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How to Shoot Light Trails

How to Shoot Light Trails
One of the first subjects that I remember trying to capture as a teenager with my first SLR camera (film) was light trails created by cars on a busy road near my home. I’d seen this type of shot in a photography magazine and was impressed by the eye catching results. Light Trails continue to be popular subject matter for many photographers and they can actually be a great training ground for those wanting to get their cameras out of manual mode and to experiment with shooting in low light at longer exposures. Following area few examples of light trail shots as well as some practical starting point tips for those wanting to give it a go. To get more tutorials like this subscribe to Digital Photography School. Equipment: There is not just one particular type of camera and kit that you’ll need to capture light trails – however it is important to have a camera that allows you to have some control over exposure settings – particularly those that allow you to choose longer shutter speeds. Related:  Tips 2Tips 1

Landscape Photography Introduction It’s that time in the evening, when the sun has set, the clouds have put on their show, and the first stars are beginning to shimmer through the twilight blues. It’s one of the most peaceful and tranquil moments of the day, second only to predawn, but you’re probably packing your bag to make sure you get back to the car before darkness descends. Soon the stars come out in full force, lighting the sky with points of light stretching away for many light years. "Rocks Racing Stars" - The Racetrack, Death Valley National Park, California The Technicals: Canon 20D, 10-20mm Exposure: ISO 400, f/5.6, 2.5 hours over 5x 30-minute increments (my first real attempt), started soon after twilight. Enough with the poetry. The first step in creating a successful photograph is generally some sort of pre-visualization. Planning and Preparation Suppose you have an idea for what image you would like to capture. To summarize, you’ll need to consider the following: Location: Far away from cities!

How Colour Works - Digital Photography School Life looks better in colour. Vivacious reds, deep sultry blues and bright invigorating yellows all serve to lighten the soul. We perceive these colours from human eyes picking up a huge range of light frequencies, and we are limited by the frequencies we can pick up. While nature has given us quite a wide range of colours to see, the devices we use to produce colours and images have an even more restrictive gamut. Additive colour This is the system of light, and includes devices that use light to capture or display images such as cameras, scanners, monitors and projectors. Subtractive colour Printers and paint on the other hand use subtractive colour, based on the science of reflected light it is very distinct from additive colour. Printers use three colours of ink: Cyan, Magenta and yellow (CMY) and mix them to create most of the colours that are needed. Turning your photograph into print So let’s start with colour spaces, and how they affect your photos. Colour Spaces

Tips for Getting Proper Exposure for Night Photography Exposure settings for this shot: Shutter speed of 4 seconds; aperture at f/5.6; ISO 400. Night photography can be much more rewarding than photography during the day. Because everything looks different at night, you don’t need to go somewhere exotic to get great pictures. The main challenge when photographing at night is getting a proper exposure. The principles of exposure work the same way at night as during the day – you will just need a lot more time to allow light into your camera. Exposure settings for this shot: Shutter speed of 4 seconds; aperture at f/11; ISO 400. # 1. The first tip is to make sure you are shooting in Manual mode. When shooting at night, your camera will be on a tripod and you will be working slowly. #2. Manual mode only works for exposures up to 30 seconds. In Bulb mode, the shutter stays open as long as you hold the shutter button down. With Bulb mode you can make your exposure several minutes long. #3. #4. #5. #6. #7. #8. #9. Exposing at Night

Review: myTouch phone almost replaces camera By Rachel Metz, Associated Press Updated 8/12/2011 5:24 PM SAN FRANCISCO — If you're anything like me, your cellphone and its built-in camera is always on you, while your digital camera gathers dust at home. Jeff Chiu, AP Jeff Chiu, AP This wasn't always the case. But as smartphone makers have increasingly realized the potential of the built-in camera, there's been a deluge of phones with cameras that can match — and sometimes outperform — low-end dedicated devices in a snap. A new entrant to the market should inspire some more competition in the phone camera sphere: The myTouch 4G Slide smartphone, made by HTC and available through T-Mobile. It has an 8-megapixel camera and plenty of the settings you'd find on a normal digital camera. The phone runs Google's Android operating software and costs $200 with a two-year service contract. It's also very quick to take photos. The myTouch's biggest issue, sadly, is the same one you encounter on virtually all cellphone cameras.

Everybody In - Beating the Heat The northern hemisphere is feeling the summer heat. A number of heat waves have already rolled across parts of southern Europe,the United States and Asia. From swimming pools to rivers, wave pools, ocean beaches and more, here are some recent photos of people around the world having fun, competing and keeping cool in the water. (22 photos total) Swimming instructor Abbas Khalid (L), 35, assists an Iraqi child during a swimming class at a public pool in central Baghdad on July 15 2008. Abbas has been giving swimming lessons for Iraqi children for the past two summers, when school is out and kids take to the water to cool down. (AHMAD AL-RUBAYE/AFP/Getty Images) People swim to avoid the heat in a swimming pool in the Everland amusement park in Yongin, about 50 km (31 miles) south of Seoul, July 13, 2008. Spanish long distance swimmer David Meca attempts a world-record breaking swim from the beach at Tarifa, on the southern tip of Spain, on July 4, 2008.

Star Trail Photography Tips One of the lessons in the Photography Lab series I teach is a lesson on night photography, specifically shooting the stars. There are two essentials to know before going out to shoot stars your first time. Photo captured by Denis Krivoy (Click Image to See More From Denis Krivoy) ONE: The Earth is rotating. TWO: You should know a couple of constellations before you go out: the Big Dipper and Orion are the two I use to orient myself. Why the Orion and The Big Dipper? If you know where Polaris (The North Star) is located, you can point your camera in this direction and, using long exposure times, you will get circular star trails instead of blurry constellations. “35mm Star Trails May 2010″ captured by Jeremy Jackson (Click Image to See More From Jeremy Jackson) When I shoot stars, I use 2 lenses: a Canon 10-22mm and a Tamaron 28-300 which I use in the 28mm – 80mm range. Some other items you may want to bring along:

How to Prevent & Edit out Reflections on Glasses - Digital Photography School Subjects who wear eye glasses can offer a unique difficulty for photographers. First, there’s the dilemma of whether they should wear them or not (will they not feel & look like themselves without them? Are they hiding fabulous eyes behind those glasses?) {An Ounce of Prevention} So first, I offer a few tips to prevent glare so you can see those eyes. All those tips for creating great catchlights? {A Pound of Cure} If you couldn’t avoid glare or didn’t realise it was happening, there’s a rather easy fix you can do in any editing program which allows for work with layers in your image. Original Image: 1. on ‘replace’ mode with a very soft edged brush to replace the reflections using a sample of the area directly next to the reflection. 2. 3.

How to Get the Best Results from Ultra-Wide Lenses - Digital Photography School These days, most kit lenses on consumer DSLRs are wide-angle. 18mm on an APS-C sensor camera (or 27mm in old 35mm speak) is wide enough for most occasions. Ultra-wide angle lenses are those that are shorter than 16mm in focal length. It is here that we’ll strike new creative possibilities and new obstacles. On cropped sensor lenses, a 30-35mm focal length provides what we call a ‘normal’ Field of View, which is roughly equivalent to what the human eye takes in. At 18mm, the Field of View is almost twice as wide and you can cram lots of things into the frame. The first thing you notice is the exaggerated perspective, the distorted edges and relationships between foreground and background objects that are ‘stretched’, sometimes unnaturally. There’s plenty of drama in trees and clouds, which are normally innocuous, and there is plenty of distortion as well. You’ll also get a different perspective from other lenses. Enter the tripod 8 Rules for Generating Great Results from Ultra-Wide Lenses