's free Power Toys comes with an image resizing program (search
Google for Microsoft Power Tools)

IrfanView at [Link] is a free image program that will allow you

to convert and optimize your images for emailing. It also allows you to modify a
number of images at once with batch processing mode. There is a small
registration fee to get access to all the features of the program.

Picassa from Google - [Link] is another powerful free image

program that can help you keep track of your photo libraries and do simple image
manipulation.

Before resizing all your images, it's worth keeping a backup of your original
images just in case. I backup to removable media like CDs or DVDs and keep
two copies.

© 2007, [Link] Page 55

Steady
Unsteady cameras result in blurry
images. So how do you increase
steadiness?

The best way to keep your camera

steady is to invest in a tripod.
Tripods are relatively inexpensive
and keep your camera rock steady.

If you don't want to purchase a

tripod, there are a number of other
options.

Use a small bean bag or wheat bag.

It's a cheap option and can sit nicely
on fence posts, rocks or the car. You
can make a bean bag yourself by
taking a quart-size freezer bag and filling it with white or brown rice.

Take a piece of string or thin rope around your height with you on your next trip.
Tie one end to your camera lens (or camera if your lens isn't very strong), and
make a loop out of the other end. Place your foot inside the loop and stretch the
rope tight. Your camera should now be around shoulder height. By keeping the
rope tight, you create enough tension to keep the camera sturdy.

Page 56 © 2007, [Link]

Alternatively, place the camera strap
around your back and push your
camera forward until the strap is
tight. This will steady the camera
enough to make a sharper image.

Hold your breath and tuck your arms

close to your body while you depress
the shutter button. Breathing adds a
lot of movement to the camera so
holding your breath will help a lot. Tucking your arms under also helps to steady
your camera.

Try a mini-tripod. This works well for taking photos close to the ground, or
standing on an object like the bonnet of a car. To use your body as a steadying
influence, rest the legs of your mini-tripod on your chest and rotate the head so
the camera still points forwards.

Another tip is to reduce the shutter speed. If the shutter is open for less time,
there's less chance of any camera movement happening during that time and
getting to your photo. To do this, set your camera to Aperture Priority and select
the largest aperture. This guarantees the fastest shutter speed.

To further increase the shutter speed, set your camera to under expose by one
EV. This will result in a dark image so you'll need to correct the exposure in a
paint program. With these techniques, you'll get some really sharp images even
for situations where you can't use a tripod such as from inside a moving car.

Avoid taking landscape images, or pictures of distant subjects, during a hot

summer's day. The heat of the day causes the air to 'shimmer' which results in a
blurry image. Instead wait until the early morning. If you have no option but to
take your image then, increase your shutter speed as much as possible by using
the above tips.

© 2007, [Link] Page 57

Sunset and Sunrise
Be an early bird! Find a nice place in
nature and rise early in the morning
to go there. Sit and just wait for what
animals pass. With your camera
ready you can take surprisingly nice
shots of wildlife.

Use your camera's 'fireworks' setting

to take pictures of sunsets. This will
result in a more vividly colored
photo.

Try a polarizing filter for sunsets.

This will enhance the colors and add
color to the sky (which tends to be
over exposed on the longer
exposure times needed for sunset
images). If you don't have a
polarizing filter, try putting your
polarized sunglasses over the lens!

For some really fantastic colors, use

the custom white balance setting on your camera and point the lens towards a
colored item (such as a t-shirt). With this custom setting, shoot the sunset. You'll
end up with some beautiful colors.

Get people in your sunset shots too. Place your subject in the foreground and
use the flash and a long exposure time. The flash will illuminate your subject,
while the long exposure time will capture the sunset behind the subject.

Page 58 © 2007, [Link]

Water
To get 'slow motion water' - where the water
seems to blur and glide down a stream - find
a nice composition with water in the shade
and then force the camera's shutter to stay
open for a second or two. Use a tripod to
steady the camera, use the Aperture Priority
setting (if your camera has it) and set the
aperture fairly high (f-16 if possible). Use a
shady area because with the long shutter
speed, any sunlit areas will be very over exposed. This will give the flowing water
effect while other elements of the scene will stay sharp.

Another trick is to use your polarizing

sunglasses over the lens to darken the scene
even further and create even a longer
exposure. There's an added bonus with this:
the polarizing filter eliminates distracting
reflections from your composition.

Including water and reflections will enhance

almost every shot. If you want to include a
reflection and there isn't much water around,
try bringing your camera closer to the ground.
This will increase the amount of reflection and
hopefully give you the shot you wanted.

Don't put your camera away just because it's a rainy day. Raindrops can produce
interesting shapes and reflections.

When shooting at weddings you

want to minimize the distractions of
using any manual settings of your
camera, but still want great photos.
One way to do this is to use your
camera's custom white balance feature. Take a white balance reading at the front
of the church; inside the church; and in the hallway - whenever the light changes
a lot. Use the same reading for all shots at that location. If your camera supports
it, you can also 'save' these settings beforehand as index shots and switch back
to the appropriate settings when you take the photos.

For interesting shots, try not showing everything in your image - leave some to
the imagination. For instance, the bride may have a veil and a headdress etc.
Rather than showing these with every picture, cut it away and leave hints every
now and then.

Most cameras only approximate the

white balance setting. To get a
perfect white balance setting, first shoot a three-tone card (white, blank and mid-
gray) in the same lighting conditions as the real scene. This provides a reference
point you can use later on in paint programs such as Photoshop. Telling your
paint program which 'color' is white, gray and black from the card will result in a
very accurate representation of the colors and brightness in the photo.

© 2007, [Link] Page 61

Notes

Page 62 © 2007, [Link]

Bonus Tips
Book

© 2007, David Peterson

Bonus Tips Book

This Bonus Tips Book is a copyrighted work © 2005-2007 David Peterson from
[Link].

All Rights Reserved

Disclaimer and/or Legal Notices

Page 2 © 2007, David Peterson. [Link]

Bonus Tips Book

Introduction
Bonus Tips!
As a thank you for purchasing my 267 Simple Tips for Sensational Photos book,
I’m including this complimentary extra bonus full of tips.

This book is a compilation tips from different photographic scenarios and

situations.

I trust that this information will be useful to you in your photographic endeavors.

Enjoy!

David Peterson.

© 2006, David Peterson. [Link] Page 3

Bonus Tips Book

Table of Contents
Copyright Information 2 Lighting Secrets 17
Introduction 3 Tips for Purchasing a Digital Camera
Table of Contents 4 Lens 18
Tips for Taking Sports Images 5 Photographing Pets 22
Great Photos at the Beach 10 Printing Your Images 24
Taking Photos at National Parks 11 Which File Format Is Best? 26
Wedding Photography 12 Using Tripods 29
Macro Photography 14 About Memory Cards 32
Candid Photography 15 About Camera Bags 35

Page 4 © 2007, David Peterson. [Link]

Bonus Tips Book

Tips for Taking Sports Images

Most of us have seen sports photos that capture the essence of the action -
mostly in the sports sections of the newspapers. It's normally pretty hard to
create quality sporting photos because most of the time (for large events) you
can't get close enough to the action to capture the event properly. Would you like
to be able to take those same quality images of your kid's sports events? Read
on.

Location
You need to get as close to what you are shooting as you can. Most press
photographers are given specific places they can shoot from - and they pay for
that privilege. I'm betting you don't have a press pass and so will need to shoot
from the stands. Get as close to the action as possible.

It also helps to know the sport you are photographing. Get into the correct
location to enable you to "capture the moment". Near the goal posts is usually a
good spot for Football or Soccer.

Capture The Moment

Sports photography is mostly about timing. Be ready at the right place and be
ready to shoot at the right time. Most sports have predictable moments - scoring
a goal, getting a home run, shooting a basket. Be ready for when these moments
happen.

Remember the following - "If you see the action, you missed it." This basically
means you need to anticipate the action. Don't wait for the batter to hit the ball
before pressing the shutter. If you do, the image will likely to be taken once the
ball has been hit and has left the frame. Anticipate by holding the shutter release
down half way (so the camera can focus and set the exposure level). Just before

© 2007, David Peterson. [Link] Page 5

Bonus Tips Book

the ball is hit, press the shutter all the way down. Through experience, you will
learn how much time beforehand you need to press the shutter.

Be aware that sports also have unpredictable moments, so keep a keen eye out
for these and have your camera ready.

Sports Equipment
Having the correct gear is essential to great sports photography. Because most
of the time you will be standing a long way from the action, you will almost
certainly need a telephoto lens to enable you to zoom in. Because most good
telephoto lenses are large and bulky, you should also think about a monopod (a
tripod with only one leg). An optional piece of equipment is a flash with a high
output but be aware that a lot of sports events do not allow flashes. Talk to an
event official first to get the okay.

Focus
An out of focus shot is pretty useless. You should aim for every photo to be crisp
and clear. Auto focus cameras do a very good job of this, and they usually focus
pretty quickly. Many times, however, manual focus will work much better
because the camera's auto focus can take a long time to complete.

There are two ways you can focus your camera - Zone Focus and Follow Focus.
Follow Focus is where you keep your camera on the subject, changing the focus
as needed to ensure the subject stays in focus as they are moving around the
court (or ground). This works well when most of your subjects are moving from
side to side in your image - car racing, football and soccer are three examples.

Zone Focus is where you expect the action to take place at a specific position -
eg at the basket ball ring or the jump point for a high jumper. Focus on the area
you want to be sharp and wait for your athlete to move into the zone.

Page 6 © 2007, David Peterson. [Link]

Bonus Tips Book

Composition
Faces. The face is the primary source of emotion, and because emotion is what
makes a shot it's vitally important to include faces in your digital images. It can be
difficult to capture faces in some sports (fencing for example involves face cages,
baseball caps create shadows on the players faces). Use a flash to fill in the
shadows in these instances but remember the flash has a very limited range.

Use Vertical. Because the human form is taller than it is wide, it lends itself to a
vertical composition. Rotate your camera 90 degrees so the height of your image
is also larger than the width.

Rule Of Thirds. The Rule Of Thirds is also useful here. Divide the frame into
thirds vertically and horizontally and place the subject where the lines intersect.
Watch for where the player is moving too - if they are moving to the right, place
them on the left third line and vice versa.

Take Individual Shots. Most professional photographs are of individuals so try to

shoot one person at a time. Exceptions to this are when there is conflict - two
players fighting for a ball.

Know Your Sport

Each sport has a different technique for getting the best images and it helps to
know the key elements of your sport. Know the basic fundamentals of the game
and be prepared for what may happen next. With 15 seconds to go with a
basketball team two points down, they may try to shoot a basket from the
opposite end of the court. Anticipating this will help immensely with your
photographs.

It also helps to know the players. If a particular player does a victory dance after
each touchdown, be ready for it when it happens.

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Freezing Action Shots

Most of the time you want to freeze the action. People want to see people
suspended in mid air, or in mid shot. To freeze the action you need a fast shutter
speed. The faster the shutter speed, the better the freeze but the more light you
need. Most of the time this won't be a problem as a lot of sports are held
outdoors. Set your camera to the fastest shutter speed possible.

The Illusion of Movement

It isn't always the best thing to freeze-frame the action. Blurry images imply
movement which helps in some sports. You don't want a race car to appear to be
standing still but having the car crisp while the background is blurry will help
show that the car is moving fast.

Slow your shutter speed down and follow the subject (panning) with your camera.
Try to keep your subject in the same position in the frame. This will blur the
background and keep your subject sharply focused.

Emotion
Hands down Emotion is what makes fantastic photos. If there is no emotion,
there is no desire to view a photo. Fortunately, sports participants who are
exerting themselves exhibit emotion. The thrill of victory or the agony of defeat
are both fantastic emotions to capture. But don.t forget the other chances for
emotion to show: A high jumper preparing for the highest jump of his career; a
cricketer batsman positioning a hit ball between two fielders; Even a junior
hockey player getting the hair out of her eyes.

Oh, and crowd reactions also make fantastic shots. Don't forget to turn your
camera around every now and again and look at the crowd.

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Take Safe Images

Although you want to try to take memorable shots at key points in the action,
sometimes you just miss them. To ensure you have a record of the day, take a
number of "safe" images that will show what happened, but may not have the
emotion of that specific action shot. Take images of the players doing "what they
do" in the sport. Eg a tennis player serving.

Take lots of images

Not every image you take will be a perfect shot capturing the action and emotion.
Prepare for this and take as many shots as you can while at the event. It's not
unusual for professional photographers to take 100 shots during a match and
only use two or three. Don't just take any old shots though. Try to plan each one
to capture a story or an emotion.

Taking memorable sports images can take time and effort, but with patience and
a little knowledge, you too can produce sports magazine quality images.

© 2007, David Peterson. [Link] Page 9

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Great Photos at the Beach

How do you get the best shots when you're out and about? Here are some
secrets for taking shots at the beach and inside National Parks.

Taking Photos At The Beach

The beach is a fantastic place to not only photograph your family and friends
having fun, but you can get some good landscape photography of the beaches or
hills as well.

When taking photos of sandcastles, drop down to the same level as the
sandcastle and ensure your family is at the same level

The summer sun will usually be very bright and harsh. The best light will usually
be in the late afternoon or early morning.

Take your telephoto lens if you have one. Pictures of surfers work really well in
closeup.

Watch for beach animals such as crabs and photograph them using your Macro
function.

Try standing in the water, keeping your camera close to the water and shooting
towards the beach for an unusual shot.

Keep the flash on. This will "fill in" the shadows on their faces (particularly if your
subjects are wearing hats)

Be careful with your camera, as sand and salt water are very harmful substances
to get inside your camera!

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Taking Photos at National Parks

Natural wonders abound in National Parks. There's so much to photograph: The
Animals, Scenery, Your Family!

When photographing wondrous scenery like waterfalls, focus on that subject but
don't make it the only thing in your photograph. Include some sky, or a person for
scale.

Again, keep the flash on to help with shadows on your subject's faces.

Take advantage of the scenery. When photographing your family and friends,
include something of the surrounding area in the photograph as well.

Try different angles to see if you can make the shot more interesting. Eg shooting
upwards from ground level.

Taking more than one battery will help because you'll have loads of good photo
ops you won't want to waste any!

Look for detail. The sheer cliff face might be breathtaking, but the climber scaling
the cliff would be just as exciting to capture in your photos.

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Wedding Photography
Weddings can be a great time for photograph taking. Note the following tips:

Most couples hire a professional photographer, so be careful not to interfere with

the professional's work.

Buy some bridal magazines beforehand and look at the photos inside for
inspiration.

The bride's dress can overpower the camera, as it's all white. Either the dress
looks perfect and the bride's face is too dark, or her face is perfect and the dress
has no details. This can be circumvented by using a reflective surface (like a
large white card) to direct extra light towards the bride's face. A white wall can
achieve the same purpose.

Use different angles. Try zooming in on a kiss, or tilting the camera slightly.

At the Church: Some churches don't allow flash photography. If your camera
doesn't work well in low light don't try to take any shots in the church. Instead
wait until the happy couple pauses on the church front steps. Plan ahead and
find a good location before they exit the church.

Don't just focus on the bride and groom - take photos of the other guests.

At the Reception: Events at the reception include cutting the cake, the first
dance and the bouquet toss. Plan ahead so you can be at the right place at the
right time - it helps to have a family member alert you when the event is about to
start.

"Be prepared" is the motto when shooting weddings! Attend the rehearsal and
take note of the sequence of events. If there is no rehearsal, visit the scene of
the wedding beforehand and study the lighting and other conditions that will
affect your photos. Knowing what to expect will save you lots of time on the day.

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When shooting at weddings you want to minimize the distractions of using any
manual settings of your camera, but still want great photos. One way to do this is
to use your camera's custom white balance feature. Take a white balance
reading at the front of the church; inside the church; and in the hallway -
whenever the light changes a lot. Use the same reading for all shots at that
location. If your camera supports it, you can also 'save' these settings
beforehand as index shots and switch back to the appropriate settings when you
take the photos.

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Macro Photography
Macro photography is the art of photographing small objects like flowers and
bugs. Here are some tips for fantastic macro photography.

Start to train your eye to see macro opportunities. You'll be surprised at the
objects you'll want to capture: Stamps, Paper Clips, Coins, Pins etc. Some of the
best subjects are provided by Nature - Flowers, Plants, Bugs and Leaves.

Try getting in really close to everyday objects such as the wood grain of a table,
the veins of leaves, the texture of gravel or the worn look of a slippery slide.

Use a flash if there isn't much light - but be careful because at this close range
the flash could over expose the subject and image. A 'Ring Flash' unit can help.
This clips onto the front of the lens and can give a softer effect.

If your camera has trouble focusing at close range, try moving away a little and
use the optical zoom to increase your magnification. Try purchasing a 'close up
lens' that attaches to the and of your camera's filter thread. This is a great
alternative if your camera doesn't have an inbuilt macro, but does have a thread
to attach filters.

Use a small white card to fill any shadows in the image. Shadows can be a
problem if you are shooting in bright sunlight, or using an overhead lamp. Any
single light source will cause shadows. Increase your ISO setting so you can use
faster shutter speeds. This will ensure your images will be as sharp and clear as
possible. Don't increase your ISO too far as you'll get a very 'noisy' image.

Use a tripod as much as possible to eliminate camera shake and to be sure your
camera's focus is right.

Don't use the optical viewfinder. Because of 'parallax', the image you see in the
optical viewfinder will not be the same as what the camera sees.

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Candid Photography
Candid photography is photography that focuses on spontaneity rather than
technique. Your subject's focus is not on the camera, but on their current task. So
we're not talking about the photo albums full of people looking at the camera and
smiling here! Your subjects are un-posed and the shots are unplanned.

Candid photos are usually simple photos without a lot of technical equipment or
any time taken 'setting up the shot'. Thus they capture some wonderful 'slices of
life'!

Here are some tips for taking candid photos:

Take your camera everywhere you go! Keep alert for candid situations - they can
be found everywhere.

Some examples of candid shots: A daydreaming store owner; an elderly man

sitting beside you; commuters waiting for a train; two lovers on a park bench
about to kiss; a child's delight when feeding ducks; elation of a football supporter
when a goal is scored; a city tramp surrounded by clutter; a woman lost in
thought staring at the beach.

It's rare to get a second chance with candid photography. When you see an
opportunity, grab it!

Don't use complicated lighting techniques for taking your candid shots.
Concentrate on the simple and use your camera's automatic features. Technical
problems don't matter so much if you have a great candid photo. Most technical
problems (like if the image is too dark or too light) can be fixed on your computer.

Set your camera to "ISO 400" so it uses a fast shutter speed. This will help you
'grab' the shot even if you are moving.

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The best candid photographers blend into the background so don't be too
obvious. Do what everyone else is doing so you fit in with the situation. Then
when you see a good candid moment, bring your camera up to your eye.

You don't always need to take the shot with your camera at eye level. Support
your camera on your waist when taking the photo. Some luck or experience is
needed here to get the framing right.

Use your zoom lens to it's fullest extent so you can keep away from the action
while taking your shot. A Telephoto lens is essential if you're going to be a fair
way away.

Never take photos of people's backs. Nothing is more boring than a group of
people with all backs turned to the camera. It just doesn't work.

Try converting the image to Black and White to get that extra punch and emotion.

People 'doing things' make the best candid photos. Sports players, trades
people, farmers and accountants are all excellent examples of subjects with
'things to do'. Try to capture the essence of the person's task. For example, you
might capture a plumber concentrating on fixing a leaky pipe.

If you're in a public place, it's usually okay to photograph people. If they object
however, you need to stop. If you're not sure, it never hurts to ask permission
before hand. Your subject may want to pose, so explain what you saw them
doing and ask them to continue as if you weren't there.

Experiment! Sometimes the artistic expression of a candid photo can be limited

by you; the photographer. Try different angles, places and scenes. Look at
candid photos created by others (they can be found in lots of magazines) for
inspiration.

Candid photography is a great way to add some artistic flare to your photos
without spending a lot of time with the technical aspects of photography.

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Lighting Secrets
The best outdoors light to be found is at dawn and dusk. Here the light is not as
bright as midday, and the sun produces some wonderful reds. Both these help to
make a normally ordinary shot look magic by creating a warm glow.

When you are shooting outdoors, the best way to shoot is away from the sun.
Don't have the sun in your photographs because it will overpower the colors and
ensure the side of your subject facing the camera is in shadow. Ensure the sun is
behind your back.

Another thing to watch out for is that your subject doesn't squint. We all love to
see bright wide eyes, so ensure the sun isn't too bright. This is another reason to
shoot at dawn or dusk - you can have the subject facing the sun but not
squinting... and you get much better colors in your image at the same time!

If shooting in sunlight, watch for shadows. Look at the shadow cast by your
subject and ensure it doesn't block anything, or look unsightly. Additionally,
ensure your own shadow doesn't fall into the picture!

The best night shots are taken just after sunset. This is where scenes are lit up
as if it were night, but there is still a tiny bit of sunlight around to help light the
scene and bring out the detail.

Remember the secret about using your flash during the day? It's also possible on
most digital cameras to take night shots without a flash. Try setting your ISO
speed to 800 or above to ensure the camera is sensitive to very low light.

Need to use the flash, but it's a bit harsh? Try taping some wax paper over the
flash to diffuse the light.

Want to light a very small object? If you're using your macro setting to take a
shot, cut up a plastic milk container and place it around the object. It will diffuse
the surrounding light.

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Tips for Purchasing a Digital

Camera Lens
Your lens is an essential element to good photographs. It's not just your camera.
People spend thousands of dollars on a good camera and neglect the lens.

Change that around! Make sure you buy a good camera lens when purchasing a
camera. Buy a good camera as well, but don't neglect a good camera lens.

Why? Your camera is just the 'holder' for the photograph. The lens is what your
camera sees all your shots through. A good lens is essential to clear and sharp
photos.

With most compact digital cameras, you can't change the lens. So in that case,
don't just buy a good camera, ensure it also has a good lens.

Avoid a plastic digital camera lens because it doesn't have the clarity of a glass
lens.

What model of lens?

Stick with camera lenses from well known manufacturers like Nikon, Canon and
Pentax. Ensure you purchase a lens that works with your camera too. A Nikon
camera lens usually won't work well with a Canon camera.

There are specialty lens manufacturers like Carl Zeiss, Leica and Leupold. If
you're a beginner, don't worry about these lenses until you are more advanced
as they come with very high prices and it's hard to justify the price for the small
increase in quality.

Types of Camera Lens

The most common lenses are : Wide Angle, Normal and Telephoto. The type of
lens is determined by the Focal Length of the lens. See below. A Zoom Lens is
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simply a lens that can change Focal Length from a Wide Angle to a Telephoto (or
somewhere in between).

There are a number of things to look for when purchasing a camera lens.

Lens Focal Length

The Focal Length of a lens determines the amount of magnification and angle of
vuew the lens can see. The Focal Length is measured in mm. It's the Focal
Length that determines if the lens is a:

Wide Angle; small magnification, wide angle of view. 20mm to 35mm

Traditional, or Normal; 50mm

Telephoto; high magnification, narrow angle of view; 105mm to 300mm.

Zoom; A Zoom lens can change it's focal length to zoom in. A Zoom lens might
have a Focal Length of between 50mm and 150mm.

Some lenses are interchangeable between film cameras and digital cameras, but
you need to be aware that the effective focal length CHANGES between film and
digital. The focal lengths I describe above are for FILM cameras and need to be
multiplied by 1.6 to get the effective focal length on a digital camera. So using a
film 35mm lens on a digital camera has an effective focal length of 56mm.

What does this mean for you? It means that you won't get as wide angle on a
digital camera as you would on a film camera using the same lens. A 35mm lens
which gives a medium wide angle on a film camera acts as a traditional lens on a
digital camera

This is a complex subject, so I can't go into too much detail here. If you need
more help, the best person to speak to would be your local camera store's
resident expert.

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Lens Speed
The 'speed' of a digital camera lens also defines a lens. The speed is determined
in f-stops and is similar to the f-stop aperture setting on your camera. Faster
lenses are more expensive and usually heavier.

Focusing Distance
This is the minimum distance from the camera lens that a subject must be to be
in focus. Don't worry about getting a camera with a close focusing distance.
Concentrate on a telephoto instead.

More Advanced Features

More expensive lenses have more advanced features.

Vibration Reduction. A feature called 'vibration reduction' keeps images sharper

when shooting in low light. They help to counter any vibration in the camera. Try
to find a digital camera lens with this feature.

USM USM stands for Ultrasonic Motor. This feature of Canon lenses gives you a
high speed auto focus but the main benefit is the 'motor' is almost silent, so you
don't disturb people around you when your camera is focussing.

Filter Thread. When purchasing a half-decent lens, it should have a filter thread.
This is a thread that allows you to screw on a filter (such as a polariser) to help
when photographing difficult situations. Even if you don't need filters right now.
it's handy to purchase a lens with a thread so you can add a filter later.

You get what you pay for

Generally the more expensive the lens, the better it is. More expensive lenses
usually have a higher number of glass elements in the lens, which also makes
them heavier.

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Final Notes
While it is important to choose good quality camera lens, for beginners it isn't as
important as good composition. Don't fall into the trap of thinking you can only
take a great picture with an expensive top-of-the-line lens. A badly composed
picture won't look great with a great camera lens.

I don't mean to discount the importance of a good quality lens. A good rule is to
only add to your lens collection only when you have a specific need for a
particular digital camera lens.

Do your research and your homework first, and find the lens that suits both you
and your camera.

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Photographing Pets
You need a lot of patience to photograph pets! Fortunately with a digital camera,
you can take a lot of photos and delete the ones that are no good.

 Catch your pet in action - fetching a ball or stick, playing with a toy.
 Dogs in particular have a lot of energy. A bouncing-with-energy dog
makes a fantastic photo subject.
 Cats can show a keen concentration. Move in close to their face but use
the optical zoom so your cat desn't get distracted by a camera in their
face.
 Find where your pet loves to play, and hang out with them there. If they
like playing with a person, have the person there as well. Keep the camera
handy and when you see a great shot, take it!
 Have someone to help you if your pet is being uncooperative. They can
supply a very useful extra hand.
 Bribing your pet with a treat will help if they're not cooperative.
 Use a squeaky toy to get them to look towards the camera if you're after a
more traditional portrait shot.
 Use a high shutter speed - particularly when your pet is excited. The more
excited they are, the more they move around and can produce blurry
images.
 Simple backgrounds are best. Look for a solid color as a background so
your pet stands out. Just make sure your pet doesn't blend in and become
invisible!
 Avoid flash because a lot of pets eyes will reflect a green color (red-eye
but green).
 Don't forget your smaller pets. Make sure you get really close, and avoid
shots with cage bars. Try shooting through the open cage door. Turtles
can be placed with almost anything and produce a stunning photo.

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 Use the natural curiosity of your pet to your advantage. Give your kitten a
new toy or play area and watch them investigate!
 Take a bit of time to get the right photo. You may need to shoot thirty or
more shots to get a perfect one. Keep working with it and you'll be amazed
at the results.
 Groups of pets can make stunning photos, but you need a LOT of
patience!

At the Zoo
At a zoo, you can shoot animals other than your pet. Zoo photos are great
because you can use them to teach your children about various animals and
create posters and other projects.

 Watch for glass when using your flash. If there is glass between you and
the animal you wish to photograph, place your camera on an angle so the
flash doesn't reflect back at the camera.
 Flash also won't reach very far into the indoor enclosures, so most of the
time it might be better to not use the flash. Take a tripod (or monopod) and
use the low light tips to take your photo. If you're outdoors, remember to
use the flash to fill shadows.
 Have the camera at the same eye level as the animal.
 Watch the background and make sure it's simple and free from
distractions
 Remember to fill the frame with your subject. Use the highest optical zoom
you can.
 Use the rule of thirds. (from tip #3)
 Try to get your child and the animal in the same frame. Either with the
child's back, or both as a side-on view.
 Don't make all your shots of the animals. Capture your child's expressions
when they spot a large creature!

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Printing Your Images

Photos are memories and unfortunately it seems we are losing them at a rate of
knots. With the number of digital cameras being sold increasing every year,
millions of precious pictures taken with them will never be printed!

There are a few very good reasons to print your photos:

 We are a tactile species and enjoy looking at prints in our hands. The
family album is definitely not a thing of the past.

 Image longevity: Hard drives fail; CDs with images may become
corrupted, or the technology may change and you may no longer be able
to read them. Computers are not the best way to store data for a long
time.

So making prints is a good idea.

Digital Printing Options

There are a number of options available for printing your digital images.
Including:

 Inkjet or Color Laser Printers

 Photo Kiosks
 Photo Store
 Online Printing Services
 Prolabs

General Tips for printing

Ensure you don't reduce the size or resolution of your images before printing
unless you know your image is too large. Because your computer's screen

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resolution is relatively small, an image that looks fine on a computer screen after
a resolution change may look blurry in print.

If you're not sure if an image is good enough quality to print, look at the file size
for a guide. A size of 100 kilobytes is on the small size. 400 kilobytes is better
and will normally allow a photo at 8"x10" dimensions.

Before you start each print job, check the printer settings (or preferences) and
make sure you have selected the proper print size and type of paper (eg glossy,
matte, plain).

To save money, print a few different images on each sheet. The print wizard
should give you a chance to select a particular page layout (eg two 5x7's, four
3.5x5's etc).

Keep photo paper stored in a dark and cool place. Don't leave it sitting in the
printer tray. Exposure to sunlight and humidity will degrade this paper (as well as
the prints you produce with it).

Ink cartridges are expensive, so conserve ink wherever possible. If the image
you are printing is, 400K in file size (or has a picture resolution of 300 dpi), and
your print size is a small size (5x7 or smaller), select "normal" or "standard" print
quality. If you select "high" or "best" or "maximum dpi" the printer will pump out
more ink than is necessary without any real improvement in print quality. On the
other hand, if you are printing large 8x10s, or if you have zoomed in, choose the
top-quality print setting.

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Which File Format Is Best?

Most modern digital cameras give you a choice of file formats when saving your
image. It's very helpful to know the benefits (and disadvantages) of each file
format so you can make the best decision on the file format to save your images
in.

Why do we need file formats?

A standard photo taken with a 4.3 megapixel camera has 4.3 million little pixels,
or pieces of information, that comprise the image. Each of those pieces needs to
store a red, green and blue color value so the color of the pixel can be recreated
by a computer or printer. Each color value records the strength of that color on a
scale from 1 to 256.

This is a lot of information! Each pixel needs three bytes to store the three color
values, and there are 4.3 million pixels. 4.3 million times 3 is around 13 million
bytes, or 13 Megabytes.

If each image took 13 Megabytes of storage, you'd run out of space pretty quickly
on your memory card! So the file formats used to save images compress the
image down to a smaller, more manageable, size.

JPEG
The JPEG, or JPG format was invented to help make image sizes more
manageable. JPEG is the most popular format used in digital cameras today
because it's a simple and versatile format, and is supported by all image related
software.

JPEG works by compressing the image to a much smaller size at the expense of
some image quality. Normally you won't see any difference because the JPEG
format looks at the image and removes only the information that it can recreate
by looking at adjacent pixels when the image is displayed again.

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You can specify the amount of compression with JPEG images. Your camera will
usually have a quality setting - low, medium or high. Low quality increases the
JPEG compression, and although your images will be smaller, they won't look at
good.

High Quality Setting Low Quality Setting (exaggerated for effect)

Uncompressed TIFF
TIFF is another file format popular because while it still compresses the image, it
does so in a way to ensure that the full image can always be restored. There's no
loss of image quality. It works in the same way as ZIP files on a computer. They
are compressed, but you can always get the original file back.

RAW
Images stored in RAW format are exactly what the camera 'sees'. There is no
processing done by the camera before the image is saved. This is one of the
major advantages of RAW.

Remember when I said above that each color value strength is stored on a scale
from 1 to 256? Modern cameras can actually detect more than 256 levels of
strength. But since the TIFF and JPEG formats don't allow more than that
number, the camera throws the extra information away. The RAW format saves
these extra strength levels resulting in a better image with more contrast levels.

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There's another advantage - the camera doesn't correct for exposure or white
balance before it saves in RAW format. Meaning you have ultimate control in
manipulating the image in a paint program - so your image looks exactly how you
want it to look.

All these advantages come at a cost. RAW images don't use any compression so
they are large files and take a long time to store and copy. Also, there is no
single RAW standard for all cameras, so you usually will need to use your
camera manufacturer's software to read the RAW file.

Which format should I use?

While TIFF and RAW do give you superior images, I personally don't think the
hassle of much larger file sizes are worth it unless you have a really high end
camera and need to produce really large prints. Not only do the images take
longer to save, but you need to purchase larger (and more expensive) memory
cards; a larger hard drive; and more CDs to back up to.

The JPEG format is the most popular - and it's not hard to see why. It provides a
much smaller image size without losing a lot of quality. I recommend using the
JPEG format set to high image quality on your own camera.

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Using Tripods
Using a tripod is essential when taking photos - and not just for night shots. To
get ultra crisp and sharp pictures, your camera cannot move at all when the
shutter is open. In some circumstances, even the tiny movements your hand
makes are enough to make a slightly blurry image. The best way to ensure your
camera does not move is to use a tripod or other camera stand.

On sunny days or when you use a really fast shutter speed, simply holding the
camera in your hand will still produce a sharp image. But there's another reason
for using a tripod on these occasions as well. Erecting the tripod causes you to
SLOW DOWN and think a little more about the shot you're about to take.
Because you're concentrating more, you'll have a better chance of composing
your image correctly and ending up with a super shot.

Types of Camera Stands

Tripod. This is a three legged stand that attaches to the mount on your camera.
This is the most common type of mount to hold your camera steady, and allows
you to move your hands away from the camera completely and still have it
steady in position.

Monopod. A variation on the tripod, this stand only has one leg. Attach the
monopod to your camera, stand it on the ground and use your hands to ensure
the camera and stand don't fall over. This helps because the monopod stops the
camera moving up and down, and provides a rest for your hands so camera
shake is reduced. For a bit of extra stability, lean yourself, or your camera
against another sturdy object like a light pole.

Chainpod. An ingenious design consisting of a length of chain (or string) with a

loop on one end large enough to place your foot into. The other end is attached
to your camera. To use a Chainpod, place your foot through the loop and pull
your camera up so the chain is tight while taking your photo. The tension in the

Bonus Tips Book

chain will reduce camera shake just like a monopod. The great advantage of a
chainpod is you can crunch it up and place it in your pocket!

Dolly. This is a tripod with wheels (and brakes!). A dolly allows you to move your
tripod around easily without needing to lift your camera, but it's not so useful
outdoors when the ground is uneven. There are dolly attachments available for
regular tripods.

Car Window Mount. This gadget allows you to mount your camera to your car
window to take photos of wildlife while still sitting in the car.

A Rock! Yes, as I explained in Secret #7 on Tripods, you can use any ledge as a
tripod when you need a sharp picture but don't have a tripod handy. You can also
use a small bean bag to steady your camera and lens if your camera doesn't
stand upright by itself.

Which should I purchase?

If you're just starting out, I recommend purchasing a standard tripod with
telescoping legs that stands full length (5-6 feet). Make sure you get a sturdy
(preferably all aluminum) model. Pick the heaviest model you can carry around
with you.

Lightweight models are available, as are mini-tripods - Perfect for portability, but
they don't have the stability of the larger models.

Using a Tripod
Most of the time, you just setup your tripod, place your camera on top and shoot!
There are a few subtleties to using a tripod that can help enormously.

The longer the legs of the tripod, the less steady the tripod becomes. Extend
your tripod legs only enough to enable you to get your camera into the correct
position.

Bonus Tips Book

Sometimes the act of depressing the shutter causes movement in the camera.
To minimize this, use your other hand and press down on the top of the camera
directly above the tripod mount. This will help to further reduce movement.

You're most likely to need your tripod when your camera is fully zoomed in.
When fully zoomed in, any small shake is likely to show on the image.

Other Tripod Secrets

Try to find a tripod with a built in level. The level will help ensure your landscape
shots are completely straight and save needing to rotate the image slightly in
your computer to get a level horizon.

Specialized lenses are available that can compensate for camera shake. They
are called "Image Stabilizers" or "Vibration Reduction lenses". They can be rather
expensive, so I recommend sticking with a tripod.

Try to get a tripod with a quick release mount. This will enable you to quickly
remove the camera from your tripod should you need to take a quick 'candid'
shot.

Bonus Tips Book

About Memory Cards

Another accessory you should purchase is a spare memory card. Most cameras
are sold with a 'starter' memory card that is usually a low capacity card that's
enough to take a few sample photos on, but not enough for day-to-day use.

What is a memory card?

A memory card is the little removable piece of plastic that your camera uses to
store your photos. Memory cards come in different sizes and names such as
Compact Flash (CF), Secure Digital (SD), Memory Stick (MS), Smart Media (SM)
and xD.

Running out of memory on your card is a little like running out of film in a
traditional camera. Rather than purchasing a new film to take more shots though,
you move your images to your computer or a CD and re-use the same memory
card.

Purchasing extra memory cards is a good idea is you're on a vacation and want
to ensure you can store all your photos. Fortunately, prices of memory cards
have come down dramatically in recent times.

Purchasing - what do I need to know?

There are two pieces of information you need to know when purchasing a new
memory card. What type of card your camera takes, and how large a memory
card you wish to buy.

What memory card type does my camera use?

The simplest way to find out the type of memory card your camera uses, is to
take your existing card out of the camera and look on it for one of the types listed
above. If you're still not sure, take your existing card into the camera store and
ask the staff for a new card with the same type as what you have.

Bonus Tips Book

The size of memory card you purchase will depend on your photography needs
as well as your budget. Memory cards come in sizes between 16 Megabytes
(and will fit between 4 and 32 images depending on your camera capabilities and
image quality) and 4 Gigabytes (4,000 megabytes - store thousands of images
on one of these cards).

My advice is to purchase the largest sized card you can afford. This will allow you
to take as many pictures as possible before needing to transfer to a computer or
CD. On my last holiday, I took along 1 Gigabyte of memory card storage allowing
me to take about 500 images without needing to take my computer along with me
to download the images to.

Memory Card Speed

Another feature to keep in the back of your mind when purchasing a new
memory card is the card's speed. The faster your memory card speed, the faster
your camera can write it's image to the card, and the quicker you can take
another photo. The actual speed will be the LOWEST of either your camera's
fastest transfer speed (see your camera's manual) and the memory card's speed.
If your camera can transfer at 40X speed, but your memory card can only handle
12X, 12X will be the actual transfer speed. Note that some cameras ignore the
card's speed and write as fast as possible all the time.

How many memory cards do I need?

I recommend you have at least two memory cards for your camera. The
professionals usually carry 4-6 memory cards and when they run out of memory
on one they swap to the next, but unless you're taking LOTS of photos, that's
overkill. With two cards, you can normally work with one but you have a spare
just in case you run out of the first, or you go on a long vacation and need to
store more images than you normally would.

Bonus Tips Book

Microdrives
A recent invention that's gaining a lot of popularity is the Microdrive. These are
for the Type II Compact Flash cards, and instead of memory inside the card,
there's a tiny hard drive. Their advantage is they can store an enormous amount
of data (over 6 Gigabytes), but the problem is they are a little more expensive
than a traditional memory card, and can take longer to save your image. They
also aren't as shock resistant as standard cards.

Care of cards
Memory cards, although they seem to be small and flimsy, can be quite robust.
I've dropped one of my cards in a glass of coke and it has survived - although I
don't recommend you do this! It will also depend on the brand of card you
purchase. More expensive cards tend to withstand more pounding. Most memory
cards will withstand a small amount of misuse, but like any electronic
components, take good care of them and they will serve you well.

Other Memory Card Secrets

If you transfer lots of images to your computer, purchase a card reader. These
will allow you to transfer the images to your computer at a much faster rate than
using your camera's connection.

Contrary to popular opinion, airport x-ray machines will not damage your
camera's memory cards. If you're really worried, remove them from your bag and
ask the screeners to inspect manually.

Turn off your camera when inserting or removing memory cards. Taking the
memory card out while the camera is writing to the card could wreck both your
card and camera.

Bonus Tips Book

About Camera Bags

Some compact cameras are small enough to fit in your handbag or pocket, but I
still recommend purchasing a camera case. It will save your camera from
unnecessary wear and tear.

What do you put in your camera bag? I place my camera, spare batteries and
memory cards, a cleaning kit and any extra lenses or filters I want to take on the
day into my camera bag.

Don't pack everything in your camera bag every time you go out to take photos.
Travel as light as possible. Maybe purchase two camera bags - a large camera
case and a smaller camera bag for those 'pack light' times. Clean your camera
bag occasionally. Dust can accumulate and could cause problems with your
camera and equipment by accumulating on your lens.

Keep your camera away from luggage handlers! Most airlines allow one carry-on
PLUS a personal item. A camera bag usually qualifies as your personal item.

What kinds of camera bags are there?

A weatherproof top loading shoulder camera bag is the best and most versatile
option, because you can place the camera case on the ground and open the lid
to retrieve your equipment.

The size of camera bag you purchase will depend on the size of your digital
camera. If you have a larger camera with lots of accessories, consider
purchasing a larger camera bag that has wheels. The wheels allow you to take
your bag with you easily rather than lugging it around over your shoulder. Some
bags with wheels can double as backpacks for when you're hiking.

If your digital camera is a small pocket model, a fanny pack for just your camera
will work really well. Keep the pack over your stomach (rather than your lower
back) if you're concerned about theft.

Bonus Tips Book

Purchasing a camera bag

When purchasing a new camera case, it's important to note the following:

Avoid brand name camera bags. If you have a more expensive camera, try to
purchase a camera bag that does not LOOK like a camera bag. Thieves are
always on the lookout for bags that look like they contain valuable equipment and
nothing says 'valuable inside' more than a camera case with a camera maker's
brand plastered all around the outside. Purchase a camera case that's a little less
conspicuous - they're usually less expensive as well.

Think of the accessories you'll place in a camera bag before purchasing. Do you
have any other equipment (such as a card reader) you might want to take with
your camera? What about accessories you are thinking about purchasing in the
near future?

A camera bag with moveable padded inserts will be more versatile than one
without because you can customize the inside of the camera bag to your
particular camera and accessories.

Buy a camera case with lots of pockets and zippered compartments. This way,
you can store used digital camera batteries in one pocket and unused batteries in
another. The same with your memory cards... I label my pockets with labels like
"Batteries - Used" so I can quickly find the correct pocket while out and about.

Watch out for the prices of camera cases (and other accessories) when
purchasing a camera case at the same time as your camera. Many retailers
lower the price of their cameras to compete, and increase their accessory prices
to compensate.

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267 Tips for Stunning Photography

Uploaded by

267 Tips for Stunning Photography

Uploaded by

Copyright Information

267 Simple Tips for Sensational Photos is a copyrighted work © 2005-2007

All Rights Reserved

Disclaimer and/or Legal Notices

Page 2 © 2007, [Link]

267 simple tips for sensational photos

© 2007, [Link] Page 3

Page 4 © 2007, [Link]

Sometimes the best images need to

© 2007, [Link] Page 5

To make small things look large, lie

Page 6 © 2007, [Link]

Study your shot first and look for

To make a stunning night picture

© 2007, [Link] Page 7

Try photographing the details of life.

Zoom in or move your camera while

Page 8 © 2007, [Link]

Try breathing heavily on your

Hold a sieve before the lens to

Taking silhouette pictures during

Try photographing someone on a

© 2007, [Link] Page 9

If concentrating on just one subject (for

Once you have the right background,

Page 10 © 2007, [Link]

© 2007, [Link] Page 11

Use black and white mode with the

When shooting portrait pictures near

A composition that works well in

Page 12 © 2007, [Link]

Write the purchase date of all your

© 2007, [Link] Page 13

If the waves are small and breaking

Page 14 © 2007, [Link]

If your normal camera is big and

I used my camera recently to

© 2007, [Link] Page 15

If you live in a climate where it gets

Purchase your flash cards and

Don’t take your camera from a warm

Page 16 © 2007, [Link]

Tell your little subject you’re about to

For young children who like to move

© 2007, [Link] Page 17

Try using a small bottle of bubbles or

Not every shot needs to be a posed

Page 18 © 2007, [Link]

At parties, look for shots of the

Older children can be very self-conscious and often don’t like to be

© 2007, [Link] Page 19

To ensure your subject is in focus

Don’t have a good lighting source for

Behind every photo is a story. Try to

Always work around your subject.

© 2007, [Link] Page 21

Page 22 © 2007, [Link]

Rather than directing your camera at

© 2007, [Link] Page 23

Do your images tend to be over

In darker buildings where you can’t

Page 24 © 2007, [Link]

© 2007, [Link] Page 25

A CD wallet case is a great storage place to keep all

Try a soft focus filter to get that professional glamor

Page 26 © 2007, [Link]

Color filters can also create special

When outdoors, use a polarizing

Special effects can be achieved

A UV (Ultra Violet) Filter also can

Finally, you can use a crumpled up

© 2007, [Link] Page 27

On New Years Eve, if you live by the

Page 28 © 2007, [Link]

Another tip to diffuse the light is to

Use a flash only when unavoidable.