Download 100 Ways to Make Good Photos Great: Tips & Techniques for by Peter Cope PDF

By Peter Cope

A pragmatic, obtainable consultant to turning your strong pictures into nice ones no matter if you're taking pictures at the most up-to-date electronic SLR or a digicam phone!

• become aware of a hundred uncomplicated and enjoyable how one can enhance your images either in-camera and during post-processing snapshot manipulation.
• each key photographic style is roofed, from ideal pictures and the good outside, to go back and forth images and taking pictures at night.
• jam-packed with inspirational examples of serious photos in comparison opposed to the extra general photos, with effortless to stick with strategies for a way you could in attaining an analogous results.

Whether you're an aspirational novice desirous to make your pictures even greater, or an enthusiastic newbie who simply desires to produce extra enjoyable effects, 100 how one can Make solid images Great gives you priceless expert suggestions and methods to take your images to the subsequent point.

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Extra info for 100 Ways to Make Good Photos Great: Tips & Techniques for Improving Your Digital Photography

Sample text

A large light is the kindest light for faces. We also added some There’s More Than One Way to Get Things Done 19 neutral density filter in front of the built-in flash because its lowest power setting was too much. By diffusing our lights (thus ­enlarging them), we still got an image with the drama provided by shadows, but we’ve eliminated the ugliness of harsh lighting (the bane of small lights). All that said, we may not always want the kindest light. If we shoot for a newspaper, the paper may 20 Focus On Lighting Photos not always want the kindest light if the subject is an oppressive ­dictator or a vicious criminal.

O that s flash, we already have a small light. So getting the hard shadow is easy. Now we have to turn that small light into a big one. Once we learn how to obtain both, we can also get anything in between: a medium-size light of whatever size we want. To get from the harsh, unflatter­ ing image on page 18 to the improved light in the photo on page 16, we put a large sheet of translucent white diffusion material between our subject and the flash. Voilà! What is diffusion material? Many things: cloudy sky, thin white paper or plastic, foggy or smoky air.

We can use the diffusion umbrella much closer to our subject. We can use smaller equipment, carry it more easily, and spend less money more effectively if we use the shootthrough technique. The bad news is that if the lighting assembly is in a small space, the shoot-through technique is going to cause a lot of additional reflection from nearby walls. If we don’t want this additional reflection, we have to drape the entire backside of the lighting assembly with something black to avoid the additional reflection.

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