PictureCorrect.com: 9 Travel Portrait Photography Tips

From Cuba, travel and adventure photographer Brendan van Son filmed this short video to describe nine of his most tried-and-true practices for shooting portraits abroad. If you’re an aspiring travel or portrait photographer, you’re going to want to tune in:

Brendan van Son might not be the most well known travel photographer, but he’s definitely gathered up some wisdom from his years of making photography on the road. His nine travel portrait photography tips, which we’ve summarized below, will help you to streamline your workflow (and your pack!), get you thinking about the mechanics of lighting and composition, and perhaps most importantly, provide guidance about effectively interacting with subjects.

1. Know the three types of travel portraits

In van Son’s view, there are three major types of travel portraits:

• The Street Portrait — “The subject might not know they’re being photographed and… might actually be a small part of the image.”
• The Headshot — “You’re going to be right up in their face and you’re cropping their head or maybe just their shoulders up.”
• The Environmental Portrait — “It’s a portrait of a person with a scene around them.”

Before you go out to shoot, decide what your goals are for your session. Do you want to dabble in all three types of travel portraits, or would you like to practice shooting zoomed-in headshots only? Do you want to focus on creating detail-rich environmental portraits, or is obscure street photography more your style?

2. Be confident

Confidence is key for two major reasons. First, you’re going to need to be brave to risk rejection and ask strangers for their photograph; overcoming this fear can be difficult, but with every “yes,” your confidence will grow. Second, if you act like you know what you’re doing (even if you don’t), your subjects are going to trust you. This will make them more relaxed and natural in front of the camera, which is absolutely critical for making great portraits.

3. Take only what you need

When you head out to take street portraits, don’t weigh yourself down with a million lenses. Bring along a lightweight tripod, sure, but leave the reflectors and extra gadgets at home. If you travel light, you’ll be able to cover more ground, you won’t waste any time changing and re-situating gear, and you won’t seem so intimidating to potential portrait subjects.

“[If] you’re finding natural light [and] you’re shooting with maybe one lens… if you’re not flipping through gear [and] you’re not packing a ton of gear and reflectors and everything, you’re going to make your subject feel more comfortable,” said van Son.

4. Consider composition carefully

When composing a portrait, do you just shoot what feels right or do you think through all the details to ensure that your compositional choices all serve to flatter the subject and enrich your photograph? While every photographer will go about composing images differently, van Son believes that it’s important to think critically about each portrait’s framing, focus, crop, background, and depth of field, among other details.

5. Meticulously select backgrounds

When selecting a background for a portrait, be sure to analyze your candidates’ colors, textures, and framing in relation to the subject. Backgrounds should always complement subjects and emphasize particular aspects about their faces, such as their eyes; they should never distract from subjects.

“Sometimes the background is just as important as the foreground in portrait photography,” said van Son.

6. Photograph many different types of people

Don’t get stuck in a rut photographing the same types of people or your portfolio—and your creativity—will ultimately suffer. Instead, make it your mission to photograph a broad variety of people so that your portfolio is as diverse and interesting as possible, and so that you remain sharp creatively. Comfort is the enemy of creativity!

7. Shoot multiple compositions for each subject

One of van Son’s most highly recommended practices for travel portrait photography is photographing multiple compositions for each subject. Reviewing an image on your camera’s tiny LCD screen can provide a distorted view of how good a particular image actually is. It’s a good idea, then, to photograph each subject from multiple angles and distances so that you have plenty of variety to choose from during post-processing.

“Start from farther away… a little wider,” said van Son. “Get the whole scene and then slowly work your way into a headshot and you’ll have a variety of different images from the same subject.”

8. Find the right light

Unless you’re walking the streets with assistants, chances are good that you won’t have a wide assortment of lighting equipment at your disposal as you search for interesting portrait subjects. Instead, you’ll need to be able to identify optimal natural lighting conditions in your environment based on the light’s directionality, harshness, and color temperature.

9. Be respectful

Not all successful photographers utilize the same methods and gear, but most pros do have at least one thing common. Whether they’re working abroad or in their backyard, they treat people with respect, and that gracious, approachable manner draws interesting photography subjects to them.

“Don’t just shove your camera in their face,” said van Son. “Always ask for permission… and if they don’t want you to photograph them, be nice about it. Be cool with it. Some people don’t want their photo taken. Don’t take it personally.”

Go to full article: 9 Travel Portrait Photography Tips

What are your thoughts on this article? Join the discussion on Facebook or Google+

Article from: PictureCorrect

from PictureCorrect http://ift.tt/1nPO2d0
via IFTTT

Read More

PictureCorrect.com: P Mode on Digital SLR Cameras

It seems that some folks are determined to make photography more difficult than it has to be. You might hear some photographers say, “I only shoot using the manual exposure mode,” while others might say, “I only use the Aperture or Shutter Priority exposure mode.”

photo by Daniel Oines

That’s fine and well for those who understand the basics of camera exposures. It’s also great to use those shooting modes when a change of the lens aperture opening and/or shutter speed setting will give better results for an image. But, is it really necessary to fumble with exposure controls for every shot? No, not really. That’s why all cameras have automatic shooting modes. Pictures taken using the automatic mode will generally come out pretty good. When you use the automatic mode, the camera will choose just about every setting for you to get a proper exposure; however, there are times when changing certain camera settings will produce a better image. Unfortunately, those settings cannot be changed when you are shooting in the automatic mode.

What is Program Mode?

Let me introduce you to Program mode. Program or “P” mode is similar to your camera’s automatic mode because it will automatically set a proper exposure value for your shot (as far as the lens aperture opening and shutter speed).

What makes using Program mode different than shooting in automatic is that you will have control over most camera settings while the camera chooses the best exposure values. The settings that you will be able to control in Program mode will include the ISO, light metering, focusing, and flash settings.

Every DSLR camera and mirrorless camera has a “P” mode setting. However, most basic compact cameras won’t have a program mode.

So, Program mode is good for learning how to use different camera settings without having to worry about obtaining the proper exposure as well. You can use Program mode for spur of the moment shots without messing up too many pictures due to bad exposure settings. You can always experiment with manual settings when getting the shot exactly “right” is not critical.

Take note that the lens aperture and shutter speed settings can be controlled to an extent in the “P” Program Shift mode. We will discuss that a little more in just a bit.

photo by Heidi

When To Use Program Mode

But first, let’s take a look at a couple of picture taking situations when the Program mode can be useful. Let’s say you’re taking pictures of a scene with very bright as well as dark shaded areas. Sometimes in a situation like that, your camera’s light meter can be fooled and produce an underexposed or overexposed image.

If you’re using Program mode you can set your camera to Spot Metering and read the light from a small area rather than reading the light from the overall scene. That will give you a proper exposure for the part of the scene or subject that you think is the most important (the camera will set the exposure values). You would not be able to use spot metering if you were shooting in automatic mode.

Here is another scenario in which the program mode can be useful. Let’s say your camera is set to a focusing mode that covers a wide area of the scene you are viewing. If you’re trying to take a picture of a flower that is close to other flowers or leaves, the camera might focus on the wrong flower.

photo by Elliot Plack

That’s not a big problem if you’re in Program mode. Just change your camera’s focusing mode so that it zeros in on the exact area that you want to be in focus. Once again, you would not be able to perform this function if you were using the automatic mode.

So, the point is that just about any camera setting that you may use in manual mode can be used in Program mode. Once again, remember that the lens aperture and shutter speed are automatically set for you when you use the P mode.

Fine Tuning Program Mode

As previously mentioned, the aperture and shutter speed can also be adjusted somewhat in P mode. For example, once you compose a picture and press the shutter half way down, you will be able to see the lens aperture and shutter speed the camera has chosen on the LCD screen. If you think the shutter speed might be too slow, there will be a dial on the camera that you can rotate or a button to press to change the shutter speed.

(This will be called using the Program Shift or Flexible mode. It is part of the regular Program mode. Check your camera’s instruction manual for more precise instructions.)

What will happen once you change the shutter speed is that the aperture will be changed accordingly to maintain a correct exposure. If it is the aperture setting you want to change, just move the dial or button in the opposite direction. You’ll be able to choose the aperture setting you want and the camera will set the shutter speed for a proper exposure.

photo by John Ragai

Some will say that the same type of adjustment can be done using the aperture or shutter priority modes. That is very true. But again, one of the main reasons to use the Program mode is so that you don’t have to worry about setting aperture or shutter speed. However, it’s good to have the option of quickly adjusting them in the Program mode if you choose to do so.

While using Program mode can be very useful, it is also a good idea to learn how to use Aperture Priority, Shutter Priority, and Manual modes as well. Eventually you’ll figure out which one might be your first choice.

About the Author:
If you need to learn more about aperture, shutter, and ISO, feel free to visit http://ift.tt/20HEsqf. There are plenty of other photography tips and topics at the site to help you better understand the basics of photography.

Go to full article: P Mode on Digital SLR Cameras

What are your thoughts on this article? Join the discussion on Facebook or Google+

Article from: PictureCorrect

from PictureCorrect http://ift.tt/SgeUPA
via IFTTT

Read More

PictureCorrect.com: High-Res Timelapse Captures Hotel Fire at The Address in Dubai

Even though 2016 has barely begun, we’ve already got a candidate for this year’s most beautifully horrific video: a tremendously detailed, high-resolution timelapse of a frightening blaze that erupted in a five-star Dubai hotel on New Year’s Eve. The video is well done, but it also portrays such an abjectly horrible image, that we expect you to have some mixed feelings while watching:

The trouble began on the 20th floor of the Address Downtown Dubai, which was completed in 2008 and boasts more than 170 rooms. A few curtains allegedly caught fire in one of them, leading the blaze all the way to the ground. As CNN reported, the staff acted calmly and quickly, and only a few guests sustained minor injuries; many in the city even turned their backs to the inferno to watch the city’s famed New Year’s Eve fireworks, with more than a little irony.

Meanwhile, several kilometers away, Ukrainian timelapse photographer Kirill Neiezhmakov was watching the whole thing unfold with his Canon 60D and 70D cameras. He’s had some experience shooting hyperlapses of the futuristic city before, but this was something different—so he held his shots firm until he had about two minutes of footage, and the result is mind-blowing.

For Training on Timelapse Photography:

There is a complete guide (146 pages) to shooting, processing and rendering timelapses using a DSLR camera. It can be found here: The Timelapse Photography Guide

Go to full article: High-Res Timelapse Captures Hotel Fire at The Address in Dubai

What are your thoughts on this article? Join the discussion on Facebook or Google+

Article from: PictureCorrect

from PictureCorrect http://ift.tt/1o7waKn
via IFTTT

Read More

PictureCorrect.com: Sony Introduces the a6300 Camera with World’s Fastest Autofocus

New Mirrorless Camera Features World’s Fastest AF speed and Highest Number of AF points plus Newly Developed 24.2 MP APS-C Sensor, High Resolution 4K video recording and more

 NEW YORK, Feb. 3, 2016 – Sony Electronics, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, has today introduced the latest addition to their award winning lineup of mirrorless cameras, the α6300 model.

The camera boasts an unrivaled 4D FOCUS™ system that can lock focus on a subject in as little as 0.05 seconds, the world’s fastest AF acquisition time. Additionally, the α6300 has an incredible 425 phase detection AF points that are densely positioned over the entire image area—the world’s highest number of AF points on any interchangeable lens camera, and can shoot images at up to 11 frames per second with continuous autofocus and exposure tracking,

The impressive new mirrorless model also has the ability to support full live-view continuous shooting on the Tru-finder or LCD screen at up to 8 frames per second, ultimately producing a real-time shooting experience that combines all the benefits of an electronic viewfinder with the immediacy of a through-the-lens optical viewfinder.

The versatile α6300 is equipped with a newly developed 24.2 MP (approx.. effective) APS-C sized Exmor CMOS sensor that works together with a BIONZ X image processing engine to produce outstanding image quality throughout the entire ISO sensitivity range ISO 100 – 51200. It can also shoot and record high resolution 4K video with full pixel readout and no pixel binning in the popular Super 35mm format.

“The α6300 is yet another example of the dominant innovation that Sony continues to bring to the industry, especially from the mirrorless space,” said Neal Manowitz, Vice President of Digital Imaging at Sony Electronics. “With this new model, we’ve combined the world’s fastest and most extensive AF system with a superb image sensor and many of our most advanced imaging and video technologies, creating a package that can far exceed the performance of any DSLR in its class. This camera connects you with the action like never before.”

Unrivaled AF Performance

Sony’s new α6300 camera builds upon the acclaimed 4D FOCUS performance of the α6000 model, utilizing a Fast Hybrid AF system that combines high-speed phase detection AF with extremely accurate contrast AF and allows it to capture and lock on to moving subjects in as little as 0.05 seconds. The camera’s High-density Tracking AF technology positions 425 phase detection AF points over nearly the entire field of view, allowing it  to accurately focus throughout a wide area—even on small, fast objects that other cameras would fail to recognize.

In addition to the extensive AF coverage, the α6300 debuts a new High-density tracking AF technology that significantly improves subject detection and tracking performance. This new technology can quickly activate a large number of AF points surrounding a subject—approximately 7.5 times more density than the α6000—and intelligently adjust them in accordance with the subject’s motion. This is a particularly powerful feature when used with high-speed 11 fps continuous shooting or the new 8 fps continuous live-view mode, which provides 100% accurate framing for fast moving subjects on the LCD screen or viewfinder.

Of note is the fact that the camera’s 425 phase detection AF points, enhanced tracking and focus accuracy are all available on the α6300 when using A-mount lenses with a mount adaptor like the Sony LA-EA3. This is a first for Sony E-mount interchangeable lens cameras with an APS-C sized sensor, as the only other cameras to feature this capability are the full-frame α7R II and α7 II models.

Other enhancements to the α6300 include silent shooting functionality the ability to use AF in focus magnifier mode, expanded flexible spot AF, Eye AF in AF-C mode and more.

Powerful 24.2 MP Exmor CMOS Sensor and BIONZ X Processor

In order to maximize efficiency and overall camera performance, the α6300 features a new 24.2 MP sensor that is an ideal match for its BIONZ X image processing engine.

The new image sensor employs copper wiring in its structure, which improves light collection efficiency and significantly accelerates readout speed. The BIONZ X processor features an upgraded image processing algorithm designed to maximize the sensor’s overall capabilities. Together, the two key components work together to produce images with low noise and exceptional resolution in sensitivity settings up to ISO51200, in particular in the mid-to-high sensitivity range.

Ultimate 4K Resolution and Other Professional Video Capabilities

In another first for non-full-frame Sony interchangeable lens camera, the new α6300 offers internal 4K movie recording in Super 35mm format. When shooting in 4K, the camera uses full pixel readout without pixel binning to collect 20 megapixels of information—approximately 2.4x (6K equivalent) as many pixels as 4K UHD and then oversamples the information to produce high quality  footage with exceptional detail and depth.

The camera utilizes the XAVC S codec during video shooting, which records at a high bit rate of 100 Mbps during 4K recording and 50 Mbps during standard Full HD shooting, ensuring maximum detail and clarity in both video formats. Additionally, the camera will focus approximately twice as fast as its predecessor during movie shooting thanks to its new and improved AF system.  AF speed and AF tracking sensitivity are also adjustable for expanded creativity.

Other professional caliber video features include the ability to record Full HD at 120 fps at 100 Mbps, another first for α interchangeable lens cameras with APS-C sized sensors. This mode allows footage to be reviewed and eventually edited into 4x or 5x slow motion video files in Full HD (24p or 30p) resolution with AF tracking. The new α6300 also offers S-Log gamma recording for wide dynamic range shooting—approximately 14-stop latitude in S-Log3 gamma setting—and supports S-Gamut for a wider color space. Both options allow for greater creativity for processing video post-production.

Also included on the new camera is a microphone line input that accepts external microphones and also supports XLR input with Sony’s XLR adapter kit, as well as Gamma Display Assist, a new function that allows users to monitor images or check focus when recording S-Log movies. The new model has enhanced Zebra functionality for greater exposure control. Picture profile settings are available, as well as Time Code / User Bit and much more.

Enhanced Operability and Ergonomics

The α6300 camera is equipped with a high contrast, high-resolution XGA OLED Tru-Finder with approximately 2.4 million dots that offers exceptional corner-to-corner visibility. There is also a new mode available for the viewfinder that allows display of images at 120 fps, ensuring that action is displayed smoothly with very few afterimages, making subject tracking through the Tru-finder easier than ever.

Aesthetically, the new α6300 camera features an extremely solid feel in hand thanks to its robust, magnesium alloy design. It can be customized to fit nearly any shooting style or preferences, with 9 customizable buttons that one of 64 different functions can be assigned to.  The camera adds a digital level gauge as well as upgraded dust and moisture resistance¹⁰, a reinforced lens mount structure and a new shutter release button and mode dial with improved operability and grip.

The new α6300 camera is Wi-Fi and NFC compatible and fully functional with Sony’s PlayMemories Mobile application available for Android and iOS platforms, as well as Sony’s growing range of PlayMemories Camera Apps, which add a variety of creative capabilities to the camera. It also supports QR code for easy connection to non-NFC smart phones.

Pricing and Availability

The Sony α6300 interchangeable lens camera will be available in March for about $1,000 for the camera body or for about $1,150 paired with a 16-50mm F3.5–F5.6 kit lens (model SELP1650). Prices for the Canadian market will be about $1,350 CA for the body and about $1,500 CA for the camera kit. It will be sold at a variety of Sony authorized dealers throughout each region.

The α6300 is compatible with Sony’s growing lineup of α lenses including the new premium G Master lenses also announced today.

Go to full article: Sony Introduces the a6300 Camera with World’s Fastest Autofocus

What are your thoughts on this article? Join the discussion on Facebook or Google+

Article from: PictureCorrect

from PictureCorrect http://ift.tt/209wV1s
via IFTTT

Read More

PictureCorrect.com: Learn How to Use ND and Graduated ND Filters

You’re probably already aware of filters and the amazing creative potential they bring to your photography. A lot has already been written on this website about different types of filters and their specific uses. If you’re still trying to figure out if you need one, Doug McKinlay shares this informative video. By the end of the video you might be convinced that filters are just what you’ve been missing in your landscape photography:

For this video, McKinlay uses the LEE filter system. He chooses them because of their reliability. There are obviously other brands, and you may find them equally good in quality. It’s entirely up to you which brand you choose. McKinlay selects the 100mm x 100mm LEE system. There are a wide variety of these filters and for this video he selects only the standard and the graduated neutral density filters.

Standard ND Filters

In the image below, McKinlay holds up a two-stop standard ND filter with his right hand and a ten-stop one on the other. The standard ND filters are opaque photographic glasses and their job is to stop light. They’re available in different stops: two-stops, four-stops, and so on. The higher the number, the more light they stop.

Standard ND filters

Graduated ND Filters

Graduated filters, on the other hand, are not uniformly opaque. There is a slight delineation from opaque to clear. These are also available in different light stopping powers. They are available in two varieties: hard and soft. The hard ones have the delineation more pronounced than the softer ones, which are more gradual. These filters are widely used for balancing out light in a landscape scene.

Grad ND filters

Tripod and Accessories

A tripod is essential when using either of the above filters. These filters are predominantly used to stop light and are used in tandem with a slow shutter speed to capture motion blur. Without a tripod such creative photography would be impossible.

LEE 100mm x 100mm system filters attach themselves to the lens via an adapter. Pick an adapter that matches with the lens’ filter thread diameter. Once the adapter is in place attach the bracket (these have guide rails on them for sliding the filters into place).

You will also need a remote cable release, because when using filters most of your exposure times will be in excess of one minute, and you’ll have to use the bulb mode. Using a remote cable release reduces the chances of camera shake when using the shutter release button. Go for the ones that are directly attached to the camera.

Camera Settings

Set your camera to manual mode. Set the shutter release delay to two second or ten second. Don’t forget to turn on mirror lock-up. This will take care of any lingering jerks even after the tripod dampens out most of them.

Use the mirror lock-up position

McKinlay suggests that the f-number should remain somewhere around f/11. At higher f-numbers, lens diffraction sets in and the relative advantages of deeper depth of field tend to go away.

McKinlay also suggests that a graduated filter should go on first followed by the standard filter, which slides between the grad filter and the lens. Once you have the composition set and the filters in place, take a meter reading.

Use the LEE cheap sheet for quick results

Pro Tip

The viewfinder is a prime candidate for leaking light when making long exposures. Take the viewfinder cover off. On the camera strap you have this little cover which you can now use to seal off the viewfinder.

Block your viewfinder to stop light leakage

Voila! No more light leakage! If you camera strap does not come with a cap, don’t fret. Use tape or anything else that you can find to do the job.

Neutral density filters allow you to take long exposures even in somewhat bright lighting conditions. What other tricks do you use for long exposures?

For Further Help with Lens Effects

Lens Effects is a virtual camera bag of realistic effects developed from real lenses and filters. Use 29 professional filter and lens effects to finish your photos right.

Found here: Topaz Lens Effects

Go to full article: Learn How to Use ND and Graduated ND Filters

What are your thoughts on this article? Join the discussion on Facebook or Google+

Article from: PictureCorrect

from PictureCorrect http://ift.tt/1mdFlqX
via IFTTT

Read More

PictureCorrect.com: Top 10 Sports Photography Tips

Meet Sam Todd, a London-based photographer who’s photographed some of the world’s biggest competitions like the Tour de France and the Rugby World Cub. Sam’s developed a sports photography style that not only captures the epic passes and scores in a 90 minute game, but the story and personalities behind the game, too. Read on to learn this internationally published photographer’s advice for getting your best photos in sports.

1. Preparation is key

Know the sport you are photographing, or learn it. You must understand what you’re photographing in order to illustrate it. Research the game and the players, find out who is hot in the media, find out who is most likely to have a big impact on the game or score the winning try in the corner.

By Sam Todd / Sportpix

2. Make your own luck

Of course there is luck in sports photography, but more often than not luck is made by the photographer. Sport photographers very rarely miss an important moment, because they are always looking for the unexpected, anticipating the winning move or defining moment, and they make sure they are in the right place to capture it.

By Sam Todd / Sportpix

3. Setting the scene

It is always worth considering photographing aspects other than the game, such as the crowd beforehand showing anticipation, or afterwards joy or devastation. Sport is my favourite thing to photograph because there are always so many emotions on display. One of my favourite photographs from the Rugby World Cup was taken by a photographer called Eddie Keogh. If you haven’t heard of him yet, take some time to look at his work. The picture was of Japan scoring a try against South Africa; Eddie did not have the best angle on the try itself, so he slipped his focus to the crowd behind celebrating the try, which made a much more interesting photo than the multitude of other pictures of the try.

By Sam Todd / Sportpix

4. Position is key

It depends on what the sport is and how you want to cover a game. If you’re photographing rugby or football and you want to cover both teams, I would suggest roving, following the play as it happens, running up and down the pitch, ideally in front of the play. You might miss a run-away try or goal but you have the opportunity to get closer to the play. It’s also worth investing in a pair of knee pads—not the most fashionable photography accessory but needed. The other option is to stay static at one end and maybe change at half time depending on the coverage you’re looking for. Most importantly, shoot from a low angle to empower your subjects.

5. Backgrounds

This is what makes a good sports picture into a great one. Try to keep your backgrounds clean and as straight as possible. Tacky signage boards are a common theme in sports photography, but try to avoid them, or open up your aperture to ensure they are out of focus.

6. Motion and how to show it

Sometimes the best way to illustrate a sport is not capturing it with a super fast shutter speed; sometimes you want to drag the shutter. A lot of people make this mistake when photographing motor sport. Cars tend to look like they’re standing still if you photograph them head on at 2000th of a second, you can’t see any movement. Try photographing them side on at a 15th–60th of a second depending on the subject’s speed, and pan with it. You will then capture the movement of the background or the wheels of the car.

By Sam Todd / Sportpix

7. Focus modes

Vitally important, remember that as your subject is moving you need to change the focus mode so that your camera knows it needs to constantly track your subject as you shoot. Hopefully you have read the manual; it’s boring but it is also very helpful.

8. Keeping tight

The aim of sports photography is to produce exciting, emotive images to illustrate the event. Try to use a longer lens as it will enable you to get that empowering looking sports shot. If you don’t have a long lens carry on reading, but also consider renting a suitable lens. It may cost money but it may be more justifiable than buying a new lens, and if you can get a couple of good pictures for your portfolio from it, then it’s got to be worth it.

By Sam Todd / Sportpix

9. Equipment

I don’t want to talk too much about kit as the internet and most photography forums in my opinion put too much emphasis on lenses and f-stops. If you don’t have a massive 400mm zoom wait for the action to come to you or maybe think of sports that you don’t need a huge lens to photograph. One of the most satisfying sports to photograph is tennis; you can only photograph one person at a time and you can get pretty close so you don’t even need a massive lens.

10. Don’t worry about the bad ones and stick with it.

The most important thing I can say is get out there and shoot as much as you can. Then put your work on a platform such as EyeEm for people to see and give you advice as to how you can improve. One of the biggest mistakes I made was not showing people my work when I started, The internet is full of people willing to give free advice. Some of it you might want to ignore but a lot of the time people give pretty solid advice on how to improve.

By Sam Todd / Sportpix

The way I look at it is you can only get better so when you take a bad photo, work out why you feel it was bad, learn from it, and try not to do it again.

About the Author:
Sam Todd is a 25 year old freelance photographer, his style is documentation, seeing and telling the whole story. He has most recently been involved in photographing The World Power lifting Championships, The Rugby World Cup and the Tour de France.

EyeEm is a community & marketplace for real photography. Looking for more hacks and tutorials? Check out their tips and tricks. If you’d like some more inspiration of great sports photography, EyeEm also has a curated Sports album.

Go to full article: Top 10 Sports Photography Tips

What are your thoughts on this article? Join the discussion on Facebook or Google+

Article from: PictureCorrect

from PictureCorrect http://ift.tt/1nFBrs0
via IFTTT

Read More

PictureCorrect.com: What Makes a Photographer in the Age of Mass Photography?

As part of if its Brief But Spectacular series, PBS News Hour published this short three-minute video of photographer Ken Van Sickle explaining what his thoughts are on the question, what makes a photographer when everyone is taking pictures?:

Van Sickle started his journey in photography more than six decades ago, documenting the bohemian life of New York and Paris in the 1950s and ’60s. Interestingly, he says,

“When I was in Paris, I was 23 I think and I wanted to shoot everything I saw. But I didn’t have enough money to buy like more than like a roll of film every two weeks.”

Ken Van Sickle captured this image of the Jazz great Chet Baker at the American Club

“I am not a concerned photographer. I am not trying to prove anything in any way politically or otherwise. I am interested in beauty and sort of the subtle moments of everyday life.”

Another of Van Sickle’s captures

“There are a lot of things that make a good photograph. You have to think about texture and gesture and composition—all the things that painting has in it.”

“Technology doesn’t change the way photography is. It makes it available to more people which means there going to be much much more really terrible pictures taken or pictures that are totally dependent on subject which is all all right.”

‘The Regular’

“I mean if you there when the Hindenburg caught on fire and you took a picture – that’s a great photograph. But you are not a great photographer because you can’t repeat that in everyday things. What a great photographer does is that they are consistently able to make something in a style that’s personal to themselves.”

Go to full article: What Makes a Photographer in the Age of Mass Photography?

What are your thoughts on this article? Join the discussion on Facebook or Google+

Article from: PictureCorrect

from PictureCorrect http://ift.tt/1QZKNe2
via IFTTT

Read More