Photography

IMPROVE YOUR PHOTOGRAPHY
THE DIGITAL PHOTOGRAPHER SERIES

TIPS & TECHNIQUES
50 ESSENTIAL DIGITAL PHOTOGRAPHY
Kevin L. Moss
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2010 Kevin L. Moss
Table of Contents
Introduction..................................................................................................................................6 Shoot With a Fixed 50mm F/1.8 .................................................................................................7 Get To Know Your i!ita" #amera ..........................................................................................$ #arr% a #amera Where&er You Go...........................................................................................11 'hoto!ra(h an )rt Show...........................................................................................................1* Gettin! Ima!e+ From #amera to #om(uter.............................................................................15 ,ana!e Your Ima!e -i.rar%.....................................................................................................17 /o"d )n 0xhi.it ........................................................................................................................1* #oo" ).+tract )rt with 0xtreme #ro((in!................................................................................12 ,a3in! 'ower -ine+ i+a((ear................................................................................................15 Ta3e ) 'hoto Tri(4....................................................................................................................16 Shoot in #o"or5 #on&ert to 6"ac3 and White -ater...................................................................1$ In&e+t in Good -en+e+................................................................................................................*0 7+e a #o"or ,ana!ement Wor38"ow.........................................................................................*1 0x("ainin! #o"or ,ode+ in 'hoto+ho(.....................................................................................*2 Shoot the S3%..............................................................................................................................*6 0x("ainin! 8 and 16 6it ,ode+.................................................................................................*7 7+e the Gradient Too" For a #o"or8u" S3%................................................................................*8 7nder+tandin! -a%er+................................................................................................................21 Get 7( 0ar"% and Shoot the Sunri+e.........................................................................................25 Shootin! and Stitchin! 'anorama+...........................................................................................52 0++entia" Too"+ 8rom the Too".ox..............................................................................................5$ 'hoto!ra(hin! Water8a""+..........................................................................................................61 'hoto!ra(hin! Fa"" #o"or..........................................................................................................65 0&en Thou!h it+ i!ita"5 You Sti"" /a&e To Start 9ut with 'ri+tine Ima!e+..........................6$ 7nder+tandin! Fi"e Format+.....................................................................................................70 Ima!e Si:e 0x("ained.................................................................................................................72 Settin! the 'ro(er IS9...............................................................................................................76
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2010 Kevin L. Moss
IMPROVE YOUR PHOTOGRAPHY 7nder+tandin! White 6a"ance...................................................................................................78 7+in! the /i+to!ram For 6etter 0x(o+ure...............................................................................80 Shootin! in )(erture 'riorit% ,ode..........................................................................................81 -oo3 ;o Further Than Your 9wn 6ac3 Yard..........................................................................82 0x("ore Se"8 'u."i+hin!.............................................................................................................86 7nder+tandin! Ima!e Si:e and )+(ect <atio............................................................................$0 Shootin! The S3%"ine.................................................................................................................$2 7+in! 6"ur a+ an 0"ement o8 #om(o+ition................................................................................$6 0x("ore the Wor"d o8 In8rared =I<>...........................................................................................$$ Great 'ro <e+u"t+ With Sim("e Indoor Studio -i!htin! ........................................................102 The Thin 6"ac3 -ine................................................................................................................106 ).+tract Studie+ With The -i?ui8% Fi"ter................................................................................108 Fo""ow the <u"e+ o8 #om(o+ition @ )nd 9cca+iona""% 6rea3 Them......................................110 Im(ro&e #om(o+itionA The <u"e o8 Third+.............................................................................111 Im(ro&e #om(o+itionA )dd 6a"ance )+ )n 0"ement o8 #om(o+ition ..................................11* Im(ro&e #om(o+itionA onBt #ut Your Ima!e in /a"8...........................................................112 Im(ro&e #om(o+itionA Shoot )"" Ima!e+ in 6oth 'ortrait and -and+ca(e 9rientation+.....115 Im(ro&e #om(o+itionA Get 7nderneath..................................................................................118 Im(ro&e #om(o+itionA Get own -ow....................................................................................11$ Im(ro&e #om(o+itionA Get 7( /i!h and Shoot own From ).o&e.....................................110 Im(ro&e #om(o+itionA Shoot ) -itt"e Wider5 -ea&e <oom To #ro( -ater............................111 Im(ro&e #om(o+itionA Fi"" the Frame....................................................................................11* Im(ro&e #om(o+itionA Coom 9ut5 and Then Coom In4 ........................................................112 i+co&er /i!h %namic <an!e =/ <> Ima!e+......................................................................115
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2010 Kevin L. Moss
About the Author

Specializing in a variety o p!otograp!ic "#$%ect" over &' year"( )evin !a" "ince *a"tere+ t!e tec!nology o +igital p!otograp!y( e,pan+ing !orizon" ro* a tra+itional nat#re p!otograp!er to ot!er +i"cipline" a" -ell. Portrait( #r$an( "till li e( an+ a$"tract i*age" are no- incl#+e+ in )evin/" ever e,pan+ing p!otograp!ic port olio. )evin i" t!e p#$li"!er o !ttp011+igitalp!otograp!y+aily.co*.
Authored Works Autumn in the Hills, 3reate"pace( IS450 1449581528 Photoshop Elements 7, Digital P!otograp!y Serie"( 3reate"pace IS450 677869:6 Digital ature Photograph! and Adobe Photoshop; T!o*"on PTR 3o#r"e Tec!nology; IS45 6<9:=&<6&><? "# $ast Digital %amera &e'hni(ues, )nd Edition, @iley P#$li"!ing. IS450 '?=7>9:'== %amera *a+ +ith Adobe Photoshop ,or Dummies, @iley P#$li"!ing. IS450 '7?6??7:8' Photoshop %-) and Digital Photograph! $or Dummies( @iley P#$li"!ing( IS450 '?=7>9>:'=
.-/ 0 12"1"#32#4 Digital Photograph! -eries0 .mprove 5our Photograph! 6 "# Essential Digital Photograph! &ips 7 &e'hni(ues
3opyrig!t B 8'6' )evin L. Mo"". All Rig!t" Re"erve+
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2010 Kevin L. Moss
What Kevins Students Say

"Until now, I was a complete novice in Photoshop, had just acquired CS4 and was rather intimidated. Kevin puts you a solutely at ease with his patience and humor, and you!re assured that there!s no such thin" as a stupid #. $is critiques are precise and to the point. ... %ou learn what!s "ood a out an ima"e and receive su""estions &or still &urther improvement. Kevin is a "em ... $is o vious enthusiasm &or his su ject is a "i&t to his students." <5ancy C '(han)s a"ain &or your help and instruction in "Photoshop &or *ature Photo"raphers". +ne o& my photos, ",ryce Canyon", was selected y +utdoor Photo"rapher &or honora le mention in the current "Cele rate the Seasons" photo contest. -y photo is in the .pril /001 issue, and will appear on their we site soon. 2ithout your class to "ive me the technical )nowled"e and the con&idence to use it, this would not have een easily possi le. (a)e care and enjoy your ne3t trip to the UP.4 <3!ri" S. "(his is an e3cellent course. 5 Kevin presents a lot o& detail in the lessons, ut it!s presented in a clear manner with "ood e3amples. Kevin was very willin" to respond to questions and seemed "enuinely concerned that students were "ettin" somethin" out o& the class." <S!aron M "Kevin -oss helped me to understand many Photoshop tools that I had een i"norin". $e also was help&ul on the artistic concepts o& composition and color. I learned a unch6 .nd my photos are indeed etter." <Ca, S. "(han)s &or an in&ormation7&illed and &un class6 I had a lot o& &un. .lso, there is so much in&ormation here, I will e studyin" these lessons &or some time to come. ... .lso, than)s &or your patience with all the questions6" <Mary I. D(han) you &or an e3cellent class6 It was well7or"ani8ed, and your instruction was individuali8ed, constructive and personali8ed. I learned a lot and "ot what I e3pected out o& the course. I can now dod"e and urn on my computer li)e I used to do in my dar)room6 ... (han)s a"ain, Kevin6" <3!ri"ter 5.
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2010 Kevin L. Moss
.ntrodu'tion
Of all the books I've written and published and all the course materials I've developed and tau ht! this book is more e"citin for me than all the other pro#ects$ I've written this book out of sheer fun$ If it was %work&! it would have never otten written$ 'ctuall(! I'm not even char in for the e)ook version$ I'm puttin it out there for free for the readers of *i ital +hoto raph( *ail(,http-..di italphoto raph(dail($com/! and m( students at http-..betterphoto$com and 0he 1enter for *i ital +hoto raph($ 0he idea for this book actuall( came to me a few (ears a o while doin presentations for m( local camera clubs in *etroit! 'nn 'rbor and 2indsor! Ontario$ I had developed a series of slide shows that was packed full of fun and useful tips and techni3ues for the photo rapher$ Included was stuff like shootin with a 54mm fi"ed lens! shootin for color or abstracts! and some fun tools to use in +hotoshop$ I had some of the material to ether alread(! so wh( not share it5 'nother fun part of writin the book is the fact that I wrote it in m( own voice$ 6one of that second7person stuff that's for colle e te"tbooks$ 2e're photo raphers! and we like our info strai ht$ 0hink about it$ 2e read ,at least I hope (ou do/ a lot of ma a8ines on photo raph($ 2hats nice! is that we et to read articles b( other photo raphers! often on new ear or techni3ues! and we et to read the articles that are written in their voice$ I appreciate readin that st(le! and I also en#o( writin in that st(le$ I hope (ou en#o( the book! and et somethin out of it$ Of all the tips and techni3ues listed and e"plained here! some of them (ou alread( know! or ma(be even alread( heard$ 9ome of them! (ou ma( not have been thinkin of or e"pectin ! so I hope (ou'll be able to et somethin out of it$ :astl(! like ever(thin I put m( name to! I'm open to hear from (ou on it! ood or bad$ +lease feel free to contact me at kevinmoss;di italphoto raph(dail($com$ I will et back to (a< =er( )est in >our +hoto raphic 'dventures!
Kevin Moss
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2010 Kevin L. Moss
-hoot With a $i8ed "#mm $91.3

T!i" one i" or all t!e DSLR #"er" o#t t!ere. I yo#/re "till #"ing a co*pact +igital ca*era Ean+ t!at/" ineFG( 2eep t!i" in *in+ -!en yo# #pgra+e to yo#r avorite DSLR; #"e a i,e+ >'** 16.: len" or yo#r +igital ca*era. I "ay t!i" or a e- rea"on"( t!e *o"t i*portant o -!ic!( i" i*age H#ality or t!e +ollar. I/ve #"e+ $ot! t!e 5i2on >'** 16.:D AC 5i22or an+ t!e 3anon EC >'** 16.: II 4ot! len"e" -or2 re*ar2a$ly -ell. I I/* "!ooting -it! one o *y 5i2on DSLR/" or *y 3anon( I al-ay" !ave a >'** 16.: len" in *y $ag. I #"e "o*e goo+ len"e"( $#t t!e"e little g#y" #"#ally rate at t!e top -!en it co*e" to H#ality. A++itionally( t!e len"e" are tac2<"!arp -!et!er yo#/re "!ooting -i+e open at 16.: or clo"e+ +o-n to 188. A++itionally( *y >'** 16.: i" one o *y avorite portrait len"e". Tea*e+ #p -it! a DSLR "en"or -it! a 6.>I or !ig!er crop actor Eli2e yo#/ll in+ in t!e 5i2on D9'( 3anon >'D( 3anon Digital Re$el an+ *o"t +igital SLR ca*era" t!at aren/t #ll ra*eG( yo# get an act#al ?>** portrait len". I yo#/re #"ing a #ll ra*e "en"or DSLR( yo#/re getting t!e "tan+ar+ len". In any ca"e( yo#/re getting top H#ality or a$o#t J6'' USD. T!at/" H#ite a $argain given t!e H#ality yo#/ll get -it! t!e"e len"e". In t!i" e,a*ple( I #"e+ *y "econ+ ca*era t!at I carry -!en "!ooting t!e occa"ional -e++ing. A 5i2on D:' it -it! t!e 5i2on >'** 16.: len". I "!ot t!i" i*age -it!o#t la"!( !an+ !el+( t!ro#g! a -in+o-. A ter getting t!e i*age" ro* t!e -e++ing into Lig!troo* or a clo"er loo2( I -a" a*aze+ at t!e color an+ "!arpne"" o t!e len". I li2e to "!oot *y portrait" -it! t!i" len" -!enever po""i$le.
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2010 Kevin L. Moss
In a++ition to "!ooting portrait"( -e++ing" an+ can+i+ p!otoK" -it! a >'** 16.:( I li2e to "!oot *y "till li e an+ lo-er" -it! t!e len". In "t#+io or o#t+oor "it#ation( it/" *y $e"t lo-er len". &he positives0 &a'k -harp0 D#e to t!e act t!at t!e *an# act#rer" o t!e"e len"e" +onKt !ave to a++ a lot o gla"" to $e #"e+ or zoo*ing t!ro#g! a large range( t!e +e"ign i" i,e+( an+ "i*ple. :alue $or the Mone!0 Cor aro#n+ J6'' U.S.( yo# %#"t canKt $eat t!e +ollar< or<H#ality val#e o t!e"e len"e". -mall and Light+eight0 4ot! t!e 3anon an+ 5i2on *o+el" are "*all an+ -eig! a$o#t L o yo#r 2it len".
Dra+ba'ks0 o ;oom0 @eKre "poile+ t!e"e +ay". In t!e pa"t( -!en -e "!ot -it! i,e+ ocal lengt! len"e" -it! o#r il* ca*era"( -e +i+ zoo*( $#t -e +i+ it $y M#"ing o#r eetN.
In "#**ary( i yo#Kre a DSLR #"er an+ yo# +onKt !ave one o t!e"e little $a$ie"( give it a try. T!e co"t o t!e len" i" *ini*al( an+ t!e $ene it o tac2<"!arp i*age" ar o#t-eig! t!e negative o not $eing a$le to go -i+e<angle to telep!oto in one len".
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2010 Kevin L. Moss
<et &o Kno+ 5our Digital %amera

Th s one s for the be! nners...
Pre erring to "tay Mca*era agno"ticN( all o to+ay/" lea+ing +igital ca*era *an# act#rer" +o a great %o$. T!e ca*era" t!at !ave $een on t!e *ar2et t!e pa"t e- year" get #" "o*e great re"#lt". Col2"( t!e tec!nical H#ality i" no- "#rpa""ing il* ca*era"( an+ it +i+n/t ta2e t!e +igital ca*era in+#"try very long to get t!ere. I -a" "ol+ ? year" ago( -!en *y little Sony co*pact +igital ca*era E-it! an e,cellent Oei"" len"G -a" getting *e %#"t a" goo+( or $etter re"#lt" t!an *y il* gear. At t!at point( I never "!ot -it! *y il* ca*era again. 4ac2 to yo#. Yo#/re pro$a$ly #"ing a +igital ca*era p#rc!a"e+ recently( or even in t!e pa"t year or t-o. Yo# *ay !ave "!ot a e- !#n+re+( or t!o#"an+" o i*age" alrea+y Epro$a$ly in t!e green la$ele+ MAN or A#to*atic Mo+eG. Pro$a$ly got "o*e goo+ re"#lt" !ere an+ t!ere t-o( $#t yo# -ant *ore( an+ tr#"t *e( yo#r +igital ca*era pro$a$ly !a" *ore capa$ilitie" t!an even a pro -o#l+ ever #"e. T!e ir"t 2ey Et!e "econ+ 2ey i" yo# an+ yo#r tec!niH#e"G to i*proving yo#r p!otograp!ic "2ill" i" *a"tering yo#r p!otograp!ic tool( yo#r +igital ca*era. Here i" a "tep<$y<"tep g#i+e to getting t!ere. In t!e pa"t > year" or "o( %#"t a$o#t everyone I 2no- !a" gone o#t an+ p#rc!a"e+ a +igital ca*era. I yo# !aven/t notice+( all t!e con"#*er electronic circ#lar" in t!e S#n+ay paper !ave entire "ection" +e+icate+ to +igital ca*era"( acce""orie"( an+ printer". Yep( rig!t ne,t to t!e cell p!one page. Digital ca*era" *ay $e t!e late"t rage( $#t #nli2e t!e iPo+( I $et t!at *o"t +igital ca*era" en+ #p li2e ol+ il* ca*era"( collecting +#"t on t!e "!el . I 2no- people -!o p#rc!a"e+ t!eir +igital ca*era" t-o year" ago an+ never $ot!ere+ to learn !o- to tran" er i*age" to t!eir co*p#ter. A ter illing #p t!eir *e*ory car+"( t!ey +i"play t!e pict#re" t!ey too2 $y t#rning on t!e ca*era an+ revie-ing t!e pict#re" on t!e 8 inc! L3D. C#nny t!ing i"( t!e"e are t!e "a*e people t!at are planning on $#ying t!e late"t an+ greate"t t!at i" availa$le on t!e *ar2etF T!e point !ere i" to learn t!e $a"ic" a$o#t !o- to #"e yo#r ca*era( loa+ i*age" to yo#r co*p#ter( an+ t!en go o#t an+ !ave "o*e #n. Don/t orget to *a2e a e- print"( $y t!e -ayF
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2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES T!o#g! all t!e !#n+re+" o +i erent +igital ca*era *o+el" t!at are availa$le to+ay loo2 +i erent ro* one anot!er( t!ey all !ave t!e "a*e $a"ic operation. All r#n on $atterie" t!at nee+ c!arging ro* ti*e to ti*e. All nee+ "o*e "ort o *e*ory car+ in"erte+. EDo t!i" properly0 T!ey only go in one -ayFG T!ey all !ave an on<o "-itc! an+ a "!#tter $#tton. T!e *o"t i*portant part o yo#r +igital ca*era i" t!e #"er" *an#al t!at co*e" -it! eac! one. Don/t orget to rea+ yo#r"F 5o- let" get "tarte+. U"ing yo#r +igital ca*era i" a" ea"y a" 6(8(& . . . 6. *ead the Manual=0 T!i" one "ee*" o$vio#"( $#t yo#K+ $e "#rpri"e+. @!en yo# #n$o, yo#r +igital ca*era( yo# get an,io#" to try it o#t. My "#gge"tion( ta2e t!e ti*e to 2no- all t!e control" an+ *en#" on yo#r ca*era. I yo#Kre l#c2y( o#t o t!e $o,( yo# *ig!t $e a$le to in"ert yo#r $attery( *e*ory car+( an+ t#rn t!e ca*era on. @!at yo# nee+ to rea+ in t!e *an#al( i" !o- to +o "o*e $a"ic "et#p o yo#r ca*era0 8. Learn ho+ to turn on !our 'amera0 T!i" "tep *ay "ee* a little $a"ic( $#t eac! *an# act#rer +oe" it +i erently. Don/t $e e*$arra""e+0 I a+*it I/ve #*$le+ a e- ti*e" -it! ne- ca*era" ro* *y "t#+ent" +#ring in<per"on in"tr#ction( in+ing o#t -!ere t!e "i*ple $#tton" an+ giz*o" are. ?$ <et 'om,ortable +ith !our lens0 Play aro#n+ $y zoo*ing in an+ o#t. Mo"t +igital ca*era" co*e eH#ippe+ -it! a zoo* len" -it! -!ic! yo# can zoo* o#t or -i+e<angle "!ot" or or "o*e cool lan+"cape "!ot" or zoo* in to t!e i*age o per"on or a great can+i+ portrait. 2. ., !ou are shooting indoors, turn on the built>in ,lash.
>. Make sure !our shooting mode is set 'orre'tl!0 A#to*atic *o+e( "#rpri"ingly( -or2" or *any "!ot" yo# ta2e. A#to*atic *o+e i" great or no- #ntil -e get into *ore tec!nical *o+e" later in t!e $oo2. =. %ompose !our sub?e't0 Ma2e "#re yo# are not "!ooting into t!e "#n( t!ere are not any po-er line" r#nning acro"" t!e !orizon( t!ere are not any telep!one pole" "tic2ing o#t o a per"on" !ea+ an+ *a2e "#re yo#r "cene i" M"H#areN an+ not tilte+. Try to get in t!e !a$it o ta2ing t!e ti*e to co*po"e yo#r "!ot0 Yo# -ill $e "#rpri"e+ !o- *#c! o a +i erence it *a2e"F ?. -hoot=0 Depre"" yo#r "!#tter !al -ay to oc#"( t!e re"t o t!e -ay to ta2e t!e i*age.
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2010 Kevin L. Moss
%arr! a %amera Wherever 5ou <o

T!e -ay to $eco*e a $etter p!otograp!er an+ get t!e *o"t ro* yo#r +igital ca*era i" to %#"t #"e t!e t!ing. Ta2e it -it! yo# -!erever yo# go. Get #"e+ to carrying it aro#n+ an+ "!ooting "o*e i*age". Get over t!at e*$arra""e+ eeling o ta2ing pict#re" o t!ing" -!en ot!er people are aro#n+. P#"t ignore t!e*( or $etter yet( ta2e t!eir pict#reF A" a $on#"( yo# t!en !ave *ore i*age" to play -it! -!en yo# $egin to e+it t!e* in P!oto"!op or Ele*ent"( or -!ic! ever i*age e+iting "o t-are yo#/ll #"e. I -a" +oing a con"#lting gig a e- year" $ac2 or General Motor" in +o-nto-n Detroit. O ten +#ring l#nc! $rea2"( IK+ ta2e a -al2 aro#n+ t!e +o-nto-n area( carrying one o *y +igital ca*era". I -a" a$le to get *any goo+ "!ot" o t!e #niH#e arc!itect#re t!e +o-nto-n area o er". I -o#l+nKt !ave t!at opport#nity i I +i+nKt carry a ca*era -it! *e eac! +ay I -a" -or2ing on *y GM @e$ pro%ect. At t!at ti*e( t!e S#per 4o-l -a" in to-n( Ce$r#ary 8''=( -it! t!e pre"" center or t!e -ee2 $eing !el+ at DetroitK" Renai""ance 3enter( t!e !o*e o General Motor" @orl+ Hea+H#arter". T!e entire *e+ia( "port" an+ cele$rity -orl+ converge+ in t!e $#il+ing -!ere I -a" "pen+ing all *y ti*e. Great opport#nity or "!ot" I nor*ally -o#l+nKt !ave a c!ance to get.
Take a camera wherever you o! you"## discover ima es you norma##y wou#dn"t et$
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2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES I -a"nKt planning on p!otograp!ing anyt!ing in partic#lar( act#ally( I +i+nKt !ave t!e ti*e. I -a" -or2ing on a large @e$ pro%ect an+ +ea+line" -ere loo*ing. @!at I +i+ *anage to +o -a" -al2 aro#n+ t!e !#ge "pectacle( an+ ire o a e- "!ot" -ort! 2eeping. One in partic#lar( -a" o Aaron 5eville( -!o -a" to "ing t!e 5ational Ant!e* $e ore t!e ga*e. I ca#g!t !i* in t!e !all-ay a ter one o !i" *any pre"" intervie-".
(aron )evi##e! *etroit! %eb +! 200,. -anon 20d! .% /0mm f01.1 22
-ummar!0 I yo#Kre li2e *e( yo# *ay !ave a e- +igital SLRK" t!at arenKt too convenient to carry aro#n+ or leave in a car all +ay long. @!at I +o( i" carry a co*pact +igital ca*era( one -it! H#ality "#c! a" t!e 3anon G66 or t!e 5i2on 3oolpi, P=''' 4ot! o t!e"e ca*era" -ill "erve yo# -ell( an+ it into a poc2et( p#r"e( $rie ca"e or $ac2pac2.
T p: %or one week! take your di ita# camera with you wherever you o. &y takin pictures that week of everythin and everyone interestin to you! you"## be ama'ed on how many pictures you wou#d have missed had you not had your camera with you.
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2010 Kevin L. Moss
Photograph an Art -ho+

Every "pring or "#**er( *y area i" $oo2e+ -it! art "!o-". One o t!e *o"t pop#lar in t!e co#ntry i" t!e Ann Ar$or Art S!o-( -!ic! ta2e" place every P#ly. T!ere are al"o n#*ero#" art "!o-" -!ic! ta2e place in al*o"t every *a%or co**#nity. Yo# can go to +i erent "!o-" every -ee2en+ o t!e "#**er( an+ never r#n o#t o "!o-" to vi"it. Q#ite o ten( IKll 2no- one or t-o o t!e p!otograp!er" +i"playing an+ "elling t!eir art-or2( anot!er incentive to go. I li2e to go to a" *any art "!o-" a" I can or t-o rea"on". Cir"t( a" a p!otograp!er( I li2e to vie- ot!er p!otograp!er" -or2( an+ tal2 -it! t!e*. I con"i+er *y"el an arti"t( an+ a great -ay to e,pan+ yo#r arti"tic !orizon" i" to tal2 to ot!er arti"t"F It" one o t!e -ay" I learn( an+ it get" *e in to#c! -it! ot!er" -it! "i*ilar intere"t". T!e "econ+ rea"on I en%oy art "!o-"( i" t!e +iver"ity in "#$%ect *atter in -!ic! I can ta2e p!otograp!". I al-ay" $ring one o *y +igital ca*era" -it! *e. @!ile at t!e art "!o-( IKll p!otograp! -!atever t!e +ay pre"ent" to *e. It *ay $e a clo"e#p o a "c#lpt#re ro* an arti"t( it *ay $e one o t!e *#"ical arti"t" t!at i" per or*ing( or it *ay $e one o t!e ot!er people en%oying t!e air t!at +ay. 5o preconceive+ agen+a( %#"t going -it! t!e lo-( an+ p!otograp!ing a" I go. @it! t!at in *in+( !ere are a e- "#gge"tion" I !ave or yo# -!en yo# vi"it art "!o-"( an+ carry yo#r ca*era -it! yo#0 When photographing other artists +ork, ask permission ,irst. A"2 t!e arti"t or t!eir $#"ine"" car+ Et!i" i" i*portantG( an+ e,plain to t!e* yo#Kre %#"t en%oying t!e +ay( an+ li2e to p!otograp! people an+ art-or2. I t!e arti"t agree"( let t!e* 2no- t!at i yo# ever p#$li"! any o t!e p!otograp!" t!at yo#Kll ir"t contact t!e* an+ a"2 t!e* or a relea"e. T!i" i" o re"pect or ot!er arti"t" an+ t!eir -or2. I t!e arti"t" o$%ect"( t!an2 t!e*( tell t!e* yo# #n+er"tan+( an+ *ove on to t!e ne,t $oot!. ., the artists gives !ou permission, thank them. Yo# can even ta2e t!eir p!otograp! in ront o t!eir $oot!( an+ e*ail t!e* a copy a" a ge"t#re o gratit#+e. S!oot or color an+ a$"tract". Per"onally( I a* con"tantly a++ing to *y a$"tract an+ color<"t#+y port olio".
13
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES S!ooting clo"e #p" o art-or2 i" one o *y "o#rce" or t!e"e type" o i*age". DonKt $e a rai+ to get in clo"e on "c#lpt#re" an+ ot!er piece" o art. Yo#Kll $e plea"antly "#rpri"e+ at "o*e o t!e i*age" yo#Kll get. Wat'h the people. Ta2e a loo2 aro#n+( an+ ire o "o*e can+i+K" o intere"ting people atten+ing t!e art air.
14
2010 Kevin L. Moss
<etting .mages $rom %amera to %omputer

"nother one for the be! nner...
S#rpri"ingly( t!i" i" one o t!e *o"t reH#ent H#e"tion" I get on t!e "treet -!en "o*eone $eco*e" a-are t!at I teac! +igital p!otograp!y an+ -rite $oo2" on t!e "#$%ect. Don@t have a 'ard readerA T!e "i*ple"t -ay or t!e $eginner i" to pl#g t!eir ca*era into t!eir co*p#ter if they dont have a card reader$ Every +igital ca*era i" pac2age+ -it! a 3D t!at incl#+e" "o t-are #tilitie" or yo#r ca*era. 4e ore yo# can tran" er pict#re" ro* yo#r ca*era to yo#r co*p#ter( yo# nee+ to in"tall t!e 3D on yo#r co*p#ter. T!e ot!er ite* yo# nee+ i" t!at US4 ca$le t!at ca*e -it! yo#r ca*era. It/" t!at ca$le -it! t!e $ig t!ingy on one en+ an+ t!e little t!ingy on t!e ot!er. Re er to yo#r o-ner" *an#al to locate t!e ca$le connection on yo#r ca*era0 It can $e !ar+ to in+F Have a 'ard readerA I yo# !ave a car+ rea+er( t!i" i" t!e ea"ie"t -ay to tran" er i*age" to yo# co*p#ter. 3ar+ rea+er" are +evice" t!at connect to yo#r P3 via US4 ca$le. T!e"e +evice" o ten accept *#ltiple *e*ory car+ or*at"( "#c! a" 3o*pact Cla"!( SD 3ar+"( ID 3ar+" an+ Me*ory Stic2" E or "o*e Sony *o+el" onlyG. T!e co**on proce"" or tran" erring i*age" ro* yo#r ca*era to co*p#ter i"0 6. Ma2e "#re yo# t#rn yo#r co*p#ter on. 8. I tran" erring +irectly ro* yo#r ca*era( *a2e "#re yo# t#rn yo#r ca*era o . &. Pl#g t!e ca*era or car+ rea+er into yo#r co*p#ter $y in"erting t!e ca*era en+ o t!e US4 ca$le into yo#r +igital ca*era an+ t!e co*p#ter en+ o t!e US4 ca$le into an availa$le US4 connection on yo#r co*p#ter. 7. T#rn on yo#r +igital ca*era i tran" erring +irectly ro* t!e ca*era or pl#g in a *e*ory car+ into t!e car+ rea+er.
15
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES >. A ter a e- "econ+"( yo#r co*p#ter "!o#l+ recognize t!e ca*era or *e*ory car+ an+ pro*pt yo# to c!oo"e yo#r ne,t "tep. =. Yo#r co*p#ter eit!er pro*pt" yo# to c!oo"e t!e *et!o+ to copy yo#r i*age"( or yo#r ca*era/" "o t-are pro*pt" yo#. ?. 3!oo"e to eit!er copy t!e i*age" to t!e +e a#lt ol+er on yo#r co*p#ter or $etter yet( c!oo"e a "peci ic +irectory yo# create+ to copy t!e"e i*age" to. 3reate a ol+er on yo#r co*p#ter -!ere yo# can copy all yo#r i*age" to. T!i" -ay yo#r ol+er -on/t $e $#rie+ in t!e -in+o-" +e a#lt i*age" ol+er. Yo#r ca*era/" "o t-are *ay a#to*atically a""ign a ol+er na*e eac! ti*e yo# copy i*age" to yo#r co*p#ter. Get a*iliar -it! t!e -ay yo#r ol+er" are "et #p. A ter yo#r i*age" are copie+ "a ely to yo#r co*p#ter an+ t!ey are $ac2e+ #p( t!en yo# can t!en re or*at yo#r *e*ory car+ in yo#r ca*era to *a2e roo* or *ore pict#re".
#arn n!: (#ways make sure you have a backup of the ima es that are copied to your computer before you reformat your memory card. 3ou want to make sure that these ima es are not on#y on your computer! but backed up to -* or *4* for safe5keepin . 2f you accidenta##y de#ete the ima es on the computer or the hard disk fai#s! at #east you sti## have the ima es on -* or *4*. T p: 2nvest in a 67& card reader. Prices for these devices have come way down and most of these can read mu#tip#e memory card formats. 6sin card readers to down#oad ima es is 8uicker and safer. 7ome computers even have these bui#t ri ht in$
16
2010 Kevin L. Moss
Manage 5our .mage Librar!

"n e$cerpt from The % ! tal &hoto!rapher 'er es: &hotoshop (lements 7
A" a p!otograp!er o#t in t!e iel+ "!ooting great p!oto"( yo#/ll $e eager to get $ac2 to yo#r co*p#ter "o yo# can *e"" aro#n+ -it! yo#r "!ot". A ter +o-nloa+ing yo#r i*age"( yo#/ll $e e,cite+ to open 4ri+ge( vie- t!e i*age" yo#/ve %#"t ta2en( an+ t!en proce"" t!e $e"t o t!e litter. T!e ne,t t!ing yo# 2no-( yo#/ll !ave r#n t!e nat#re i*age" t!ro#g! Ele*ent"( *a+e a e- print"( an+ t!en *ove+ on to "o*et!ing el"e( "#c! a" cr#i"ing t!e @e$ to +o "o*e "!opping or *ore +igital ca*era gearF T!e +o-nloa+e+ i*age" -ill t!en "it in t!eir ol+er"( *ay$e "oon to $e orgotten. I yo#/ve $een #"ing a +igital ca*era or a -!ile no-( an+ yo# ta2e t!o#"an+" o nat#re an+ lan+"cape p!oto" li2e I +o( yo#/ve pro$a$ly notice+ !o- H#ic2ly i*age" pile #p on yo#r !ar+ +rive. Every ti*e yo# +o-nloa+ p!oto" ro* a *e*ory car+ to yo#r !ar+ +rive( yo# co#l+ $e a++ing !#n+re+" o +igital i*age" to an alrea+y cro-+e+ "torage "pace( even one or t-o giga$yte" at a ti*e. T!ey t!en "it t!ere( pile #p( re+#ce t!e a*o#nt o availa$le +i"2 "pace( an+ *ay$e get lo"t or orgotten. @!et!er I/* "!ooting nat#re i*age" in t!e iel+( +o-nloa+ing pict#re"( organizing ile"( or -or2ing -it! i*age" in Ele*ent"( I !ave a -or2 lo- or everyt!ing. A -or2 lo- i" a "tep<$y<"tep progre""ion o action" yo# ta2e on a con"i"tent $a"i" to en"#re t!at proper tec!niH#e" are con"i"tent ro* "!ooting a p!oto to creating t!e inal print. An i*age<*anage*ent -or2 lo- -ill -or2 eH#ally -ell -!en yo#/re *anaging t!o"e !oar+" o i*age" I/ve $een -arning yo# a$o#t. 4y "pen+ing a e- *in#te" planning yo#r ile *anage*ent approac!( an+ t!en $y ollo-ing yo#r -or2 lo-( yo#/ll $e *#c! $etter organize+( *ore pro+#ctive( an+ "aner. An+ $e"t o all( it +oe"n/t co"t yo# anyt!ingF
17
2010 Kevin L. Moss
-reatin a fi#e mana ement system doesn9t start and end with your computer. 2mp#ementin use of e:terna# stora e and backin up to optica# disk shou#d be part of your ima e mana ement workf#ow as we##.
3reating a ile<*anage*ent "y"te* "tart" -it! t!ree "i*ple ta"2"0
Plan ho+ to organiBe and store !our images on !our 'omputer . All p!otograp!er" !ave +i erent nee+". Ma2e a plan R t!e "i*pler t!e $etterRto organize all o yo#r i*age"( not %#"t yo#r nat#re "t# . I yo#/re li2e *e( yo#/ll !ave nat#re i*age" +ivi+e+ $et-een -il+li e p!oto"( lan+"cape"( *acro"( an+ *ay$e even a$"tract". Li2e *any p!otograp!er"( yo# *ig!t al"o !ave i*age" o a*ily( rien+"( or even "o*e co**ercial client" or -!o* yo# "!oot i*age". Yo# nee+ a plan o organization to 2eep all o t!o"e i*age" "traig!t. Cor yo#r p!oto"( yo# *ig!t -ant to "eparate i*age" into categorie"( "#c! a" a*ily( arc!itect#re( plant"( ani*al"( lo-er"( or geograp!y. Yo# can al"o +ivi+e #p yo#r i*age" $y region( "#c! a" t!e Mi+-e"t( So#t!-e"t( A#"tralian O#t$ac2( or -!atever -orl+ region" yo# p!otograp! in an+ a$o#t. Really( I !ave *any "t#+ent" ro* Do-n Un+erF
%reate ,olders to store 'ategoriBed images. @!et!er yo#/re #"ing a @in+o-" P3 or a Mac( ir"t create a *a"ter ol+er to contain all yo#r original( -or2ing( an+ inal o#tp#t i*age". EI call *y *a"ter ol+er MI*age"N( $#t yo# can na*e yo#r" anyt!ing yo# -ant.G T!e ne,t "tep i" to create "#$ ol+er" -it!in yo#r *ain i*age" ol+er to cla""i y eac! *a%or "tep o yo#r -or2 lo-. @it! t!e t!o#"an+" o "!ot" yo# *a2e in a given ti*e ra*e( try to 2eep it "i*ple. Set #p a *a"ter ol+er calle+ Digital I*age". @it!in t!at ol+er( "et #p ol+er" or original i*age"( -or2ing i*age"( an+ inally o#tp#t i*age".
18
2010 Kevin L. Moss
(## you need is one fo#der to ho#d your ori ina#! workin ! and output fo#ders. &ackin up a## of your ima es wi## be easier when they are a## he#d in one fo#der.
/a'k up all o, !our images in one step . @!en all o yo#r i*age" are containe+ in one ol+er Et!at contain" all o yo#r "#$ ol+er"G( $ac2ing #p to a 3D( DVD( or e,ternal !ar+ +i"2 or ile "erver $eco*e" a lot ea"ier.
Manage &hose $iles=

5o- t!at yo#/ve t!o#g!t a$o#t yo#r "trategy or !o- yo# are going to "tore an+ $ac2 #p yo#r i*age ile"( con"i+er ollo-ing a "i*ple -or2 lo- or yo#r every+ay -or2. T!e ollo-ing "tep" *ig!t not e,actly *atc! !o- yo# approac! yo#r -or2( $#t yo# can #"e t!e* a" an e,a*ple o an i*age<*anage*ent -or2 lo-.
Make a ba'kup in the ,ield. I !aven/t yet "po2en o t!i" in +etail( $#t i yo#/re o#t on an e,ten+e+ iel+<"!ooting e,pe+ition( con"i+er carrying a porta$le "torage +evice( "#c! a" t!e Ep"on P<?'''( or one o t!o"e ne- *ini note$oo2 co*p#ter" E"o*e carry over 6=' Giga$yte !ar+ +i"2 +rive"( an+ t!ey are "*all( an+ ine,pen"iveFG or even an Apple iPo+. T!e"e +evice" are "*all an+ $attery<po-ere+( an+ t!ey can al"o play *#"ic an+ a#+io $oo2"F I reco**en+ *a2ing $ac2#p" o yo#r *e*ory car+" i yo#/re a-ay ro* a co*p#ter. Me*ory car+" can ea"ily $e lo"t or +a*age+ in t!e iel+. An+ one *ore line o +e en"e +oe"n/t !#rt.
19
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES An a++itional piece o a+vice I !ave or -!en yo#/re #"ing a porta$le "torage #nit in t!e iel+ i"( +on/t $e co* orta$le eno#g! to re or*at yo#r *e*ory car+" a ter yo#/ve +o-nloa+e+ t!e i*age" to yo#r co*p#ter or ot!er porta$le +evice. T!e"e +evice" can ail or get lo"t al"oF I only reco**en+ #"ing t!e"e +evice" or $ac2#p p#rpo"e" Ean+ on a te*porary $a"i" at t!atG #ntil yo# get yo#r *e*ory car+" +o-nloa+e+ to yo#r co*p#ter. Yo# *ig!t t!in2 t!i" "tep i" a little e,ce""ive( $#t I/ve !ear+ !orror "torie". Recently( a rien+ o *ine lo"t *o"t o !i" "!ot" -!en !e *i"place+ a 8<gig *e*ory car+ on an airplane on a trip $ac2 to t!e U.S. ro* eig!t +ay" o "!ooting in Englan+. He -a"n/t a pro( $#t *o"t o !i" "!ot"( incl#+ing t!o"e o Stone!enge( Lon+on( Ave$#ry( an+ @ale" -ere lo"t.
T p; 2 su est #abe#in memory cards with your name and contact information to create a possibi#ity that the memory card wi## be returned.
Do+nload !our memor! 'ards to !our 'omputer. T!e ir"t t!ing I +o -!en I get $ac2 to *y !otel roo*( *y o ice( or *y !o*e a ter a +ay o "!ooting i" i**e+iately +o-nloa+ *y i*age" to *y co*p#ter. I create a "#$ ol+er in *y MOriginal I*age"N ol+er( #"#ally na*e+ in "eH#ential or+er -it! a +ate an+ a +e"criptive na*e or t!e i*age" ta2en t!at +ay( "#c! a"0 IMG''76 May &' Englan+( IMG''78May 6Englan+( an+ "o on. /a'k up !our images to D:D and9or a series o, ba'kup hard disk drives. Rig!t a ter +o-nloa+ing *y i*age" to *y MOriginal I*age"N ol+er( I $ac2 #p to DVD R t-iceF A DVD !ol+" *ore t!an 7.> giga$yte" o +ata( a$o#t t!e a*o#nt or a typical 7<gig 3o*pactCla"!E3CG or SD car+ #ll o i*age". I o ten go t!ro#g! at lea"t o#r or ive car+" -!en "!ooting nat#re p!oto" all +ay. Ra- i*age" are H#ite large. One DVD #"#ally !ol+" >'' to ='' i*age"( +epen+ing on t!e "ize o t!e ile" yo# are capt#ring. I *a2e t-o copie" o *y DVD"( one to 2eep on"ite in *y i*age li$rary an+ one to 2eep o "ite in *y "a ety +epo"it $o,.
20
2010 Kevin L. Moss
Back up those files to DVD!
Yo# can p#rc!a"e $lan2 DVD" ine,pen"ively no-. Great $argain" are availa$le at yo#r local co*p#ter an+ o ice "#pply "tore". @!et!er yo#/re #"ing DVD" to arc!ive yo#r i*age"( $e a-are t!at optical +i"c" are not all ali2e. DVD"( li2e *any t!ing"( are availa$le in +i erent level" o H#ality. T!ere are "o*e c!eap +i"c" on t!e *ar2et( $#t t!ey *ig!t $e c!eap or a rea"on. T!ey *ig!t "cratc! ea"ily or t!ey *ig!t $e "#"cepti$le to H#ic2er c!e*ical +eterioration t!an ot!er +i"c". @!en $#ying $lan2 3D" or DVD" to arc!ive yo#r i*age"( $#y na*e<$ran+ pre*i#* +i"c"( arc!ival H#ality "#c! a" Del2in Arc!ival Gol+ or Ver$ati* DataLi e. T!e"e +i"c" are "#ppo"e+ to !ol+ #p or *any year"( even +eca+e" i t!ey/re care #lly !an+le+ an+ "tore+. 4ac2ing #p t-ice to optical +i"c *ig!t "ee* a $it e,tre*e( $#t yo#r original i*age" are li2e yo#r original negative"Ri t!ey get lo"t or +e"troye+( yo# al-ay" !ave an e,tra copy o "ite a" a la"t re"ort. So*e p!otograp!er" -ill *ail t!eir +i"c $ac2#p" to t!eir a++re""e" at !o*e( to prevent t!at t!e lo"" o t!eir eH#ip*ent +#ring travel *ean" t!e co*plete lo"" o i*age".
/a'k up !our hard disk. In a++ition to $ac2ing #p *y original i*age" to DVD( I al"o $ac2 #p *y MDigital I*age"N ol+er to an e,ternal !ar+ +i"2 every nig!t. Yo# can never !ave eno#g! $ac2#p" o yo#r i*portant i*age ile" an+ +oc#*ent". A" clo"e rien+ an+ long<ti*e p!otograp!er an+ Mac g#r# tell" *e( MT!ere are t-o 2in+" o people R t!o"e -!o !ave lo"t +ata an+ t!o"e -!o -ill.N
21
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES I yo# +on/t !ave an e,ternal !ar+ +i"2 to *a2e nig!tly $ac2#p" o yo#r +ata ile" R not %#"t yo#r i*age"( $#t all o yo#r ot!er per"onal -or2 R I reco**en+ getting one( or t-o EI !ave "everal( an+ #pgra+e t!e"e yearlyG. Yo# can p#rc!a"e e,ternal !ar+ +i"2 +rive" -it! capacitie" o *ore t!an >'' giga$yte" or le"" t!an t!e co"t o a co#ple o large capacity *e*ory car+". Cor a co#ple !#n+re+ $#c2"( yo# can re"t ea"y 2no-ing t!at yo#r val#a$le +ata i" protecte+ in ca"e yo#r co*p#ter/" !ar+ +i"2 ail".
The perfect backup system for your irrep#aceab#e ima es! the <estern *i ita#"s My &ook= Mirror .dition> dua#5drive stora e system offers ?(2*5based continuous data protection and user5serviceabi#ity.
Cse Adobe /ridge, Lightroom, Photoshop Elements DrganiBer, or Pi'asa as !our image>management s!stem. T!e ne,t "tep in t!e i*age<*anage*ent -or2 lo- i" to -or2 -it! yo#r i*age" #"ing "o t-are yo# alrea+y *ig!t !ave. P!oto"!op co*e" -it! 4ri+ge Epro <H#alityG( A+o$e Lig!troo* i" -orl+ cla""( an+ i yo#Kre #"ing Ele*ent"( t!e Organizer i" t!e $e"t +ollar or +ollar +eal o#t t!ere. T!e Organizer i" -ort! t!e price o Ele*ent" alone in *y opinion. . Cro* -it!in t!e"e "o t-are title"( yo# can organize yo#r p!oto" into one large 3atalog t!at incl#+e" all o yo#r i*age"( or even "eparate 3atalog"( an+ -it!in t!o"e catalog"( yo# can even #rt!er organize yo#r i*age" into Al$#*".
22
2010 Kevin L. Moss
Hold An E8hibit
"n) 'how *ff +o,r #orAll t!e r#it" o yo#r +igital p!otograp!y e ort" +e"erve a "!o-ing. P!otograp!" are *eant to $e +i"playe+ an+ en%oye+ $y ot!er"( -!at -ay to $e"t "!o- o yo#r -or2 t!an to !ol+ an e,!i$itionF Invite yo#r rien+"( a*ily an+ co<-or2er" an+ "!o- t!e* t!e arti"t t!at yo# tr#ly are. S#gge"tion" to !ol+ing an e,!i$ition incl#+e0 Print, mount, matte and ,rame 1# or )# o, !our best photographs. $ind a lo'ation to hold !our photograph! e8hibit. Local $oo2"tore"( co**#nity center"( place" o -or"!ip or neig!$or!oo+ art center" are all goo+ place" to "tart. T!ere pro$a$ly -on/t $e a ee involve+ an+ t!e"e organization" li2e it -!en yo# $ring people into t!eir e"ta$li"!*ent. -et a date and time ,or a re'eption intended to laun'h !our e8hibit. -end out personal invitations. Print yo#r invite" on p!oto paper -it! a "a*ple o yo#r -or2 to t!e people yo# -o#l+ li2e to invite to yo#r per"onal art e,!i$it. Advertise !our e8hibit b! 'onta'ting !our lo'al ne+spaper o, the event. Many ne-"paper" -ill li"t yo#r notice or ree in t!eir -ee2ly or +aily art<e,!i$it "ection. I yo# !ave $log( even $etter( "en+ an e*ail to yo#r "#$"cri$er"F Ei yo# +onKt !ave a $log yet( GET O5EFG. Have a sign>in sheet and grab email addresses. I yo# !ol+ t!e event( *a2e "#re yo# collect na*e" an+ e*ail a++re""e" o t!e people vi"iting yo#r e,!i$it. Yo# can #"e t!e"e e*ail a++re""e" a" ollo- #p"( an+ to noti y yo#r M an"N o ne- event" or o ering".
T p: 2f you intend on se##in your framed photos at the e:hibit! make sure you keep a few e:tra prints of each photo in the e:hibit on hand! you may be surprised how we## your art wi## se##$ -heck with the estab#ishment you are e:hibitin your photos in and see what their po#icy is for se##in your work.
23
2010 Kevin L. Moss
%ool Abstra't Art +ith E8treme %ropping

...w th help from ,s n! the .ot on /l,r 0 lter
One o t!e t!ing" I li2e to +o -it! p!oto"( e"pecially lo-er" i" to crop a "*all portion o t!e i*age to create a ine<art a$"tract. I e"pecially li2e "trong color" on *y a$"tract" -it! "i*ple "#$%ect *atter". I "!oot a lot o lo-er"( an+ !ave %#"t a" *any M+#+"N a" I +o !ave goo+ i*age". I +onKt +i"car+ t!e lo#"y p!oto"( %#"t in ca"e I -ant to create a$"tract i*age" o#t o t!e* $y *e""ing -it! t!e* in P!oto"!op or Ele*ent" an+ cropping clo"ely to only certain part" o t!e i*age. It" *y reocc#rring t!e*e o Mres'uing lost treasuresN.
@ri ina# AdudA ima e. )othin specia# here$
To create an e,tre*e a$"tract0 1. %hoose a photo +here a small portion +ould make ,or an interesting abstra't. 2$ %li'k on the %rop tool in the Photoshop or Elements &oolbo8. Don/t orget to type in t!e @i+t!( Heig!t an+ Re"ol#tion or t!e i*age yo# are cropping. E. %rop that portion o, the image using the %rop tool lo'ated in the Photoshop toolbo8. 4$ Appl! overall image ad?ustments. Per,orm an! additional edits needed to the photograph. Cor t!i" i*age( I "i*ply #"e+ 8 ilter"0 @ilters77A)lur77ABaussian )lur! and then I applied the @ilters77 A)lur77ACotion )lur ilter in P!oto"!op 3S7.
24
2010 Kevin L. Moss
Making Po+er Lines Disappear

.ore &hotoshop an) (lements Techn 1,es
One o t!e *o"t +i"appointing t!ing" -!en "!ooting p!oto" i" -!en yo# get a great "!ot( only to in+ o#t t!ere/" a po-er line or a "treetlig!t in t!e -ay. Yo# *ay not !ave notice+ t!e* -!en ta2ing t!e p!oto( $#t t!ey "#re appear -!en $ro-"ing -it! 4ri+ge in P!oto"!op. Many ti*e" t!e"e t!ing" t!at yo# +i+n/t notice -ill r#in a "!ot. 5o *oreF To *a2e t!e"e pe"2y line" go a-ay0 6. Dpen a photo +here something ruined the shot. Li2e a po-er line. 8. %reate a ne+ Editing La!er Etr#"t *e on t!i" oneG0 -H.$&F%&*LFAL&FE ESHICTS3MDSOPTIO5SE on a MacG E. %li'k on the -pot Healing /rush &ool lo'ated in the Photoshop or Elements &oolbo8. 2. Enlarge or redu'e the siBe o, the brush b! 'li'king the G or the H ke!. ". %li'k and drag the -pot Healing /rush over the lines !ou +ant to make Igo a+a!J like in the photo sho+n. S!ort "tro2e" are $e"t a" t!e area "#rro#n+ing t!e paint$r#"! i" #"e+ $y t!e "o t-are to clone o#t t!e po-er line.
25
2010 Kevin L. Moss
&ake A Photo &rip=
Monument 4a##ey! (ri'ona
One o t!e $e"t p!otograp!y e,perience" IKve ever !a+ -a" traveling -it! a "*all gro#p on a p!otograp!y trip. A e- year" ago( I -a" "earc!ing t!e Internet or a travel p!otograp!y a+vent#re in A*ericaK" "o#t!-e"t. I -a" pretty anal a$o#t t!e location" I -ante+ to p!otograp!. I "earc!e+ an+ "earc!e+( an+ "po2e to *any travel p!otograp!y o#t it" a+verti"e+ in O#t+oor P!otograp!er *agazine an+ on t!e Internet. All $#t one +i+nKt "ee* practical or *e. T!e one t!at +i+( -a" Po!n 4a2erK" Travel I*age". Po!n an+ I +o not !ave an o icial a iliation( t!at i"( IK* not getting pai+ or t!i"F P#"t $eing !one"t -it! yo#( -!en I "ee goo+ val#e or p!otograp!er"( IK* going to -rite a$o#t it. T!i" oneK" co*ing ro* *y !eart. I !a+ "#c! a goo+ e,perience( I -ante+ to ill yo# in on it. 4ac2 to *y "tory. I +i+ call Travel I*age"( an+ Po!n ret#rne+ *y call ASAP. @e tal2e+ or a -!ile( an+ I let !i* 2no- -!at type o trip I !a+ in *in+( -!ic! no$o+y el"e -a" +oing. I -ante+ ir"t to !it t!e "lot canyon" in 5ort!ern Arizona( pri*arily( Antelope 3anyon. I al"o -ante+ to "pen+ ti*e in Uta!( *ainly Mon#*ent Valley( 3anyonlan+"( an+ Arc!e" 5.P. Po!n +i+nKt !ave
(nte#ope -anyon! near Pa e! (ri'ona
26
2010 Kevin L. Moss
IMPROVE YOUR PHOTOGRAPHY anyt!ing "c!e+#le+ or t!at area at t!e ti*e( $#t !e a"2e+ *e to give !i* a e- +ay"( an+ !eK+ co*e #p -it! "o*et!ing.
Monument 4a##ey
@!at Po!n ca*e #p -it!( -a" t!e Re+ Roc2 Trip. T-o -ee2" in t!e A*erica So#t!-e"t( p#re p!otograp!y. I -a" plea"antly "#rpri"e+F O#r ti*e ra*e -a" A#g#"t( an+ Po!n procee+e+ to "c!e+#le t!e trip in $et-een a e- all color trip" !e alrea+y !a+ $oo2e+ #p -it! !i" p!otograp!y client". Octo$er it -a". T!an2 #lly( Po!n -a" a$le to get a great gro#p o ot!er p!otograp!er" to %oin #" or t!e Re+ Roc2 trip( an+ re"t i" !i"tory EIK* "till clo"e rien+" -it! t!e people on t!at trip( a" -ell a" Po!nG. Po!n !a+ "c!e+#le+ a great t-o -ee2 e,c#r"ion. A e- +ay" in Page Arizona( incl#+ing Antelope 3anyon. A e- +ay" in So#t!ea"t Uta!( Mon#*ent Valley. Me,ican Hat( Goo"enec2" State Par2( Arc!e" 5ational Par2( 3anyonlan+" 5ational Par2. I -a" getting *y Re+<Roc2<OnF Cor t-o -ee2"( it -a" p#re p!otograp!y. @it!o#t Po!n a" a g#i+e( I never -o#l+ !ave 2no-n 618 t!e place" to go at t!e"e "ite"( an+ -!at ti*e" -ere $e"t or p!otograp!y. It -a" *oney -ell "pent to !ave a g#i+e( %#"t or t!e e,tra 6''T p!oto<opK" it o ere+. Po!n i" al-ay" *i,ing #p !i" +e"tination"( an+ !e +oe" !ave a very intere"ting variety o trip" -orl+-i+e( o ten top p!oto +e"tination". Mac!# Pic!# anyoneU 5ova ScotiaU Yello-"toneU
27
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES Galapago"U Po!n !a" t!e* all. 5ot only t!at( !eK" very e,perience+ in 2no-ing -!ere an+ -!en to p!otograp! "ite" in all o t!e"e -orl+ location". In "#**ary( i yo# -ant to ta2e t!at +rea* p!otograp!y trip( "trongly con"i+er going -it! an e,perience+ trip lea+er( -!o al"o i" a p!otograp!er. Yo# can vie- *ore at !ttp011traveli*age".co*( an+ ollo- t!e lin2" to get in to#c! -it! Po!n( tell !i* I "ai+ !elloF
(rches )ationa# Park! 6tah
28
2010 Kevin L. Moss
-hoot in %olor, %onvert to /la'k and White Later

One o t!e $e"t practice" an e,perience+ p!otograp!er "!o#l+ $e a-are o ( i" to "!oot all o yo#r p!otograp!" in color. Al*o"t all +igital ca*era" give yo# t!e a$ility to ta2e i*age" in $lac2 an+ -!ite *o+e( $#t it" not nee+e+. @!et!er yo#Kre #"ing P!oto"!op( Ele*ent"( or even Pica"a( all t!e"e "o t-are title" give" yo# t!e a$ility to convert yo#r i*age" to $lac2 an+ -!ite later. T!e rea"on to "!oot all o yo#r i*age" in color even i yo# pre er $lac2 an+ -!ite at ti*e"U Ea"y( *ore option". I yo# "!oot in color( yo# al-ay" !ave t!e option o proce""ing t!e i*age in eit!er color or $lac2 an+ -!ite. I yo# "!oot yo#r i*age" in $lac2 an+ -!ite *o+e rig!t o#t o t!e ca*era( yo# lo"e t!e a$ility to proce"" t!e i*age in color later. @!y li*it yo#r option"U
In "#**ary( i I -o#l+ !ave "!ot t!i" i*age in $lac2 an+ -!ite *o+e in<ca*era( I -o#l+nKt !ave t!e option o #tilizing t!e i*age in color. A" yo# can "ee( in color( t!e i*age !a" a lot o color an+ i*pact. It" %#"t a" *#c! +ra*atic in $lac2 an+ -!ite. T!i" i*age o t!e Eye in Lon+on i" a goo+ e,a*ple o -!y yo# -ant to give yo#r"el $ot! option" or an i*age( color and $lac2 V -!ite.
29
2010 Kevin L. Moss
.nvest in <ood Lenses

)no-ing a lot o p!otograp!er" over t!e year"( *y "t#+ent"( rea+er"( or *y contri$#ting to an+ l#r2ing in online or#*"( IK* a*aze+ at t!e reH#ency p!otograp!er" #pgra+e t!eir ca*era". So*e #pgra+e every ti*e a ne- replace*ent co*e" o#t or t!eir alrea+y very "ervicea$le ca*era". I can #n+er"tan+ t!at( p!otograp!er" are ga+get %#n2ie"( an+ IK* no e,ception. Per"onally( IK+ rat!er "pen+ *y *oney on ot!er t!ing"( li2e travel( college t#ition or t!e 2i+"( or a ne- $at!roo*.
My "#gge"tion -!en yo# get t!e itc! to get t!at !otte"t ne- 5i2on or 3anon( i" to ir"t loo2 at yo#r overall ca*era ar"enal. T!e ir"t H#e"tion yo# "!o#l+ a"2 yo#r"el i" M+o I !ave t!e rig!t co*$ination o len"e"UN 3!ance" are( t!ere are one or t-o yo#Kre "!y o . Anot!er H#e"tion yo# "!o#l+ a"2 yo#r"el ( i" yo#r ca*era "till "ervicea$le( airly ne-( an+ pro+#cing accepta$le i*age"U I yo#Kre "!ooting -it! a co*pact +igital ca*era an+ -ant to *ove #p to a DSLR( go or it( yo#Kll $e gla+ yo# +i+. I yo# are #"ing a DSLR( an+ it" only a year or t-o ol+( t!atK" anot!er "tory. I "!oot an+ -rite a" a pro e""ion( an+ I "till canKt %#"ti y in *y *in+ #pgra+ing to t!e late"t *o+el in *y MrangeN %#"t $eca#"e t!e *an# act#re anno#nce+ a ne- i*prove+ *o+el. @!en I inve"t in eH#ip*ent( I per"onally li2e to get & year" #"age o#t o it( an+ or len"e"( even longer( "o*eti*e" *#c! longer. T!e DSLR IK* #"ing no- -a" "tate<o <t!e<art 8 year" ago( an+ I !ave a eeling t!at IK* +#e or a neone in a year or "o. Until t!en( IKll !ol+ $ac2 *y #rge"( an+ in"tea+ lean to-ar+ !ig! H#ality len"e" to a++ to *y ar"enal. IK+ a+vi"e t!e "a*e or yo#. La"tly( -!en yo# inve"t in a +igital SLR( yo#Kre inve"ting in a M"y"te*N. @!et!er it $e 3anon( 5i2on( Penta,( Sony E or*ally MinoltaG or Oly*p#"( yo#Kre $#ying into t!o"e *an# act#rer"
30
2010 Kevin L. Moss
IMPROVE YOUR PHOTOGRAPHY "peci ic len" "y"te*". 3a*era $o+ie" *ay co*e an+ go( $#t t!e real val#e i" $#il+ing #p yo#r "y"te* o len"e" an+ acce""orie". Here i" %#"t a "a*ple E%#"t or 5i2on an+ 3anonG o "o*e o t!e !ig!<H#ality len"e" t!at cover yo# ro* 67** all t!e -ay #p to 8''**( eac! con"i+ere+ $e"t<in<cla"" t!at yo# *ig!t con"i+er a++ing to yo#r "y"te*0 ikon Lenses &o Dream $or
5i2on 6'>** 18.:G ED<IC AC<S VR Micro 5i2on 67<87** 18.:G ED AC<S 5i22or 5i2on 87<?'** 18.:G ED AC<S 5i2on AC<S 5I))OR ?'<8''** 18.:G ED VR II
%anon Lenses &o Dream $or

3anon EC 6''** 18.: Macro USM Len" 3anon EC 87<?'** 18.:L USM 3anon EC ?'<8''** 17 L IS USM 3anon EC 6?<7'** 17L USM
31
2010 Kevin L. Moss
Cse a %olor Management Work,lo+

%olor Management E8plained
I*agine a "cenario o %#"t getting !o*e ro* p!otograp!ing an event t!at re"#lt" in a co*pact la"! #ll o once<in<a li eti*e i*age". P!otograp!" -ort!y to $e place+ #pon t!e pri"tine -!ite -all" o t!e Metropolitan M#"e#*. O)( *ay$e %#"t "o*e great pict#re" o yo#r love+ one" t!at yo# -o#l+ 2no- to loo2 great $e!in+ t!e gla"" o an : I 6' ra*e locate+ yo#r +e"2 at -or2. T!e point i"( yo# !ave %#"t capt#re+ i*age" t!at yo# 2no- -ill $lo- yo#r !air $ac2 once t!ey are printe+.
Printed without -o#or Mana ement
4iewed on -omputer Monitor
A ter loa+ing yo#r i*age" to yo#r co*p#ter( yo# glee #lly vie- -!at loo2" li2e to $e yo#r avorite i*age o t!e $#nc!. A ter a e- t-ea2"( yo# "en+ t!e i*age to t!e printer. To yo#r +i"*ay( yo#r p!otograp! co*e" o#t o t!e printer -it! a re++i"! ca"t an+ i" too +ar2. 5ot e,actly -!at yo# e+ite+ in P!oto"!op. Yo# t-ea2 an+ print t!e "a*e i*age a e- *ore ti*e" an+ poo ( "a*e re"#lt. T!e print +oe" not *atc! t!e i*age vie-e+ on t!e *onitor.
32
2010 Kevin L. Moss
IMPROVE YOUR PHOTOGRAPHY 4y applying a e- i*portant color *anage*ent concept" to yo#r co*p#ter an+ yo#r e+iting "o t-are( yo# *a2e "#re i*age yo# are vie-ing on yo#r co*p#ter *onitor *atc!e" t!e p!otograp! printe+ a" clo"e a" po""i$le. At a price o a$o#t one +ollar per :,6' or p!oto<H#ality paper an+ in2( yo#/ll "ave a $#n+le an+ a $#nc! o r#"tration<ca#"e+ e*otional $rea2+o-n" too. 3on"i+er color *anage*ent -or2 lo- t!e Prozaca o +igital p!otograp!y. One o t!e *o"t i*portant tool" yo#/ll nee+ to *a2e "#re t!at t!e i*age" yo#r vie-ing an+ e+iting on yo#r co*p#ter +i"play i" -!at i" going to $e printe+( i" a colori*eter. A colori*eter i" a color *ea"#re*ent tool t!at attac!e" to yo#r +i"play( an+ in con%#nction -it! "o t-are( i" #"e+ to create a *onitor pro ile yo#/re co*p#ter #"e". @!en cali$rating yo#r *onitor -it! a colori*eter( yo#/re *ore clo"ely *atc!ing t!e color" "een on yo#r +i"play to t!e print t!at/" $eing c!#rne+ o#t on yo#r printer. T-o o t!e top "elling cali$ration tool" incl#+e t!e Datacolor Spy+er&Pro an+ t!e I<Rite color*#n2i. Yo#/ll in+ t!at inve"ting in t!e"e tool" -ill $e -ell -ort! t!e price( an+ cali$rating yo#r *onitor -ill "ave yo# +ollar" $y re+#cing t!e a*o#nt o paper an+ in2 #"e+ in a Mtrial an+ errorN proce"".
T!e *o"t i*portant "tep o i*ple*enting color *anage*ent into yo#r -or2 lo- i" to cali$rate yo#r *onitor. It i" i*portant to cali$rate on a reg#lar $a"i" a" t!e color"( $rig!tne"" an+ contra"t o yo#r *onitor c!ange over ti*e. @!et!er yo# #"e one o t!o"e ol+ $ig cl#n2y co*p#ter *onitor" Eonce calle+ 3RT/"G( one o t!o"e "lee2 ne- L3D *onitor" or a laptop co*p#ter( t!e r#le re*ain" t!e "a*e( cali$rate on a reg#lar $a"i". @!ile cali$rating yo#r *onitor( yo# are *a2ing act#al a+%#"t*ent" to t!e $rig!tne""( contra"t an+ color $alance to *atc! -!at yo#r cali$ration "o t-are #"e" a" it" "tan+ar+. T!e"e a+%#"t*ent" are act#al p!y"ical c!ange" to t!e operation o t!e *onitor an+ are nece""ary to pro+#ce an acc#rate pro ile t!at yo# co*p#ter -ill #"e. 4y cali$rating yo#r *onitor yo# !ave e ectively "et yo#r"el #p or a "#cce"" #l color *anage+ -or2 lo-. I t!i" "tep i" "2ippe+( yo# are al*o"t g#arantee+ t!at yo# -ill $e *a2ing a+%#"t*ent" to +igital ile" $a"e+ on al"e in or*ationF
33
2010 Kevin L. Moss
E8plaining %olor Modes in Photoshop

4e ore yo# $egin -or2 on a p!oto( it/" a pretty goo+ i+ea to 2no- -!at t!e i*age i" going to $e #"e+ or. I" t!e i*age to $e printe+ on yo#r in2%et p!oto printerU Di"playe+ on t!e @e$U U"e+ or prepre""U T!e an"-er" to t!e"e H#e"tion" -ill +eter*ine -!ic! color *o+e yo# c!o"e. T!e color *o+e "i*ply let" yo# +eter*ine -!ic! color *et!o+ P!oto"!op i" to #"e to ir"t +i"play yo#r i*age -!ile e+iting an+ t!en to o#tp#t EprintG yo#r i*age. 3olor *o+e" repre"ent partic#lar n#*erical color +e"cri$ing *et!o+"( al"o calle+ color models.
6se (dobe ?B& 1CC1 for editin and printin ! convert to s?B& for ima es to be viewed on the web
3!oice" or color *o+e" #"e+ or +igital p!otograp!er" in P!oto"!op incl#+e0 /itmap0 5ot #"e+ or +igital p!otograp!". U"e" $lac2 V -!ite or color val#e" to repre"ent pi,el" in an i*age <ra!s'ale0 T!i" *o+e -o#l+ $e #"e+ i t!e original i*age opene+ in P!oto"!op -ere alrea+y a $lac2 an+ -!ite i*age. Mo"t o yo#r p!otograp!" capt#re+ -it! a +igital ca*era or acH#ire+ #"ing a il* "canner -ill $e color.
T p: To produce b#ack and white photos in Photoshop! stick with editin the ima e in your norma# co#or mode and convertin to b#ack and white #ater.
Duotone0 5ot #"#ally #"e+ or +igital p!otograp!"( +#otone i" a *o+e #"e+ or "peci ic printing p#rpo"e" relate+ to t-o<color print %o$". It" al"o #"e+ or a+vance+ $lac2 an+ -!ite printing tec!niH#e". s*</0 Digital ca*era" are #"#ally "et to t!i" color "pace( $#t on *o"t +igital SLR"( yo# can "et yo#r +e a#lt color "pace to A+o$e RG4 699: a" -ell. "RG4 i" t!e $e"t color "pace to #"e or p!otoK" t!at are to $e vie-e+ on t!e -e$. I yo# e+it yo#r i*age" in A+o$e RG4 699: a" I "#gge"t Eyo# !ave a larger color ga*#t to -or2 -it!G( yo# "!o#l+ 'onvert yo#r i*age" to "RG4 -!en yo#Kre rea+y to "ize an+ o#tp#t an i*age or vie-ing on a -e$ page or attac!ing to an e*ail.
34
2010 Kevin L. Moss
IMPROVE YOUR PHOTOGRAPHY Adobe *</ 1443 K*ed, <reen, /lueL0 Cor +igital p!otograp!er"( RG4 i" t!e "tan+ar+ color *o+e #"e+ or e+iting p!otograp!" in P!oto"!op. RG4 i" t!e +e a#lt color *o+e an+ i" a#to*atically "et#p or yo# -!en yo# in"tall P!oto"!op. In 5ort! A*erica( t!e "tan+ar+ e+iting *o+e or p!oto" "!o#l+ $e A+o$e RG4 699: Unle"" yo# are preparing i*age" or prepre"" or ot!er "pecial p#rpo"e"( leave RG4 a" yo#r "tan+ar+ color *o+e or e+iting yo#r i*age" in P!oto"!op. It o er" a -i+er range o color" to e+it -it!. %M5K K%!an, Magenta, 5ello+, /la'kG0 Anot!er "tan+ar+ color *o+e #"e+ in P!oto"!op( 3MY) *o+e i" #"e+ *o"tly or preparing i*age" -!ere color "eparation i" nee+e+ or printing pre"" proce""e". 2hen itDs necessar( to submit ima es for commercial printin ! edit (our ima es in EB) mode! then convert (our ima e to 1C>F for (our final submission$ Lab: :ab color mode is the intermediate model used b( +hotoshop to convert from one color mode to another$ @or di ital photo raphers! :ab color mode will rarel( be used! however I know of a lot of photo raphers that edit their ima es in :ab mode$ 6ot sure wh(< 0he( probabl( read an article somewhere$ Multichannel: 6ot normall( used for di ital photo raphs$ Cultichannel mode is used onl( for speciali8ed printin applications$
@or most photo raphers in the 'mericas! I su
est the followin color profiles-
In Camera: If (ou print some! and put some up on the 2eb or email! set (ou camera to 'dobe EB) 1998$ Gdit (our ima es in the same color space$ 2hen preparin ima es for the 2eb or email! I su est then convertin (our ima es to the sEB) color space$ Photoshop & Elements: 's mentioned! edit (our photos in the 'dobe EB) 1998 color space$ 0he reason5 :ar er color amut$ >ou can convert to other color spaces later after (ou make (our color and tonal corrections$
35
2010 Kevin L. Moss
-hoot the -k!

T!i" i"nKt or everyone( it i" or *e t!o#g!( yo# "!o#l+ try it. S!ooting t!e "2y i" "o*et!ing I teac! all *y 5at#re P!otograp!y "t#+ent" in *y 4etterP!oto.co* co#r"e". It give" t!e* an i+ea o "o*et!ing t!atK" "i*ple( an+ i" al-ay" t!ereF Loo2ing or "o*e great nat#re "#$%ect *atterU 3on"i+er +eveloping a port olio o "2y p!otograp!". P#"t t!e "2y( not!ing el"e. @!ere el"e can yo# o$tain i*age" no$o+y el"e !a"U T!e "2y c!ange" *in#te $y *in#te( an+ i" never t!e "a*e. T!atK" rig!t( no t-o p!otograp!" o t!e "2y are t!e "a*e( an+ t!eyKll never $e t!e "a*e eit!er. All yo# !ave to +o i" point yo#r ca*era #p( an+ "!oot. Here are a e- o *y "#gge"tion" or "!ooting t!e "2y0
-et !our 'amera to Aperture Priorit! Mode. Set yo#r apert#re to 1>.=. Yo#Kre "!ooting -it! a ocal lengt! "et to in inity any-ay( 1>.= i" pro$a$ly yo#r len" M"-eet "potN( or -!ere it" at it" a$"ol#te "!arpe"t. Cse a tripod in lo+ light situations. Unle"" yo#Kre "!ooting at a "!#tter "pee+ over 61>'' o a "econ+( #"e a tripo+ to in"#re #t*o"t "!arpne"". -hoot the sk! ?ust be,ore sunrise, or ?ust a,ter sunset. T!atK" t!e ti*e -!ere yo#Kre going to get t!e $e"t color in yo#r i*age". S!ooting at *i+<+ay i" going to give yo# #nintere"ting "2yK"( #nle"" it" "tor*ing o#t or yo# !ave "o*e great $l#e "2ie" -it! a nice *i, o clo#+". -hoot at a lo+ .-D setting. To en"#re lo-<noi"e i*age"( "et yo#r ISO to t!e lo-e"t "etting on yo#r +igital ca*era.
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2010 Kevin L. Moss
E8plaining 3 and 1M /it Modes

RG4 i*age" are *a+e #p o eit!er t!ree :<$it or 6=<$it gray"cale c!annel". Eac! o t!e t!ree c!annel" repre"ent" "!a+e" o re+( green or $l#e E!ence t!e acrony* RG4G. RG4 repre"ent" t!e co*$ination o t!e pri*ary color" o lig!t -e "ee. :<$it i*age" contain #p to 6=.? *illion #niH#e color +e inition" o RG4. 6=<$it i*age" contain #p to &> trillion #niH#e color +e inition" o RG4. Yo#r c!oice or i*age *o+e" to "et#p or -or2ing -it! yo#r i*age" in P!oto"!op i" to c!oo"e eit!er : or 6= $it *o+e to -or2 in. @!et!er yo# e+it yo#r i*age in : or 6= $it *o+e *ay al"o +epen+ on yo#r original i*age. I yo# capt#re PPEG i*age" in yo#r +igital ca*era( t!e only c!oice yo# !ave i" :<$it *o+e. I yo# !ave yo#r +igital ca*era "et to capt#re RA@ or TICC i*age"( t!e -on+er #l -orl+ o 6=<$it color a-ait" yo#. O)( t!i" tec!nical "t# i" intere"ting( $#t !o- +oe" it a ect e+iting o#r +igital p!oto" in P!oto"!opU T!e an"-er i" "i*ple. Every ti*e -e *a2e an e+it to an i*age( -e -in+ #p t!ro-ing a-ay i*age in or*ation. T!e e,ten"ive o#r e+it" are( "ay c!anging e,po"#re( color "at#ration or contra"t( -e t!ro- *ore +ata into t!e tra"!. @e -ant to *a2e "#re -e !ave plenty o in or*ation to -or2 -it! to g#arantee o#r i*age e+it" +o not +egra+e t!e color H#ality o an i*age. T!e $otto* line -it! -!ic! *o+e to #"e to e+it i*age" in P!oto"!op i" to i yo# can c!oo"e 6=< $it *o+e to g#arantee yo# are e+iting i*age" -it! a" *#c! in or*ation availa$le a" po""i$le. 5ot all P!oto"!op or Ele*ent" eat#re" are availa$le to yo# in 6=<$it *o+e( !o-ever -it! eac! never"ion o P!oto"!op( *ore #nction" $eco*e availa$le. I yo# are "!ooting PPEG i*age" -it! yo#r +igital ca*era( yo# -ill only $e given t!e option to e+it yo#r i*age" in :<$it *o+e. Ceat#re" availa$le or #"e in 6=<$it *o+e incl#+e0 All tool" in t!e tool$o, e,cept t!e Art Hi"tory $r#"! tool. All color an+ tonal a+%#"t*ent co**an+" Ee,cept Variation"G Layer" an+ a+%#"t*ent layer". An a""ort*ent o ilter". 3rop( rotate an+ i*age "ize a+%#"t*ent" S#pport or PSD an+ TICC ile"
I yo# nee+ to #"e a P!oto"!op tool or ilter t!at i" not co*pati$le -it! 6= $it *o+e( "ave a copy o t!e ile to retain it" 6=<$it *o+e "tat#"( t!en convert t!e i*age to :<$it *o+e to ena$le yo# to #"e t!e tool or ilter. Ele*ent" #"er" nee+ only to -orry a$o#t : $it *o+e( a" yo# can only *a2e e+it" an+ a+%#"t*ent" in : $it *o+e in Ele*ent".
37
2010 Kevin L. Moss
Cse the <radient &ool $or a %olor,ul -k!

One o t!e *o"t reH#e"te+ tec!niH#e" receive+ ro* *y "t#+ent" i" !o- to color #p a +#ll or M$al+N "2y. A "2y in an i*age t!at i" eit!er vacant o any +etail( or %#"t plain +#ll. IKll o ten #"e a tool t!at i" o ten overloo2e+ $y *any P!oto"!op an+ Ele*ent" #"er"( t!e Gra+ient Tool. Locate+ in t!e tool$o,( it" an ea"y<to<learn tool t!at give" yo# *any coloring opport#nitie" t!at -o#l+ $e a great a++ition to yo#r ar"enal. 0o add a little %punch& to (our ima e! often to the sk( or even the fore roundH 1$ Process your image like you normally do. Cake (our color and tonal corrections usin 1amera Eaw! or ad#ustment la(ers in +hotoshop! and even the Iuick or @ull Gdits in Glements ,I #ust love the Iuick Gdit in Glements/$ 2$ Create a new editing layer. !ype "#I$!%C!&L%'L!%E on a +1! or "#I$!%CM(%)P!I)*%E on a Cac$
@ri ina# 2ma e. %02/! 27@ 100! , sec
+. "elect the Gradient Too" ,rom the Photoshop or Elements !oolbo-. .. "elect your desired /radient Color. 1lick on the @ore round 1olor 9elector in the 0oolbo" to choose (our color$ @or this e"ample! I chose the color &ed$ 0. $rom !he )ption 1ar2 Click on the -inear Gradient icon shown in the illustration below. 3. Choose ar3en Mode ,rom the Mode "election 1o-. 4. "et your )pacity to ++5. >ou can appl( the radient man( times until (ou et the darkenin that (ou want$ 6. Click the top middle o, the image and drag the /radient !ool 7 o, the way down. &epeat as necessary.
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2010 Kevin L. Moss
Using the Gradient Tool
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2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES Other su estions for usin the Bradient tool for modif(in a sk(! or even other parts of an ima e include "electing di,,erent colors. )e a creative or abstract artist$ 9elect different colors from the color palette$ 1lick on the @ore round color button on the bottom of the 0oolbo"! deselect the Onl( 2eb 1olors selection bo"! and choose an( color in the spectrum$
*r ! nal
2e)
/l,e
3re4
40
2010 Kevin L. Moss
Cnderstanding La!ers
Working in Layers: The Sandwich Theory
"n e$cerpt from The % ! tal &hoto!rapher 'er es: &hotoshop (lements 7
The Layers Pa##et
I li2e to #"e t!e analogy o a $ig "an+-ic! to +e"cri$e t!e #"e o layer" in -or2ing -it! i*age" in P!oto"!op or Ele*ent". I "tart -it! a co#ple "lice" o $rea+( or *ay$e t!ree Eyo# 2no-( +o#$le< +ec2er "an+-ic!e"GRt!e $a"i" o every goo+ "an+-ic!. I t!en a++ a layer o lett#ce( one o to*ato( a layer o "ala*i( an+ a layer o rare roa"t $ee . A++ a little layer o *#"tar+( anot!er layer o c!ee"e( an+ I/* in !eaven0 a layere+ !ero<"ize+ "an+-ic!. T!e i+ea i" t!e "a*e -!en yo#/re #"ing layer" in yo#r Ele*ent" i*age".
41
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES Li2e *a2ing a "an+-ic!( e+iting i*age" in P!oto"!op or Ele*ent" i" al"o $a"e+ on t!e pre*i"e o per or*ing eac! in+ivi+#al c!ange to an i*age on it" o-n layer. T!in2 o eac! layer a" a tran"parency( an+ eac! tran"parency a" containing a partic#lar c!ange. @!en yo# open an i*age ile( t!e original i*age i" #"e+ a" a $ac2gro#n+ layer. A++ a layer to *a2e an a+%#"t*ent( an+ t!at layer i" place+ on top o t!e $ac2gro#n+ layer. Eac! ne- e+it i" containe+ on a ne- layer( "tac2e+ ro* t!e $otto* on #p. Stac2 t!e i*age" toget!er( an+ yo# !ave a co*po"ite i*age0 a ini"!e+ pro+#ct( %#"t li2e *y "an+-ic!. 5o- I/* getting !#ngryF T!e Layer" palette contain" all t!e layer" t!at *a2e #p an i*age. Yo# #"e t!e Layer" palette to control all layer"; yo# can create ne- layer"( !i+e layer"( an+ -or2 -it! gro#p" o layer". @it! all t!e"e layer"( *ay$e -e "!o#l+ $e calling i*age" proce""e+ in Ele*ent" +igital "an+-ic!e". 4y +e a#lt( t!e Layer" palette i" vi"i$le. I yo# ina+vertently clo"e t!e Layer" palette -!ile yo#/re -or2ing in Ele*ent"( yo# can al-ay" "tart it #p again $y c!oo"ing @in+o-"( Layer" or $y pre""ing t!e C? 2ey. Collo-ing are "o*e i*portant act" a$o#t -or2ing in layer"0 1ackground layer. @!en yo#/re opening an i*age ile( Ele*ent" an+ Ele*ent" create" t!e $otto**o"t $ac2gro#n+ layer. T!ere are certain c!ange" t!at cannot $e *a+e to t!e $ac2gro#n+ layer in Ele*ent"0 Yo# cannot +elete( reor+er( or c!ange t!e opacity or $len+ing *o+e o t!e $ac2gro#n+ layer.
The Layers pa#ette! shown with the -reate )ew %i## or (dDustment Layer f#yout menu
T p: &efore editin your ima e! a#ways make a dup#icate of the back round #ayer. 2t is a best practice to not perform edits to the back round #ayer. ?eserve that #ayer as the ori ina# on which to base a## your edits; 2t9s your backup parachute in case anythin oes wron .
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2010 Kevin L. Moss
IMPROVE YOUR PHOTOGRAPHY &o sho+ or hide the 'ontents o, a la!er, 'li'k the e!e i'on. I t!e eye icon i" vi"i$le( t!e content" o t!e layer are vi"i$le. I t!e eye icon i" not vi"i$le( t!e content" o t!e layer are !i++en. *ename la!ers b! double>'li'king the la!er name and t!ping the ne+ name. Yo# -ant to *a2e "#re t!at yo#r layer" are na*e+ correctly( pertaining to t!e partic#lar a+%#"t*ent or e+it yo# are *a2ing to t!at layer. It !elp" yo# re*e*$er -!at yo# +i+ in t!at layer later i yo# "ave t!e ile( an+ t!en go $ac2 to it +ay" or -ee2" later. %li'k and drag to 'hange the la!er order. To c!ange t!e or+er o yo#r layer"( clic2 a layer an+ +rag it to t!e po"ition -!ere yo# -ant t!at layer to appear. %reate ne+ la!ers ,rom the ,l!out menu. 3lic2 t!e 3reate a 5e- Layer $#tton. 3!oo"e t!e layer type ro* t!e lyo#t *en#. Yo# can al"o create a ne- layer $y +ragging an e,i"ting layer to t!e 5e- Layer $#tton( -!ic! i" locate+ on t!e $otto* o t!e Layer" palette. Drag to delete la!ers. 3lic2 t!e layer an+ +rag it to t!e tra"!can icon locate+ on t!e $otto* rig!t o t!e Layer" palette. Yo# can al"o rig!t<clic2 t!e layer an+ c!oo"e Delete Layer ro* t!e lyo#t *en#. I yo#/re #"ing a Mac( "i*ply "elect t!e layer in t!e Layer" palette an+ clic2 t!e +elete $#tton on t!e 2ey$oar+. $latten la!ers. Clattening layer" co*$ine" all layer" into one. @!en yo# latten an i*age( yo#r a$ility to *a2e c!ange" to in+ivi+#al layer" i" lo"t. Clattening layer" i" #"#ally per or*e+ to create a ver"ion o an i*age to print or to "#$*it or p#$li"!ing. I no layer" are "electe+( t!e entire i*age i" lattene+ into one layer -it! t!e top layer/" na*e. I t-o or *ore layer" are "electe+( only t!o"e layer" are co*$ine+ into one layer( again ta2ing t!e top layer/" na*e.
T p: To maintain your ima e edits! save your ima e before f#attenin it and save the f#attened version of your ima e fi#e usin another fi#ename.
")5,stment an) 0 ll 6a4ers

A+%#"t*ent layer" allo- yo# to c!ange color or tonal val#e" o an i*age -it!o#t a ecting t!e original E$ac2gro#n+G i*age. @!en yo# create an a+%#"t*ent layer( c!ange" *a+e in t!at layer are vie-a$le along -it! all t!e a+%#"t*ent" yo# *a+e in t!e layer" #n+erneat! it. Yo# can #"e a+%#"t*ent layer" to *a2e en!ance*ent" to level"( c#rve"( color $alance( $rig!tne""1contra"t( an+ color "at#ration.
43
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES An a+%#"t*ent layer a ect" all t!e layer" $eneat! it in t!e Layer" palette. T!e a+vantage i" t!at a c!ange *a+e to an a+%#"t*ent layer +oe"n/t nee+ to $e repeate+ in t!e layer" "tac2e+ $eneat! it. Cor e,a*ple( i yo# -ant to c!ange t!e $rig!tne"" o an i*age( yo# only !ave to *a2e t!at c!ange once to t!e overall i*age. Cill layer" allo- yo# to ill t!e layer -it! "oli+ color"( gra+ient"( or pattern". T!e ollo-ing li"t +e"cri$e" t!e type" o a+%#"t*ent an+ ill layer" yo# can #"e in yo#r i*age< e+iting -or2 lo-. -olid 'olor. A "oli+ color layer i" con"i+ere+ a ill layer. 3reate a "oli+ color layer to ill an i*age -it! a color. Yo# can al"o #"e it to create a colore+ $ac2gro#n+ or an i*age. <radient ,ill la!er. Yo# can #"e gra+ient" to apply a color in a tran"ition ro* lig!t to +ar2. T!ey are #"e #l or creating +ar2<e+ge+ vignette" or "o*e i*age" or or creating tran"itione+ color $ac2gro#n+". Yo# can al"o #"e gra+ient" to create "o*e cool i*age "pecial e ect". Yo# can al"o e,peri*ent -it! i*age" $y a++ing or re+#cing t!e opacity o t!e ill layer. Pattern ,ill la!er. 3reate a layer containing a pattern ro* t!e Pattern *en#. A+%#"t t!e layer/" opacity to "trengt!en or -ea2en t!e pattern e ect. Levels ad?ustment la!er. T!i" i" t!e ir"t tonal a+%#"t*ent I *a2e in *y -or2 lo-. Yo# can *a2e a+%#"t*ent" to level" o re+( green( $l#e( an+ *i+tone" in t!i" layer. /rightness9%ontrast ad?ustment la!er. @ant to Mp#nc! #pN t!e contra"t in t!e i*ageU U"e t!e 3ontra"t "li+er in a "#$tle *anner. Hue9-aturation ad?ustment la!er. T!i" i" *y avorite o t!e* all. One o t!e la"t "tep" in yo#r i*age<e+iting -or2 lo- i" creating a H#e1Sat#ration layer an+ p#nc!ing #p t!e color "at#ration in yo#r i*age to *a2e t!e color in yo#r i*age" pop.
44
2010 Kevin L. Moss
<et Cp Earl! and -hoot the -unrise
27@ 100! f01,! 102/0 sec. )ikon E05200mm f02.1 .* 4?! )ikon T- 1F. 22 .:tender
A" a p!otograp!er IK* 2no-n or *y e,ten"ive port olio o "#nri"e" an+ "#n"et". IKve $een p!otograp!ing t!e"e or year"( an+ I -ill t!e re"t o *y +ay". It" a per"onal p#r"#it an+ an e ort t!at involve" li elong learning. Cor year"( IKve !a+ eno#g! i*age" or a p!oto $oo2 on t!e "#$%ect *atter( !o-ever( or *o"t o *y o#ting"( IK* %#"t +oing it or per"onal en%oy*ent. IKll $e getting aro#n+ to p#$li"!ing t!at $oo2 event#ally( *y pro$le* i" going to $e c!oo"ing -!ic! 6>' o *y $e"t "#nri"e" an+ "#n"et" to c!oo"e. @!et!er on a*ily vacation" or p!oto e,pe+ition"( i IK* near -ater -!et!er it $e la2e" or ocean"( I al-ay" *a2e it a point to get #p early( an !o#r $e ore "#nri"e( an+ travel to t!e "!ore to greet t!e ne- +ay "!ooting t!e "#nri"e. @it! co ee o co#r"e. @!y "#nri"e" yo# a"2U Cor *e( it" a rea"on to get #p early. Arti"tically( yo# al"o canKt get *ore original "#$%ect *atter to c!oo"e ro*( eit!er +ay to +ay( or *in#te $y *in#te. 5o t-o "#nri"e" Eor "#n"et"G are t!e "a*e. 5ot only t!at( t!e "2y c!ange" $y t!e *in#te( &' *in#te" $e ore t!e "#n ri"e" all t!e -ay to an !o#r to a ter t!e "#n appear" on t!e !orizon. T!e -ater i" +i erent( t!e
45
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES clo#+" are +i erent( t!e !aze i" +i erent. T!e $ir+" are +i erent. 5o t-o i*age" -ill $e "a*e. 5o- t!at i" originalityF I +o !ave a "et tec!niH#e t!atK" con"i"tent ro* *orning to *orning or "!ooting t!e "#nri"e( $#t I +o !ave a e- !a$it" t!at I "tart t!e +ay o#t -it! ir"t0
27@ 100! f011! 1012/ sec
1$ Make the 'o,,ee ,irst. I +onKt 2no- a$o#t yo#( $#t I nee+ t!at $oo"t o ca eine in t!e *orning to get *e going. It" t!e ir"t t!ing I +o( H#ietlyF I pre er re"! gro#n+ Star$#c2" $y t!e -ay. Do#$le crea*( no "#gar. 2$ %he'k m! e(uipment. I act#ally +o t!i" t!e nig!t $e ore( $#t I I orget( IKll +o t!i" -!ile t!e co ee i" $re-ing. Ma2e "#re IK* #"ing c!arge+ $atterie". 3!ec2 to *a2e "#re *y len"e" an+ protective UV ilter" are clean. Ma2e "#re *y "etting" are -!ere I -ant t!e* on *y ca*era. Lo-e"t ISO "etting or opti*al H#ality( "et to A#to @!ite 4alance Etoo early to *e"" -it! c#"to* "etting" or *eFG( an+ "et to Apert#re Priority.
46
2010 Kevin L. Moss
27@ 100! f01,! 102/0 sec
?$ Make sure m! tripod is 'lean0 S!ooting "#nri"e" an+ "#n"et" al"o *ean" t!at yo#r tripo+ !a" to $e clean o *#+ an+ "an+. San+ i" t!e ene*y o a -ell #nctioning tripo+ an+ $all!ea+. I +onKt -ant to get to t!e "ite( an+ !ave an eH#ip*ent *al #nctionF It" !appene+ $e ore to *e( an+ IKve learne+ ro* t!at *i"ta2e. 4$ &ake out the Dog and $eed Him0 5ot to $e in +anger o t!e +og -a2ing #p everyone( I al-ay" *a2e "#re I ta2e t!e c#tie o#t( an+ t!en ee+ !i* $e ore I *a2e *y -ay +o-n to t!e "!ore. T!at -ay( IK* not +ealing -it! angry a*ily *e*$er" -o2en #p $y a !#ngry +og -!en I get $ac2. Tr#"t *e on t!i" oneF A" ar a" tec!niH#e( I !ave !ave a e- t!at !ave "erve+ *e -ell0 <et to !our lo'ation a minimal o, N hour be,ore sunrise. T!i" give" yo# a c!ance to give yo#r"el ti*e to "et#p yo#r "pot in t!e opti*al location. Do yo# -ant to get rig!t on top o t!e -ater i yo#Kre "!ooting over a $o+y o -ater( or to a *o#ntain range to get t!e "#n ri"ing over t!e !orizonU Give yo#r"el a little e,tra ti*e to pic2 an opti*al "pot. Once t!e "#n "tart" to ri"e( yo# -ant to concentrate on "!ooting( not *oving.
47
2010 Kevin L. Moss
27@ 100! f01,! 10F sec
Don@t +ait ,or the sun to rise be,ore shooting. So*e o t!e *o"t $reat!ta2ing i*age" I get are ta2en -it!in a e- *in#te" $e ore t!e "#n $rea2" over t!e !orizon. T!e "a*e co#l+ $e "ai+ or "#n"et". Yo#Kll get t!e *o"t +ra*atic "2ie" %#"t $e ore t!e "#n co*e" #p( or a ter t!e "#n goe" +o-n. Cse a stead! tripod and good (ualit! ball head. I canKt "tre"" t!i" point acro"" *ore t!ro#g!o#t t!i" $oo2. T!e 2ey to "!arp i*age" i" goo+ tec!niH#e( $ac2e+ #p $y a !ig! H#ality tripo+ an+ even $etter<H#ality $all !ea+. I "!oot t!e *a%ority o *y i*age" on a tripo+( an+ learne+ a long ti*e ago not to "2i*p on t!e"e t-o. Yo# co#l+ !ave t!e $e"t H#ality ca*era an+ len"e"( $#t -it!o#t goo+ "!arp "!ooting tec!niH#e an+ eH#ip*ent( yo#r i*age" -ill $e o poor H#ality. $o'us Mid>$oreground to the HoriBon. My oc#" point i" !al <-ay to t!e !orizon. I t!atK" a great +i"tance E*ore t!an in inityG( IKll eel "etting *y apert#re to 1:( t!e "-eet "pot o *y len". 4y oc#"ing L t!e +i"tance to t!e !orizon( yo# can $e a""#re+ t!at $ot! yo#r oregro#n+ an+ $ac2gro#n+ o t!e i*age -ill $e in oc#".
48
2010 Kevin L. Moss
IMPROVE YOUR PHOTOGRAPHY Cse a *emote -hutter *elease. Cor lolig!t i*age"( it i" e""ential t!at yo# "!oot -it! a re*ote "!#tter relea"e or yo#r ca*eraK" sel,>timer. Yo# +onKt -ant to intro+#ce vi$ration in t!e ca*era $y yo#r inger pre""ing t!e "!#tter. 4ot! 3anon an+ 5i2on o er ine,pen"ive re*ote "!#tter relea"e". &ake time to 'ompose !our image. I "ee a lot o ot!er p!otograp!er" -or2. O ten( e"pecially -!en "!ooting "#nri"e" over -ater( t!e p!otograp!er" -ill !ave a tenancy to co*po"e t!eir i*age" -it! L t!e ra*e to t!e "2y( an+ L t!e ra*e to t!e oregro#n+( t!#" c#tting t!e i*age in !al . I reco**en+ co*po"ing t!e "cene 81& to t!e "2y an+ 61& to to t!e oregro#n+( or rever"e. Add the human element. To a++ "cale to yo#r i*age( +onKt $e a rai+ to a++ a !#*an ele*ent to t!e oregro#n+ o yo#r "cene. A $oat +oc2( a ence Ea" "een a$oveG( a "*all $#il+ing -ill a++ +ra*a to yo#r "#nri"e or "#n"et. /e patient and +ait N hour to 2" minutes a,ter sunset or sunrise. T!e event -it! t!e *agic lig!t +oe"nKt e,i"t at any certain ti*e $e ore or a ter t!e "#n ri"e" or all" over t!e !orizon. Lig!ting an+ color o t!e "2y c!ange" $y t!e *in#te. Arriving L !o#r $e ore "#nri"e can re"#lt in yo#r $e"t i*age"( +epen+ing on t!e con+ition". Sa*e goe" or t!e 7> *in#te" a ter "#n"et. T!e color in t!e "2y +eepen"( an+ yo# can get "o*e e,cellent "!ot" o t!e "2y ar a ter t!e "#n all" or t!e +ay. 4e patient( an+ yo#Kll $e re-ar+e+.
+0 minutes before sunset! -anyon#ands )ationa# Park! 27@ 200! f01+! 102 second
49
2010 Kevin L. Moss
&he .mportan'e o, a <ood &ripod

A" a nat#re an+ "till li e p!otograp!er( I "!oot 9: percent o *y p!oto" on a tripo+. It/" a !a$it I gre- into year" ago an+ I can "-ear $y t!e re"#lt". A tripo+ i" t!e "econ+ *o"t i*portant piece o eH#ip*ent yo# co#l+ ever #"e; t!e ir"t *o"t i*portant piece o eH#ip*ent i" a "ood tripo+. To !elp +rive *y point !o*e( I/ll tell yo# a little "tory. @!ile o#t on a recent p!oto trip to t!e A*erican "o#t!-e"t Po!n 4a2er an+ Traveli*age"( I -a" "!ooting "o*e "cene" at Mon#*ent Valley( Uta!. One "cene( "!o-n in Cig#re &.6( -a" partic#larly +i ic#lt. I trie+ +i erent angle"( $#t o#r to#r lea+er !a+ a $etter i+eaRget a" lo- a" yo# can to o$tain a $etter angle. It -a" a great "!ot( $#t I got lazy an+ t!o#g!t I !a+ eno#g! lig!t or a "!arp p!oto( even at 188( "o I !an+<!el+ t!e "!ot "o I +i+n/t !ave to recon ig#re *y tripo+. @rongF I notice+ a ter I got t!e p!oto in P!oto"!op an+ zoo*e+ in t!at part" o t!e ra*e -ere not oc#"e+ to *y ta"te.
T!i" p!oto -a" ta2en -it!o#t a tripo+. C#rt!er e,a*ination a ter zoo*ing in "!o-" -!ere t!e i*age i" M"o tN an+ not too "!arp. T!i" i" $a+ i yo# -ant to enlarge yo#r p!oto to larger t!an :I6' inc!e".
50
2010 Kevin L. Moss
% fferent Tr po)s for % fferent 0ol-s

@!en rien+" a"2 *e -!at type o tripo+ t!ey "!o#l+ get( I get "t#*pe+. T!at $lan2 an+ con #"e+ loo2 $rie ly appear" on *y ace #ntil I or*#late an an"-er in *y !ea+. A ter co*po"ing *y"el ( I $rea2 t!e r#le" an+ an"-er a H#e"tion -it! a H#e"tion0 @!at type o "!ooting +o yo# +oU Yo# "ee( I can reco**en+ a n#*$er o +i erent *o+el" o tripo+"( $#t t!e an"-er +epen+" on -!at type o "!ooting people +o( !o- p!y"ically it t!ey are E"o*e o t!e"e t!ree<legge+ -on+er" can -eig! a lotG( -!at type o ca*era eH#ip*ent t!ey !a#l( an+ inally( !o- *#c! *oney t!ey !ave to "pen+ on one. I yo# +on/t !ave a tripo+ or eel yo# nee+ to #pgra+e t!e one yo# !ave( 2eep t!e ollo-ing criteria in *in+0 %amera t!pe. T!e type an+ -eig!t o a ca*era greatly +eter*ine" t!e tripo+ yo# can #"e. 5at#re p!otograp!er" o ten ta2e long !i2e" an+ pre er to carry t!e lig!te"t tripo+( $#t one t!at i" "t#r+y eno#g! to re+#ce any vi$ration". I yo#/re "!ooting -it! a co*pact +igital ca*era "#c! a" t!e 3anon G66 or t!e 5i2on 3oolpi, ='''( yo#/re pro$a$ly not going to nee+ a 68<po#n+ tripo+; a lig!ter<-eig!t tripo+ "!o#l+ +o t!e tric2. T!e Ha2#$a MAIi<&7&E -eig!" %#"t 6.9 po#n+" an+ i" ea"ily "trappe+ to yo#r ca*era $ag or t!o"e long !i2e". T!e *o+el !a" $een replace+ $y ot!er"( $#t i yo#/re #"ing a lig!t-eig!t ca*era( one o t!e"e "t#r+y( lig!t-eig!t tripo+" "!o#l+ +o t!e tric2. I "!o#l+ 2no-; I travele+ acro"" @ale" an+ Englan+ -it! one t!i" year( an+ it -a" a plea"#re not to !a#l a 6'<po#n+ tripo+ along. I -a" "!ooting -it! lig!t-eig!t ca*era" an+ len"e"( an+ t!e Jakuba se##s sturdy! #i htwei ht tripods Ha2#$a "erve+ *e %#"t ine. that fo#d to 1E./ inches and wei h #ess
The Manfrotto 0//-GP?@F wei hs #ess than F #bs but can hand#e up to 1E #bs of ear
than two pounds. This is perfect for use
Weight. T!e one +eter*ining with a compact di ita# camera! such as my compact )ikon! shown here. actor t!at/" *ore i*portant t!an *o"t ot!er" i" t!e a*o#nt o -eig!t yo#r tripo+ !a" to "#pport. Alt!o#g! a lig!t -a" great or a co*pact +igital ca*era -!ile traveling a$roa+( *o"t o *y "!ooting in t!e iel+ i" -it! +igital SLR" an+ $ig( !eavy pro<*o+el zoo* len"e". T!e co*$ine+ -eig!t o *y +igital ca*era an+ zoo* len" e,cee+" ive po#n+"( an+ I opt or one o *y !eavier +#ty *o+el". Material. Anot!er con"i+eration in yo#r +eci"ion i" t!e *aterial yo#r tripo+ i" *a+e o . Metal i" le"" e,pen"ive( $#t i yo# can( yo# "!o#l+ "erio#"ly inve"tigate p#rc!a"ing a car$on< i$er tripo+. T!e"e car$on< i$er *o+el" are $eco*ing very pop#lar -it! nat#re p!otograp!er"; t!ey -eig! a lot le"" t!an
51
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES *etal an+ are a plea"#re to ta2e on e,ten+e+ !i2e". 4e prepare+ to "pen+ >' percent or *ore or car$on< i$er *o+el" t!o#g!; t!ey are *ore e,pen"ive( $#t to *any o #" t!ey are -ell -ort! t!e price i o#r p!otograp!y a+vent#re" ta2e #" on e,ten+e+ !i2e". :ersatilit!. I !ate #"ing t!at -or+Rit "o#n+" li2e I/* in a+verti"ing( -!ic! I/* not. Ho-ever( one o t!e eat#re" yo# -ant in a tripo+ i" ver"atilityRt!e a$ility to not only e,ten+ t!e leg" -i+er t!an t!e "tan+ar+ "etting( $#t al"o to #"e interc!angea$le tripo+ !ea+". Cor "!ot" -!ere yo# nee+ to get +o-n lo- to t!e gro#n+( yo# nee+ a tripo+ -it! leg" t!at can e,ten+ o#t-ar+( allo-ing yo# to *o#nt yo#r ca*era only 68 inc!e" or "o o t!e gro#n+. I/ve o#n+ t!i" eat#re e,tre*ely val#a$le in t!e iel+. On "o*e *o+el"( yo# can even rever"e t!e tripo+ "te* an+ *o#nt t!e ca*era #p"i+e +o-n.
7t8s "ll n the 9ea)

@!en yo# *a2e a +eci"ion a$o#t a tripo+( t!e ne,t t!ing yo#/ll nee+ i" a tripo+ !ea+. T!e "a*e r#le" #"e+ -!en "electing a tripo+ !ol+ tr#e or "electing a tripo+ !ea+. Yo#/ll nee+ to ta2e into con"i+eration t!e -eig!t o t!e eH#ip*ent yo#/ll $e attac!ing to t!e !ea+( t!e type o !ea+ t!at -ill $e"t it t!e type o "!ooting yo#/ll $e +oing o#t in t!e iel+( an+ o co#r"e( t!e price. 4a"ically( t!ere are t-o type" o tripo+ !ea+" nat#re p!otograp!er" pre er0
Bood for a heavy #oad; Manfrotto +0+0 Pan0Ti#t Head attached to my Manfrotto +221 <i#derness tripod!
Pan tilt heads. Pan an+ tilt !ea+" are t!e *o"t pop#lar tripo+ !ea+" #"e+ $y p!otograp!er"( an+ or *o"t o yo#r nat#re "!ooting( a pan an+ tilt *o+el "!o#l+ "erve yo# %#"t ine in *any "it#ation". Pan an+ tilt !ea+" allo- yo# to *ove yo#r ca*era vertically an+ le t to rig!t E or panningG( an+ to lip yo#r *o#nte+ ca*era to t!e vertical po"ition or "!ooting in portrait *o+e. It" a "t#r+y !ea+( *ore t!an a *atc! or *y !eavy len"e". I #"e+ to #"e one o t!e"e $e ore "-itc!ing to a "t#r+y $all !ea+.
52
2010 Kevin L. Moss
IMPROVE YOUR PHOTOGRAPHY @!atever tripo+ !ea+ yo# c!oo"e( *a2e "#re yo# p#rc!a"e a H#ic2<relea"e *o+el. A H#ic2<relea"e trip !ea+ let" yo# attac! a plate to yo#r ca*era/" tripo+ "oc2et( -!ic! in t#rn i" in"erte+ into a "lot on t!e tripo+ !ea+( an+ t!en "ec#re+ -it! an ea"y<to<#"e cla*p yo# can tig!ten -it! yo#r t!#*$. Q#ic2<relea"e !ea+" let yo# attac! plate" to *#ltiple ca*era" an+ len"e" -it! tripo+ *o#nt"( giving yo# a a"t option or c!anging ca*era" or len"e" -it!o#t "cre-ing in yo#r ca*era to a tripo+ every ti*e yo# -ant to #"e it. /all heads. I/ve !a+ ot!er nat#re p!otograp!er" $#g *e $eca#"e I/+ o ten travel -it! only a pan an+ tilt !ea+ attac!e+ to *y tripo+. Cinally( on a recent trip( I trie+ a $all !ea+. I i**e+iately ell in love -it! it" ver"atility( an+ I can "ee -!y #"er" o $all !ea+" $rag. T!ey are #n to #"e an+ give yo# $etter le,i$ility or "!ooting -il+li e or "cene" -!ere yo# !ave to point yo#r len" !ig!( to-ar+ t!e "2y. T!e ig#re "!o-" t!e Man rotto 7:= 4all Hea+( li2e t!e one I/ve #"e+ in t!e iel+.
The Manfrotto F1,?-2 ba## head is a popu#ar mode# amon nature photo raphers.
2f you"re not settin up more than /#bs! 2 stron #y su est the Manfrotto +22?-2 Hori'onta# Brip (ction &a## Head
53
2010 Kevin L. Moss
-hooting and -tit'hing Panoramas
Lake Huron. + separate ima es stitched with Photoshop -7F Photomer e
@it! t!e pop#larity o "titc!ing "o t-are an+ !ence great i*prove*ent" to P!oto"!op an+ Ele*ent" in recent year"( it" no- ea"ier to "titc! "eparate i*age" toget!er to create +ra*atic panora*ic p!oto". T!e !ar+ part( i" "!ooting t!e"e -it! t!e p#rpo"e o "titc!ing later. Unli2e "ingle ra*e p!otograp!"( "!ooting a "erie" o &( 7 or even > i*age" an+ *a2ing t!e* e,act in e,po"#re an+ co*po"ition i" anot!er c!allenge. Upon "pecial reH#e"t" ro* *y c#rrent Ele*ent" an+ P!oto"!op "t#+ent"( !ere i" a H#ic2 le""on in "!ooting( an+ "titc!ing panora*ic i*age".
Basic Necessities or Shooting in the !ield

@!en yo#Kre in t!e iel+( "!ooting panora*aK" ta2e" a little practice( a little patience( an+ a little $it o tec!niH#e. Here are a e- nece""itie" t!at I reco**en+0 Have a good tripod. I "tre"" t!ro#g!o#t *y -riting" t!at a goo+ tripo+ i" a nece""ity. T!e tripo+ an+ !ea+ -ill allo- or "*oot! an+ acc#rate panning t!at -ill $e nee+e+ -!en "!ooting panora*a"( an+ en"#re t!at yo#Kre getting cri"p i*age". Cse a level. . yo#Kre tripo+ !ea+ +oe"nKt co*e -it! a level( I reco**en+ one o t!o"e ni ty level" t!at yo# can get or #n+er J>' U.S. t!at -ill it rig!t in yo#Kre ca*eraK" la"! !ea+.
54
2010 Kevin L. Moss
Shooting "anora#a$s
S!ooting panora*aK" "!o#l+ $e incl#+e+ yo#r every+ay p!otograp!ic Mtool$o,N. @!en yo#Kre o#t in t!e iel+( pre<vi"#alize any "cene( an+ *a2e +eci"ion" on !o- yo# -ant to co*po"e t!o"e "cene". So*e "cene" are *ore appropriate to $e "!ot in portrait *o+e( -!ile ot!er" are *ore appropriate or lan+"cape *o+e. A++itionally( "o*e "cene" *ay $e goo+ can+i+ate" or + frames! over#appin by 10+ of each frame! taken #eft to ri ht panora*ic *o+e a" -ell. T!ree or o#r overlapping i*age" t!at co*po"e a -i+e angle ro* le t to rig!t( a co*po"ition t!at yo# %#"t canKt ta2e -it! one ra*e. @!en "!ooting panora*aK"( try t!i" tec!niH#e0 1$ Level !our 'amera. )eep yo#r ca*era *o#nte+ on a tripo+( an+ pan t!e "cene le t to rig!t -!ile vie-ing t!e "cene t!ro#g! yo#r vie- in+er. Ma2e a+%#"t*ent" to yo#r tripo+ !ea+ to *a2e "#re t!at t!e "cene i" level( an+ t!at -!en yo#Kre panning( yo#r not Mcroo2e+N ro* le t to rig!t. 2$ Plan ho+ man! ,rames !ou@ll be shooting. Typically( I try to capt#re *y panora*ic i*age" in t!ree or 7 "!ot"( *a,i*#*. ?$ ;oom +ider than needed. T!i" i" an i*portant tip. S!ooting at a -i+er zoo* "etting t!an yo# eel i" nee+e+ or t!e co*po"ition give" yo# t!e option to crop t!e "cene to t!e co*po"ition yo# -ant later in Ele*ent" or P!oto"!op. 4y "!ooting at a -i+er angle( yo# can t!en co*pen"ate or lo"t content -!en t!e ra*e" are "titc!e+ toget!er. Tr#"t *e on t!i"F 4$ $o'us the s'ene +ith manual or auto,o'us. @!en yo#Kre ini"!e+ oc#"ing( t#rn o t!e a#to oc#" on yo#r ca*era. T!i" -ay( yo#r oc#" -ill $e loc2e+( an+ con"i"tent ro* ra*e to ra*e. 5$ Meter the s'ene. I #"e "pot *etering a lot( $#t *ay #"e one o *any *etering "c!e*e" +epen+ing on t!e lig!ting con+ition" o *y "#$%ect *atter. @!atever *etering yo# c!oo"e( -!en co*plete( #"e t!e A1E loc2 eat#re on yo#r ca*era( or( yo# can rea+ t!e 1"top an+ "!#tter "pee+( an+ +ial in t!e"e "etting" in *an#al *o+e. Regar+le"" !o- yo# +o t!i"( t!e 1"top an+ "!#tter "pee+ *#"t $e t!e "a*e or eac! ra*e yo# are "!ooting. K$ &ake !our series o, photographs. 5o- t!at yo#r ca*era i" level Eat lea"t t!e $e"t yo# canG( oc#"e+ an+ *etere+( yo#Kre rea+y to go. 3o*po"e yo#r ir"t "!ot to t!e le t( an+ ta2e t!e p!otograp!. Slo-ly MpanN to t!e rig!t( $#t not all t!e -ay( yo# -ant to leave 61& o t!e ra*e MoverlappingN ro* t!e previo#" ra*e. Ta2e t!e "!ot. Repeat panning to t!e rig!t( overlapping 61& o t!e ra*e over t!e previo#" ra*e. Ta2e t!e "!ot again.
55
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES ?. Revie- yo#r & or 7 "!ot" on yo#r L3D. Scroll t!ro#g! t!e i*age" on yo#r ca*era" L3D to *a2e "#re yo# !ave goo+ e,po"#re( an+ t!at t!e ra*e" are rea"ona$ly level. I nee+e+( *a2e *etering( leveling or oc#" a+%#"t*ent"( an+ repeat t!e proce"".
Using "hoto#erge to Stitch "anora#a$s

Here co*e" t!e #n partF 4ot! P!oto"!op an+ Ele*ent" co*e" -it! a ni ty eat#re #"e+ to "titc! panora*aK" calle+ Photomerge. T!e "tep" to "titc!ing toget!er yo#r panora*a ra*e" are0 8. $rom /ridge hold do+n the %&*L K%MD ke! on the Ma'L +hile 'li'king on the images !ou +ant to stit'h together. Yo# can +o t!e "a*e in t!e Ele*ent" Organizer or Ele*ent" #"er".
'tep 2: 7e#ect Too#s55IPhotoshop55IPhotomer e...
'tep 1: <hi#e ho#din down the -T?L key! se#ect the ima es to stitch
2$ %hoose Photomerge ,rom the &ools Menu. 3lic2 on t!e 4ri+ge Tool" *en#( an+ "elect P!oto"!op<<WP!oto*erge. 4ri+ge -ill t!en procee+ to open t!e i*age" in P!oto*erge.
56
2010 Kevin L. Moss
IMPROVE YOUR PHOTOGRAPHY Ele*ent" U"er" "!o#l+ c!oo"e 5e- ro* t!e Cile *en#( an+ c!oo"e P!oto*erge ro* t!ere.
7n .#ements! Photomer e is se#ected from the %i#e55I)ew55IPhotomer e Panorama menu
?$ -ele't Photomerge Dptions. T!e P!oto*erge ile -in+o- -ill ne,t appear in P!oto"!op. Cro* t!i" -in+o-( yo# can "elect option" or !o- yo#r i*age" -ill $e arrange+ -!en t!ey are "titc!e+ toget!er in P!oto*erge. Here yo# c!oice" or layo#t( $len+ing( vignette re*oval an+ geo*etric correction" EPlea"e note( $len+ing( vignette re*oval an+ geo*etric correction" are not an option in Ele*ent"G. Cor o#r p#rpo"e"( IK* leaving t!e +e a#lt" "!o-n. 3lic2 O) to procee+ to t!e *erging yo#r c!o"en i*age".
57
2010 Kevin L. Moss
7titched ima es shown in Photoshop -7F! with crop out#ine shown
4$ %rop !our panorama. S!o-n in t!i" ill#"tration( yo#Kll "ee t!at P!oto*erge !a" "titc!e+ t!e i*age" toget!er. T!i" co*po"ition i" a goo+ e,a*ple o -!y yo#r ca*era "!o#l+ $e level -!en "!ooting yo#r ra*e"( panning ro* le t to rig!t. 4eca#"e t!e ca*era -a" not level( yo#Kll "ee -!y I reco**en+ to "!oot yo#r i*age" at -i+e angle( a" yo# nee+ to t!en crop yo#r i*age at t!i" point. 5$ %omplete edits, 'olor and tonal 'orre'tions. My plan or t!i" i*age( i" to ir"t crop t!e i*age in P!oto"!op( an+ ill in t!e #pper portion o t!e i*age -it! a "2y painte+ in -it! t!e 3lone Sta*p Tool. IKll t!en a++ a+%#"t*ent layer" to i*prove Level"( 3#rve" an+ H#e1Sat#ration to ini"! t!e i*age o .
-omp#eted Panorama
58
2010 Kevin L. Moss
Essential &ools ,rom the &oolbo8

4 Move M ?ectan u#ar Mar8uee L Lasso Too# < Ma ic <and - -rop . .yedropper Too# J Hea#in &rush & &rush! Penci# -o#or ?ep#acement 7 -#one 7tamp! Pattern 7tamp 3 History &rush Too# . .raser! &ack round .raser B Bradient! Paint &ucket ? &#ur! 7harpen! 7mud e @ *od e! &urn K2mproved in -7F$L P Pen T Type ( Path 7e#ection 6 7hape Too#s K +5* ?otate Too# K)ew in -7F$L ) +5* @rbit Too# K)ew in -7F$L H Hand M Moom 7wap %ore round0&ack round -o#or
IKve "tate+ in *any article" an+ $oo2" t!at t!ere i" al-ay" *ore t!an one -ay to "2in a cat in P!oto"!op or Ele*ent". Cor every proce"" yo# go t!ro#g!( -!et!er it $e a color a+%#"t*ent or e+it to an i*age( t!ere are pro$a$ly > or 6' ot!er -ay" to acco*pli"! t!e "a*e t!ing in P!oto"!op or Ele*ent"$ T!e P!oto"!op or Ele*ent" tool$o, give" t!e p!otograp!er a n#*$er o e+iting tool" in -!ic! to *a2e c!ange" to a p!otograp! or grap!ic. La"t I co#nte+( t!ere -ere over :' o t!e"e tool" availa$le in t!e tool$o,. Ma"tering all pro$a$ly i"nKt nece""ary( $#t or p!otograp!er"( t!ere are a e- t!at yo# *ig!t -ant to practice on. @!et!er yo#Kre #"ing Ele*ent" or P!oto"!op( *o"t o t!e"e tool" -or2 t!e "a*e. &he Paintbrush. T!e Paint$r#"! in P!oto"!op an+ Ele*ent" incl#+e" t!e 3olor Replace*ent( I*pre""ioni"t 4r#"!( an+ t!e Pencil Tool. P#"t Rig!tS3lic2 on t!e Paint$r#"!( an+ yo#Kll "ee t!o"e ot!er tool" a" -ell. T!e Paint$r#"! i" a tool o ten #"e+ $y grap!ic arti"t" an+ p!otograp!er" ali2e. 3!oo"e a Coregro#n+ color $y clic2ing on t!e Corgero#n+14ac2gro#n+ color tool in t!e $otto* o t!e tool$o,( pic2 a color( an+ paint in t!e color any-!ere in t!e i*age or grap!ic. %olor *epla'ement &ool. U"e t!i" tool to "elect a color ro* any "pot in t!e i*age E%#"t ALTS3LI3) on any "potG( an+ paint t!at c!o"en color el"e-!ere in t!e i*age. Pen'il &ool. Li2e t!e Paint$r#"! tool( t!e pencil tool paint" in color yo# c!oo"e( !o-ever -it! !ar+er line". .mpressionist /rush &ool K.n Elements Dnl!L. T!i" tool i" a little art"y( an+ i" availa$le in Ele*ent" only. 3!oo"e t!i" tool to paint in an I*pre""ioni"t painting e ect.
N Nuick .dit in Nuck Mask Mode
The %le#ents Tool&o'
*e'tangular Mar(uee &ool. U"e+ o ten to o#tline a portion o an i*age in or+er to crop. A ter o#tlining t!e portion o t!e i*age to crop( go to t!e I*age *en#( an+ c!oo"e 3rop.
59
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES Lasso and Magi' Wand &ools0 T!e"e tool" are #"e+ to *a2e "election" in i*age". U"e+ o ten in or+er to *a2e e+it" or color1tonal a+%#"t*ent" to "elective portion" o an i*age. T!e"e tool" ta2e ti*e to *a"ter( "o pic2 i*age" to practice onF T!e Q#ic2 Selection Tool an+ t!e Magic @an+ tool are t!e "election tool" o c!oice or t!e p!otograp!er. %rop &ool0 I #"e t!i" tool or al*o"t every i*age I -or2 -it! in P!oto"!op or Ele*ent". Yo# can "peci y t!e !eig!t( -i+t!( an+ +pi or t!e i*age in t!e Option 4ar( t!en clic2 an+ +rag yo#r crop to $ot! crop t!e i*age( an+ to re"ize it accor+ing to yo#r Option 4ar entrie". Eraser &ool0 Locate+ in $ot! t!e P!oto"!op an+ Ele*ent" tool$o,K"( t!e Era"er tool i" #"e+ to era"e previo#"ly e,ec#te+ e+it". 3!ange t!e Era"er tool" Opacity "etting in t!e Option 4ar( an+ yo# can Mre+#ceN painte+ in e ect" or e+it" previo#"ly *a+e to yo#r i*age. Leave t!e "etting at 6''T( an+ yo#Kll co*pletely era"e painte+ in e ect". -mart /rush9Detail -mart /rush KElements Dnl!L. 5ice a++ition" to Ele*ent". @it! t!e"e $r#"!e"( yo# can *a2e a "election A5D *a2e color1tonal c!ange" to yo#r "electe+ part o yo#r i*age $ot! at t!e "a*e ti*e. Option" or e ect" *a+e to t!e "electe+ area" are availa$le a$ove on t!e Option 4ar. %lone -tamp &ool. U"e+ o ten $y p!otograp!er"( t!i" tool allo-" yo# to c!oo"e a portion o t!e i*age yo# -ant to paint in anot!er part o t!e i*age. Again( ir"t c!oo"e t!e M"o#rceN $y ALTS3LI3) EOPTIO5S3LI3) on a MacG on an area o yo#r i*age( t!en paint in t!e Mclone+ "o#rceN to anot!er part o t!e i*age. I o ten #"e t!i" to clean #p t!e "2y( or to even re*ove po-er line". T!e Pattern Sta*p tool -or2" "i*ilar( !o-ever in"tea+ o c!oo"ing a "o#rce ro* t!e i*age it"el ( yo# c!oo"e t!e "o#rce ro* t!e P!oto"!op or Ele*ent" pattern li$rary. A potential McoolN "pecial e ect" toolF
T p: <hen makin edits with these too#s or addin effects from the %i#ters menu! create a new editin #ayer by typin 7H2%TO-T?LO(LTO.! or on a Mac 7H2%TO-M*O@PT2@)O.. 3ou"## create a new #ayer that inc#udes a## your previous #ayers in which you can make edits. ?emember! you can"t make edits in (dDustment #ayers...
60
2010 Kevin L. Moss
Photographing Water,alls
Mic!igan/" Upper Penin"#la i" $le""e+ -it! "o*e o t!e *o"t +ra*atic -ater all" in t!e co#ntry. O ten( I/ll ret#rn to t!e "a*e "ite" to "!oot t!e "a*e -ater all" I *ig!t !ave "!ot year" ago. My tec!niH#e" 2eep getting $etter( an+ "o*eti*e"( -eat!er con+ition" are $etter one year ro* t!e ot!er year". My "#gge"tion0 5ever $e !e"itant to ret#rn to t!e "a*e "ite" yo#/ve vi"ite+ $e ore. Practice can *a2e per ectF @it! repeat vi"it"( yo#/ll learn t!e area $etter( a*iliarize yo#r"el -it! t!e $e"t lig!ting con+ition" or t!e "#$%ect( an+ co*po"e yo#r "!ot" +i erently t!an in t!e pa"t.
Michi an"s 6pper Peninsu#a. 27@ 100! f020! 1 second e:posure
My tip" or opti*#* -ater all "!ooting incl#+e0 Lighting0 Li2e "!ooting tree" in a#t#*n( t!e $e"t lig!ting i" overca"t( e"pecially in $et-een rain "tor*". In t!e Upper Penin"#la( it rain" al*o"t every +ay in t!e all. Yo# -ant t!at +ar2 +i #"e+ lig!ting in or+er to "lo- +o-n yo#r "!#tter "pee+. -hutter -peed0 In or+er to get t!at $l#rre+<"*oot!< lo- loo2 to yo#r -ater all "cene( yo# nee+ to "!oot at a "!#tter "pee+ o 6 to 6.= "econ+". In or+er to ac!ieve a properly e,po"e+ "cene at t!o"e "lo- "!#tter "pee+"( yo#/ll nee+ to "et yo#r apert#re to a "etting o 16= or "*aller( #p to 188. Yo#/ll get great +ept! o iel+( -it! t!e ent ire ra*e in oc#" too. I t!e lig!ting i" too $rig!t to $ring yo#r "!#tter "pee+ +o-n to 6 to 6.= "econ+"( try a ne#tral +en"ity ilter.
61
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES D $ilter0 A ne#tral +en"ity E5DG ilter i" a *#"t or -ater all "!ooting. Placing an 5D ilter over yo#r len" re+#ce" t!e a*o#nt o lig!t( t!#" +ecrea"ing t!e "!#tter "pee+" to acco**o+ate t!e re+#ction o lig!t( -it!o#t a ecting color in yo#r "cene. &ripod and *emote -hutter *elease0 At "!#tter "pee+" o 6 to 6.= "econ+"( #"e o a tripo+( a goo+ tripo+ i" a *#"t. A++itionally( at t!o"e "pee+"( yo#/ll al"o nee+ t!e a""i"tance o #tilizing a re*ote "!#tter relea"e. U"ing a re*ote "!#tter relea"e eli*inate" any vi$ration intro+#ce+ to yo#r ca*era -!en yo#r inger act#ally pre""e" t!e "!#tter. Tr#"t *e( a re*ote relea"e( availa$le or al*o"t all ca*era *o+el"( *a2e" a !#ge +i erence in o$taining "!arp i*age". I yo# +on/t !ave a re*ote "!#tter relea"e( try t!e Dpoor<per"on" re*ote "!#tter relea"eD.
5our %amera@s -el,>&imer0 U"ing yo#r ca*era" "el <ti*er eat#re -ill acco*pli"! t!e "a*e e ect a" #"ing a re*ote "!#tter relea"e. @!en t!i" eat#re i" "et( yo# pre"" &ond %a##s! Michi an. 27@ 100! f022! .1 sec t!e "!#tter( an+ t!e ca*era +oe"n/t e,po"e yo#r il* or i*age "en"or or a pre<"et n#*$er o "econ+". Setting yo#r "el ti*er to > "econ+" -ill allo- or any vi$ration" to cea"e -!en pre""ing t!e "!#tter $#tton.
62
2010 Kevin L. Moss
<a ner %a##s! Munisin Michi an. 27@ 200! f011! ./ second e:posure
63
2010 Kevin L. Moss
Photographing $all %olor

One o t!e tric2" to p!otograp!ing "pectac#lar all color( i" 2no-ing -!ere an+ -!en to go. Living in t!e U.S. Mi+-e"t( area" o pea2 all color +i er greatly -it!in eac! region. Cor in"tance( pea2 all color along t!e "!ore" o t!e Great La2e" o ten lag a e- -ee2" ro* pea2 color %#"t 8' *ile" inlan+ ro* any point. Cactor" "#c! a" altit#+e an+ "!oreline" !ave a $ig i*pact on ti*ing. T!e type o vegetation al"o !a" an i*pact.
Porcupine Mountains! Lake of the -#ouds! Michi an"s 6pper Peninsu#a. 27@ 100! f01! .F second e:posure. %irst week of @ctober! 200E with the Motor -ity -amera -#ub.
O ten( I *a2e a tre2 to 5ort!ern Mic!igan +#ring t!e la"t -ee2 o Septe*$er t!ro#g! t!e ir"t -ee2 o Octo$er. Cro* e,perience an+ trial an+ error "prea+ing t!o#"an+" o *ile" over t!e year"( I !ave learne+ t!at t!e ea"tern !al o Mic!iganK" Upper Penin"#la Eal"o calle+ Mt!e UPNG -a" !eavily logge+ over t!e year" an+ replante+ -it! pine tree/"( -a"n/t a goo+ c!oice to loo2 or color. Let" ace it( pine tree/" loo2 t!e "a*e in all o#r "ea"on"( greenF
64
2010 Kevin L. Moss
IMPROVE YOUR PHOTOGRAPHY T!e place to go in *y nec2 o t!e -oo+" or all color in t!e U.P. i" t!e -e"tern !al ( -!ere plenty o !ar+-oo+" a$o#n+( an+ t!at *ean" "o*e $lazing color. T!at area pea2" t!e la"t -ee2 o Septe*$er( -!ile t!e ea"tern !al o t!e penin"#la pea2" one to t-o -ee2" later. Lo-er latit#+e" -it!in t!e "tate can pea2 8 to & -ee2" later. Mic!igan i"nKt any +i erent t!an any ot!er nort!ern "tate or 3ana+ian province". Ti*ing +epen+" on geograp!y. Yo#r -in+o- or all color "!ooting in yo#r area i" pro$a$ly only a e- -ee2" a year. A++itionally( yo# +on/t !ave to travel ar. Yo# can get "o*e great all color "!ot" -it!in a *ile o yo#r !o*e i yo# loo2 !ar+ eno#g!( *ay$e even a" clo"e a" yo#r o-n $ac2yar+. One o *y avorite type" o tree/" to p!otograp! any ti*e o year( i" Munisin ! Michi an. 27@ 200! f020! 2 sec e:posure t!e $irc! tree. T!e -!ite $ar2 o t!e $irc! tree provi+e" great contra"t in i*age" -!ere yo#r type o lora i" *i,e+. In ot!er "ea"on"( I/ll loo2 or gro#p" o $irc! tree"( an+ o ten +evelop t!o"e i*age" a" $lac2 an+ -!ite( $#t in a#t#*n( I loo2 or $irc! tree" a" *y *ain "#$%ect( contra"te+ -it! color. I/ll o er "o*e o *y tip" or all color "!ooting0 Look ,or over'ast or rain! da!s to shoot0 T!at/" rig!tF 4rig!t "#nlig!t can -a"! o#t t!e color" o t!e leave"( leaving yo# -it! M latN loo2ing i*age". T!e $e"t ti*e to "!oot all color i" rig!t a ter it rain"( -!en t!ere i" "till clo#+ cover( $#t t!e tree" are -et( giving yo# nice +ar2 $ar2 contra"ting -it! t!e color o t!e leave". -hoot on a tripod0 S#rpri"e+U Again( t!i" i" a *#"t or "!arp i*age"( e"pecially t!o"e "!ot -it! "*all apert#re "etting" an+ long e,po"#re" E#n+er 616'' o a "econ+G.
65
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES Cse a small aperture setting0 I o ten "!oot *y all color "!ot" at 16= to 188( "*all apert#re "etting"( in or+er to get "!arp oregro#n+" an+ "!arp $ac2gro#n+"( e"pecially or -i+e<angle "!ot" o tree".
Petosky! Michi an. 27@ 200! f0/.,! 1012/ sec e:posure
<et in 'lose0 Ma2e it a !a$it o "!ooting yo#r "cene" -i+e<angle ir"t( t!en procee+ to zoo* in or anot!er "erie" o clo"e<#p "!ot"( *ay$e %#"t o "ection" o tree" an+ color #l leave". La"tly( *ove in even clo"er or clo"e<#p" o *ay$e a !an+ #l o color #l leave". Cse a 'ir'ular polariBer0 Yo#r $e"t rien+ or *any "cene" o all color( i" to p#t a circ#lar polorizer over yo#r len". T!e circ#lar polorizer -ill re+#ce glare ro* t!e leave"( an+ !elp "at#rate color" in yo#r "!ot. E,peri*ent -it! rotating t!e ilter ele*ent "o a" not to Mover+#eN it( +ar2ening t!e "cene too *#c!. P#"t rotate yo#r ele*ent eno#g! to re+#ce t!e glare o t!e leave"( an+ to *a2e t!e color" MpopN %#"t a little. Wat'h ,or +ind! da!s0 Yo# *ay !ave to *a2e a+%#"t*ent" or a"ter "!#tter "pee+" in +ar2 +ay" an+ in -in+y con+ition" in or+er to *a2e "#re t!e tree li*$" an+ leave" re*ain "!arp. Alternatively( a little *ove*ent in "o*e i*age" a++ a nice e ect. E,peri*entF
66
2010 Kevin L. Moss
Munisin Michi an! 1CCF. %uDi 4e#via +/mm s#ide fi#m! scanned and processed in Photoshop -7F
A e- i+ea" or co*po"ition incl#+e0 %olor re,le'tions in +ater. I yo#Kre "!ooting all color an+ t!ere i" a $o+y o -ater near$y( c!ec2 o#t t!e color #l re lection" t!at can $e !a+. ;oom in. I yo# !ave a longer len" in yo#r ar"enal( li2e a ?'<8'' or ?'<&''** len"( p#t t!at $a$y on( an+ zoo* in on yo#r "#$%ect *atter to get a +i erent per"pective. .n'lude the human element. Yo# +onKt !ave to $e a nat#re p#ri"t( i yo# can "!oot an intere"ting all color "!ot -it! a ence line( $#il+ing( or even per"on in it( yo#Kll get *ore M"caleN in t!e i*age( an+ *a2e it *ore intere"ting. %lose Cps. I yo# !ave a *acro len"( o#r yo#r ca*era !a" *acro capa$ilitie"( try "o*e e,tre*e clo"e #p" o a lea ( or a gro#p o leave".
67
2010 Kevin L. Moss
Even &hough its Digital, 5ou -till Have &o -tart Dut +ith Pristine .mages
A$o#t = year" ago( I -ent on a p!otograp!y trip #p to t!e nort! co#ntry. Cor t!e > +ay" I !a+ "c!e+#le+ to ta2e p!otograp!"( it raine+ an+ "leete+ or 7 o t!o"e +ay". On +ay >( I !a+ *y c!ance to "!oot "o*e area" I !a+ "cope+ o#t earlier. It too2 *e an !o#r to get to *y location an+ on t!e -ay I nearly got "t#c2 +riving #p a "teep *o#ntain -it! narro*#++y roa+"( $#t I +i+ event#ally get to -!ere I co#l+ "!oot *y vi"ta. It -a" "#nny o#t later in t!e +ay( "o I -a"n/t -orrie+ a$o#t t!e +rea+e+ a ternoon "#n -a"!ing o#t *y all color". Upon ret#rning to *y ca*p"ite( I +o-nloa+e+ all *y i*age" to *y laptop. Ma+e a c#p o co ee an+ procee+e+ to revie- *y catc! in P!oto"!op Et!at/" *y per"onal Pava -or2 lo-G. To *y +i"*ay( *o"t o *y "!ot" -ere %#"t plain -a"!e+ o#t. Even t!o#g! I "!ot later in t!e +ay( t!e "#n -a" "o $rig!t( *o"t o *y "!ot" %#"t +i+n/t c#t it. 5ot!ing in P!oto"!op -o#l+ !ave !elpe+ t!e "!ot" I too2 t!at +ay. T!e le""on to $e learne+ !ere...i" 3uck. 7hot at hi h5noon! bri ht sun#i ht. <ashed out co#ors and incorrect white no *atter -!at plan" an+ ba#ance makes this ima e a comp#ete dud. opport#nitie" yo# !ave( yo# "till !ave to "tart o#t -it! goo+ i*age" $e ore yo# e+it t!e* in P!oto"!op.
68
2010 Kevin L. Moss
Cnderstanding $ile $ormats

("%G) *aw and T+!!s to &e %'act
S!ooting +igital provi+e" t!e p!otograp!er -it! *any c!oice" o "ize an+ or*at o i*age". 3!oice" -e +i+n/t !ave #"ing il* ca*era". Cor ine art p!otograp!er" -!o -i"! to o#tp#t large print"( t!e !ig!e"t H#ality ile "etting" "!o#l+ $e #"e+. P!oto%o#rnali"t" an+ "port" p!otograp!er" are intere"te+ in "pee+ an+ +on/t nee+ !#ge ile" t!at c!o2e #p o#r *e*ory car+" a" "!o-n in Cig#re =<6. Sport" p!otograp!er" -ill o ten t#rn +o-n t!e ile "ize( "!oot PPEG in"tea+ o RA@ an+ *a,i*ize t!e "pee+ in -!ic! t!eir ca*era" -rite to t!e car+. I once a"2e+ a p!oto%o#rnali"t i !e ever "!ot in RA@ or*at. @it!o#t t!in2ing( !e "ai+ MneverN( !e li2e" to get it rig!t in PPEG an+ -a" not intere"te+ in !ig! H#ality printing. T!e p!oto%o#rnali"t -ent on to tell *e MI +on/t nee+ to "!oot in RA@( *y pict#re" are per ect t!e ir"t ti*e a" I "!oot t!e*N. O)( !e !a+ a little ego. He t!en procee+e+ to tell *e MI/* "!ooting or $lac2 an+ -!ite ne-"print( -!ic! loo2" lo#"y any-ayN. I g#e"" I "ee !i" point. I per"onally "!oot lan+"cape"( portrait"( "till li e/"( action "!ot" an+ anyt!ing I +ee* intere"ting. 5o *atter -!at I/* "!ooting or( I al-ay" "et *y ca*era to t!e !ig!e"t ile H#ality "etting an+ large"t "ize. My rea"on i" t!at I/* "!ooting or ine H#ality print". I can al-ay" +o-n"ize or t!e -e$ or "*aller "ize printing later. T!e "port" p!otograp!er -ill al-ay" "!oot or "pee+ an+ a lo-er ile "ize( $#t al-ay" or H#ality or t!e inten+e+ o#tp#t. I/ve "een "o*e incre+i$le "port" "!ot" p!otograp!e+ at a lo-er re"ol#tion t!at enlarge+ in print %#"t ine. T!e p!oto%o#rnali"t I *et( -ell( !e really +oe"n/t care( an+ accor+ing to !i*( !i" p!oto" loo2 lo#"y in ne-"print any-ay. 4y t!e -ay( !e too2 *y pict#re( an+ it -o#n+ #p in t!e ne-"paper. He -a" rig!t( *y pict#re loo2e+ lo#"y.
!iguring ,ut !ile Ty-es and Si.es

Ciring #p yo#r +igital ca*era an+ trying to ig#re o#t all t!o"e tec!ie t!ing" can $e inti*i+ating to *o"t. Mo"t people +on/t 2no- t!e +i erence $et-een a PPEG an+ a TICC( an+ t!at/" O). It" li2e -!en yo# $o#g!t yo#r ir"t V3R an+ trie+ getting it !oo2e+ #p to t!e TV( at lea"t or t!o"e o #" -!o re*e*$er t!e +ay" $e ore V3R/"F T!e point i"( *a2ing all t!o"e "etting" in t!e ca*era can $e let" "ay( a little co*plicate+. In or+er to *a2e t!ing" "i*pler -!en it co*e" to ile type" an+ ile "ize" to c!oo"e( I -ill ir"t e,plain -!at eac! ile type *ean" an+ "o*e tip" on t!eir #"age.
69
2010 Kevin L. Moss
The ("%G advantage

T!e *o"t co**only #"e+ ile or*at #"e+ or +igital ca*era" i" PPEG Eprono#nce+ %ay<pegG. PPEG i" a ile or*at t!at i" *o"t co*pati$le acro"" *#ltiple #"e" "#c! a" t!e @e$( +igital ca*era"( p!oto vie-er" an+ p!oto e+iting "o t-are "#c! a" P!oto"!op or P!oto"!op Ele*ent".
7hot with an o#der point P shoot di ita# camera! the 2M& JP.B provided reat detai# and co#or for this #andscape photo
T!e a+vantage o "!ooting PPEG ile" i" -it! t!e #"e o i*age co*pre""ion. I*age co*pre""ion i" "i*ply +e ine+ a" re+#cing t!e "ize o t!e ile( !ope #lly -it! little or no- noticea$le lo"" o H#ality a" ill#"trate+ in Cig#re =<8. T!e a+vantage to #"ing PPEG a" yo#r c!o"en i*age or*at i" e,actly t!at( re+#cing t!e i*age "ize -it!o#t noticea$le lo"" o H#ality. Yo# can it *any *ore i*age" on a *e*ory car+ in PPEG or*at t!an TICC or RA@ or*at. Digital ca*era" allo- yo# to *a2e +i erent PPEG H#ality "etting". Mo"t ca*era" !ave "etting or Cine( 5or*al an+ 4a"ic. $or most o, !our shooting al+a!s set !our 'amera to I$ineJ, the highest available OPE< (ualit! setting.
70
2010 Kevin L. Moss
/ Tale , Two 0o#-ressions

Cor +igital ca*era ile or*at"( t!ere are $a"ically t-o +i erent type" o co*pre""ion( lo""le"" co*pre""ion an+ lo""y co*pre""ion. 4ot! !ave t!eir place an+ $ot! in t!e tec!nical -orl+ o ile co*pre""ion an+ are #"e+ every+ay $y p!otograp!er". Lossless %ompression0 Lo""le"" co*pre""ion can $e +e ine+ a" ile co*pre""ion -it!o#t t!e lo"" o +ata or H#ality. I yo# are an avi+ co*p#ter #"er( @inzip i" a #tility #"e+ to collect an+ M"*#"!N +ata ile" into one. It co*pre""e" t!e +ata or ea"ier tran"*i""ion an+ "torage. @!en yo# #n<zip yo#r ile"( t!ey re*ain intact. 5o lo"" o H#ality -!at"oever. TICC i" an e,a*ple o a ile or*at t!at can $e co*pre""e+ #"ing lo""le"" co*pre""ion. Loss! %ompression0 Loss! co*pre""ion re+#ce" t!e "ize o i*age" $y t!ro-ing a-ay +ata( -!ic! *ay not $e a $a+ t!ing i yo# #"e it correctly. U"#ally PPEG i*age" "!ot at t!e !ig!e"t re"ol#tion or M ineN "etting can/t $e +i"ting#i"!e+ ro* t!e "a*e i*age "!ot #"ing Ti or RA@ or*at".
T+!!
TICC ETagge+ I*age Cor*atG ile" o er a e- a+vantage" over "!ooting -it! PPEG( $#t -it! a $ig tra+eo . TICC i*age" "!ot o#t o t!e ca*era are a*ong t!e large"t -!en it co*e" to ile "ize". An i*age "!ot in PPEG ine *o+e *ay $e 7M4 in "ize co*pare+ to t!e "a*e i*age "!ot in TICC at 68M4 in "ize. T!e a+vantage" to #"ing TICC a" yo#r "!ooting ile type incl#+e t!e act t!at TICC i*age" can $e co*pre""e+ in a lo""le"" -ay. TICC i*age"( li2e PPEG( are co*pati$le -it! *o"t i*age e+iting "o t-are progra*". In t!e printing in+#"try( TICC or*at i" con"i+ere+ t!e inal or*at #"e+ or printing. In P!oto"!op( t!e a+vantage to TICC i*age" i" t!at t!ey can $e e+ite+ in 6= $it *o+e a" oppo"e to : $it *o+e( -!ic! i" -!at PPEG can only o er. T!e $otto* line or p!otograp!er" i"( yo# -o#l+ $e !ar+ pre""e+ to in+ i*age H#ality o#t o ca*era *#c! +i erent $et-een TICC an+ PPEG or *o"t o#tp#t "it#ation". O#t o ca*era( t!ere i"nKt any rea"on to "!oot in TICC or*at any*ore. PPEG "ee*" ine or t!e ca"#al "!ooter( an+ Ra- !a" increa"e+ tre*en+o#"ly t!e pa"t > year" ro* *any DSLR "!ooter". It #"e+ to $e t!at e!e only p!otograp!er" t!at "!oot in TICC are one" -!o"e ca*era" +o not o er a Ra- "!ooting or*at an+ -ant t!e a$"ol#te $e"t H#ality t!ey can capt#re( not any *ore -it! Ra-. Mo"t +igital ca*era" to+ay o er t!e option to "!oot i*age" in RA@ or*at a" an alternative to t!e "tan+ar+ PPEG( t!#" eli*inating t!e nee+ to "!oot #"ing TICC. In P!oto"!op( yo# can al-ay" convert yo#r i*age to TICC or*at or inal printing or +i"tri$#tion *e+ia printing.
71
2010 Kevin L. Moss
*aw
Gro-ing in t!e pa"t ? or "o year" i" t!e o ering o a Ra- ile or*at. Ye" I 2no-( t!i" "o#n+" li2e anot!er one o t!o"e tec!ie type acrony*" to re*e*$er( $#t act#ally RA@ act#ally *ean" ra-F Q#ite "i*ply( it/" +e"cri$e+ a" an #nproce""e+ or ra- i*age ile. T!e Ra- i*age i" one -!ere t!e ca*era per or*" no a+%#"t*ent to t!e i*age -!en t!e p!oto i" ta2en.. T!e ca*era "tore" all t!e in or*ation it" "en"or capt#re+. All a+%#"t*ent" nor*ally *a+e $y t!e ca*era "#c! a" "!arpne""( contra"t( $rig!tne"" an+ color "at#ration !ave to $e per or*e+ in RA@ conver"ion "o t-are "#c! a" P!oto"!op 3a*era Ra-. T!e a+vantage or "!ooting Ra- or +igital p!otograp!er" i" "i*ple. T!e Ra- ile provi+e" a tr#e +igital MnegativeN. T!in2 o "!ooting an entire *e*ory car+ #ll o i*age" -!ere co*pare+ to t!e il* -orl+( i" t!e eH#ivalent to a roll o il*. @it! Ra- i*age"( t!e p!otograp!er can c!oo"e to +evelop t!e"e negative" any -ay !e or "!e c!oo"e". 3o*pare+ to TICC ile"( Ra- ile" ta2e #p a$o#t !al t!e "torage "pace +#e to t!e act t!at Raile" are *a+e #p o one 68 $it c!annel ile. TICC on t!e ot!er !an+ are *a+e #p o t!ree : $it c!annel". Li2e TICC( PPEG i" *a+e #p o t!ree : $it c!annel" $#t "ave" "torage "pace t!ro#g! t!e #"e o co*pre""ion.
72
2010 Kevin L. Moss
.mage -iBe E8plained

Si*ple logic -ill "tate t!at i yo# "!oot at t!e !ig!e"t i*age "ize or re"ol#tion po""i$le( yo# can al-ay" +o-n"ize i*age" to it a "*aller or*at( "ay or t!e @e$. I yo# "!oot at a "*aller re"ol#tion( it" *ore +i ic#lt to #p"ize an i*age or let" "ay an 66,67 print or to crop certain portion" o an i*age. T!i" "#$%ect i" a no<$rainer( "!oot at t!e !ig!e"t re"ol#tion po""i$le. Yo# -ill cover any "it#ation yo# nee+ or o#tp#t o yo#r i*age" -!en yo# get to t!at point o t!e +igital -or2 lo-. Si*ple logic( "ay" Spoc2... T!e r#le o t!#*$ -!ile "!ooting p!otograp!" i" to al-ay" "et yo#r +igital ca*era at t!e !ig!e"t i*age "ize availa$le. Unle"" all yo# "!oot are i*age" or t!e @e$ an+ not!ing el"e( c!oo"e t!e large"t re"ol#tion availa$le or yo#r ca*era. T!e ill#"tration $elo- ill#"trate" t!e +i erence $et-een "!ooting in lo- re"ol#tion ver"#" !ig! re"ol#tion. Digital SLR ile "ize" -ill $e larger t!an con"#*er or pro"#*er +igital ca*era" -it! t!e "a*e "en"or *egapi,el "ize. T!e rea"onU Digital SLR/" contain larger "en"or"( *eaning i*age" act#ally contain *ore in or*ation. 5ot only t!at( +igital SLR/" !ave $igger pi,el". A++itionally( i yo#Kre "!ooting in Ra- *o+e( yo#Kre i*age" -ill $e capt#re+ in 68 or 6= $it *o+e( t-ice t!e a*o#nt o in or*ation capt#re+ in a PPEG at t!e "a*e re"ol#tion.
@ri ina# ima e! #ow reso#ution c#ose up! then hi h reso#ution c#ose up
Digital ca*era "en"or "ize +oe" *a2e a +i erence in H#ality given t!e act t!at a 6' or 68 *egapi,el Digital SLR -ill pro+#ce $etter H#ality i*age" or an 6=I8' inc! print t!an a 6' or 68 *egapi,el con"#*er gra+e +igital ca*era. T!at +oe"n/t "ay t!at yo#r eig!t *egapi,el ca*era can/t pro+#ce "t#nning 6= I 8'K". T!e +i erence co*e" -!en yo# -ant to +o a lot o cropping in
73
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES P!oto"!op or enlarge a print to 66 I67 or 6= I 8'. T!e +igital SLR -ill -in o#t every ti*e a" ar a" "!arpne""( re+#ce+ noi"e( color an+ tone. Typically( i*age "ize" or a 6' *egapi,el +igital SLR "en"or a" on t!e 3anon 7'D or 5i2on eH#ivalent -ill co*e in t!ree lavor" or yo# to c!oo"e in yo#r ca*era" *en# "et#p0
' :e +111 : 2/C2 211, : 1110 1C+, : 1211 ;,mber of & $els 10 me api:e# / me api:e# 2.F me api:e# Lar e Medium 7ma## <sa!e Lar e prints up to 1, G 20 inches Prints up to 1 G 10 inches F G / inch prints! best for <eb or emai#
T!o#g! con"#*er or pro"#*er can !ave t!e "a*e *egapi,el rating a" a +igital SLR( *an# act#rer" !ave to cra* t!e "a*e a*o#nt o pi,el" into a "*aller i*age "en"or. T!i" re"#lt" in a +i erence in H#ality ro* an 6' *egapi,el pro"#*er ca*era an+ a pro e""ional 6' *egapi,el +igital SLR. 5o+on/t go t!ro-ing o#t yo#r "pan2ing ne- ? or : *egapi,el ca*era( t!e i*age" yo# are capt#ring -it! t!at ca*era "till roc2 an+ are o a H#ality t!at yo# -ill never nee+ to e,cee+. Recently( *an# act#rer" "#c! a" 3anon !ave act#ally re+#ce+ t!e pi,el co#nt in "o*e o t!eir co*pact" to i*prove H#ality o i*age" in t!e"e ca*era". Cor in"tance( T!e 3anon G66K" "en"or !a" le"" *egapi,el" t!an it" ol+er $rot!er t!e G6'( -!ic! !a+ 67 *egapi,el"( -!ic! i" too *#c! or an i*age "en"or t!at "ize. 3ra**ing 67 *egapi,el" into a "*all "en"or can only re"#lt in noi"y i*age". 3anonK" +eci"ion to re+#ce t!e n#*$er o *egapi,el" in t!e ne-er *o+el -a" "*art( increa"ing overall i*age H#ality in"tea+ o ig!ting a *egapi,el -ar -it! it" co*petitor". I $et t!e i*age" t!at co*e o#t o t!e G66 are *#c! *ore cri"p t!an t!at o t!e G6'( -!ic! clai*" *ore *egapi,el"F In "#**ary( *any pro e""ional" #"e t!e"e ca*era" a" $ac2#p" an+ or every+ay "!ooting. I !ave %#"t p#rc!a"e+ one t!at I #"e a" an every+ay carry aro#n+ ca*era an+ a $ac2#p to *y pro e""ional eH#ip*ent. T!e"e ca*era" are no"porting VR Evi$ration re+#ctionG an+ "o*e $ig len"e" t!at reac! ro* &?** all t!e -ay pa"t 7''** in ocal lengt!. Many o t!e"e ca*era" $oo"t "o*e great *acro capa$ility a" -ell. It/" real !ar+ to $eat t!e val#e in t!e late"t !ig!< The -anon B11 boasts 10 me api:e#s! c#eaner ima es than en+ pro"#*er +igital ca*era o ering". T!e"e its previous mode#! /G @ptica# Moom p#us ?awOJP.B ca*era" provi+e yo# -it! !ig! *egapi,el "ize"( capturin pro e""ional H#ality len"e" t!at are o ten pro e""ional H#ality an+ ocal lengt!" ro* -i+e angle to "#per telep!oto. T!e"e ca*era" li2e t!e 3anon G66 o er a great alternative to a *#c! *ore e,pen"ive +igital SLR "y"te* -it! interc!angea$le len"e".
74
2010 Kevin L. Moss
-etting the Proper .-D

4ac2 $e ore -e -ere #"ing +igital ca*era"( -e p#rc!a"e+ il* in +i erent "en"itivitie". T!e lo-er t!e "en"itivity rating EISOG( t!e iner t!e grain. My lan+"cape" -ere al-ay" "!ot at t!e lo-e"t ISO rate+ tran"parency E"li+eG il* I co#l+ get( #"#ally at >' ISO. I I -ante+ to "!oot in+oor" -it! lolig!t an+ action( I/+ p#rc!a"e il* at ISO rating" o 8''( 7'' or even :''( $#t !a+ to live -it! increa"e+ MgrainN in *y "!ot". A" in il* ca*era"( +igital ca*era" in!erite+ t!e ISO rating" t!at in+icate t!eir "en"itivity to lig!t an+ "#$%ectivity to i*age noi"e "!o-n in t!e ill#"tration $elo-. A +igital ca*era "et to an ISO level o 6'' i" co*pare+ to a il* ca*era loa+e+ #p -it! ISO 6'' il*. Mo"t +igital ca*era" to+ay !ave a "tan+ar+ ISO "etting o 6''. So*e +igital ca*era" even o er t!e lo-e"t ISO at >'( an+ ot!er" !ave t!e lo-e"t availa$le ISO at 6''.
@bvious co#or noise in the ima e taken at an 27@ settin of 100! where the ima e taken at 27@ 100 is si#ky smooth
@!en yo# increa"e t!e ISO o a +igital ca*era t!e "en"or o#tp#t i" increa"e or a*pli ie+ to alloor le"" lig!t. T!e a*pli ication t!at occ#r" -!en yo# increa"e t!e ISO "etting !a" a "i+e e ect( i*age noi"e. Hig!er i*age noi"e i" ill#"trate+ in t!e ill#"tration. T!e goo+ ne-" i" t!at *an# act#rer" are i*proving t!e noi"e level" or !ig! ISO/" -it! every ne- relea"e. T!e a+vent o #ll ra*e "en"or" in t!e top<en+ DSLRK" are even getting to t!e point -!ere i*age noi"e i" eli*inate+ even at ISOK" a" !ig! a" 6=''F
75
2010 Kevin L. Moss

T p: <herever possib#e! set your camera to the #owest 27@ you can for the best possib#e ima
e 8ua#ity. 2f you are shootin in #ow #i ht situations or fast action! you9## need to increase the 27@ in order to achieve the shutter speeds needed! but may increase the amount of ima e noise in your camera.
Lake Lee#enau! Michi an! 2002. 7ony -ybershot %E0E! 27@ 100! %0E.1! F010 second e:posure. (s a ru#e of thumb! shoot your ima es at the #owest 27@ settin possib#e in order to obtain the utmost hi hest ima e 8ua#ity with no noise$
76
2010 Kevin L. Moss
Cnderstanding White /alan'e
77
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES One o t!e e- "etting" t!at i" act#ally #niH#e to +igital ca*era" i" t!e -!ite $alance "etting. Setting -!ite $alance i" t!e proce"" o telling yo#r ca*era -!ic! color te*perat#re t!e lig!t yo# are -or2ing -it! act#ally i". @!ite $alance -o#l+ !ave $een a lot ea"ier to #n+er"tan+ i t!ey %#"t call it t!e lig!ting type "etting. I/* going to c!ec2 to "ee i I can patent t!at i+ea( $#t in t!e *ean ti*e I/ll e,plain t!e concept. @!en yo# c!ange t!e -!ite $alance "etting yo# are %#"t telling yo#r ca*era to co*pen"ate or t!e type o lig!t t!at i" ill#*inating t!e "#$%ect. Lig!t t!at ill#*inate" a lan+"cape on a $rig!t "#nny +ay -ill $e +i erent t!an t!e lig!t on a clo#+y +ay. In+oor lig!ting pro+#ce+ $y incan+e"cent lig!t i" +i erent t!an t!e lig!t pro+#ce+ $y t!o"e na"ty l#ore"cent lig!t". T!o#g! o#r eye" a+%#"t real -ell to t!e"e +i erent lig!ting con+ition"( o#r ca*era" nee+ to a+%#"t( eit!er a#to*atically or $y *an#ally "etting t!e -!ite $alance "etting a" ill#"trate+ in ill#"tration $elo-. Li2e I "ai+( t!ey "!o#l+ !ave calle+ it t!e Mlig!ting type "ettingN. I/ll let yo# 2no- !o- t!e patent i+ea -ent. Di+ I *ention t!at t!ey "!o#l+ !ave calle+ it t!e lig!ting type "ettingU To ill#"trate *y revol#tionary concept( t!e ill#"tration on t!e previo#" page e,plain" t!e +i erent -!ite $alance "etting" yo# can *a2e on yo#r +igital ca*era an+ tip" on #"ing eac!.
'ett n!
",to
%escr pt on
T ps on <sa!e
The camera automatica##y ca#cu#ates the white <se for most s t,at ons. &e#ieve it or not! the ba#ance. (uto <hite &a#ance 7ettin is oin to be more accurate in most situations than settin one of the many settin s your camera offers. 2f you shoot in ?aw mode! white ba#ance can be easi#y adDusted in -amera ?aw without any de radation in 8ua#ity. Typica# outdoor #i htin . 6se this settin s shootin outdoors on sunny days. Try the c#oudy white ba#ance settin ! it wi## add warmth to your ima e. Typica# househo#d #i htin usin re u#ar #i ht bu#bs 6se this whi#e photo raphin indoors in office and commercia# bui#din s This settin works we## in many different #i htin conditions. -an provide e:tra warmth to photo raphs. .:periment usin this settin 7ome di ita# cameras automatica##y sets the white ba#ance to f#ash when attachin an e:terna# f#ash or usin the bui#t in f#ash for our camera. .:periment viewin the ima e on your L-* in outdoor situations between shade! c#oudy or day#i ht.
%a4l !ht
7ncan)escent 0l,orescent Clo,)4
2ndoor #i htin 2ndoor #i htin usin f#uorescent bu#bs @utdoors on c#oudy or part#y c#oudy conditions
0lash
7et white ba#ance to the f#ash settin your onboard f#ash or e:terna# f#ash @utdoors in shaded #i ht
when usin
'ha)e
U"e yo#r L3D to revie- yo#r i*age" to *a2e "#re yo# are "etting t!e -!ite $alance correctly. E,peri*ent *y "!ooting t!e "a*e "#$%ect at +i erent -!ite $alance "etting" an+ c!oo"e t!e one t!at loo2" $e"t to yo#.
78
2010 Kevin L. Moss
Csing the Histogram $or /etter E8posure

Hi"togra*" are t!e 2ey to #n+er"tan+ing +igital i*age". A !i"togra* ill#"trate" !o- pi,el" in an i*age are +i"tri$#te+ $y grap!ing t!e n#*$er o pi,el" at eac! color inten"ity or e,po"#re level. T!e !i"togra* "!o-" +etail in t!e "!a+o-" E"!o-n in t!e le t part o t!e !i"togra*G( *i+tone" E"!o-n in t!e *i++leG( an+ !ig!lig!t" E"!o-n in t!e rig!t partG A !i"togra* can !elp yo# +eter*ine -!et!er an i*age !a" eno#g! +etail to *a2e a goo+ correction. It i" very !elp #l to 2eep an eye on t!e !i"togra* +#ring "!ooting a" -ell a" -!en e+iting t!e* to en"#re proper e,po"#re an+ avoi+ lo"ing "!a+o- an+ !ig!lig!t +etail. In t!e e,a*ple $elo-( "!a+o- area" are -ell e,po"e+ -it! no clipping( -it! t!e !ig!lig!t area o t!e !i"togra* "!o-ing no clipping a" -ell. 4y t!e -ay( t!atK" *y +og on t!e rig!t( -it! !i" co#"in on t!e le t.
T!e !i"togra* give" a H#ic2 pict#re o t!e tonal range o t!e i*age( or t!e i*age 2ey type. A lo-< 2ey i*age !a" +etail concentrate+ in t!e "!a+o-"( a" ill#"trate+ a$ove. Hig! 2ey i*age" !ave +etail concentrate+ in t!e !ig!lig!t". A nor*al( or Maverage<2eyN i*age !a" +etail concentrate+ in t!e *i+tone" area o t!e !i"togra*. An i*age -it! #ll tonal range !a" "o*e pi,el" in all area".
79
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES I+enti ying t!e tonal range !elp" +eter*ine appropriate tonal correction". )eep in *in+( or *any i*age"( !i"togra*" -ill $e +i erent +epen+ing on t!e "#$%ect *atter an+ lig!ting yo#Kre a ter.
-hooting +ith the Histogram

Mo"t +igital ca*era" allo- yo# to vie- t!e !i"togra* on t!e ca*eraK" L3D "o yo# can a+%#"t t!e e,po"#re an+ ta2e t!e "!ot again i nece""ary. It" an i*portant !a$it to get into( I "#gge"t a++ing !i"togra* vie-" to yo#r every+ay "!ooting -or2 lo-. Many +igital ca*era" co*e -it! an overe,po"#re -arning( -!ere$y t!e overe,po"e+ area" $lin2. I yo#r L3D !a" a $lin2ing area( t!at "!o-" t!at "o*e o t!e c!annel" are Mclippe+N or overe,po"e+.
)ikon *10 histo ram review. ?B& and separate ?ed! Breen and &#ue channe# Histo rams are viewed.
Yo#r !i"togra* i" going to $e *ore acc#rate t!an yo#r eye" -!en vie-ing i*age" on yo#r L3D( e"pecially -!en yo#Kre "!ooting i*age" o#t+oor". Get in t!e !a$it o revie-ing yo#r i*age" !i"togra*" -!en "!ooting. 4a"ic tip" or "!ooting an+ revie-ing e,po"#re -!ile o#t in t!e iel+0 <et in the habit o, setting !our 'amera ,or a histogram and 'lipping Kblinking lightL vie+ ,or revie+ing images. *evie+ !our images to ensure !ou are not getting 'lipping in the shado+, highlight or midtone areas. -et !our e8posure 'ompensation a''ordingl! i, !ou@re seeing 'lipping in !our histograms, or getting the Iblinking lightJ, +hi'h indi'ates overe8posure in some areas o, the image. In t!i" ca"e o overe,po"#re( +ial yo#r e,po"#re co*pen"ation to a <.& to <6 "top.
80
2010 Kevin L. Moss
-hooting in Aperture Priorit! Mode

One of the most confusin concepts to understand in photo raph( is aperture settin $ 0hese terms were probabl( invented b( a politician- 0he( sa( one thin and mean another< 2hen a term is used! such as %stoppin down& the lens to increase depth of field! whatDs reall( meant is turnin up the aperture settin < 0he terms are all backwards$ 2hen (ou stop down the lens to a settin of f.11 or f.1K! the aperture diaphra m closes down! lettin less li ht to the sensor but increasin focus from fore round to back round$ In aperture settin s! %openin up& means usin a lower f.stop settin and %closin down& means usin a hi her f.stop settin $ 0o further e"plain! the term %openin up& a lens actuall( means usin a lower aperture settin of @.5$K or @.4 to let more li ht onto the ima e sensor$ 0he portion of the ima e (ou focus on is sharp where other areas are less sharp$ Eemember that up means lower settin and less focus of the fore round and back round$ Down means a hi her settin and more focus of fore round and back round$ Lust like politics$ IDve listed the advanta es and disadvanta es of each shootin mode in the te"t that follows$ 's (ou shoot more photo raphs! (ou will improve reatl( in (our abilit( to use these shootin modes to (our advanta e! helpin (ou obtain the ima es (ou visuali8e$ 'perture Priority. 'd#ust the aperture settin to increase or decrease the depth of field of (our photo$ 9maller numbers! such as f.2! open the aperture diaphra m up and let more li ht into the sensor while reducin depth of field$ :ar er aperture settin s reduce the diaphra m si8e and let less li ht in$ 0he di ital camera automaticall( sets shutter speed$ @or shots where (ou want a blurred back round! reduce (our aperture to f.2 or @.4$ 0o increase depth of field and increase the focus of both fore round and back round! increase the aperture settin to f.8 or hi her$ "hutter Priority. 'd#ust the shutter speed and camera automaticall( sets the aperture$ @or action shots where (ou want to free8e action! use a hi her shutter speed! such as 1.544 of a second$ 0o et a blurred effect of movin sub#ects such as a waterfall! reduce the shutter speed to 1.14 of a second$ Manual. 0he photo rapher manuall( sets both shutter speed and aperture$ Mse this mode when e"perimentin with special effects t(pe shots or when shootin in odd circumstances! such as lon e"posures at ni ht$ 'utomatic. 0he di ital camera calculates the optimal combination of aperture! shutter speed! and I9O sensitivit( based on the e"posure value determined b( the cameraDs meterin s(stem$ 'utomatic mode ma( be oka( to use for most snapshots and even portraits$
81
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES Creati9e. 9ome di ital cameras come with pre7pro rammed modes! such as sports! portrait! and landscape modes$ Mse these modes until (ouDre read( to e"periment with aperture or shutter priorit( modes- Cost results are sufficient$
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2010 Kevin L. Moss
Look
o $urther &han 5our D+n /a'k 5ard
Ti*e an+ *oney are oe" to t!e p!otograp!er t!at -o#l+ rat!er travel to p!otograp! -on+er" t!at are to $e !a+. In t!e real -orl+( -e really canKt e,pect to !ave all o o#r p!otograp!y $e $a"e+ on t!e -on+er" o t!e -orl+( t!at reH#ire" travel to get t!ere. IKve al-ay" $een a proponent o "!ooting locally a" -ell a" -!ile traveling( or a n#*$er o rea"on". Ca*ily( %o$" an+ *oney +onKt allo- *o"t o #" to "pen+ all o o#r p!otograp!ic !o#r" traveling( !o-ever( to get goo+ i*age" yo# +onKt !ave to travel ar ro* !o*e. Loo2 at yo#r o-n $ac2yar+F Really( al*o"t yearly( I *a2e a 6''' *ile tre2 to 5ort!ern Mic!igan or all color an+ -ater all "!ooting. T!i" year( I co#l+nKt *a2e it +#ring t!e pea2 color -ee2 E ir"t or "econ+ -ee2 o Octo$erG. 5ot to -orry t!o#g!... Given all t!at( I +eci+e+ to )ature Preserve! within wa#kin distance from my home. 27@ 100! %020! 10, +e+icate pea2 color "ea"on to second. "!ooting locally( in *y o-n $ac2yar+( t!e neig!$or!oo+ nat#re pre"erve E-al2ing +i"tance ro* *y !o*eG( gran+ place" o -or!"!ip( !i"torical "c!ool"( arc!itect#re( an+ local par2" in "o#t!ea"t Mic!igan. All -it!in *in#te" o *y !o*e. Every +ay I vent#re+ o#t to t!e"e "ite"( an+ -a" very plea"e+ -it! *y re"#lt". I +i+nKt !ave to travel !#n+re+" o *ile" to get goo+ color or "#$%ect *atter( it -a" all rig!t !ereF 5ot only t!at( t!e e,perience re*in+e+ *e o t!e #nli*ite+ "#$%ect *atter rig!t in *y o-n $ac2yar+. IK* "#re i yo# vent#re o#t locally( yo# can in+ t!e "a*e.
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2010 Kevin L. Moss
-ranbrook -ampus! F mi#es from my home. 27@ 200! f011! 101+ sec! circu#ar po#ari'er
&e##e 2s#e! +0 minute drive from my home. 2?5-onverted )ikon *E0.
5ot only +i+ I +e+icate & -ee2" to "!ooting locally( I +eci+e+ *i+<*ont! t!ro#g! to +e+icate t!e all color portion o *y local "!ooting to a $oo2 pro%ect( -!ic! lea+" #" to t!e ne,t c!apter...
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2010 Kevin L. Moss
E8plore -el, Publishing

I5ou 'an be'ome a published Author...All !ou have to do is de'ide to do so.J
T!e previo#" "ection +i"c#""e+ loo2ing no #rt!er t!an yo#r o-n $ac2yar+ or p!otograp!ic "#$%ect". Yo# *ay -ant to ta2e t!at concept a "tep #rt!er( a" I !ave. Hal -ay t!ro#g! *y local "!ooting trip"( I $eca*e "o in"pire+ $y 8''9K" all color "ea"on t!at I -a" +i"covering along *y *any !i2e" o local nat#re area" an+ t!e e,cellent year -e -ere !aving in Mic!igan or e,ceptional all color. I +eci+e+ to ta2e *y i*age" o all color or t!e *ont!( an+ "el <p#$li"! a p!oto $oo2 on t!e "#$%ect. T!e re"#lt o *y e ort" -a" t!e $oo2 Autumn in the Hills . A co*pilation o >' all color p!otograp!" ro* t!e MHill"N area o "o#t!ea"t Mic!igan.
P#$li"!ing yo#r p!otograp!" in t!e or* o a p!oto $oo2 i"nKt a" inti*i+ating a" yo# t!in2. YOU 3A5 4E3OME A PU4LISHED AUTHOR. All yo# !ave to +o( i" +eci+e to +o "o. 4eco*e yo#r o-n p#$li"!er( an+ "tart p#$li"!ing yo#r $o+y o p!otograp!ic -or2" in a "erie" o "el <p#$li"!e+ $oo2" t!at yo# can *ar2et on t!e large"t $oo2 "elling "ite" on t!e Internet( a*azon.co*.
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2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES T!e @e$ o er" a n#*$er o "el p#$li"!ing "ol#tion" or a#t!or" an+ p!otograp!er" t!at -ant to "el <p#$li"! t!eir -or2( even *ore ea"ily t!an -or2ing -it! a p#$li"!ing !o#"e Ea" I !ave in t!e pa"t( an+ IKll tell yo#( it i"nKt a" #nFG. 4e"t o all( yo#r $oo2" are pro+#ce+ an+ "ol+ $y a proce"" o print on demand.
"rint on 1e#and "u&lishing

Print on +e*an+ i" t!e proce"" o "elling $oo2" -it!o#t *aintaining an e,pen"ive inventory o yo#r pro+#ct. @!en a c#"to*er vie-" yo#r $oo2 in or*ation on A*azon.co* or yo#r o-n a#t!or1p!otograp!er -e$"ite an+ place" an or+er -it! A*azon( t!e or+er i" t!en a#to*atically "ent to yo#r c!o"en p#$li"!ing ven+or. A*azon collect" t!e *oney( an+ "en+" to *oney to yo#r ven+or( -!ic! i" t!en +epo"ite+ to yo#r o-n acco#nt Ea ter printing e,pen"e" an+ A*azon eeK"G. T!e ven+or t!en print" t!e $oo2( an+ "!ip" t!e $oo2 +irectly to t!e c#"to*er. It" ea"y( an+ it +oe" not reH#ire any intervention $y yo#( t!e p!otograp!er1a#t!or at all. T!e c#"to*er i" not a-are t!at t!e $oo2 i" printe+ in+ivi+#ally. T!eir only e,perience or $#ying i" t!ro#g! t!e nor*al A*azon p#rc!a"ing proce"". A ter t!e "ale i" *a+e( yo#Kre noti ie+ via e*ail $y yo#r ven+or o t!e "ale( an+ yo#Kre pai+ or t!e $oo2 $y yo#r p#$li"!ing ven+or( $y +irect +epo"it to yo#r $an2 acco#nt( paypal acco#nt( or $y *ont!ly c!ec2. Ea"y( clean( pro e""ional( an+ $e"t o all( yo#Kre not reH#ire+ to +o anyt!ing or a "ale" proce""( it" all ta2en care o $y yo#r print<$y<+e*an+ p#$li"!er an+ A*azonF 3reate"pace.co* o er" an e,cellent print on +e*an+ pac2age( an+ i" o-ne+ $y A*azon.
The *eal "ur-ose !or "u&lishing 2our Work

T!e real p#rpo"e or "el p#$li"!ing yo#r -or2( i" to e"ta$li"! yo#r"el a" a "erio#" p!otograp!er( "peci ically to t!o"e yo# -ant to i*pre"" t!at #pon. It *ig!t $e yo#r local gallery o-ner"( potential e*ployer"( *agazine an+1or ne-"paper p#$li"!er"( or any ot!er party or partie" -!ere yo# -ant to "!o- yo#r -are". I it" in print( yo# a#to*atically !ave an a+vantage over 9'T o yo#r co*petition. O co#r"e( yo#r p!otograp!ic -or2 !a" to $e goo+ too. A very "*all percentage o p!otograp!er" act#ally $eco*e p#$li"!e+( "o -!y notU Yo#r point to p#$li"!ing yo#r port olio" i"nKt to "ell t!o#"an+" o copie" an+ *a2e a ton o *oney( on t!e contrary( t!at rarely -ill !appen. @!at yo# can pro it ro*( i" people" i*pre""ion o yo# a" an arti"t. IKve al-ay" $een a proponent o t!e t!eory t!at p!otograp!"( -ort!y p!otograp!"( arenKt ini"!e+ #ntil t!ey are *o#nte+( ra*e+( an+ "igne+ $y t!e a#t!or.... or $e p#$li"!e+ in $oo2 or*. I al"o +onKt "!o- *y p!otograp!ic -or2 to ot!er" #nle"" t!ey are p#$li"!e+ or !anging on a -all. It" t!e p#ri"t in *e( an+ I $elieve in t!at pre*i"e.
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2010 Kevin L. Moss
IMPROVE YOUR PHOTOGRAPHY One e,ception to t!e"e pre*i"e" i" t!e -e$. I t!in2 every p!otograp!er "!o#l+ !ave a +e+icate+ p!otograp!y -e$"ite to "!o- o t!eir $e"t -or2. I "ay M$e"t -or2N( $eca#"e I t!in2 yo# "!o#l+ only p#$li"! yo#r $e"t. To "!o- o yo#r $e"t( yo# nee+ to t!in2 t!e -or+ MH#alityN or yo#r -e$"ite a" -ell. T!e"e +ay"( yo# +onKt !ave to $e a -e$ gee2 to 2ic2 o#t a goo+ loo2ing "ite. T!ere are plenty o option" o#t t!ere( $#t t!atK" or anot!er c!apter( t!i" i" all a$o#t p#$li"!ing p!otograp!y $oo2". DonKt get *e -rong( It" e""ential or p!otograp!er" to *aintain a goo+ -e$"ite( $#t it "!o#l+ not $e t!e only *ean" to "!o- o yo#r -or2. T!e en+ pro+#ct o all p!otograp!y i" "till t!e printF
Keep your website c#ean of c#utter! make it simp#e and easy to use. Make sure to make ima es the main theme of your site. 2ts a## about your ima es! and on#y show your best work.
@!et!er p#$li"!ing on t!e -e$ or in $oo2 or*( t!e"e are "o*e a+vantage" or getting yo#r p!otograp!ic -or2 p#$li"!e+0 5ou have something to sho+. I 2no- a lot o great p!otograp!er"( $#t t!ey *i"" t!e inal pro+#ct o *a2ing p!otograp!" in print or*( t!e -e$( or $oo2 or*. A p#$li"!er or art +irector i" going to re"pon+ to "o*et!ing t!ey can to#c!( not a -e$ a++re"". Publishing adds seriousness to !our +ork. I yo# !ave a goo+ port olio o 8> or *ore i*age"( all "!aring a t!e*e( t!en it" -ort!y o at lea"t "el <p#$li"!ing. P#$li"!ing a "ingle port olio $ring" "erio#"ne"" to t!at yo#r -or2( an+ ill#"trate" yo#r"el a" *#lti<+i*en"ional. -eparates !ou ,rom the rest o, the photographers. Let" ace it( 99.9T -o#l+ $e a genero#" percentage o p!otograp!er" t!at never get p#$li"!e+( eit!er on t!e -e$( in print( or in a gallery. Act#ally( .6T i" pro$a$ly @AY too genero#". Yo# can ea"ily "eparate yo#r"el ro* t!e pac2 %#"t $y "el <p#$li"!ing one or *any o yo#r p!otograp!ic port olio". Leaving a permanent re'ord. O#r i*agery are "torie" t!at nee+ to $e tol+. T!at i" -!at p!otograp!y i" all a$o#t. @!at a -a"te it -o#l+ $e i yo#r $e"t i*age" -ere never "!o-n. In t!e lea"t( yo#r gran+c!il+ren or great<gran+c!il+ren *ay never "ee yo#r -or2. Sel
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2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES p#$li"!ing yo#r port olio" i" a great -ay to leave yo#r p!otograp!ic *ar2 on t!e -orl+. In t!e lea"t( +o it or yo#r a*ilyF I yo#Kre not into "el <pro*otion an+1or "elling yo#r -or2 to vario#" entitie"( yo# "till !ave *otivation or "el p#$li"!ing. Do it or yo#r"el . A++ing "el p#$li"!e+ $oo2" to yo#r p!otograp!ic proce"" *ay not pay +ivi+en+" no-( $#t pro$a$ly -ill in t!e #t#re( i not or yo#( t!en "o*eone el"e.
Portfo#io and book raphic used for marketin
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2010 Kevin L. Moss
Cnderstanding .mage -iBe and Aspe't *atio

One o t!e *o"t overloo2e+ topic" I "ee i" t!e *y"tery o i*age "ize in ter*" o +ot" per inc! E+piG( -i+t!( !eig!t( an+ "en"or "ize -!en it co*e" to a"pect ratio. All t!e"e *ea"#re*ent" co*e to play or every i*age a p!otograp!er #"e". Eac! a"pect co*e" into t!e calc#lation or inal i*age "ize a" -ell. Let" clear #p "o*e o t!e *y"tery.
Lets Talk /&out 2our 0a#era

To "tart o ( let" tal2 a$o#t yo#r ca*era ir"t. T!e +igital ca*era i" $a"e+ on it" i*age "en"or. T!atK" t!e little plate t!at "it" $e!in+ yo#r len" an+ "!#tter. It" ille+ -it! *illion" o lig!t gat!ering pi,el"( "*all +ot" t!at co*pri"e t!e con"tr#ction o t!e "en"or. T!e"e pi,el" collect t!e lig!t oc#"e+ ro* yo#r len"( an+ t!en electronically recor+ t!e lig!t gat!ere+ ro* t!e pi,el" into an i*age ile.
I%ompa't Digital 'amera sensors are e8tremel! smaller than those o, digital -L*s +ith a similar pi8el 'ount. .n addition, the siBe o, ea'h pi8el is also e8tremel! smaller. &his the results in lo+er image (ualit! 'ompa't 'ameras in terms o, image noise and d!nami' range.J
Sen"or" co*e in vario#" "ize"( an+ +i er in t!e a*o#nt an+ type o pi,el" eac! contain". @!en yo#Kre o#t p#rc!a"ing a +igital ca*era( "o*e o t!e "pec" t!at yo#Kre pro$a$ly loo2ing at i" t!e n#*$er o *egapi,el" t!at yo#r +igital ca*era -ill !ave. 3#rrent co*pact +igital ca*era" co*e in lavor" o : *egapi,el E: *illion pi,el"G to 67 *egapi,el *o+el" on t!e !ig!<en+. Cor yo#r nor*al +igital SLR( yo#Kre loo2ing at 6' to 6= *egapi,el *o+el". On t!e !ig! en+( #ll ra*e +igital SLRK" are $eco*ing pop#lar -it! pro e""ional" an+ a+vance+ a*ate#r". T!e"e #ll ra*e *o+el" !ave a "en"or "ize t!e SAME a" &>** il*( &=** I 87 ** in p!y"ical "ize. M#c! larger t!an "en"or" t!at are t!e $a"i" o *o"t +igital SLR an+ co*pact +igital ca*era". To $etter e,plain "o*e o t!e ter*" #tilize+ !ere a" a pre ace or +i erentiating $et-een +igital ca*era" an+ re"pective a"pect ratio" an+ "izing0 -ensor -iBe0 A" ill#"trate+ on t!e grap!ic on t!e ne,t page( t!ere i" a !#ge +i erence in "en"or "ize" $et-een +i erent type" o +igital ca*era". Cor in"tance( t!e typical point an+ "!oot +igital ca*era -ill !ave a "*all "en"or( aro#n+ ?* I >**. T!e ne,t "tep #p i" t!e +igital SLR( typically "tarting at 8&** I 6>**. C#ll ra*e +igital SLR" "port t!e "a*e "ize "en"or a" &>** il* E!ence t!e na*e M #ll "izeNG at &=** I 87**( > ti*e" larger t!an a co*pact +igital ca*era( an+ al*o"t t-ice t!e "ize o t!e "tan+ar+ +igital SLR "en"or.
89
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES Aspe't *atio0 I" t!e re erence to t!e co*$ination o t!e -i+t! an+ !eig!t o t!e i*age "en"or. T!i" i" -!ere t!ing" can get con #"ing. @i+t! +ivi+e+ $y t!e !eig!t Depen+ent on t!e +i*en"ion" o yo#r "en"or( t!e a"pect ratio -ill typically $e one o t-o type"0 E0) .mage *atio %amera &!pe &>** SLR"( C#ll Cra*e Digital SLR"( Digital SLR" 20E .mage *atio 3o*pact +igital ca*era"
ative image siBes 7N I =N Kno 'roppingL :N I 68N 66N I 6?N 6=N I 88N
7N I >N :N I 6'N 66N I 67N 6=N I 8'N
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2010 Kevin L. Moss
T!e +ile**a -it! #n+er"tan+ing an+ +ealing -it! yo#r i*age "en"or" a"pect ratio i" ele*entary. I yo#Kre "!ooting -it! a co*pact +igital ca*era( c!ance" are yo#r i*age "en"or pro+#ce" i*age" t!at !ave a 70& i*age ratio. Yo#r i*age" can $e printe+ at :N I 6'N or 6=N I 8'N -it!o#t cropping. I yo#Kre a ine art p!otograp!er an+ li2e to print yo#r i*age" at t!e"e "ize"( no pro$le*F Stan+ar+ ra*e" in 5ort! A*erica are in+ee+ :N I 6'N( 66 I 67N an+ 6=N I 8'N. Yo# !ave *any c!oice" o pre<c#t *atte" an+ ra*e" t!ey it into. Yo#Kre goo+ to go i yo# +onKt -ant to +o any e,ten"ive cropping o yo#r i*age". I yo#Kre #"ing a +igital SLR( t!atK" anot!er "tory. 3!ance" are yo#r i*age "en"or i" o t!e &08 type( ren+ering #n<croppe+ i*age" at :N I 68N or 6=N I 88N. Har+ to in+ pre<c#t *atte" an+ ra*e" to it t!o"e +i*en"ion". O co#r"e( yo# can al-ay" crop yo#r i*age"( $#t or a "tan+ar+ :N I 6'N print( yo#Kll $e c#tting 8N o one o t!e 7 "i+e" o yo#r i*age. T!atK" pro$le*atic i yo# +onKt -ant toF
91
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES I yo#Kre li2e *e( an+ pre er "!ooting -it! +igital SLR" $#t li2e to print in t!e 70& i*age ratio or*at E*y "tan+ar+ "ize i" 66N I 67N or gallery print"G( I "#gge"t a++re""ing t!e cropping i""#e #p ront( -!en yo#Kre "!ooting yo#r i*age". Ta2e yo#r ti*e -!en co*po"ing yo#r i*age" in yo#r +igital SLR vie- in+er. -ummar!0 )eep in *in+ a!ea+ o ti*e( -!ile "!ooting( t!at yo# *ay $e cropping t!e i*age -!en yo# -or2 on it in P!oto"!op or Ele*ent". @it! t!at in *in+( yo#Kll -ant to co*po"e t!e "cene at a "lig!tly -i+e angle t!an #"#al. Yo#Kll $e t!an2 #l later -!en e+iting yo#r i*age on yo#r co*p#ter( an+ yo# !ave t!e Me,traN area" o t!e i*age in -!ic! yo# can crop o#t in or+er to get to t!e i*age "ize yo# -ant.
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2010 Kevin L. Moss
-hooting &he -k!line
I/ve "een a lot o "2yline p!otograp!y over t!e year"( an+ -ante+ to o er *y "#gge"tion" or any type o nig!t "!ooting yo#/+ li2e to try. @it! +igital ca*era"( re"#lt" +on/t co*e any ea"ier t!an -it! il*( yo# "till nee+ to !ave great +igital p!otograp!y tec!niH#e. @!en "!ooting at nig!t( yo# can $e "#re yo#/ll $e "!ooting -it! "lo-er "!#tter "pee+"( an+ i yo#/re +ealing -it! t!e -eat!er( t!en yo# !ave a -!ole ot!er n#*$er o i""#e" to +eal -it!F Recently( I *et a !an+ #l o *y local p!otograp!er $#++ie" or a trip +o-n to t!e river ront. @e *a+e an o#ting o it( "ince -e !a+ to ta2e t!e t#nnel #n+erneat! t!e Detroit River in or+er to get to t!e 3ana+ian "i+e to "!oot t!e Detroit "2yline. Don/t orget yo#r pa""portF A ter a +inner o ri$"( +iet co2e( +e"ert Ea *#"t on p!otograp!y o#ting"G( -e *a+e o#r -ay over to t!e river ront.
93
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES $irst lesson0 S!oot yo#r "2yline" +#ring t!e $#"ine"" -ee2F @e *et on a Sat#r+ay nig!t( an+ *any o t!e Do-nto-n Detroit $#il+ing" -ere not too lit #p. Le""on learne+ or t!e ne,t o#tingF @e really +i+n/t realize it #ntil -e got t!ereF A++itionally( -e -ere ace+ -it! "o*e "ti -in+"( t!e &'*p! 2in+ t!at play" !avoc on o#r +igital ca*era" an+ tripo+". Here are t!e "#gge"tion" t!at I ca*e #p -it! t!at nig!t( a" -ell a" *e*$er" o o#r gro#p0 Cse a -turd! &ripod0 Cli*"y tripo+" -ill %#"t intro+#ce *ore vi$ration to yo#r +igital ca*era. Cse a *emote -hutter *elease or -el, &imer0 Anot!er tec!niH#e yo#/ll !ear a$o#t ro* *e in *any article"( i" to #"e a re*ote "!#tter relea"e. Mo"t +igital ca*era *an# act#rer" -ill !ave one t!at" availa$le or #n+er J>' or yo#r +igital SLR *o+el. I yo#/re "!ooting -it! a co*pact +igital ca*era( #"e t!e "el ti*er capa$ility. 4ot! t!e"e tec!niH#e" -ill !elp re+#ce vi$ration intro+#ce+ $y yo#r little inger" pre""ing t!e "!#tter $#tton. In lolig!t "!ooting "it#ation"( t!i" i" a *#"t in or+er to get "!arp i*age"F Hang 5our %amera /ag0 Yep( !ang yo#r ca*era $ag ro* t!e center po"t o yo#r tripo+. Goo+ tripo+" co*e -it! a !oo2 on t!e $otto* o t!e center po"t( %#"t or t!at p#rpo"e. T!e e,tra -eig!t o yo#r ca*era $ag really +oe" !elp "tea+y t!e tripo+ in -in+y con+ition".
A" ar a" "!ooting tec!niH#e( I/ll let yo# 2no- !o- I got t!i" "!otX Si*ple. Given t!at t!e "2yline o Detroit -a" over a *ile a-ay ro* -!ere I -a" "et #p( I "et *y ca*era to Apert#re Priority( "et t!e Apert#re to 1>.=( t!e "!arpe"t part o *y len"( an+ let t!e ca*era calc#late t!e "!#tter "pee+. At ISO :'' Enee+e+ t!i" to "pee+ #p t!e "!#tter "pee+G( t!e ca*era too2 t!i" "!ot at a "!#tter "pee+ o .= o a "econ+.
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2010 Kevin L. Moss
Csing /lur as an Element o, %omposition

A large part o *y per"onal port olio( t!e #"e o $l#r in *y per"onal p!otograp!ic -or2 i" ever e,pan+ing. IK* not con+oning "loppy tec!niH#e t!at re"#lt in a "o t i*age( IK* tal2ing a$o#t introducin" $l#r into certain i*age" in or+er to elicit a +e"ire+ e ect; an a$"tract "t#+y o color an+ $l#r. IKve $een -or2ing on a port olio o "#c! i*age" or a$o#t > year" no- E!**( anot!er $oo2 i+eaFG.
T!e"e i*age" are $l#rre+ on p#rpo"e( eit!er in<ca*era -!ile o#t in t!e iel+ or in P!oto"!op Eor Ele*ent"G a ter t!e "!ot. Cor in"tance( -!en p!otograp!ing nat#re( an+ r#nning into -in+y con+ition"( IKll "!oot t!e -eat!er. P#rpo"ely( IKll loo2 or co*po"ition"( "#c! a" -il+ gra""e"( t!at can act#ally "!o- t!e *ove*ent( $l#r or "o tne"" t!at t!e -eat!er i" o ering *e at t!at ti*e( na*ely t!e -in+. I *ig!t $e loo2ing or "#per<"!arp i*age" o oliage( $#t i t!e -eat!er +oe"nKt cooperate( IKll "-itc! *y ta"2 to anot!er( p!otograp!ing "#$%ect" t!at convey *ove*ent an+ -in+.
95
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES In a++ition to "!ooting *ove*ent in<ca*era( I +o intro+#ce $l#r in i*age" #"ing P!oto"!op an+ Ele*ent". T!e proce"" i" t!e "a*e or $ot!. It" a "i*ple tec!niH#e t!at ta2e" or+inary( or even le""<t!an<or+inary i*age"( one" yo# *ay never #"e in t!e real -orl+( an+ tran" or*" t!e i*age into "o*et!ing co*pletely +i erent( an a$"tract o nat#re. T!e proce"" goe" li2e t!i"; 6. Dpen an image in Photoshop or Elements. T!e i*age "!o#l+ incl#+e "o*e color an+ !ope #lly "o*e pattern"( !orizontal line"( or vertical line".
@ri ina# ima e. )othin specia# here$
8. Make !our normal 'olor and tonal ad?ustments to the image. I nor*ally #tilize Level"( 3#rve"( an+ t!e H#e1Sat#ration a+%#"t*ent layer". &. %reate a ne+ la!er. T!e ea"y -ay i" to Mpanca2eN all previo#" layer" into a neone $y 3TRLSALTSE Eor SHICTS3MDSOPTIO5SE on a MacG. 7. Add a Motion /lur $ilter to the image. U"ing P!oto"!op or Ele*ent" *en# $ar( go to Cilter<<W4l#r<< WMotion 4l#r. A+%#"t t!e angle o t!e $l#r( pl#" t!e Di"tance "etting( -!ic! +eter*ine" t!e a*o#nt o $l#r in t!e i*age.
b#ur K*istanceL. >. Add additional 'olor or tonal 'orre'tions. Depen+ing on t!e i*age( Yo# *ay -ant to a++ *ore color( contra"t( or color "!i t" to t!e i*age #"ing vario#" a+%#"t*ent layer". (n easy fi#ter to use! Dust indicate the (n #e and amount of
96
2010 Kevin L. Moss
IMPROVE YOUR PHOTOGRAPHY 5ot every i*age i" a can+i+ate or t!e"e type" o tec!niH#e". A ter a -!ile !o-ever( yo#Kll "tart recognizing i*age" t!at yo#Kll -ant to e,peri*ent tran" or*ing into alternative p!otograp!". I "trongly "#gge"t yo# "tart -or2ing on yo#r a$"tract or $l#r port olio( yo# *ay $e plea"e+ -it! t!e re"#lt"( an+ yo# *ay $e even *ore plea"e+ -it! e,pan+ing yo#r p!otograp!ic !orizon". T!e inal pro+#ct( t!e i*age "!o-n on t!e rig!t( act#ally t#rne+ o#t pretty goo+ $y *y co#nt". Yo# "ee( t!i" type o p!otograp!y( e"pecially in t!e "no$$i"! ine art real*( i"nKt or everyone. It i" or *e t!o#g!. IK* in t!e proce"" o creating a port olio t!at incl#+e" i*age" li2e t!i"( in "H#are or*at( t!at can $e printe+ on &'N I &'N canva". I $elieve it" an alternative or* o conte*porary art.
%ina# ima e after croppin and addin a -urves adDustment #ayer to increase contrast.
97
2010 Kevin L. Moss
E8plore the World o, .n,rared K.*L
4ac2 in t!e il* +ay"( or 4C E$e ore +igital ca*era"G a "*all $ree+ o p!otograp!er" -o#l+ loa+ #p t!eir &>** ca*era" -it! in rare+ il* Ein t!e +ar2 I *ay a++FG( attac! "pecial ilter" in ront o t!eir len"e"( an+ p#r"#e a tr#e art o in rare+ $lac2 an+ -!ite p!otograp!y. It -a" +i ic#lt to -or2 -it! at $e"t. T!e p!otograp!er -o#l+ !ave to "tore t!e il* in col+ te*perat#re"( an+ never 2ne-!at type o re"#lt" t!ey -o#l+ get ro* t!e il*( yo# "ee( -e +i+nKt !ave i**e+iate ee+$ac2 li2e -e +o 2no- -it! L3DK" on o#r ca*era". Ca"t or-ar+ to to+ay( an+ in rare+ p!otograp!y i" *a2ing "o*e-!at o a co*e$ac2. It" getting ea"ier to "!oot in rare+ -it! o#r ca*era"( eit!er -it! "pecial IR ilter" or act#al converte+ +igital ca*era". @it! +igital in rare+( -e "till !ave a 8 part proce"". T!e ir"t proce"" i" IR capt#re( t!e "econ+ proce"" $eing IR po"t<proce""ing. To #n+er"tan+ in rare+ p!otograp!y( it i" !elp #l to 2no- "o*e o t!e $a"ic" $e!in+ it all. In rare+ p!otograp!y can $e +e"cri$e+ $y t!e ollo-ing0 In rare+ p!otograp!y entail" #"ing tec!niH#e" t!at $loc2 o#t *o"t o t!e vi"i$le lig!t "pectr#* an+ $elo- t!at( only letting t!e part" a$ove t!e vi"i$le lig!t "pectr#* E2no-n a" in rare+G to e,po"e t!e il* or +igital "en"or.
98
2010 Kevin L. Moss
IMPROVE YOUR PHOTOGRAPHY @!en yo#Kre "!ooting in rare+( yo# $loc2 o#t vi"i$le lig!t( let" "ay $elo- ?6>n*. T!i" -ay( yo#Kre allo-ing all -avelengt!" o lig!t a$ove ?6>n* to pa""( t!#" creating a near in rare+ i*age. Yo# can acco*pli"! t!i" -it! one o t-o tec!niH#e". Yo# can #"e an in rare+ ilter attac!e+ to yo#r len"( "#c! a" t!e ever<pop#lar Hoya R?8( or yo# can #"e a converte+ +igital ca*era. T!ere are pl#"e" an+ *in#"e" to $ot! approac!e". A t!ir+ approac! involve" not!ing on t!e "!ooting en+ o t!ing"( %#"t po"t<proce""ing. Method 10 Cse a Jo(a EN2 Infrared @ilter. T!e R?8 ilter -a" #"e+ in con%#nction -it! in rare+ il*"( an+ no- i" #"e+ in con%#nction -it! +igital ca*era "en"or"( pri*arily on +igital SLR". Yo# can or+er t!e R?8 in a n#*$er o "ize" t!at -ill it yo#r +igital SLR len"e". I yo# #"e t!e Hoya R?8( it -ill $loc2 o#t all -aveleng!t" &e##e 2s#e -onservatory! Hoya ?E2 2? %i#ter! %1! 27@ 200! E2 $elo- ?8'n*. Cor t!e +igital ca*era #"er( second e:posure t!at *ean" t!at yo#Kll "till $e a$le to co*po"e yo#r "!ot an+ oc#" #"ing yo#r +igital ca*era" optical vie- in+er( $#t t!e i*age previe- or revie- on a t!e +igital ca*era L3D -ill $e totally +ar2ene+ o#t. Yo#Kll nee+ to "!oot yo#r i*age" in *an#al *o+e too. E,po"#re" on "#nny +ay" can average 6 *in#te or longer. I "#gge"t $rac2eting yo#r e,po"#re" a" -ell. T!e co"t or t!e Hoya R?8 ilter i" a$o#t J6''( +epen+ing on t!e "ize ilter yo# reH#ire. Method )0 .* %onverted Digital %amera. T!i" option i" $eco*ing *ore an+ *ore pop#lar in t!e pa"t e- year". All +igital ca*era" co*e -it! a ilter alrea+y $#ilt in t!at $loc2" IR lig!t ro* e,po"ing t!e "en"or. U"ing a "ervice t!at convert" +igital ca*era" to +e+icate+ IR ca*era" i" $eco*ing pop#lar -it! p!otograp!er" t!at !ave alrea+y #pgra+e+ t!eir DSLR"( an+ are loo2ing or ne- li e or t!eir ol+ +igital SLR. In t!e pa"t year( IKve in%ecte+ ne- li e into an ol+ 5i2on D?'( a ca*era t!at I really -a"nKt #"ing any*ore. T!e re"#lt" -it! t!e 5i2on( in %#"t a "!ort ti*e( e,cee+e+ t!e i*age H#ality I -a" getting -it! converting nor*al color i*age" to in rare+ $lac2 an+ -!ite i*age" in P!oto"!op an+ Ele*ent". U"ing t!e +e+icate+ IR DSLR -a" al"o a lot ea"ier t!an #"ing t!e Hoya R?8 IR ilter. My conver"ion -a" per or*e+ $y !ttp011+igital"ilveri*aging.co*.
99
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES Typically( t!ere are t!ree type" o conver"ion" to yo#r +igital ca*era( an+ t!ey are +e"cri$e+ $y Digital Silver I*aging a"0 MM"nm T!e ==>n* i" a "pecialize+ In rare+ 3onver"ion. It $loc2" @avelengt!" "!orter t!an ==>n* an+ allo-" t!o"e longer t!an ==>n* t!ro#g!. T!i" conver"ion i" e"pecially -ell "#ite+ or color in rare+ p!otograp!y. 71"nm T!e ?6>n* i" yo#r typical In rare+ 3onver"ion. It $loc2" -avelengt!" "!orter t!an ?6>n* an+ allo-" t!o"e longer t!an ?6>n* t!ro#g!. It i" a tr#e in rare+ ilter t!at "!o#l+ pri*arily $e #"e+ or 4V@ p!oto". 3E#nm 2?5converted )ikon *E0! post5processed in Photoshop Deep In rare+ Cilter -!ic! allo-" or a very +ra*atic 4V@ IR loo2. 5ot "#ita$le or color -or2. T!e :&'n* -ill give yo# a +eep in rare+ loo2 -!ic! i" re*ini"cent o t!e ol+ IR 4V@ il*".
100
2010 Kevin L. Moss
2?5-onverted )ikon *E0. Post5processin in Photoshop
I -or2 in $ot! color an+ $lac2 an+ -!ite( "o *y o$vio#" c!oice or t!e type o IR conver"ion -a" ?6>n*. I yo#Kre a +ie<!ar+ $lac2 an+ -!ite ine<art p!otograp!er( yo# *ay opt or t!e e:&'n* conver"ion. IK* pretty !appy -it! t!e ?6>n* conver"ion( I t!in2 I get t!e M$e"t o $ot! -orl+"N t!at -ay. CYI( yo# +onKt !ave to li*it yo#r"el to !aving a +igital SLR converte+. I -a" tol+ t!at t!e $e"t ca*era or price an+ per or*ance -a" an a+vance+ point an+ "!oot +igital ca*era( li2e a 3anon G6'. 5o- t!at -o#l+ $e convenientF A poc2et<a$le IR converte+ ca*era. I !a+ *y 5i2on D?' converte+ -it! t!e ?6>n* in rare+ conver"ion. T!at -or2" $e"t or *y per"onal in rare+ p!otograp!y -or2. @it! t!e converte+ DSLR( *y "!ooting -or2 lo- or IR i" al*o"t t!e "a*e a" or reg#lar p!otograp!"( -it! t!e e,ception o #"ing c#"to* -!ite $alance( -!ic! i" "et to a $l#rre+ green1gra""y "cene in -!atever lig!ting "it#ation" IK* "!ooting in. Setting yo#r -!ite $alance in t!i" -ay i" a reco**en+e+ approac! to in rare+ -!ite $alance i""#e".
101
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES Method E0 %onvert %olor .mages to /la'k and White .n,rared .mages in Photoshop or Elements. I #"e+ t!i" proce"" on a n#*$er o occa"ion" -!ere *y original i*age" -ere not IR. IKve !a+ "o*e !it"( an+ "o*e *i""e". 4a"ically( "o t-are conver"ion o color i*age" to $lac2 an+ -!ite in rare+ %#"t +oe"nKt co*pare to in rare+ i*age" t!at -ere capt#re+ in IR( eit!er -it! a Hoya R?8 ilter( or an IR converte+ +igital ca*era.
7tonehen e. @ri ina# ima e captured in co#or! converted to b#ack P white 2? in Photoshop.
102
2010 Kevin L. Moss
<reat Pro *esults With -imple .ndoor -tudio Lighting

Great Still Li e or "ortrait "hotogra-hy on the 0heaI a* an a+vocate o "i*plicity. I %#"t +onKt li2e a lot o "t# laying aro#n+( e"pecially e,pen"ive "t# . Over t!e year"( IKve trie+ to M"i*pli yN *y ca*era $ag. T!e le"" len"e"( ga+get" an+ +o<+a+" to -eig! *e +o-n t!e $etter. Hec2( i I !a+ it *y -ay( IK+ get ri+ o *y DSLR" in avor o t-o co*pact +igital ca*era" Eone or reg#lar "!ooting( one converte+ to in rare+G( a circ#lar polarizer "pare $atterie" E8( one or eac! ca*eraG( an+ %#"t a p!oto ve"t to !ol+ it all. T!e "a*e concept goe" or *y lig!ting eH#ip*ent. At any one ti*e( IKll !ave an a""ort*ent o 5i2on an+ 3anon "pee+lig!t"( an+ a -!ole $#nc! o p!otograp!ic $ac2gro#n+"( lig!ting "tan+"( #*$rella"( an+ a !ec2 o a lot o ga+get". T!an2 goo+ne"" IK* no longer +oing "t#+io an+ location portrait"F IKve #"e+ +i erent type" o lig!ting or *y "till li e i*age" an+ portrait" in t!e pa"t( pri*arily lo-er". A" o late( I +i"covere+ a -ay to "i*pli y *y "et#p. I yo# +onKt !ave "t#+io lig!ting eH#ip*ent( or a "et o 8 or t!ree "pee+lig!t" or yo#r +igital ca*era Eeit!er -ay( yo#Kre loo2ing at a e- t!o#"an+ +ollar" -ort! o gearG( $#t yo# -ant to +o "o*e cool in+oor "till li e or portrait p!otograp!y( !ere i" a goo+ -ay to approac! it. /u! a 'ouple o, aluminum light re,le'tors and da!light balan'ed ,luores'ent lights ,rom !our lo'al hard+are store. Let" "pl#rgeF Ho- a$o#t & re lector" an+ & +aylig!t $alance+ lig!t $#l$"U HereK" t!e co"t $rea2+o-n EI got t!e !ar+-are price" ro* Ho*e DepotG0 Aluminum *e,le'tor0 at J:.9?1eac! U.S.( t!e"e are a $argain t!at can $e o#n+ at any !ar+-are "tore. Ea"ily cla*pe+ onto a c!air( or even *o+i ie+ to attac! to ine,pen"ive "t#+io lig!t "tan+"( t!e"e re lector" +o t!e %o$ o +i"tri$#ting lig!ting. I li2e t!e 6'N *o+el".
103
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES 1## Watt Da!light /alan'ed $lores'ent Light /ulbs0 At a$o#t J71eac!( -eKre loo2ing at a total o J68 or t!ree $#l$" t!at 2ic2 o#t 6?>' L#*en" -ort! o +aylig!t $alance+ lig!t. Per ect or +igital ca*era"F Ma2e "#re yo# get +aylig!t $alance+ a" t!e"e provi+e acc#rate color ren+ition t!at i" eH#al to "#nlig!t( or a$o#t >(>'' +egreeK" on yo#r 3a*era Ra- te*perat#re "li+er. )#J P E#J /la'k $oam'ore /a'king /oard0 Availa$le at any art "#pply "tore( pic2 #p a $lac2 oa*coar $ac2ing $oar+( a$o#t J>1eac!. Pic2 #p a -!ite one too. T!e"e *a2e or great "till li e $ac2gro#n+" or !ea+"!ot"( lo-er" or ot!er "till li e i*age". Total co"t( appro,i*ately J6' U.S. Total co"t or yo#r in+oor "t#+io lig!ting an+ $ac2gro#n+ "et#pU A$o#t J7' U.S. &he -etup 6. Tape( or "tan+ #p t!e oa* core $oar+ $eing #"e+ a" yo#r $ac2+rop again"t a -all or piece o #rnit#re. 8. On a ta$le( loor( or ot!er lat "#r ace( place yo#r "#$%ect *atter. Ma2e "#re yo# leave a +i"tance o t-o eet or *ore $et-een yo#r "#$%ect an+ t!e $ac2+rop. &. Place one lig!t 7>Y to t!e le t o t!e o$%ect( an+ 7>Y to t!e rig!t o t!e o$%ect. 7. Place yo#r ca*era( on a tripo+( +irectly in ront o t!e o$%ect at t!e "a*e !eig!t a" t!e o$%ect. >. 3o*po"e yo#r "!ot( an+ a+%#"t t!e lig!t" a" nee+e+. =. Set yo#r +e"ire+ apert#re "etting -!ile in Apert#re Priority *o+e on yo#r ca*era. ?. Set yo#r -!ite $alance to MA#toN. Yo#r +igital ca*era -ill eval#ate yo#r -!ite $alance clo"e to +aylig!t( or appro,i*ately >(>''Y )elvin E3olor Te*perat#reG . :. S!oot a-ayF
104
2010 Kevin L. Moss
&he &hin /la'k Line

T!i" i" a H#ic2 le""on t!at I pic2e+ #p t!ro#g! t!e Ep"on Print Aca+e*y a$o#t > year" ago. Real "i*ple. I yo# -ant to a++ elegance to yo#r i*age" t!at yo# +i"play on t!e -e$( in print( or even on a +igital pro%ector( a++ a t!in $or+er( eit!er -!ite or $lac2( +epen+" on t!e $ac2gro#n+.
<ithout b#ack border
<ith b#ack border
A" yo# can "ee ro* t!e t-o e,a*ple"( t!e i*age -it! a t!in $lac2 $or+er "tan+" o#t *ore on t!e page. T!i" i" e,tre*ely $ene icial or i*age" -it! -!ite along $or+er( "#c! a" t!e "2y. I yo#Kre +i"playing i*age" on "creen( let" "ay or ca*era cl#$ co*petition"( a -!ite $or+er -ill !elp +e ine yo#r i*age" ro* a $lac2 $ac2gro#n+.
105
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES Here i" a H#ic2 le""on0 1$ %reate a ne+ la!er. T!i" proce"" -onKt -or2 in t!e $ac2gro#n+ layer o yo#r i*age" in eit!er P!oto"!op or Ele*ent". Si*ply rig!tSclic2 on t!e $ac2gro#n+ layer in t!e Layer" pallet( an+ "elect Dupli'ate La!er. 2$ <o to Edit>>Q-troke. In P!oto"!op or Ele*ent"( ro* t!e E+it *en#( c!oo"e Stro2e ?$ %li'k on the %olor bo8. Select t!e color or yo#r $or+er. 4lac2 i yo#r $ac2gro#n+ i" going to $e -!ite( or @!ite i yo#r 7tep 1! create a new #ayer $ac2gro#n+ i" going to $e $lac2. On t!e lo-er rig!t o t!e 3olor -in+o-( "elect Only @e$ 3olor". An ea"y color pallet -ill appear. P#"t clic2 on a color( an+ t!en clic2 O). 4$ -ele't the Width o, the border. Cor "*all i*age"( a @i+t! o 6 p, E6 pi,elG "!o#l+ +o t!e tric2. Cor large i*age" >I? inc!e" an+ a$ove( try & p,. Enter t!i" in t!e @i+t! $o,. 5$ -ele't DK ,rom the -troke +indo+.
9tep 2! from the Gdit Cenu! select 9troke
7tep +! se#ect the border co#or %ina# ima e with thin b#ack border
106
2010 Kevin L. Moss
Abstra't -tudies With &he Li(ui,! $ilter

Earlier in t!e $oo2 I "!o-e+ yo# !o- to #"e t!e Motion 4l#r tool in P!oto"!op or Ele*ent" to ta2e "i*ple #nintere"ting Eor intere"ting( yo# c!oo"eFG i*age" an+ tran" or* t!e* into a$"tract art. T!ere i" anot!er ilter t!at yo# can a++ to yo#r per"onal ar"enal o "i*ple tool" to +o t!e "a*e t!ing( create a$"tract "t#+ie". T!e LiH#i y tool !a" $een in t!e P!oto"!op a*ily or year". It" a #n ilter( yo# can really *e"" -it! "o*eone" portrait an+ get a lot o la#g!". I #"#ally +onKt #"e t!e ilter or t!at t!o#g!( -!at I li2e to +o( i" *e"" -it! i*age" to "ee -!at 2in+ o alternate art I can co*e #p -it!. U"ing t!e i*age t!at I create+ -it! t!e Motion 4l#r tool( IK* going to ta2e it a "tep #rt!er #"ing t!e LiH#i y ilter. 1. Dpen !our image in Photoshop or Elements 2$ %reate a ne+ la!er ,rom the ba'kground Erig!tSclic2( t!en c!oo"e D#plicate LayerG. I yo# !ave ot!er layer" on top o t!e $ac2gro#n+( create a ne- layer $y SHICTS3TRLSALTSE E@in+o-"G or SHICTS3MDSOPTIO5SE EMacG. ?$ .n the $ilters menu, 'hoose Li(ui,! Eor SHICTS3TRLSI E@in+o-"G or SHICTS3MDSI EMacG. T!e LiH#i y -in+o-" -ill appear.
107
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES 4$ Ad?ust !our brush siBe depending on ho+ I+ideJ !ou +ant !our li(ui,! brush strokes to be. @!en %#"t "tarting o#t( e,peri*ent. Cor t!i" e,a*ple( I #"e+ a $r#"! "ize t!at -a" a$o#t >'T t!e "ize o t!e i*age. 5$ E8periment +ith the /rush Densit! ad?ustment as +ell ( it -ill c!ange t!e liH#i+ e ect yo# are painting in. M. When !ou@re 'omplete, press DK, the 'hanges +ill be saved to !our la!er.
@ri ina#
<ith Li8uify %i#ter
108
2010 Kevin L. Moss
$ollo+ the *ules o, %omposition 6 And D''asionall! /reak &hem

@!et!er yo#Kre a p!otograp!er t!at !a" or*ally $een traine+ at "o*e point( or even "el <ta#g!t( yo#Kve co*e acro"" r#le" o co*po"ition. DonKt c#t yo#r i*age in !al ( #"e t!e r#le o t!ir+"( +onKt !ave telep!one pole" "tic2ing o#t o "o*eone" !ea+( +onKt 2eep t!e *ain "#$%ect *atter +ea+ center in t!e ra*e( +onKt !ave po-er line" r#nning acro"" yo#r "2y. T!e li"t goe" on. Cor t!e *o"t part( t!e"e are pretty goo+ r#le" to ollo-. Cor *o"t o o#r p!otograp!ic -or2( t!ey are %#"t ine. T!ere are ot!er ti*e" !o-ever( -!ere t!e r#le" o co*po"ition can( an+ "!o#l+ $e $ro2en. &he ne8t 1# te'hni(ues e,plain -!at t!o"e r#le" are( -!en to #"e t!e*( an+ -!en to $rea2 t!e*.
This ima e of Monument 4a##ey breaks the ru#e of thirds! twice. %irst! the sky takes up 10Q of the vertica# frame. 7econd#y! the monument is p#aced dead center. &oth ru#e breakers work for the ima e! ivin the ima e sy##etry and reat impact.
109
2010 Kevin L. Moss
.mprove %omposition0 &he *ule o, &hirds

T!e r#le o t!ir+" !a" $een aro#n+ ever "ince t!e arti"t !a" $een pic2ing #p t!e paint$r#"!. T!e r#le o t!ir+" !a" $een t!e central co*po"itional g#i+eline or t!e vi"#al arti"t( not %#"t p!otograp!er". Painter"( ill#"trator" an+ grap!ic +e"igner" #"e t!e r#le o t!ir+" a" *#c! a" p!otograp!er".
In t!i" i*age( t!e cla""ic Po!n Cor+ "!ot o Mon#*ent Valley( t!e !or"e*an i" "it#ate+ in t!e lo-er rig!t 61& o t!e i*age( cla""ic #"e o r#le o t!ir+". T!e "#$%ect *atter i" not +ea+ center eit!er !orizontally or vertically. T!e *a%or portion o t!e "2y i" in t!e #pper !orizontal t!ir+. T!e *on#*ent" an+ roc2 ta2e #p t!e lo-er 81& o t!e ra*e. T!e !or"e*an i" loo2ing le t( "o 81& o t!e vertical ra*e i" +e+icate+ to-ar+ t!e le t o t!e !or"e*an. T!i" i" a cla""ic #"e o t!e r#le o t!ir+". @!en o#t in t!e iel+ "!ooting( 2eep t!e r#le o t!ir+" in *in+. Ta2e yo#r ti*e co*po"ing yo#r i*age"( concentrating on place*ent o not only yo#r *ain "#$%ect *atter( $#t t!e i*agery "#rro#n+ing t!at "#$%ect *atter. @it! i*aginary line" r#nning !orizontally an+ vertically +ivi+e+ $y t!ir+" in yo#r ra*e( try to place yo#r "#$%ect *atter in one o t!e o#r inter"ecting point" -!ere t!e"e line" *eet. @it! t!e *ain "#$%ect *atter properly place+ o <center !orizontally an+ vertically( yo#Kre alrea+y i*proving yo#r p!otograp!.
110
2010 Kevin L. Moss
.mprove %omposition0 Add /alan'e As An Element o, %omposition

One tec!niH#e or co*po"ition i" t!e a++ition o $alance. 4alance can $e at o++" -it! t!e r#le o t!ir+"( or can ollo- t!e r#le o t!ir+". T!ere are no r#le" !ere $#t a co*po"ition t!at provi+e" a eel o $alance to t!e vie-er.
In t!i" i*age o t!e Atlantic "#nri"e( a e- r#le" -ere $ro2en. Cir"t( t!ro- a-ay t!e r#le o t!ir+". On p#rpo"e( IKll o ten leave t!e "2y( -!ic! i" o ten t!e *ain "#$%ect o *y -or2( to :'T o t!e ra*e. Al"o( I *a+e "#re t!e S#n -a" centere+ EI +i+ t!at on p#rpo"eG( anot!er r#le $rea2er. I $elieve t!at t!e S#n give" a$"ol#te $alance to t!e i*age $y $eing place+ +ea+<center( a per ect top< central point o a triangle t!at i" $a"e+ on t!e !orizon. Hey( !o- +i+ t!at $ir+ get in t!ereU
111
2010 Kevin L. Moss
.mprove %omposition0 Don@t %ut 5our .mage in Hal,

T!i" i" a r#le t!at "!o#l+ $e ollo-e+ o ten( an+ i" act#ally one o t!e ir"t p!otograp!ic principle" yo#Kll learn in an P!otograp!y 6'6 cla"". DonKt c#t yo#r i*age in !al . 5ot tal2ing a$o#t c#tting it in !al -it! "ci""or" or a print tri**er( IK* tal2ing a$o#t not +e+icating >'T o t!e !orizontal ra*e to a "2y( an+ t!e re"t to t!e oregro#n+. An+ ye"( -it! apologie"( anot!er "#nri"e e,a*ple( $eca#"e t!i" type o i*age i" -!ere t!i" r#le i" o ten $ro2en. T!ere i" anot!er pro$le* -it! t!i" i*age. 5otice !o- t!e top o t!e li eg#ar+ c!air i" al*o"t +ea+<even -it! t!e top o t!e -ater" !orizonU T!at i" -!at -e call a merge. Merge" are "o*et!ing el"e to avoi+ in yo#r co*po"ition. T!i" *erge co#l+ !ave $een ea"ily avoi+e+ $y "!ooting t!i" i*age eit!er ro* a !ig!er angle( a lo-er angle( t!#" t!e c!air -o#l+ not appear even -it! t!e !orizon. It" a nit<pic2ing +etail( $#t paying attention to t!e +etail" are -!at p!otograp!er" are all a$o#t. T!i" i" an i*age in -!ic! I -o#l+ eit!er not #"e( or crop to give t!e "2y 81& o t!e !orizontal ra*e. I -o#l+ al"o %#"t crop o#t t!e c!air. IK+ rat!er it not $e t!ere -it! a *erge t!an incl#+e it in t!e i*age -it! t!e *erge. Detail" are i*portant( an+ a" yo# go( yo#Kre per"onal r#le" o co*po"ition -ill gro- -it! yo#.
2ma e cropped to ive the sky 20+ of the hori'onta# frame. The mer ed chair has been removed. The chair wou#d have been an interestin e#ement of the ima e! however! with the mer e! its better without it. .nDoy Dust the p#ain sunrise$
112
2010 Kevin L. Moss
.mprove %omposition0 -hoot All .mages in /oth Portrait and Lands'ape Drientations
Anot!er r#le to t!in2 a$o#t -!en yo#Kre o#t ta2ing p!otograp!"( +onKt orget to "!oot in $ot! portrait and lan+"cape orientation". T!e rea"on" are "i*ple( t!e co"t o il* i" +irt c!eap Et!atK" $eca#"e -eKre +igitalFG( an+ $y "!ooting in $ot! orientation"( yo# pretty *#c! g#arantee t!at yo#Kre pro$a$ly getting t!e rig!t orientation or t!e partic#lar "!ot. I learne+ t!i" early on. Cor p#$lication"( e"pecially *agazine cover"( pro e""ional" al-ay" li2e to *a2e "#re t!ey get t!e i*age in portrait orientation( a" *o"t *agazine"( O)( all *agazine" are in t!at or*atF T!e *ain rea"on t!o#g!( or *o"t p!otograp!er" t!at +onKt "!oot *agazine cover"( again i" t!e act t!at yo# +o -ant to !ave $ot! orientation" recor+e+( %#"t in ca"e yo# c!ange yo#r *in+ later( -!en vie-ing yo#r i*age" later on yo#r co*p#ter *onitor. )eeping t!i" practice in *in+ -!en o#t "!ooting( yo#Kll learn John .vans )ature Preserve! &ever#y Hi##s! Michi an. Portrait orientation. 7eems to appreciate t!e n#*$er o to work we## for the fa## co#or #andscape. )ikon *E0! %01,! .1 sec at 27@ F00 "!ot" yo#Kll get a" M2eeper"N $y "-itc!ing orientation. Yo# *ig!t $e o#t at a rare "ite( one t!at yo# *ay never get $ac2 to( "#c! a" Stone!enge or Macc# Picc#. I yo# $ot!ere+ traveling aro#n+ t!e -orl+ to get t!ere( yo# +e initely
113
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES -ant to *a2e "#re yo# recor+ it correctly. S!ooting in $ot! orientation" i"nKt going to !#rt anyt!ing( an+ it give" yo# *ore c!oice" to pic2 ro* later on yo#r co*p#ter.
John .vans )ature Preserve! &ever#y Hi##s! Michi an. 7ame scene as above! on#y shot in #andscape orientation. This works we## for this particu#ar scene! as does the above portrait orientation version. )ikon *E0! %01,! .1 sec at 27@ F00
About the .mage T!i" partic#lar "cene i" i*portant to *e or one rea"on( it -a" *y ir"t o#ting -it! *y ir"t DSLR( a ne- 5i2on D?' Egreat ca*era( no- converte+ to #ll ti*e In rare+G. Ta2en on Octo$er 6?( 8''7. It -a" a +reary +ay. Very t!ic2 clo#+"( an+ rainy *o"t o t!e +ay. Per ect con+ition" or all colorF Cort#nate to !ave a nat#re pre"erve "o clo"e to !o*e E-al2ing +i"tanceG( I contin#e+ on( D?' in !an+( tripo+( "el ti*er( an+ circ#lar polarize. In po"t<proce""ing( I !a+ to act#ally +ial +o-n t!e -!ite $alance( an+ +e"at#rate+ t!e re+" an+ $l#e" #"ing P!oto"!opK" H#e1Sat#ration a+%#"t*ent layer in or+er to get a *ore reali"tic color. T!e nat#ral color -a" that po-er #lF
114
2010 Kevin L. Moss
.mprove %omposition0 <et Cnderneath

It" ea"y or p!otograp!er" to get lazy. T!e -or"t c#lprit( i" !aving a tripo+( an+ not #"ing it. T!atK" an o$vio#" one. Anot!er lazy act $y p!otograp!er"( i" orgetting to "!oot i*age" in $ot! portrait an+ lan+"cape orientation"( a" -eKve %#"t learne+. Cail#re to ta2e to t!e ti*e to co*po"e o#r i*age" -!en "!ooting in t!e iel+( i" anot!er in raction o o#r co+e o con+#ct. Here i" an e,ten"ion o t!at. @eKre on "ite( ta2ing lot" o The )ationa# Museum of .mer in 7cience and 2nnovation KMiraikanL is Japan"s p!oto" o a "cene( $#t( -eKre maDor science center #ocated in *aiba! Tokyo. 2n the main entrance area! is a iant L-* #obe han in from the cei#in . The on#y rea# way to photo raph this "tan+ing #prig!t( an+ is to #ie on your back! and shoot up. 2"m oin to for ive the youn #ady p!otograp!ing t!e "cene at eye abstract for not usin a tripod. level. Do yo#r"el a avor( -!en o#t "!ooting go a!ea+ an+ eval#ate yo#r po"ition( an+ "ee i it $y c!anging yo#r level( can yo# *a2e t!e i*age *ore intere"tingU Ho- a$o#t getting #n+er an o$%ect t!atK" "#"pen+e+ ro* a$oveU Getting #n+erneat! an o$%ect can give yo# a *#c! *ore +ra*atic ren+ition o an i*age( let" "ay a" oppo"e+ to "tan+ing #rt!er a-ay an+ capt#ring t!e o$%ect ro* a ar. Getting #n+erneat! an+ "!ooting "traig!t #p can $e a c!allenge t!o#g!( to yo#r nec2. I yo# are #"ing a tripo+( t!i" i" -!ere a $all !ea+ i" a *#"t.
The )ationa# Museum of .mer in 7cience and 2nnovation. &y chan in position! and ettin underneath and obDect! you can chan e the perspective in a very dramatic way.
115
2010 Kevin L. Moss
.mprove %omposition0 <et Do+n Lo+

T!ere are a co#ple o r#le" to 2no- -!en it co*e" +o-n to p!otograp!ing people. T!e ar+ent portrait p!otograp!er -ill tell yo# to eit!er "!oot at eye<level( or ro* a little a$ove. Goo+ rea"on or t!at. @!en yo#Kre +oing let" "ay a !ea+ "!ot( yo# +onKt -ant to $e p!otograp!ing ro* an angle -!ere yo#Kre "!ooting #p yo#r "#$%ect" no"e. S!ooting ro* a$ove( %#"t "lig!tly( i" pre erre+ on !ea+ "!ot". Yo# can !o-ever get a little *ore creative o#t o t!e "t#+io( e"pecially -!en ta2ing can+i+ p!otograp!" o people. In t!e i*age !ere( I too2 t!i" on a $oat( an+ -a" a$le to "!oot t!i" ro* t!e "tair" t!at le+ to t!e lo-er +ec2. A *#c! $etter "nap"!op re"#lte+ t!an i co*po"e+ ro* eye level. Cor pet"( eye level i" a *#"t. It" ea"y to p!otograp! t!e* ro* o#r !eig!t( loo2ing +o-n( a" long a" yo#r +og i" >K in !eig!t. I yo#r 7hoot from be#ow! ask 8uestions #ater. 2ts @K for candids. pet i" o t!e "!orter "tat#re( li2e Roc2y t!e Digital Dar2roo* Doggy( get +o-n to t!e ir level( yo#Kll !ave *#c! $etter "#cce"".
?ocky the *i ita# *arkroom *o their #eve#.
y. %or pets! et down to
116
2010 Kevin L. Moss
.mprove %omposition0 <et Cp High and -hoot Do+n $rom Above
( once in a reat whi#e opportunity! who cou#d resistR
@eKve +i"c#""e+ getting lo-( no- let" $ring #p t!e oppo"ite( getting #p !ig!. Ri"e a$ove yo#r p!otograp!ic co*po"ition" or greater i*pact to yo#r i*age". S!ooting +o-n i"nKt -!at -e "ee in *o"t p!otograp!"( "o ta2e a+vantage o it -!ile yo# can. Given t!e act t!at *o"t o #" +onKt !ave la++er" "trappe+ to o#r $ac2"( it" a goo+ i+ea -!en o#t "!ooting p!otoK" to loo2 aro#n+( an+ "ee i yo# can elevate yo#r"el to get "o*e intere"ting i*age" o -!atever i" $elo-. In t!e e,a*ple a$ove( "a*e $oat a" t!e i*age in t!e previo#" c!apter( $#t( a large n#*$er o Papane"e "c!oolc!il+ren $oar+e+ t!e $oat or t!e ri+e. I -a" in per ect po"ition to capt#re t!i" i*age( a once in a great great -!ile opport#nity.
117
2010 Kevin L. Moss
THE DIGITAL PHOTOGRAPHER SERIES @!en "!ooting lan+"cape"( "!ooting ro* a !ig! plat or* i"nKt al-ay" t!at convenient. A" "tate+ previo#"ly( -e +onKt e,actly travel -it! la++er". Tripo+" are !eavy eno#g!.
Pictured ?ocks )ationa# Lakeshore.
On t!e nort!ern "!ore o La2e S#perior( a$o#t :' *ile" ro* -!ere t!e E+*#n+ Citzgeral+ -ent +o-n i" t!e Pict#re+ Roc2" 5ational La2e"!ore. @eKre tal2ing cli " o roc2 over &'' eet t!at all +irectly +o-n to t!e -ater" o La2e S#perior. Here( I !ave a "!ot t!at point" "traig!t +o-n at t!e clear $l#e -ater( giving a a great angle or t!i" color #l a$"tract.
118
2010 Kevin L. Moss
.mprove %omposition0 -hoot A Little Wider, Leave *oom &o %rop Later
Here i" a r#le t!e can !elp yo#r co*po"ition +#ring po"t<proce""ing( "!ooting yo#r i*age" a little -i+er( giving yo# roo* or cropping later. @!y crop yo# a"2U @ell( ir"t o all( i yo#Kre "!ooting -it! a +igital SLR( an : inc! -i+e i*age i" going to $e 68 inc!e" !ig!. Yo#Kre going to lo"e 8 inc!e" -!en yo# go a!ea+ an+ place t!at i*age $e!in+ an : inc! $y 6' inc! *atte. T!e "a*e can $e "ai+ or %u## frame! F;+ ratio with croppin cropping i*age" to an : inc! $y 68 inc! *atte ro* an i*age *a+e -it! a 70& i*age ration +igital ca*era "en"or a" o#n+ in "o*e +igital SLR" an+ co*pact +igital ca*era". A" a r#le o t!#*$( "!oot a little -i+er( an+ give yo#r"el plenty o roo* later or cropping. In t!i" e,a*ple( I -ante+ a crop or an 66 I 67 inc! print( -!ic! -o#l+ nat#rally ta2e o a einc!e" o t!e le t or rig!t "i+e o t!e i*age to get t!o"e +i*en"ion". Having t!e Me,tra roo*N provi+e+ $y "!ooting -i+er !elpe+ *e in po"t< proce""ing.
area in Photoshop
-ropped ima e! fina# co#or correction in Photoshop
119
2010 Kevin L. Moss
.mprove %omposition0 $ill the $rame

P#"t a" yo# "!o#l+ "!oot a little -i+e to *a2e "#re yo# can crop to yo#r +e"ire+ inal print "ize( yo# al"o nee+ to 2eep "o*et!ing el"e in *in+. Cill t!e ra*e -it! yo#r "#$%ect *atter. Upon critiH#ing *any i*age" ro* *y p!otograp!y "t#+ent"( one o t!e *o"t correcta$le pre*i"e" o i*proving co*po"ition( i" illing t!e ra*e -it! t!e "#$%ect *atter. Many ti*e"( all I !ave to +o i" tell *y "t#+ent" to crop t!e i*age a little *ore( an+ getting ri+ o +i"tracting eat#re" "#rro#n+ing t!e "#$%ect *atter. So*eti*e"( a little cropping can go a long -ay. I*age" -it! goo+ i*pact are o ten a re"#lt o "i*pli ying co*po"ition( an+ -!at $etter -ay o "i*pli ying an i*age( i" to ill t!e ra*e. T!e e,a*ple on t!e le t "!o-" t!e *a,i*#* cropping or t!i" type o "#$%ect. T!ere i" a+eH#ate roo* on top $et-een t!e tip o t!e lo-er an+ t!e top o t!e ra*e. Any *ore vertical "pace( an+ i*age -o#l+ lo"e it" i*pact.
@ri ina# ima e with crop bo: hi h#i hted -ropped ima e! co#or correction in Photoshop
120
2010 Kevin L. Moss
.mprove %omposition0 ;oom Dut, and &hen ;oom .n=

In a++ition to ot!er "!ooting tip" to i*prove yo#r p!otograp!ic co*po"ition( I !ave one *ore o$vio#" one. @!en yo#Kre o#t "!ooting( *a2e "#re yo# al"o loo2 or an Mi*age within t!e i*ageN. Ooo* in on an intere"ting part o a co*po"ition( an+ ta2e "o*e *ore "!ot". I g#arantee( yo#Kre going to get *ore #"a$le i*age" t!at -ay -!en yo#Kre o#t in t!e iel+.
<a ner %a##s! Munisin ! Michi an. The first photo! 'oomed out
Moomed in on Dust a portion of the waterfa##! thus creatin a new Aima e within an ima eA.
5ot all p!otograp!" are Mzoo*a$leN( $#t or gran+ lan+"cape" li2e @agner Call"( t!ere are *any intere"ting clo"e<#p i*age" -it! t!e "a*e ra*e. IKve a++e+ t!e "econ+ Mzoo*e+N ver"ion to *y @ater port olio. I $et yo# co#l+ +o t!e "a*e or *any o yo#r p!otograp!" in yo#r e,i"ting $o+y o -or2.
121
2010 Kevin L. Moss
Dis'over High D!nami' *ange KHD*L .mages
Liberty Motors P#ant! *etroit. -ombination of + bracketed ima es O2! 0! 52 .4 and processed in Photomati: with a Shyper5rea#isticT painter#y effect.
A" +igital p!otograp!er"( -eKve "een leap" in tec!nology or a e- year" no-. 6' year" ago( it -a" t!e a+vent o t!e +igital ca*era. Soon a ter( -e -ere a$le to p#rc!a"e >MP co*pact +igital ca*era" or #n+er J6''' U.S.F T!en a e- year" later( -e "a- t!e ir"t +igital SLR" !it t!e *ar2et t!at -ere aro#n+ t!e "a*e price. T!e 5i2on D?' an+ t!e original 3anon Digital Re$el really #ele+ t!e +igital SLR proli eration( p#tting eat#re<pac2e+ tool" in t!e !an+" o t!e $#++ing p!otograp!er at a +ecent price point. To+ay( -eKre even getting #ll HD H#ality vi+eo o#t o o#r +igital SLR"( -it! H#ality t!at c!allenge" J7'(''' cine*atic *ovie ca*era"F Live L3D i*age revie- are no- $eco*ing "tan+ar+ eH#ip*ent. @eKve co*e a long -ay. In t!e la"t +eca+e( "o t-are !a" al"o a+vance+. P!oto"!op i" c#rrently in it" 66 t! or 68t! ver"ion. 3a*era Ra- i" no- a "tan+ar+ ile or*at or capt#ring i*age". T!ere are *any !ig!ly re"pecta$le t!ir+<party i*age<e+iting a++<onK" or P!oto"!op( Ele*ent"( Apert#re an+ Lig!troo*. @eKve al"o "een a ne- tren+ in t!e pa"t e- year" t!at i" re*ar2a$le. Hig! Dyna*ic Range EHDRG i*aging !a" $eco*e a reality or t!e +igital p!otograp!er.
122
2010 Kevin L. Moss
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2010 Kevin L. Moss
Index
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50 ESSENTIAL DIGITAL PHOTOGRAPHY

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About the Author

3opyrig!t B 8'6' )evin L. Mo"". All Rig!t" Re"erve+

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What Kevins Students Say

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-hoot With a $i8ed "#mm $91.3

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<et &o Kno+ 5our Digital %amera

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%arr! a %amera Wherever 5ou <o

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Photograph an Art -ho+

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<etting .mages $rom %amera to %omputer

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Manage 5our .mage Librar!

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3reating a ile<*anage*ent "y"te* "tart" -it! t!ree "i*ple ta"2"0

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Manage &hose $iles=

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Back up those files to DVD!

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%ool Abstra't Art +ith E8treme %ropping

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&ake A Photo &rip=

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Cse a %olor Management Work,lo+

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E8plaining %olor Modes in Photoshop

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-hoot the -k!

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E8plaining 3 and 1M /it Modes

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Cse the <radient &ool $or a %olor,ul -k!

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