Have you ever wanted to create stunning nature photos but never known how? I encourage many people to be creative in their photography; especially when shooting nature. Think about the endless opportunities you have as a photographer to capture many textured subjects. For instance, materials such as timber can often present the photographer with a series of challenges and photographic exploration. Whether the pictures will be shot in full-color or in the black and white style it is significant to make a well thought out "method of shooting" before beginning to capture the pictures. This would include visualizing the sorts of special effects and outcomes desired and then figuring out a a small number of various approaches to capturing such pictures.
Let's first consider photographs of timber or wooden objects. Due to the fact this is an organic material many people may not think of bringing wood into their photographic set up for a photo session, but if we take just a second to contemplate how wood might appear we can realize how it would work in the "sterile" or cleaner setting of a studio surroundings.
There are plenty of timber subjects to choose from. Even your basic subjects such as coloured pencils right through to furniture can provide you with some great photographic opportunities. But it's not just man-made subjects that we can look for. It is also naturally occurring in driftwood and tree branches too. A single tree branch or portion of bark will expose crevices, moss or lichen, and a large variety of special tones and finer details.
A photographer might want to take photos of the many textures and tones in a piece of driftwood using only the black and white settings on their digital camera, or they may instead depend on the color functions to photograph the texture and different color patterns in something like Tiger Maple. Clearly, this will mean that that choosing the right setup becomes imperative to stunning images.
So, how do you know the right line of attack to photographing wooden textures? It all boils down to your intentions. That piece of driftwood could be photographed along the sandy beach where it was discovered; through the various tones of the wood and the textures of the sand finishing and the composition. This same piece of wood, however, may be carried into the studio and set against a concrete black or white background where its swirls, lines, ridges, and types of tones will become the complete scene instead.
Irrespective of the type of wood to be photographed and the choice between color or black and white, it is vital to bear in mind that sharpness in texture is the final goal. For this example we will return to that piece of driftwood and consider looking at it "up close" and also examine it "au natural" with the digital camera.
If a photographer has made the decision to bring the timber into the photographic studio and get in close to the patterns and textures that have naturally occurred they are going to need to assess the accurate way to do this. Should they shoot with a macro lens or should they use the identical approach as they would with up-close portraiture? Generally, it is best to make use of the zoom lens (such as put to use in a majority of portrait settings) to get a really wonderful range of options. If you prefer close up for such a photo you are going to have to really wrestle with the lighting development, but the zoom lens will let the skilled photographer remain at a fair distance and really flood the timber with a great deal of easily controlled lighting. This means that shadows can be designed when required or they can be wholly eradicated by the lighting setup too.
If we shoot outside to take photos of that piece of driftwood as it lies on the sands, we are going to have to reflect on the depth and value of its spot in the shot. Is it wise that we stand over it and just shoot down into its patterns? Is it more interesting to juxtaposition it beside the pale sands, the gray waters, and the pale blue sky? Should it be created in black and white? Some of these queries have more to do with a photographer's private preferences than anything else, but for the purpose of this conversation we will opt for the color shot of the driftwood.
It is going to be an object in dark grey and black tones placed in a setting that is full of paler and softer colors. A skilled photographer is going to have to use a lot of of the equivalent treatments for this photograph as they would for average landscape photography. This means they will want to make sure that their forefront and background are in the identical focal depth as the subject, and they will need to ensure that the light of the setting is balanced. Implementing a polarizing filter can diminish any reflections off the water and the sands and keep the colors a bit cooler.
Clearly, these are just straightforward examples of how a individual piece of wood can create an infinite range of photographic opportunities, but it is important for any photographer to bear in mind that their broad background environment is an ideal scene for experimentation.
Let's first consider photographs of timber or wooden objects. Due to the fact this is an organic material many people may not think of bringing wood into their photographic set up for a photo session, but if we take just a second to contemplate how wood might appear we can realize how it would work in the "sterile" or cleaner setting of a studio surroundings.
There are plenty of timber subjects to choose from. Even your basic subjects such as coloured pencils right through to furniture can provide you with some great photographic opportunities. But it's not just man-made subjects that we can look for. It is also naturally occurring in driftwood and tree branches too. A single tree branch or portion of bark will expose crevices, moss or lichen, and a large variety of special tones and finer details.
A photographer might want to take photos of the many textures and tones in a piece of driftwood using only the black and white settings on their digital camera, or they may instead depend on the color functions to photograph the texture and different color patterns in something like Tiger Maple. Clearly, this will mean that that choosing the right setup becomes imperative to stunning images.
So, how do you know the right line of attack to photographing wooden textures? It all boils down to your intentions. That piece of driftwood could be photographed along the sandy beach where it was discovered; through the various tones of the wood and the textures of the sand finishing and the composition. This same piece of wood, however, may be carried into the studio and set against a concrete black or white background where its swirls, lines, ridges, and types of tones will become the complete scene instead.
Irrespective of the type of wood to be photographed and the choice between color or black and white, it is vital to bear in mind that sharpness in texture is the final goal. For this example we will return to that piece of driftwood and consider looking at it "up close" and also examine it "au natural" with the digital camera.
If a photographer has made the decision to bring the timber into the photographic studio and get in close to the patterns and textures that have naturally occurred they are going to need to assess the accurate way to do this. Should they shoot with a macro lens or should they use the identical approach as they would with up-close portraiture? Generally, it is best to make use of the zoom lens (such as put to use in a majority of portrait settings) to get a really wonderful range of options. If you prefer close up for such a photo you are going to have to really wrestle with the lighting development, but the zoom lens will let the skilled photographer remain at a fair distance and really flood the timber with a great deal of easily controlled lighting. This means that shadows can be designed when required or they can be wholly eradicated by the lighting setup too.
If we shoot outside to take photos of that piece of driftwood as it lies on the sands, we are going to have to reflect on the depth and value of its spot in the shot. Is it wise that we stand over it and just shoot down into its patterns? Is it more interesting to juxtaposition it beside the pale sands, the gray waters, and the pale blue sky? Should it be created in black and white? Some of these queries have more to do with a photographer's private preferences than anything else, but for the purpose of this conversation we will opt for the color shot of the driftwood.
It is going to be an object in dark grey and black tones placed in a setting that is full of paler and softer colors. A skilled photographer is going to have to use a lot of of the equivalent treatments for this photograph as they would for average landscape photography. This means they will want to make sure that their forefront and background are in the identical focal depth as the subject, and they will need to ensure that the light of the setting is balanced. Implementing a polarizing filter can diminish any reflections off the water and the sands and keep the colors a bit cooler.
Clearly, these are just straightforward examples of how a individual piece of wood can create an infinite range of photographic opportunities, but it is important for any photographer to bear in mind that their broad background environment is an ideal scene for experimentation.
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