Visit : ELM PHOTOGRAPHY

APERTURE
Aperture (F-Stops) The F in F-Stops stand for focal. The higher the number of the F-stop, the greater the depth of field. Aperture also allows control of depth of field - the depth that will be sharp on the picture. For any given focal length, an aperture of F2.8, for example, will show only a narrow plane focused sharply. Thus, aperture is a valuable creative tool which allows control of exactly how much in the picture is to be sharp.Back

BATTERIES
Regularly check the batteries and always carry spares, particularly on holiday. A lithium 2CR5 may be a bit elusive on a Greek island !Back

CLOTHING
Yellow is not a good compliment color to skin tones.
Green and blue work best for people and create more natural photographs.
Use jewelry in photos as it enhances the subject.
Jewelry and hair photograph very well.
Blondes are more photogenic as they show up better on film and the eye tends to focus on the lighter parts of a photo first. With this in mind, have people wear something a tone or two darker than their skin tone (squint eyes to see the difference in tones). Remember, the eye is attracted to lighter objects.Back

DEPTH OF FIELD
Depth of Field & Focusing are related topics and if you have an camera which allows you to change the aperture then you will have control over the depth of field. Essentially, the depth of field refers to how much of the picture is in focus. Controlling depth of field allows you to control the emphasis in a picture. Where you want to have just the subject of the picture in focus - as in a portrait - and the background out of focus, then use a wide aperture on your camera. If, on the other hand, you want all the picture to be sharp - as in a landscape - then use a small aperture.Back

EXPOSURE
Underexposure creates darker images, over exposure lighter images (over meaning too much light coming in to the film).

Underexpose (less light) (smaller aperture) slides to make them have richer color. ie...if metering says shoot at 5.6, then shoot at 8 for underexposure (less light will get to the film as the aperture is smaller).Back

FILMS
If you want quality “people” photos, use 100 or 200 speed films. You can get away with 400 speed but the quality will suffer. “max” or “one” film is usually 200 speed film. Never use anything over 400 for people unless you are looking for a specific technique as the quality of your photograph will suffer dramatically.

Don't leave film in your camera for months. Get it processed even if it is only half an exposed roll.
Store film in the freezer to extend the film expiration date. Process promptly after exposure.

Since 9/11/2001 x-ray machines and baggage checking machines may not be safe for your film. People who are serious about their pictures should either have their film developed before going to the airport or they should insist on hand inspection of film and camera equipment. The security people at airports will balk at this but U.S. federal regulations allow hand inspection if the passenger asks for it. With the new "heavy duty" machines they are putting in airports you just may be better off to purchase your film when you arrive at your destination and have your film processed before you leave. If you can't do this have your film hand inspected. For less of a hassle try putting your film in a clear plastic zip lock bag in film containers that are clear or take the film out of the plastic container altogether. If a technician has less work to do he/she may be less likely to give you a hard time about checking your film.

Don’t keep film/camera in the glove compartment of your car or in a suit case in the car during hot weather. Temperatures in a car can be 20 degrees hotter than outside. If it is freezing outside, warm the film/camera up to room temperature 1/2 hour before taking pictures (even outdoors).Back

FLASH & LIGHTING
Direct flash (on camera) produces a flat photo with shadows directly behind the subject. Try shooting up higher or at the side more. If the flash is held above, it gives more of a 3D effect (hold slightly off center also).

With the bounce flash, the effective distance is between you and the ceiling and the subject. Figure the angle of bounced flash not to end up in front or back of subject but on it. A way to get rid of sunken eyes and lost shadows when using bounce flash is to put an index card on the flash.

Bounce flash needs more light and/or increase the aperture size ie... from f11 to f8 which will let in more light.

Use a flash outdoors to avoid “sunken or hollow eyes” when photographing in the shade. Outdoor fill flash also increases the quality of shadows.

To help avoid “red eye” turn all the lights on in a room when using flash. Select a camera with the flash as far away from the lens as possible.

Don’t bother using flash over 30 feet away. Most non professional flashes are worthless at this distance or greater.

There are limitations with fill flash because of flash power. If the sun is bright, it provides dark shadows-determine the correct exposure then put your flash not to overpower but fill in “give light and quality to” shadows. If correct exposure is 1/125 @ F5.6 set your camera at this exposure but set your flash to flash at 4.0 or 2.8. This provides less light entering the shutter from the flash so the sun is complimented not overpowered. (1.5 to 2 stops under for flash. If you can’t set your flash manually then turn the power down on the flash. Always set flash for a wider (smaller number) F stop than you are shooting at.

Avoid photographing people with the sun at their backs. If you must photograph this way then use a flash, even in the day or you won’t see the faces of the people.
Strong side lighting give good texture. Use flash to the side of the object being photographed in order to capture texture on it (remote flash or strobes).

Direct lighting (on camera flash) is harsh.
Diffused lighting (off camera, or bounce flash) is softer.

In backlight situations (light coming from the back) if it says to shoot at F8, shoot instead at f11 to see more of the subject and not be overpowered by the sunlight.

A polarizing lens only works at 49º to 90º. It does not work on front or back of an object, only the side (light coming from an angle).

A large light source makes softer shadows, that is why professionals use umbrellas to soften their light.

Use side lights for people with long noses and not for people with short chins or noses. If they have a short nose and chin, make your camera shooting angle higher to elongate them slightly.

To make artificial window light, bounce or aim your flash at a reflector (large white panel) be sure the light isn’t too bright as it falls on the subject.

When using window light, use a window on the opposite side of where the sun is. If you can look out the window and see the sun, go to the opposite side of the room. This provides a very soft, romantic feel to the photo! The closer a subject is to the camera, the harsher the photo will be. Window lighting doesn’t show marks on the face as much as with flash.

Window lighting usually requires much slower speeds, usually F4 at 1/30. Use a tripod to control camera shake. Use a reflector to fill in the shadows. But, be sure the reflector is not too big or too close to the subject or you will destroy the window light effect. The reflector often also puts a “catch” light or sparkle in the subjects eyes. Have the subject lean toward the window (light source) for more light.Back

LANDSCAPES
Firstly, try and ensure there is a focal point in the picture - a building or a tree for example and if possible, put the focal point on one of the 'thirds'. Secondly, make sure there is something in the foreground of the picture, which helps fill the picture and avoids wasted space. Thirdly, early morning or late afternoon/evening lighting gives much more atmospheric images because it can create shadows and shows texture. By contrast, midday lighting is often so intense it tends to flatten the picture.Back

LENS
Wide Angle: Gives a very wide field of view combined with high depth of field. If you are using a wide-angle lens, make sure you have something in the foreground as it will enhane the picture.
Telephoto: Allows much greater magnification and can help in the composition of landscapes. For wildlife photography, you will need at least a 300mm lens, probably greater.
Macro: Allows for close-up photography. An indespensible lens if you want to take pictures of flowers, lichen etc.
The best lens size for portraiture with a 35mm camera is between 85-105 with 105 being preferred. (Europeans usually use around a 70mm lens because they usually make portraits closer up). The best lens for medium (2-1/4) format camera portraits is 150.

Cheap diffusion lenses make the photo look out of focus rather than diffused. For a home made diffusion filter you can spray a small amount of hair spray on a clear filter (test the results to make sure you get the effect you want before shooting important subjects). The smaller the F stop ie... (F2.8 or F4) the more the diffusion shows on the finished photo.

Keep camera and lens clean inside and out. Be very careful when cleaning not to scratch the lens surfaces, or those of the viewfinder or autofocus windows. Blow off loose dust and grit, then clean with soft cloth or tissue.Back

MOVEMENT
Movement can be helped by giving the subject space into which they can move.Back

PORTAITS
Taking Portraits can be difficult. But there are one or two tips that will help you improve your picture. Firstly, check what is in the background - as much as possible, it should be free from clutter or distraction. For example, if you are outside, make sure the subject doesn't have a lamp post appearing to come out of their head! Secondly, focus the camera on the subject's eyes - that's the most important part of the face to keep sharp. Thirdly, look around the whole of the viewfinder - have you got everything in or have you chopped somebody's legs off! If you only want to include part of a person, make sure the cut-off point is not on one of the joints (elbows, knees etc). Finally, try to make the lighting interesting. Side lighting can help create a more effective picture.
When posing groups, start from the center of a group and put the most important person(s) in the center and build the group around them. Have the people twist their bodies sideways slightly to get more people in the picture. Tell them it makes them look thinner (which it does) and you will have no problem. Keep heavy-set people away from the ends of the group as the outside areas of the frame will make them look heavier. In a very large group where you really can’t pose the majority of the people, tell them “If you can’t see my camera, your face will not be in the photo” so they will adjust their position.

Avoid always putting subjects always in the center of the photograph. Shift them right or left or/and up and down. Try shooting sideways (vertical portrait) on some of your photos for variety.

Keep the eyes sharp and above the centre line. Allow the eyes to tilt and not be horizontal. Be careful of the position of hands - they can look awkward, and don't get too close with a short focal length lens. The resulting distortion will make you rather unpopular.Back

SHUTTER SPEED
Shutter speed is the amount of time the shutter stays open. The purpose of the shutter is to control the motion in the photograph ie... stop action or blurred action.
If you want to record fast moving subjects sharply, then a fast speed is best selected, say 1/500 th. or 1/1000 th. Subjects which do not move can be photographed with slow speeds and a tripod to prevent camera shake. Do use some kind of camera support whenever you can.Back

RULE OF THIRDS
The Rule of Thirds ..... possibly the most important and well known of the lot. This states that if you divide a picture into three equal sections horizontally, and three sections vertically, there will be 4 points where the dividing lines intersect - obviously. Place the main subject on or across one of the points of intersection for maximum visual impact.
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