Masting Natural Light (Click to Learn More)

More news in the photography eBook realm this week. This new book was released recently and has proven to be very popular with readers and reviewers. Natural Light – Mastering a Photographer’s Most Powerful Tool by Mitchell Kanashkevich is an in-depth guide on how to harness natural light to enhance the mood, atmosphere, and quality of images.

Launch sale ends May 22 (25% off),
it can be found here: Natural Light

Developing an understanding of how natural light works and how to work with it can help you hone your photographic skill and broaden your creative horizons without spending more money on sophisticated and expensive photographic equipment.

This 96 page eBook is written and illustrated to provide a complete, comprehensive guide to using natural light in photography.

Some of the Many Topics Covered:

• Understand the essential qualities of natural light
• Master the technical components including exposure, metering, and the histogram
• Learn expert methods to control natural light to suit your creative needs
• Grasp the potential of harsh light, diffused light, fog, twilight, and other settings
• Learn to sculpt light, create light interplay, reveal silhouettes, and more
• Practice professional post-processing techniques to enhance natural light
• Harness the countless creative possibilities that natural light affords

Pages from Natural Light (Click to Learn More)

Case studies to break down dynamic light situations:

• Silhouettes over water at sunset
• Light beams and multiple light sources
• Elusive light and the magic dust cloud
• Communicating hardship with harsh light
• Accentuating the beauty of everyday life through the color-and-light show of twlight
• Everyday scenes with diffused, sculpting light
• Dramatic interplay of shadows in a landscape
• Atmospheric natural light as the driving force behind the photo
• Creating a sense of drama with a reflector and an iPhone

Case Study from Natural Light (Click to Learn More)

“There is no such thing as good or bad light. It is my hope that at this eBook will help you see different types of natural light as different tools, each appropriate in some way for various situations, depending on what you aim to communicate with each photograph. -Mitchell Kanashkevich”

Launch Discount Ending Soon:

Natural Light is currently 25% off until this Tuesday, May 22. It also carries a 60 day no-questions-asked guarantee, so if you are not satisfied with any part of the book just let them know and they will give you a full refund. Also…as an added bonus if you pick up a copy before midnight on May 22nd you will be automatically entered into a drawing to win $1k in lenses of your choice.

It can be found here: Natural Light - Mastering a Photographer’s Most Powerful Tool

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Article from: PictureCorrect Photography Tips

"Morning Cat" captured by Alex Lewis (Click Image to See More From Alex Lewis)

Cat Napping-

A cat taking a nap is one of the most relaxing poses that you can take of your cat. Cats sleep more than most animals therefore it makes for a good photo to get a shot of your cat sleeping because you’ll have so many opportunities to do so. Taking a shot of your cat while it sleeps allows you to grab a close up shot.

Sunlight-

If you make the observation, most cats like to sleep in the sun. If you happen to have a full size window with curtains, if at all possible, open them up that way you can lure the cat to the window to sleep in front of the window while the sun is shinning through. Once the cat heads for the window try to get a few shots.

The sun will be shinning bright so you don’t have to use a flash. In doing it this way your photo will have a nice natural look to it. Also, using a flash will cause the eyes on your cat to look red.

"Lila" captured by MarAndra (Click Image to See More From MarAndra)

Candid Shots-

A cat, unlike a dog will not respond to you telling it to stay in one place or sit. The key to getting good candid shots of your cat is to have your camera ready at any given time. Your cat has favorite places in which it likes to sleep, take notice and try to get a few shots of you cat in their favorite places. If you adapt to your cats schedule, you’ll have fun taking shots of your cat in various different locations.

Being patient is the key when trying to get photos of your cat. You’ll probably take a dozen or so shots of your cat but it is well worth it when you do get the shots that you’re looking for.

I have 3 cats and I’ve attempted to get them to pose together and it does not work because one of them has to start something with the other. If you have people at home to help you it might make things easier for you but trying to get a pose from a cat will not work. As stated earlier, try to get them by taking candid shots.

Above are just 3 tips for taking good shots of your cat. There are many more tips but I have found the above 3 are the best in terms of getting the best shots and the most natural looking shots.

Photo captured by Ivan Bokii (Click Image to See More From Ivan Bokii)

If you need more ideas you can use your favorite search engine and search for more tips about taking cat photography.

About the Author:
Keith S. Black has many different photography methods. He is a successful photographer and makes a full time living as a photographer. To find out about one of the best cameras to use for your photography you can visit: http://reviewdslrcameras.com/nikon-reviews/ to read one of Keith’s Nikon Reviews and get more information.

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Article from: PictureCorrect Photography Tips

“They think of photography as pictures, and it is, but I think of photography as ideas. The pictures sustain your ideas…”

When working on his World Trade Center project, Meyerowitz, shot on 4 x 5 and 6 x 7 medium format Leica’s. Having the prints made at over 10-foot tall, he says he hoped that the size would help transport the imagination of the viewers into the reality of the photographs and add to the images authenticity. For the images that didn’t require a larger camera, Meyerowitz called on his Leica M series–a staple in many serious street photographers camera bag.

Meyerowitz would eventually capture over 8,000 photographs from Ground Zero, which covers both the destruction and eventual recovery of the site.

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Article from: PictureCorrect Photography Tips

When photographing smoke, a few tips to remember are:

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Article from: PictureCorrect Photography Tips

In case you couldn’t quite follow Calverts moves through the darkness of the film, here’s a breakdown of how he did it:

Items you will need to accomplish this effect:

• DSLR
• Speedlight
• Tripod
• Electric Glow Stick

Once you have those thing gathered up, you’ll need to find a dark location to take your photograph. For reference, Calvert took his picture at night out in the country, where light pollution is very minimal. Once you are on location, set up your tripod and set your camera to ISO 400 a about f/8. You’ll be using a long shutter speed, but it will vary depending on your specific location. Luckily, you won’t have to worry about the electric glowstick burning out so you can do a few brackets to find a good exposure time.  Mark the spot you will be standing in and use a flashlight to focus your camera to that spot.

Next, sync your speedlight to your camera so that it fires at max intensity and set it behind you (Calvert strapped his to his back) so that it overexposes the background that is directly behind you but leaves a dark vignette around the frame. It helps to have a wall behind you to catch all the light.  Fire your shutter, as soon as the flash goes off, turn on the glow stick and shake it around, outlining the shape of your silhouette. Turn off the glow stick and check to see how your light painting came out. If it’s a little dark, try lengthening your shutter speed, if it’s too bright, try working a little quicker.

How to Create Fire with Light Painting

It’s worth mentioning that the final version of Calvert’s photo was in no way edited. The image above is straight out of his camera. Very impressive.

Quick Reminder: Today is the last day in the sale of Trick Photography & Special Effects

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Article from: PictureCorrect Photography Tips

"Facing Your Fears" captured by Ji Yeon So (Click Image to See More From Ji Yeon So)

In the artistic community much is said about style and how that style is more often than not linked to some innate talent. The style side is mostly true. Each artist, irrespective of their specific discipline, brings their own voice and vision to their chosen art. That which is internal to the intellect of the artist, is unique and independent of external training.

It would be convenient for us to instantly associate a photographer’s work as that of their own signature style. Were it only this easy, but alas, it is not so transparent. Theoretically, most well known artists have an inherent recognizability; for example, in a room full of impressionistic paintings one instantly knows which images are van Goths’. Yes, but not always.

The question is are van Gogh’s paintings all so unique they will always be instantly recognized or is it that we have been so widely exposed to them that most his work has been seen by us before? My experience would suggest the latter. Before anyone starts writing me, give this just a bit of thought and perhaps a personal visit to the van Gogh museum in Amsterdam. Think of Pablo Picasso, his work is instantly recognizable right? Well, maybe not… that is only true through prior exposure to his paintings. If my art history courses are remembered correctly, his work is usually divided into 7 sections or time periods. The first three are very different from that of the later sections. If you see representative examples of all seven periods together, one quickly recognizes distinctive transitions and minor elements that are thematically carried through from one phase to the next. If you did not know, or had never seen a selection of his work from all these periods, you would be hard pressed to identify them succinctly.

The point is that Picasso and van Gogh both developed unique and distinctive styles over the course of time. To that end, the photographer is no different, perhaps just a little subtler. For the purpose of this essay, we are keeping “photographic” tricks and “darkroom” magic between minimal and intermediate levels. Extreme manipulations, while artistic, slip into the world of graphic art and many would argue, lose their place as purely photographic art.

In photography, we find the same kind of pseudo-recoginition. When we examine the portraits of Karsh or the landscapes of Adams they are often mentioned in the literature as being both distinctive and fundamentally unique to the inherent style of the photographer. Both are responsible for creating truly iconic images which now have a universal recognizability. In this way, they share a common thread to the works of van Gogh and Picasso in their notoriety. However, I have seen portraits with every bit of Karsh’s style and vision, that are every bit as well done, but were done by others and predate Karsh, forcing the viewer to question the assumptions being made. Now I am a big Karsh fan and have been since I was a boy. In a room full of his work, that one might find at the Chicago Art Institute, the style simply screams at you. Similarly, I have taken black and white stills of Half Dome at Yosemite and if you didn’t know better it would be impossible to say which was mine and which was Adam’s. I did not copy Adams in any way, except for the general subject matter. I have one of his famous images on the wall of my office too. It is hanging there as a sort of inspiration, a reminder if you will of what constitutes a great image and a truly creative vision.

Photo captured by saswata bandyopadhyay (click image to see more from saswata bandyopadhyay)

We photographers are often faced with a minor dilemma; we often know exactly what we want. That does not mean we will have the right conditions to create it. I am talking non studio images here. The studio is a different thing. Every bit as creative, it is a control of conditions inside or lack of control outside, that makes the difference. You can go the same place, at the same time of day, a thousand time and never completely reproduce the exact conditions of any previous encounter. That is the challenging situation the photographer faces every time they picks up a camera. I believe that it is in how the photographer overcomes this challenge that defines their own personal style. It is how our unique vision of the world interacts with how the world is being presented, that produces that personal style. I must warn the reader that the style differences among many photographers is subtle and at times barely discernible to the naked eye.

There are those that say it can be learned and talent is not required. There are those who say the opposite. There are others, I among them, who say that learning hones an innate talent. Every one of us has a unique vision of the world and not everyone wishes to express it and fewer still wish to express it via photography. None of us can ever be a Karsh or Adams or any number of other well known or lesser know photographers of the past or present. I often photograph with a fellow photographer. We stand side by side and use essentially the same equipment, yet our images are different and although we recognize it instantly most viewers would be hard pressed to tell whose was whose. On the other hand, if one were to examine our respective body’s of work the comparison reveals individual uniqueness in our distinctive styles.

Ultimately, both the famous and the anonymous photographers offer something worth learning. Wikipedia publishes a list of famous photographers. I never pass up a visit to any museum of art or any collection of high quality images. I would like to think I have developed one of those individual, instantly recognizable styles. I find it rather impossible to look seriously at any photograph and not learn something about image making and presentation.

My personal philosophy is quite simple. I try to present my subject in the best possible way, given the prevailing conditions. This is however, highly subjective and purpose dependent, resulting in the occasional failure or lack luster outcome. When that happens one of three thing seems to have influenced the objective: the light conditions were poor, or I lost a crisp focus on the subject and/or purpose, or I lacked the skills and necessary equipment to deliver the vision I set forth to create. The reality is I am good at what I do and when compared to others I possess a unique view of the world, but is it instantly recognizable? Why, not at all.

"Peloponnese" captured by Giovanni C. (Click Image to See More From Giovanni C.)

You can do what I have done, continue to hone your individual skills and express your unique vision.

Dennis’ tips for revealing your unique vision escape (in no specific order):

• Subject Focus: You could select a few subjects that you feel passionate about. If you have knowledge of the subject it is often easier to see past the superficial and bring out the deeper meaning and emotions. Not all subjects cary deep emotions or have any truly deeper meaning, but that does not mean they lack the challenge of making the mundane interesting. It is what gives you satisfaction and intellectual pleasure that counts most.
• Style: Style comes down to how you express your vision. It is some combination of methodology, technique and technology. This is a function of: the technology chosen, post exposure processing, your over all approach, the subject and conditions. It is making choices and maximizing the results.
• Learning: Be open to learning from others as well as from your own experiences. I never discard a poor image without first examining it closely to see why it failed. I suspect that I am like most of you and only like about 10 % of the total images I generate. Sometimes I don’t like any of them because they simply fail to properly represent the subject. If possible, go back and try again, applying your knowledge of what went wrong until you have captured the essence of your initial vision. Keep in mind the original purpose of making the images. It is nice to take pictures of your child’s birthday party and if some qualify as high art, all the better. If the purpose is to record the event for relatives, future nostalgia trips or to embarrass the child later in adulthood then high art is simply not necessary.
• Rules: Rules in photography are not so much absolutes as they are guidelines. Lets face it, if we did not set them aside from time to time, originality would be lost. On average, the “rule of thirds” applies aptly, but when it comes to presenting a certain subject the best possible way, at a given moment in time, then maybe not. Simply put, experiment, try it all! Today multi-media is so inexpensive that all other costs are greater. It is more expensive to travel even a short distance than to fill your reusable flash card. Unlike the days of chemicals, film and paper that made us careful and aware of the cost of each frame, today’s digital photos are, in and of themselves, freebies and 100% recyclable.
• Critic: You are your own worst critic, as every artist is. It is critical to be honest with yourself and with others. We all know this, but more often than not, we are more honest with others and less honest with ourselves. The best way is to look at all our images critically, but not despairingly. Apply a critical eye to which images work and do not work and evaluate honestly why that is so. A great image of someone or something you detest is still a great picture. Understand why. You are not forced to show it to anyone else. If you find anything that is not quite right understand that too. It is back to the learning thing, isn’t it?

"B.R.O.K.E" captured by InGeniusArt (Click Image to See More From InGeniusArt)

• Inspiration: We all need it. Some of us thrive on it. Some of us inspire others. All of us are inspired by someone or something. It is that inspiration that turns the ordinary into the extraordinary. Let it work for you. I carry a pocket camera with me almost all the time because sometimes I find a unique moment and point and shoot. They are not all great. Most are just ordinary, but every once in a while I get inspired to go back with my SLR and do it right. We all need to be open to the idea that inspiration occurs when and where we find it or when and where it finds us. Once, my wife and I were touring a 15th century cathedral and I was inspired to photograph the vaulted ceiling. I laid on the floor and did just that, much to her embarrassment I must add, but the results were outstanding.
• Practice: Don’t always wait for moments to find you, sometimes you need to go exploring with an active eye. Keep lookout for anything new, different, and hopefully, exciting. If I have learned anything living in Alberta, it is the prairies and mountains are never the same. You can travel the same path 100 times and easily get 500 different images! Practicing is just as important in photography as it is in music or any other endeavor. I am convinced that I have trained my eye to see what the lens sees. I know, from experience, that I can size up and compose an image two to three times faster than most. By the time I get the lens cap off, I know what I am going to shoot, at what focal length and from what position. I would like to think this is raw talent; the truth is that it is 50 years of practice.
• Self Expression: Why do we take pictures or make images? For me, it is my form of artistic expression. For others they sing or play an instrument, draw, sketch or paint, while others act or write. For me, photography is my most important self expressive activity. If you choose photography as your expressive medium, you are also choosing to share your unique vision of the world with that world.

Lastly, it is chance, pure and simple that often has the greatest influence on our work. It is what we make of those chances that ultimately defines our individual vision of the world and culminates in the expression of our unique style. Most forms of self expression are directed outward from ourselves towards others. Some would say photography is not just self expression, it expresses or even defines who we are. I think I am still trying to define myself and so for me, photography expresses what and who I am at any randomly given point in time although I am not sure that it ever captures any real totality of my existence.

"the world upside down" captured by Kelli Ahern (Click Image to See More From Kelli Ahern)

I have often said, “Some day I will grow up. When I do, I’ll let you know.” I strongly suspect my epitaph will read something like this: “He always said he would let us know when he grew up. He finally did”

About the Author:
Dennis Nikols is a long experienced: geologist, philosopher and photographer. He is principal photographer at As I Found It ( http://asifoundit.com ), Ideal Totem ( http://idealtotem.com ) and writes a photographic blog adding 3 to 4 moderate length essays/month. As I Found It’s blog.

Go to full article: Style and Vision: What Makes One Photographer Different From Another?




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Article from: PictureCorrect Photography Tips

These three elements are all used as essential means of achieving correct exposure. When one changes, it will affect the exposure, it’s your job as a photographer to understand how to balance all three of them, making sure that they all work together to get a properly exposed image.

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Article from: PictureCorrect Photography Tips

“How can I get more website visitors from the search engines without having to pay for expensive ads?”

Photography Website SEO Tips & Techniques

While Google AdWords and paid advertisements on select photographer directories might bring in some website traffic, it can quickly eat into our precious marketing dollars. For example, if we don’t carefully manage those ad campaigns, we can easily burn through our daily advertising budget for Google AdWords, or Facebook ads, before the day is even halfway over, often with no sales or concrete leads to show for it.

At the end of the day, the actual cost per click may be relatively low, but the real cost of acquiring a new client from such ads can be much higher, depending on how many clicks it takes on average to produce a serious lead.

Organic Search To The Rescue

Although paid ads can serve a useful purpose for some, it’s obviously preferable for our photography business to appear as high as possible in the natural search results.

It stands to reason that the higher our website ranks for any given search the more traffic we’ll see.

But the question many photographers have then is:

“Okay, but how do I get my website ranked more highly in Google?”

This is where SEO (search engine optimization) comes into play.

To optimize our websites effectively, we must understand the basic principle that the job of the search engines is to provide the most relevant and interesting results possible for a particular set of keywords.

Google and the other search engines achieve this goal by ranking web pages within the search index using complex proprietary algorithms.

Our SEO task is to help the search engines achieve their goal without trying to manipulate the system in any way with undesirable methods (often referred to as “black hat SEO“).

Choose Your Keywords Carefully

The biggest mistake that I see photographers make with SEO is chasing the wrong keywords and keyword phrases.

For example, it seems natural at first to aim for such phrases as “professional photographer“, “wedding photographer“, or “portrait photographer“.

Unfortunately these phrases are so generic, appear on so many websites, and are searched for so often that there’s very little chance of being able to rank highly for them.

Not only that, we may not even want to, since those phrases don’t fit the criteria for what we call “buying signals“.

What are buying signals?

Consider this example. Someone who types “wedding photographer” into Google could be someone looking for information on how to become a wedding photographer, for a book on wedding photography, or a YouTube video. It’s a very general search in terms of its intent, and doesn’t give us much of a clue about what they’re really thinking about.

On the other hand, someone else types “traditional wedding photographer in Memphis TN”. Here we have someone who is looking for something a lot more specific, and they’re much more likely to be in a buying mode, since there’s a much higher chance that they’re actually looking for a wedding photographer to hire for their wedding.

The key buying indicator in this example is the addition of the location.

It’s All Local

With the possible exception of destination photographers, most professional photographers operate within a fairly well defined local area, with a target market that usually lives within 100 miles or so of their studio.

It therefore makes sense to choose keyword phrases that represent the local market, and to create content that can rank well for those keywords.

I know this might sound strange, but the next mistake I see is photographers forgetting to put their studio address on their website! On many occasions where I’ve been asked to mentor a photographer, the only way I can figure out where they actually are is to Google the area code for their phone number!

Not a good start!

So don’t make the mistake of assuming that your target market will know where you are. Google certainly won’t have a clue unless you make it obvious! Your address is the first indicator of the area you serve, and should ideally appear on every page of your website – usually in the header section.

Be Creative About Keyword Usage

So where should you put your keywords, and how often should you use them?

If you’ve been around SEO for any length of time, you may have heard the term “keyword stuffing“, and this is certainly something to avoid, but what does that mean exactly?

Keyword stuffing is the term for when we use the same keyword phrase over and over again, in an unnatural way, to try to influence the search engines. Technically, it comes under the umbrella of what Google likes to call “over-optimization” and can result in your web pages being given lower rankings, or even removed from the index altogether.

This could spell trouble for the professional photographer who is trying to rank for something like “wedding photographer in Memphis TN“, because repeating that phrase more than a few times on a page just doesn’t read right for the audience, and the search engines will easily sniff it out too.

However, there’s always more than one way to skin a cat, as it were, and this problem is no exception.

Firstly, the search engines are becoming very smart about understanding the context and semantic meaning of text, especially English. The ranking algorithms don’t just count words these days, they also have a good idea about related words, sentence structure, and the general meaning based on surrounding text.

We can put this to our advantage by using variations of our keyword phrases to achieve a similar result. For example:

• “Looking for a wedding photographer in Memphis TN?”
• “Live in Memphis TN and searching for the right wedding photographer?”
• “Have a wedding in Memphis TN? Find the best photographer here…”
• … and so on.

By the way, as a rough guide to avoid being flagged for keyword stuffing, your keyword phrases should appear no more than 5 or 6 times for every 100 words of text.

Keyword Placement

Are some places better than others on a web page for our keywords?

Yes, some areas are more important than others when it comes to keyword placement, so we should make the effort to include our most relevant keywords in places where the Google robots assign the most weight.

For example:

• The page title (found in the <title> tag of the page header)
• The meta description (found in the HTML header section)
• In the main heading (usually specified by the <h1> HTML tag)
• In sub-headings (<h2>, <h3> etc.)
• Emphasized using bold, underlines, and italics
• As the anchor text for internal links

Note: “Anchor text” is the actual text that a user would click on to visit a link. Having keywords in your anchor text for internal links is important for establishing relative relevance of pages within your site.

It’s Not Just The Text!

One objection I hear from photographers is, “I’m a photographer, not a writer“, which is actually false!

First, if you want to be a professional photographer then you must stop thinking like a photographer, and start thinking more like a marketer.

Second, you better learn to write, or have someone do it for you, because there is no way around this if you seriously want to rank anywhere. Now, that doesn’t mean we’re writing novels or anything like that – in fact, a conversational and friendly tone always works best.

If you do find it really hard to write, then record yourself talking about your topic, and then transcribe it into text.

Whatever method you choose to create your website copy, it’s essential, both for your target audience and for the search engines.

However, aside from all that, the good news is that there are also other ways to deploy your chosen keyword phrases without risking a slap from Google.

Through images and photographs.

The Google robots cannot “see” photographs and understand what they are (at least not yet), which is one of the reasons why Flash-based websites perform so poorly in the search engines, so you might wonder how we can use images for SEO.

As it turns out, we can add keyword phrases to images in certain useful ways:

• As part of the image filename
• In the “alt” attribute of the HTML <img> tag
• In the “title” attribute of the HTML <img> tag
• As part of the caption (text that appears below the image)
• In a written testimonial from the client, displayed near the image

The point here is to be creative and constantly thinking seriously about how your web pages are constructed from both your audience’s perspective and the search engine’s viewpoint.

In a sense, you’re trying to help the search engines better understand what your website is about, who it’s aimed at, and how relevant it is to the subject.

If you can do that, and provide real value to your website visitors at the same time, you’re well on your way to higher rankings and more traffic.

Final Thoughts

While working to constantly improve our website SEO is necessary in order to stay ahead, an increase in website traffic is only a part of the overall solution, and website visitors are more than just statistics to be counted by our analytics software.

They’re real people, with real needs and desires, and they’re all looking for something when they visit our website. With that in mind, I see it as our responsibility as marketers of professional photography to make sure we satisfy those needs by providing them with valuable content that helps them make the decision to contact us for a more personal conversation.

So, SEO is only the first step in a larger process. Once you’ve attracted them to the website, the next challenge is to present them with valuable and persuasive content that will lead them through your sales funnel to the point where they are compelled to want to talk with you.

About the Author:
Nigel Merrick is a professional photographer, blogger and business coach for other working photographers. Nigel’s blog ( Photography Business, SEO and Marketing ) helps professional photographers find peace in their business, love from their clients, and happiness in their personal lives by clarifying their focus on business and marketing.

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Article from: PictureCorrect Photography Tips

Now, let’s recap what we’ve learned:

• Hold your shots for both video and still photography. Ideally, video clips should be about 5-10 seconds long. When shooting stills, have your camera ready to go and following the action so you don’t miss the perfect moment to take a shot. Remember, use your tripod to eliminate camera shake!
• Instead of trying to cram everything into one photograph, take multiple images to break the story up and create clutter free shots.
• Travel photography is ultimately about telling the story of your trip. Photograph the things that will clearly outline your trip such as the food you eat, the locals you meet, and the places that you visit.
• Take as wide of an assortment of shots as possible. This means you should be shooting from different angles.  A good mix of tight, medium, and wide shots can keep your video or album from becoming redundant and will give viewers different views of the story you are trying to tell.

Top 10 DSLR Traveler Tips

Don’t be afraid to take more footage and stills than you will need or use. It’s better to have a wide selection to choose from during editing. Just because you take tons of images, you don’t have to use them all. In fact, select just a small handful of your very best photos to hold your viewers attention and leave them wanting to see more.

For further training on travel photography:

There is an instructional eBook designed to give you the skill and inspiration to take riveting travel photography images. Written by one of the top travel photographers in the world, Mitchell Kanashkevich travels the world capturing stories for top photography magazines and imagery for Getty and Corbis Images. It can be found here: Transcending Travel

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Article from: PictureCorrect Photography Tips

The recent second edition includes 100 new e-book pages (300 pages total) and 9 full hours of video tutorials. The eBook is in PDF format so it is perfect for tablet devices or can be read on any computer. Of the many techniques explained in the book, here are a few samples:

Levitation Tutorial Example from Trick Photography & Special Effects

Extensive Chapters on How to do Non-Traditional Panoramic Photography

HDR Photography Tutorials and Style Strategies

Light Painting and Long Exposure Photo Techniques

Capturing Split Second High Speed Splashes

High Speed Photography Tutorials

How to Achieve Bokeh in Photography

Many Chapters on Composite Photography and Combining Photo Elements

Various Techniques for Capturing Smooth Water Motion

Photography Tricks for Dynamic Floating Subjects Such as Fruit

Tutorials on Creative Night Photography Methods

Tutorials and Chapters on Infrared Digital Photography

Articles on How to Capture Portraits at Long Exposures

How to do Steel Wool Light Painting Photography and More With Long Exposures

How to Get a Copy:

Sale Ends May 18 – the second edition includes 100 new e-book pages (300 pages total) and 9 full hours of video tutorials which can be found here: Trick Photography & Special Effects 2.0

Go to full article: Popular eBook on Sale for a Few Days: Trick Photography




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Article from: PictureCorrect Photography Tips