Flower Photography - Diffusing the Light

If, like me and Andrea Corrie, you enjoy close up photography, you will appreciate that light and shade play a significant role in the overall look of your images. I have recently started to explore this aspect of photography and have seen or read about the wealth of equipment that is available to harness light and create different effects. However, the sophisticated 'extras' come at considerable cost, so I looked at what is on hand around the home that could be adapted to mimic various effects.

The following two examples are results from Andrea Corrie's easily set up, homespun experiments:
http://www.outdooreyes.com/photo152.php3
Click the author's gallery image at http://www.outdooreyes.com/list/thegallerys.php3?photoid=1023&wh=2 to view the author's photographs.

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Hints on Photographing Dogs

Courtesy of:
Kids & Critters Photography
Jan Haderlie, Photographer
at http://www.dogpatch.org/doginfo/takepics.html

For those who are interested here are a few suggestions I have found useful in getting good photos of your dogs.
I shoot outside in the early morning hours or late afternoon hours. The actual time will vary depending on the time of year and your latitude. You are aiming for the time when the sun is low enough on the horizon to not create shadows in the ears. In S. CA that is no later than 10am and no earlier than 3pm in the late spring, summer and early fall. In the early spring, late fall and winter the sun is much lower on the hoizon and you can shoot much closer to noon.
A slightly overcast day is the best lighting. It reduces the contast between the blacks and whites and allows more detail to be recorded on the film. The sun lower in the sky also helps to reduce the contrast.
I use Kodak Pro 400 MC in my medium format camera. It is a wonderful film for shooting dogs as it is a medium contrast film but is too grainy for 35mm use. I have used Kodak gold before Kodak started making the Pro 400 and liked it very much. It is available in 100 and 200 ASA and would be the best choice when using a 35mm camera.
A tripod is essential especially with a 35mm camera. You need the camera to be as still as possible for the maximum sharpness. A shutter release cord is nice to help ensure the camera does not shake as you press down on the shutter.
With a 35mm camera the lens should be about a 90mm for body shots and about 70-75mm for head shots. I leave background around the dogs so that if I have to straighten the dog when printing I have enough background to do that. The ideal print will have 1" to 1 1/2" of backgound between the dog and the print edge. A 35mm negative is much wider proportionally than an 8x10 is wide so if you concentrate on the top and bottom space the side to side will be fine.
I usually shoot at f11 and go down to f8 if needed. Much lower than that and you wind up with the dog out of focus at one end or the other. I do not use a flash.
A 3/4 view of the body is flattering for most dogs but do not get locked into only doing one view. Experiment and work with each dog to find the best angle. Remember to turn the dog to the non show side, it might be the best. You need at least one other person to manage the dog and some noise source. I have a recorder with various sounds that helps but a second helper is the best who can hold the noise source or be the noise source. This can get very silly and is not for the inhibited.
You need to get at dog level when photographing. This usually means sitting on the ground so bring something to sit on in case of snow, mud, or any other unmentionables you might encounter on the ground. Because I am moving to get the best angle of the dog I usually end up off the ground cover and covered with muck. A hazard I can not avoid.
The background should be at least 10 feet away from the dog. A park with trees and hills far away is my preference. Be careful that the grass is not too long. Also try to avoid the tree out of the head.
The keyword in doing animal photography is PATIENCE, PATIENCE. I have photographed dogs that only allow you to take one photo at a time and then the camera noise makes them move. The dog has all the control so getting impatient is not the answer. With enough time and film you can get good photos of your dogs. Good luck.

http://www.ct-graphics.com/flowers/protea-flower-2654.html
http://www.ct-graphics.com/the_spammers_ips.html


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Reshooting the American landscape - again

Many photographers spend their careers hopping from one repertoire location to the next. In fact, many of the locations have special times of the year, which are considered best and if you plan your schedule well you can maximize your time with the repertoire while it is in season. If you follow the migratory pattern of the landscape photographer you might spend fall in Grand Teton National Park at the Snake River overlook (next to the parking lot) where Ansel Adams took his photo. In the winter you can swing by Yosemite to make some photos of snow on the rocks in the Merced River, spring in the high desert shooting wildflowers, and summer in Glacier National Park making your contribution to oeuvre of bear grass photography after which you'll certainly follow the signs to St. Mary Lake for some sunrise shots. If you are new to landscape photography this can be a little bewildering and you might consider attending one of the many workshops set up by landscape repertoire veterans to show you the ropes.

Full article here: http://www.photo-mark.com/articles/repertoire/page5.html
read more

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Pencils of Nature

Heather Ackroyd and Dan Harvey have described the materials that make up their 'three-dimensional photography' as 'pencils of nature.' The Surrey, England based duo didn't invent this term; it was the name of an 1844 book by pioneer photographer William Henry Fox Talbot. Ackroyd and Harvey admit that their photography is greatly inspired by his work and ethos towards nature. They expose plots of seedling grass to light through a custom-made negative, which makes the grass grow in varying shades--from dull yellow to dark green. After a couple of weeks, when the growing process is complete--almost as if by divine intervention--faces or landscapes seem to appear in the grass. Just as miraculously as these lawn images emerge, so do they degrade over a short period of time--especially the fresh-air pieces. Talbot's aim was to capture nature's fleeting beauty and fix it on paper. But ultimately, photographs fade. So does grass.
Ackroyd and Harvey are painfully aware of this fact. For over a decade they've been fine-tuning this process, and for over a decade they've had to face the reality of its deterioration. Death and decay are key components and themes of their work. But, much like traditional photography, grass photography also has a life support system. While the actual piece can fade away and dry up, the negative and the process remain, providing future generations with the means and instructions to re-create that which has fallen into the clutches of mortality. "I don't think it will die out with our death," says Ackroyd. As much as the couple's work is about letting go, and experiencing decay as a natural process, human nature and the will to preserve often go hand in hand. More recently, the couple has been working actively with scientists at the Institute of Grassland and Environmental Research in Wales to create 'stay green,' a form of grass that lasts longer than the regular material and is grown from a genetically modified seed.
All good creative intentions aside, it can't be too easy to sell highly degradable photography. "There's something very elusive about it, which is its power," Ackroyd chimes in. Apparently private collectors are interested in commissioning her and Harvey to do pieces for them. The grass team is only too happy to accommodate but tags in a disclaimer that if the client buys a piece he/she must keep it in low light or the image will fade sooner than later. "It requires a fluidity of sorts and an ability to accept some degree of transience within the art object," she adds.
This isn't the first time this sort of issue has come up with commercial art. Ackroyd sites the controversy over Mark Rothko's paintings having changed color through the decades. And of course there is the infamous story of the Marcel Duchamp piece that got cracked in transit to the Museum of Modern Art. The French Dada artist was delighted by the serendipity and incorporated it in his work.
Read PHOTOSYNTHESIS (original, unedited version) By Shana Ting Lipton
(Edited version published in Wraparound magazine, 2003, with the assistance of Paul Gachot) at http://www.shanatinglipton.com/grass.html and part 2 here http://www.shanatinglipton.com/grass2.html


http://www.ct-graphics.com/other/green-grass-2653.html
http://www.ct-graphics.com/lifestyle-occupation/page2.html


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Action sports photography - Art or Journalism?

As a photographer, what would you prefer to be labeled with? The virtuous artist full of imagination and skill creating aesthetic masterpieces with your limitless talent? Or the guy who tells a story with pictures?

Artist:One, such as a painter, sculptor, or writer (ed. note: or photographer) who is able by virtue of imagination and talent or skill to create works of aesthetic value, especially in the fine arts.
Photojournalist:A journalist who presents a story primarily through the use of photographs.
Dictionary definitions are rarely fair. The very nature of the definition requires that it be strict in it's interpretation so that the reader may understand quickly and efficiently the meaning of that particular word. Read the above definitions and think; as a photographer, what would you prefer to be labeled with? The virtuous artist full of imagination and skill creating aesthetic masterpieces with your limitless talent? Or the guy who tells a story with pictures?
Unfortunately, action sport photographers are often painted with the same brush as photojournalists. We capture the events of the day; the kickflip Andrew Reynolds does over a 12-stair set, the backside-540 that Sean White spins over some insane Utah gap, the backflip Cedric Gracias pulls out to capture the Redbull Rampage. These are all seen as events, the photos that captured them are seen as photojournalism …not art. Of course, we as photographers don't always help our own cause. We shoot sequences with little artistic merit in order to show that the rider landed a particular trick. Photo Editors, often working photographers themselves, choose only to publish shots of sponsored athletes, forgetting the stellar shots of unknown rippers for the sake of the advertisers dollar and the draw of the 14-year-old-male demographic. These are facts of life and a necessity in the industry but has it gone too far? The question remains, Are we artists? Or merely photojournalists living in a deluded microcosm of elitist art snobbery?
Maybe we're both? Is it possible? Can you be an artist and a photojournalist at the same time? It's a difficult task to capture a cork-900. It's even more challenging to make it look creative enough that the average person doesn't react to the image with the standard "Wow, that guy is crazy!" reaction. As a photographer, I know I much prefer the "Wow, what a beautiful shot!" reaction. Very few action sports photographers create images that span the small, subtle space that bridges art and journalism. The majority are left impressing the viewer with the size of the air, the technical merit of the trick or the draw of the athletes persona. Many action sports photographers are entirely happy with this. In my opinion, it isn't enough. My favourite artists are creating an interaction between the art and the capture of the event. They make them work together, in the same image, not as a sports photo that's artistic or a piece of art that documents a sports event but as an image that works on all levels of photography. You don't see portrait photographers getting by on beautiful models alone. In fact, some of the best portraits are done with some of the ugliest people (look for Richard Avedons "In the American West" project). It takes art to make a good portrait. Action sports photography is no different.
In the end, I think we should be appreciative of the our position in photography's ranks. We are, quite possibly, the only form of photojournalism that embraces our artistic side so assertively. Action sports photographers are getting more and more progressive every year, both technically and artistically. Lifestyle photography and portraiture within our industries is becoming more and more prevalent in our magazines giving all of us a great outlet to prove we are capable of the previously thought of "higher" forms of photography. We have the rare opportunity to tell a story like a journalist while using free license of our artistic talents. It's a great position to be in and I am happy to be a part of it. I think snowboard photographer Kevin Zacher, a man who has been known to successfully fuse art and sport together on more than a few occasions, said it best. "It's what you make of it for yourself. I have taken pictures that are journalism pictures and I have taken pictures that might feel like art. For me personally, I prefer the pictures that make the viewer feel the moment and feel like they are there or that they are part of the tribe."

Thanks to Mike Berard at
http://www.biglines.com/blarticles/2064/Action_sports_photography__Art_or_Journalism






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PHOTOGRAPHY: Lifestyle vs. product shots

When should I use lifestyle photography rather than product photography?

Estin B. Kiger: "Lifestyle" is one of those elusive terms that means something different to everyone you ask. To some it means showing lots of environment; others think it means showing people in action (rather than posed); still others claim it's more a matter of styling and "attitude" in photography - a casual approach to positioning your product in locations that look like real scenes. I think lifestyle is probably all of the above.

Lifestyle presentations are fun to create and entertaining to browse through; they can help define your identity, show your products in action, and add ambience and interest to your catalog. The problem is that lifestyle presentations are often not very efficient at selling product. Products tend to disappear into the atmosphere, and real lifestyle catalogs seem to be more about image than about selling off the page. So here are my guidelines for using lifestyle photography:

1. Use it with gusto if your catalog is a support vehicle to a retail operation or other sales channel, as is the case with upscale cataloger/retailers like Patagonia and Nordstrom.

2. Use lifestyle photography with discretion if your catalog is your primary source of revenue. It's a safe bet to use lifestyle on your front cover or the opening spread of your catalog - then lightly sprinkle it throughout your book to spice up the pacing and convey your image. Lifestyle can also be implied by propping your photography, but be careful that the propping doesn't overpower the product. We have used $500 plates to prop some of our Harry and David shots, but the lowly pear is always the hero.

3. If you're selling commodity products and price is your main point of differentiation, as it is with many business-to-business books, don't waste your money on lifestyle photos.
A final thought: When people are about to part with their money for a product they have only seen pictured in a catalog, it has been my experience that the larger the image of the product, the better prospects respond.

Lois Boyle: First and foremost, remember that the ultimate goal of any image is to sell product! Unlike other direct mail, the catalog reigns supreme as a visual medium. It's the photos that grab attention - not the copy, headlines, or price. So the photo must represent the features and benefits of your product. If the photo image has your customer's attention, the other elements will close the sale.
Many catalogers use lifestyle photography to present an attitude, an event, or a place in time, which can set you apart from the competition. The Southwest-inspired Sundance gifts catalog supports its product with lifestyle photography to position its unique mix of old and new in an earthy presentation. Lifestyle photography can also create or depict a situation that describes a product's benefit.
On the other hand, gifts cataloger The Sharper Image typically uses product-only shots but takes advantage of high-tech color backgrounds to support its cutting-edge merchandise. Because it positions the item as the hero, product photography does the best job of presenting the product on the page and properly showing details.
If you opt for lifestyle photography, choose your props carefully and use them only to:
- explain the feature or benefit
- demonstrate usage
- demonstrate fit by using a model
- show scale or size of the product
- support your brand or theme.

Catalogers often add a wild or interesting prop to grab attention, but sometimes the prop gets too much attention, and the product suffers.
Many catalogs use a consistent mix of product and lifestyle shots to keep their catalog fresh and interesting. Whichever style of photography you use, it's important that the creative presentation is consistent with your theme and supports your brand.

Jean Giesmann: The trend in catalog creative is definitely leaning toward heavier use of lifestyle photography, which can help draw the customer into your book. But we must keep in mind that the merchandise is king, and we can't let lifestyle take away from product benefit.

Plow & Hearth sells functional, practical items in several categories, so we tend to shoot more product photography. We work hard at getting the photo to show the unique benefits of each item, using tight crops, sharp focus, and often insets to demonstrate added benefits. But we're doing more lifestyle shots with the recent expansion of certain product lines, such as furnishings, and now the launch of our gifts and home title, American Country Home.

With American Country Home, we use lifestyle photography to show the customer the end result and how she can put together a variety of products for a country look in her own home. We use more hero shots, which may show as many as seven items. The photography is lit more dramatically to imply a time of day and propped more casually to suggest a candid moment. We typically reshoot products that appear in both titles.

When I was creative director for puzzles and games cataloger Worldwide Games, we did a creative makeover to incorporate more lifestyle photography. We sprinkled at least 15 quality "family time" lifestyle shots throughout the catalog showing family members having fun with the product and enjoying one another's company. This strategy helped to differentiate us in an increasingly competitive marketplace, which resulted in a 25% lift in some list segments."

full article: http://multichannelmerchant.com/printchannel/lists/marketing_photography_lifestyle_vs/

http://www.ct-graphics.com/lifestyle-occupation/tractor-helmet-2651.html
http://www.ct-graphics.com/holidays-events/page3.html


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Photo Tips from America's Most Prolific Postcard Photographer

With over 8,000 images on postcards, James Blank has been called America's most prolific postcard photographer. He has been a professional photographer since 1969 and has been taking aerial shots since 1983.

Aerial photography might be a valuable addition to any landscape photographer's repertoire. It adds a whole new perspective for the photographer. For samples, see his Web site with John Bahu, San Diego Scenics.
Here's what he's learned during 23 years in the business:

I took up aerial photography in 1983 quite by accident while I was working for a large postcard printer in New York. I was sent on an assignment to a client in Virginia Beach. Among the many views the client wanted me to shoot was an aerial of the Chesapeake Bay Bridge and Tunnel. The company hired a helicopter for me to use. Needless to say I was a little nervous, never having done aerial work before and knowing nothing about it. The nervesness lasted only until I started to shoot the bridge and then I forgot about the door being off and nothing holding me in the aircraft but a seat belt. I had enough sense to know that I needed a fast shutter speed to keep my images sharp and I lucked out on my first aerial assignment. As soon as I got home I went to the library to find out all I could about aerial photography.
After a couple of flights I came to love shooting aerials. Aerials have become a major part of my photography income.
The freedom of getting any angle you desire for good pictures can't be beat. On the ground you are limited by your environment.
From 1983 to the present, I've been taking aerials for clients in twenty-five states and a province of Canada.
I shoot from two types of aircraft, helicopters and Cessnas. Cessnas have the high wing so you can shoot out the open window, under the wing.
Given the choice, "choppers" are much more suited for aerials because of their greater maneuverability. They are also allowed to fly at a lower altitude, which helps get better pictures. With a Cessna you fly higher and faster and need more lenses for your cameras due to the higher altitude.
Another advantage of the helicopter is that many of them can "hover" in one spot so you can "bracket" your shots without taking all the time it takes for a Cessna to turn around and come back.
Price wise there's a big difference. The rental on a Cessna is between $75.00 and $l25.00 per hour while helicopters rent from $250.00 to $1000.00 and hour, depending on the size of the helicopter.
In some areas of the country I was unable to find helicopters to rent while I never ran into a place where I couldn't rent a Cessna. Also some clients won't pay the high price of a "chopper".
The pilot that comes with the rental aircraft also makes a difference. Some are not familiar with aerial photography and how photographers shoot. Others are used to taking up photographers and actually help get good shots for the photographer.
The basic equipment that an aerial photographer needs is the following: A camera with a zoom lens, say about 28mm to 300mm would be ideal for almost any situation. Bring plenty of film because if you run out you can't go back to the car for more.
The equipment I take on an aerial assignment are a Nikon F5, a Nikon D-200 digital camera (with several cards), a Pentax 67 medium format camera with five lenses (28mm, 75mm, l05mm, 200mm, and 300mm) and a Hasselblad panoramic camera with two lenses.
The one thing that is paramount is shutter speed. I shoot with my shutter speed at 500 sec., changing it to 1,000 sec. when the big teles are used such as the 200mm and 300mm for my Pentax 67.
The film I usually use is either Fuji Velvia 100 or Ektachrome E100 VS.
One of the most important things when shooting aerials is to keep the horizon level. When you are working fast as you do shooting aerials, you can easily forget about the horizon. Also using wide angles you have to make sure the helicopter rotor is not in your view finder or the wing of the Cessna.
An amusing incident I experienced in a helicopter flight around New York City occurred in 1992. We were circling around the Statue of Liberty about 500 feet when the helicopter started climbing at a very fast rate. I asked the pilot why we were going up so far and he replied that he was just given an order to take the "chopper" up to 10,000 feet to avoid getting near President Bush's helicopter which was landing nearby. So while we were up there I took pictures of the whole island of Manhattan with part of Brooklyn, Queens, and Jersey City in the frame. I never would have gotten those great pictures, which I have sold over and over again, if it hadn't been for that order.
Another scary incident was in a Cessna shooting the Florida coastline south of Daytona Beach. We were flying about 1,000 feet when my pilot got an order that we had invaded the Cape Canaveral air space and to get out immediately. My pilot kept trying to get out of it but he was continuly ordered to get out immediately. My pilot was even a little alarmed and confused but we finally got out of their air space and he told me that we could have been shot down if we had ignored the warnings. I was sure glad to get back on the ground that day.

For more, read John Bahu's Aerial Photography Q & A and James' photo tips for Postcard Photography

http://www.ct-graphics.com/scenery-sights/california-coast-2652.html
http://www.ct-graphics.com/holidays-events/page2.html

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Aerial photography challenges

Aerial photography includes many challenges not present in non-aerial photography. Some of these include:
Perspective correction - Aerial photographs are often taken at an angle to the object being photographed. This means that the perspective of the photograph will be incorrect with near objects larger than far away objects. Perspective correction is distorting the picture so that equal sized objects in the real world have the same size in the photograph. See orthophoto
Registration -

Aerial photographs usually are mapped to the real world objects (streets, buildings, etc) being photographed. For example, an aerial photograph may be converted into a series of lines based on the roads contained in the photograph.
Stitching - To create an aerial photograph of a large area, multiple photographs must be taken. Stiching is joining those photographs together so that they form a single large photograph. This process creates "seamless" imagery.

Aerial photography is an important commercial skill. Real estate is a big portion of our economy and usually the best way to illustrate the value of a building or piece of land is with a photograph taken from a helicopter or airplane.
Aerial photography is an important artistic skill. A lot of the world's most interesting patterns are only apparent from the air.
There is only one thing that aerial photography seldom works for: conveying the experience of being up in the air. When you're sitting up front in a light plane or helicopter, you look up at a panoramic view of open sky. You look forward and sideways at a 180-degree stretch of horizon. You look down and see interesting features on the ground all around you. An aerial photograph that isolates a shopping mall is a useful thing for shopping mall developers, but it doesn't remind a pilot of flying over that shopping mall.

Read about the challenges and how to get going: http://www.photo.net/learn/aerial/primer

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2007 Photoshop Guru Awards

THE NATIONAL ASSOCIATION OF PHOTOSHOP PROFESSIONALSANNOUNCES 2007 GURU AWARD WINNERS

Prestigious Award Recognizes the Adobe® Photoshop® Talents
of Photoshop World Conference Attendees

TAMPA, FL – Apr. 4, 2006 –The National Association of Photoshop Professionals (NAPP) is excited to announce the Guru Award winners for the east coast hotoshop World Conference & Expo in Boston. The Guru Awards are a special Photoshop competition exclusively for conference attendees of Photoshop World that were created to recognize the innovation and creativity of our attendees. Since its humble beginnings in 1999, the Guru Awards has now become the one of the most prestigious and coveted awards in the international digital imaging industry.

Guru Awards Winners – Boston, 2007

Winning images can be viewed at http://www.photoshopworld.com/?page=guru/winners

Category: Artistic
Artist: Scott Montgomery
“Stewart Island”

Category: Illustration
Artist: Daniel Johnson
“Shoreline Construction”

Category: Photo Montage
Artist: Michael Green
“Dark Thief”

Category: Photo Restoration
Artist: Laura Behnke
“A Day in the Life”

Category: Photo Retouch
Artist: Luis Ramirez
“They Needed a Little Help”

Category: Photography
Artist: Stephen Power
“Copper Kettle”

Category: Vincent Versace Award
Artist: Judy Morse
"Molokai Infrared"

Category: Best-of-Show
Artist: Matt Zumbo
“Cowbucks Poster”

Winners were selected from more than 300 entries by Photoshop User art director Felix Nelson, NAPP president Scott Kelby, and the creative team at NAPP after several rounds of judging and deliberations. Winners were officially announced live this morning by Scott Kelby and NAPP director, Larry Becker, following the conference keynote.

According to Felix Nelson, “Picking Guru Award winners is always a challenge, and this time was no exception due to the works submitted by so many extraordinarily talented Photoshop artists, photographers, and designers. The individual works selected as category winners were definitely the best-of-the-best and showed true creative vision and innovation.”

Winners in each of the seven categories are presented with a Guru Award and a Logitech MX Revolution wireless laser mouse from CDW, the Guru Awards official sponsor. The Best of Show winner will receive an extra Canon Rebel XTi kit courtesy of CDW. The Vincent Versace Award winner will receive an extra Epson 2400 Printer. Guru Award winners’ work will appear in a future issue of Photoshop User magazine. Finalists in each category receive a finalist certificate, suitable for framing.

About NAPP
The National Association of Photoshop Professionals (NAPP) is an accredited, dynamic trade association and the world’s leading resource for Adobe® Photoshop® training, news, and education. An award-winning team of Photoshop experts, authors, consultants, and trainers lead the association keeping its members on the cutting edge of Adobe Photoshop techniques and technology. With more than 60,000 members in 106 countries, NAPP is the largest graphics and digital imaging association worldwide. Visit http://www.photoshopuser.com for more information.
credits: http://forums.photographyreview.com/showthread.php?t=31440
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Why are trees so "photographical"

I once read a story told from the viewpoint of a tree. The world moved slowly at first, steadily speeding up. People moved by quickly at first, then they were blurs, then invisible. The story culminated with the tree speculating about what those things (buildings) were, while the unending march of development ended the tree in mid-thought. Ever since I read that story I have looked at trees differently.
I photograph trees often, and print them regularly- I have some on my website right now. Trees pose interesting possibilities if you have the eyes to see properly. They live a completely different life than we do - they live slowly, watching, and waiting. They are more connected to the natural world than we are, and so offer many possibilities to ponder. I would suggest continuing to follow your feelings - they often reflect who we are, trying to break through the mask that we construct to fit in to the world we perceive around us. Just don't ponder on tree so long that you share Merlin's fate (and become a tree), not that that would be a bad thing...

Only some trees are aesthetic enough to get our attention just like plants. From vast choices our visual senses processed further by our minds can select what looks pleasantly better regardless of subject. And we humans enjoy reveling in beauty. Trees are more than just another natural landform feature because they are often large, project significantly up into the sky, and sometimes have interesting form and color. Features that can readily be put to use by photographers. I have long been seeking wonderful trees out in the natural world and have managed to capture a few incredible ones while still am working on quite a few more I know about.

Not only do beginners shot trees for the shape, texture, tonal range, colors, light, etc; they are the perfect (model) in every way. And they never get old, you will end up looking at trees differently your life, and photographing them, with your last roll of film, er., battery charge.

Participate in the discussion at http://photo.net/bboard/q-and-a-fetch-msg?msg_id=00IyWN and read the participiants biographies http://photo.net/shared/community-member?user_id=2118048, and http://photo.net/shared/community-member?user_id=469040

http://www.ct-graphics.com/flowers/blue-daisies-2650.html
http://www.ct-graphics.com/food-beverages/page3.html


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Flower Photography: Art and Techniques

Many dedicated wildlife photographers disparage flower photography because they assume (quite erroneously) that flowers are an easy option since they don’t run away. In reality, I would argue you have to work hard to make flowers look exciting by the way you light and frame them.

Each kind of flower offers a small window of opportunity when it is in peak condition. If this window is missed, it invariably means waiting another whole year. Timing therefore is crucial. For me, part of the delight of flower photography is the time spent searching for the best specimens. Once found, the optimum camera angle then has to be sought.
Read Heather Angel's article about
Where to find flowers
Planning and preparation
Equipment
Composition
Artistic approach
at http://www.naturephotographers.net/articles0407/ha0407-1.html
Heather Angel started her working life as a marine biologist but gradually photography took over. She travels extensively in search of flowers and wildlife. In addition to managing the specialist image collection - Natural Visions - which has over 50 contributing photographers, she is a prolific writer with more than 50 books (her latest is a monograph on Puffins and How to Photograph Flowers is still in print) and countless articles to her name. Always an enthusiastic communicator, Heather tutors workshops all over the world.
The British Council in Delhi commissioned Heather to document the biodiversity of the Himalayas - in one month! Her exhibition, Natural Visions, toured Britain from 2000 - 2004 and was also on show in Kuala Lumpur, Cairo, and Beijing. Currently she is spending a lot of time in China photographing the endemic plants and wildlife for a book about China’s wilderness areas.
http://www.naturalvisions.co.uk/ - main website
http://www.heatherangel.co.uk/ - Heather’s personal website
Flower photography should always be fun, and by stretching your imagination and being creative you may come away with some novel compositions.
- Research a location before venturing out.
- Spend time selecting prime specimens.
- Use a tripod to gain a slower shutter speed in poor light and to fine-tune the composition.
- Choose a low viewpoint to isolate tall spikes against a blue sky.
- Use an overhead viewpoint for cushion formers that hug the ground.
- Use a wide angle lens to include both foreground flowers and their natural habitat behind.
- Use a long lens to gain more impact for flowers high up on trees or growing far out in water.
- Appraise the background with the depth of field preview.
- Try both landscape and portrait formats for the same subject.
- Remember less can be more.
http://www.ct-graphics.com/wildlife/green-heron-2649.html
http://www.ct-graphics.com/food-beverages/page2.html



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