"School's out for the summer.. . school's out forever!" - Alice Cooper
It's hard to believe that it's been 30 years since we played Alice Cooper's song over and over again at graduation. It's amazing to me how it's still played across the country every year at graduation time.
"No more pencils, no more books, no more teachers' dirty looks."
So congratulations! You made it through 12-plus years of public your brains intact. For 12 years they have told you where to be and what to take, with bells to remind you where to go next.
Rarely in life will everything be so neatly laid out for you again. Unless you join the military.
So now what? Some of you may have that all laid out and planned as well. Good for you. Others aren't so sure.
What you have really accomplished is that you have earned your beginning "ticket" for the rest of your life.
Here's what I mean.
My family moved to Orlando in 1971, six months before Disney World opened. Back then you didn't just pay one general admission and ride anything you wanted.
You had to buy a coupon book, with tickets that ranged from A to E. An A ticket would get you on all the little stuff like Dumbo's Wild Ride or the carousel. You had to use an E ticket to get on things like The Haunted Mansion or 20,000 Leagues Under the Sea.
It's much the same with education and life. By passing all those courses that you may never use (it's true), you have gotten your A, maybe even your B ticket for life.
Those who don't get this far stand a fair chance of spending a good part of their working lives saying "Would you like fries with that, ma'am?" or "Do you prefer paper or plastic, sir?"
What you do next can increase or limit the range of options you have in life. As you consider what your next move might be, think about this quote:
"If you do now what other people are not willing to do, you will be able to do later what other people can't do."
And here are a few words for the parents of the graduates. I trust by now you realize that the world they are about to enter is dramatically different than the one we entered 30 or more years ago.
As you prepare to launch your child/young adult into the world, remember the words of Mark Twain: "When I was 17, I thought my old man was the dumbest person in the world. Then when I turned 21, it was amazing how much he had learned in four years."
They will still have difficulty listening to you. They will make mistakes. Give them room to do both of those things and to find their way back to you when they need you.
And they will.
It's also time for parents to begin to shift their focus a bit. Instead of concentrating on what you might want to make them do, begin to consider what you are going to do.
In closing, here are a few more tips for the graduate. Although you may have a dress rehearsal for graduation, there is no dress rehearsal for life. This is live and real.
Before you receive that diploma, find someone who invested in your life during these past four years and simply thank them.
You'll make their day, or more.
Visit http://www.parentingyourteenager.com/ for tips and tools for thriving during the teen years. For regular weekly tips you can subscribe to our f-ree from parenting coach and expert Jeff Herring.
Article Source: http://EzineArticles.com/?expert=Jeff_Herring
Wednesday, December 28, 2005
Tuesday, December 27, 2005
Are There Other Types Of Photography?
Are There Other Types Of Photography?By Roy Barker
As we have discussed there are many avenues open to a professional photographer. Some actually graduate from the world of business into corporate photography. Corporate photography has many facets; it is used for publicity, in the form of advertisements; for public relations, for historical purposes, and for in-house brochures. Some corporate photographers can work for the same company for many years. They cover special events in the companies’ history, as well as being as in some cases an important aspect of industrial history. The history of the steamboat, the transition from the Agrarian to the Industrial revolution has all been captured on film.
Not only industrial history but history has been captured on film. War photographers usually by press photographers’ have captured history.
In the 1940’s Ansel Adam’s was probably the best-known American photographer. He captured images of the enforced internment of American citizen’s of Japanese descent at the Manzanar War Relocation Center in California. These prints record history in another way as the Photographic Division of the Library of Congress show digital scans of his negatives as well as his prints; this allows a student to study his dark room techniques.
The art of action photography is a specialised art that presents unique challenges, requiring both technical skills in capturing a moving image, as well as knowledge of the activity you are photographing. A sense of timing is vital as well as having the ability to pre-focus. Some types of photography has peak moments, such as the hour before dusk, action photography has peak milliseconds! Your sense of timing has to be well developed to know when this is going to be, because you have to shoot a millisecond before that to give the camera time to actually shoot. This is where knowledge of the activity is very helpful to allow you to anticipate the peak second. However, this is a very specialised aspect of the photography business, your techniques can be improved. Sport photography is easier than moving wildlife, or breaking news stories, as it is more predictable in its outcome. Common sense is fairly important with your positioning, you need an interesting backdrop, as well as a place that allows you to make best use of ambient light, be it also to keep yourself in a position of safety. The Pulitzer Prize for photography is no use to anyone when they are dead. Often these skills can be refined at amateur sporting events, where you do not need a press pass.
Another specialist type of photography is underwater photography, partly because you also need to be a qualified diver and partly because the equipment is specialised. It is possible to take shots underwater, with a normal camera, but amphibious cameras, get better results, unfortunately they are expensive, with a lot of things to learn and the possibility of very expensive repairs. As with action photography this is best left to the specialist and it is not a feasible option, unless you work in this media for the majority of your time. The sea can be a dangerous medium to work in, and it presents special challenges such as night, and wreck photography, as well as drift photography, all of which challenge both your diving skills as well as your technical skills.
Scientific photographers take images of a variety of subjects to illustrate or record scientific or medical data using knowledge of scientific procedures. They typically possess additional knowledge in areas such as engineering, medicine, biology, or chemistry. Often the photography of this type of record is an adjunct to a scientific career.
Assignment photography is the delivery of material for a specific assignment, often with limited appeal. It includes portrait photography, as well as wedding photography. Portrait photographers often have their own studios, as their clients come to them to have a formal portrait photographed. SLR digital cameras are often preferred to do this type of work, as there are more opportunities to “view real timework”, you do not have to wait for the negatives to be printed to see if you have created a shadow on the face with a hat. Also they can be retouched, pixel-by-pixel, which means the small time imperfections can be glossed over. The adage the camera does not lie has never been completely true, but in today’s world is even less so. A portrait photographer has the opportunity to go out on assignment and covers events such as weddings, and christenings.
Photo Journalism is another branch of photography that covers the breaking of various events; it can be general, on a local paper, covering local events such as school plays etc. International freelancers often cover specific areas such as war photography. Press photographers are often characterized under the banner of “journalism”, as they collect, edit and present news material, yet despite this they use images to tell a news story.
It is distinguished from documentary photography, street photography and the photographing of celebrities because they have a timeline in that they tell a story in a chronological order. A narrative to further complete the story nearly always accompanies the work. Implicit to a degree in this type of work is a level of objectivity rather than creativity, as the images are recording real events in real time. For these reasons it differs from a wedding photographer, even though in theory he covers an event in real time and for publication.
A further aspect of photography is the “celebrity” and “Society” photographer. The two are distinguishable, though the person being photographed can fall in both categories. The society photographer may be also a photojournalist himself.
In Europe at least the Society photographer, is nearly always of the same class, partly on the ground that they have the “breeding” to cover such events, which may be Wimbledon, or the Melbourne Cup, or even a charity-raising gala. It is implicit that the Photographer has permission to take the photograph. That's quite different to the inherent distaste often applied to the methods used by the celebrity photographer, whilst at the same time the public retain an insatiable desire to be able to see the photographs. Celebrity photographers are often these days called paparazzi, after a famous Italian photographer known for his dogged determination to trail after celebrities, and publish photographs taken in an unguarded moment.
Publisher & Author: Roy Barker. Roy is the author of the popular ebook, Income from Photography - a downloadable ebook. It can be viewed at photography business
Article Source: http://EzineArticles.com/?expert=Roy_Barker
As we have discussed there are many avenues open to a professional photographer. Some actually graduate from the world of business into corporate photography. Corporate photography has many facets; it is used for publicity, in the form of advertisements; for public relations, for historical purposes, and for in-house brochures. Some corporate photographers can work for the same company for many years. They cover special events in the companies’ history, as well as being as in some cases an important aspect of industrial history. The history of the steamboat, the transition from the Agrarian to the Industrial revolution has all been captured on film.
Not only industrial history but history has been captured on film. War photographers usually by press photographers’ have captured history.
In the 1940’s Ansel Adam’s was probably the best-known American photographer. He captured images of the enforced internment of American citizen’s of Japanese descent at the Manzanar War Relocation Center in California. These prints record history in another way as the Photographic Division of the Library of Congress show digital scans of his negatives as well as his prints; this allows a student to study his dark room techniques.
The art of action photography is a specialised art that presents unique challenges, requiring both technical skills in capturing a moving image, as well as knowledge of the activity you are photographing. A sense of timing is vital as well as having the ability to pre-focus. Some types of photography has peak moments, such as the hour before dusk, action photography has peak milliseconds! Your sense of timing has to be well developed to know when this is going to be, because you have to shoot a millisecond before that to give the camera time to actually shoot. This is where knowledge of the activity is very helpful to allow you to anticipate the peak second. However, this is a very specialised aspect of the photography business, your techniques can be improved. Sport photography is easier than moving wildlife, or breaking news stories, as it is more predictable in its outcome. Common sense is fairly important with your positioning, you need an interesting backdrop, as well as a place that allows you to make best use of ambient light, be it also to keep yourself in a position of safety. The Pulitzer Prize for photography is no use to anyone when they are dead. Often these skills can be refined at amateur sporting events, where you do not need a press pass.
Another specialist type of photography is underwater photography, partly because you also need to be a qualified diver and partly because the equipment is specialised. It is possible to take shots underwater, with a normal camera, but amphibious cameras, get better results, unfortunately they are expensive, with a lot of things to learn and the possibility of very expensive repairs. As with action photography this is best left to the specialist and it is not a feasible option, unless you work in this media for the majority of your time. The sea can be a dangerous medium to work in, and it presents special challenges such as night, and wreck photography, as well as drift photography, all of which challenge both your diving skills as well as your technical skills.
Scientific photographers take images of a variety of subjects to illustrate or record scientific or medical data using knowledge of scientific procedures. They typically possess additional knowledge in areas such as engineering, medicine, biology, or chemistry. Often the photography of this type of record is an adjunct to a scientific career.
Assignment photography is the delivery of material for a specific assignment, often with limited appeal. It includes portrait photography, as well as wedding photography. Portrait photographers often have their own studios, as their clients come to them to have a formal portrait photographed. SLR digital cameras are often preferred to do this type of work, as there are more opportunities to “view real timework”, you do not have to wait for the negatives to be printed to see if you have created a shadow on the face with a hat. Also they can be retouched, pixel-by-pixel, which means the small time imperfections can be glossed over. The adage the camera does not lie has never been completely true, but in today’s world is even less so. A portrait photographer has the opportunity to go out on assignment and covers events such as weddings, and christenings.
Photo Journalism is another branch of photography that covers the breaking of various events; it can be general, on a local paper, covering local events such as school plays etc. International freelancers often cover specific areas such as war photography. Press photographers are often characterized under the banner of “journalism”, as they collect, edit and present news material, yet despite this they use images to tell a news story.
It is distinguished from documentary photography, street photography and the photographing of celebrities because they have a timeline in that they tell a story in a chronological order. A narrative to further complete the story nearly always accompanies the work. Implicit to a degree in this type of work is a level of objectivity rather than creativity, as the images are recording real events in real time. For these reasons it differs from a wedding photographer, even though in theory he covers an event in real time and for publication.
A further aspect of photography is the “celebrity” and “Society” photographer. The two are distinguishable, though the person being photographed can fall in both categories. The society photographer may be also a photojournalist himself.
In Europe at least the Society photographer, is nearly always of the same class, partly on the ground that they have the “breeding” to cover such events, which may be Wimbledon, or the Melbourne Cup, or even a charity-raising gala. It is implicit that the Photographer has permission to take the photograph. That's quite different to the inherent distaste often applied to the methods used by the celebrity photographer, whilst at the same time the public retain an insatiable desire to be able to see the photographs. Celebrity photographers are often these days called paparazzi, after a famous Italian photographer known for his dogged determination to trail after celebrities, and publish photographs taken in an unguarded moment.
Publisher & Author: Roy Barker. Roy is the author of the popular ebook, Income from Photography - a downloadable ebook. It can be viewed at photography business
Article Source: http://EzineArticles.com/?expert=Roy_Barker
Monday, December 26, 2005
Setting up Portraiture
Setting up Portraiture By Chris Thomas
Introduction
Portraiture is the 'bread and butter' of any professional photographer. Getting it 'right' is essential.
I once heard a professional artist - an oil painter - describe a successful portrait as one which told you something about the subject which you did not already know! I do believe there is something in this.
Capturing people in an unguarded and relaxed moment is possibly the trick.
Outdoor Portraits
Perhaps due to the warm summers that we have had over the past few years, I am finding that outdoor portraiture is becoming more popular.
For families, groups and for individuals this can be a great approach - using locations such as the back garden, a park or green fields - if you live in or near the country.
With this approach there is little point in using a backdrop - it is already there. However, make the backdrop unobtrusive - or an integral part of the study.
When I take an individuals portrait outdoors, and I have done this for several actors and professionals, I look for a green hedge, a nice neutral brick wall or a huge, slightly out of focus, green field to place behind the subject. The background is there - interesting in its texture perhaps - but of little consequence. Clearly the subject has to stand out from the background - so be careful with colour. A lady in a nice green office suit will not profile well against a hedge!
However the backdrop may be an essential feature of the photo. A farming family posed against a hay rick, with a few bales acting as seating props for the more senior members of the family.
I can offer two main tips concerning Lighting Outdoor Portraits. Firstly beware of sunshine! Amateurs always think that bright sunshine is an ideal photo environment. The reverse is true. Bright but even light giving few if any shadows is ideal. Bright overhead sunshine - referred to as 'top light' by professional photographers, leads to shiny foreheads and deep dark eye sockets - very unflattering. In those instances put the subjects in shade - under a tree or some such place.
The above point illustrates the need for example when taking a wedding to have prepared for all contingencies beforehand in finding an appropriate location.
Further, midday clear skies produce blue light, and early morning or late evening sunshine yellow light - be aware of this! Set the colour temperature of the digital camera correctly or use a correcting filter in film work. Or use the colour cast to your advantage.
Secondly use a flash.
I cannot remember using free standing lighting in an outdoor location. But I usually use flash. Why - to give the subjects a 'key light' in their eyes - which ads vibrancy and intimacy to the picture. The flash will also fill in those dark corners where daylight is not penetrating.
Indoor Portraits
I carry lights and backdrop in my working vehicle. So I can create a studio in my client's home within 15 minutes!
Successful indoor portraiture cannot be achieved with on camera flash. This creates deep shadows and look very amateur. Studio lights are essential.
The backdrop is optional. Some customers like to have a neutral photographic background for their study. Others like to feature their home. Both will require lighting.
When lighting beware of mirrors, glass fronted frames and shiny objects which will pick up the flash!
I generally use three lights for indoor portraiture. A soft light from the left, a soft light from the right at reduced intensity, and a low level 'key light' at my rear. The light from the left will illuminate the subject, the light from the right will fill in the shadows and the key light will provide that all important glint in the eye.
Some photographers try to get very sophisticated with other lighting combinations. However, in my experience, when invited into people's homes to take a set of portraits I recon one has an hour to get the job done! A quarter hour to set up, half and hour to take the shots, and a quarter hour to do the paperwork and get the equipment out. I try not to overstay my welcome and get on the clients nerves!
Studio Portraiture
Studio portraiture is easier for me because I do not have to set up - the equipment is already there.
But while I am in my familiar environment, the client group is not! So take care to relax and familiarise them as to where things are and what to do.
In the studio I use the same basic lighting combination as I would use in peoples homes. This keeps things simple. A range of backdrops should be available from the fashionable pure white through plain colours to traditional multi coloured photo canvases.
The sitting will probably last no more than a half hour to an hour and the customer should have been briefed as to what clothes to bring and changes of clothes which might be required.
What comes out of this is that clients need to be briefed before they leave their homes. Clothes, changes, time, location etc. This highlights the advantages of a home based shoot where everything the customer wants is to hand.
Photographing the Professional Actors and Actresses, Models, Politicians and Corporate Giants are a group of customers who want something special.
They want a special shot - something different. And they are prepared to be patient and experiment to get a distinguished result.
Innovative lighting using lights behind the subject to highlight hair, the use of coloured gels on lamps to provide effects, unusual poses or particular props might be required or desired.
These subject will spend half a day in the studio to achieve something which they want and which will be valuable to them.
This is playtime for the photographer. However, I always get a set of standard shots off first in order to have something in the bag in case the imaginative approach backfires!
Photographing Groups
From Dinner Dances to School Proms the attendant photographer is expected to be able to capture the shot - be it a couple or a group of twenty friends.
In these instances I select - or have been allocated! - an appropriate spot and either set up a backdrop or use a feature of the environment.
In these instances where I may be photographing a very diverse grouping I put up three lights as before, left, right and a light behind me. They are all set at similar levels to provide an even coverage of the area in front of me - such that however many subject that I have, they are evenly lit.
Posing the Subjects
A complex subject and could occupy a book. This is one of the areas where the innovation and inspiration of the photographer comes to the fore. Since many decisions are made on the fly and adapting to a situation it is difficult to make rules.
A few basics:
Have the subjects stand at an angle to the camera - not facing it. This presents a more interesting profile. But the subjects should look into the camera lens. Except for the couple who might look into each other's eyes!
Have a range of seats and stools available. When twenty people appear wanting to me photographed together, arrange them tightly using stools for the ladies - even getting some - gents? - to kneel on the floor - football team style.
Setting up The Lights
I use high power studio flash lights - both on location and in the studio itself. They are readily available from several manufacturers.
I very rarely point the lights at the subject! They are too harsh and bright! The only time I do this is in a hall when photographing an orchestra or very large group when I need the light coverage.
Pointing the lamps away from the subject I fit white umbrellas, which reflect a lower and softer light towards the subject.
All of the lights I use are able to slave. That is, when turned on, a light will fire itself if it detects a flash from another unit. This saves a great deal of wiring on location - and in the studio! I need only connect the camera to one light and the rest of the lights will slave.
Getting the Exposure Right
When taking outdoor portraits I use the programmed function of the camera most of the time. The camera is sophisticated enough to take into account the small amount of additional light from the on camera flash.
In the studio, or in the home environment when using lights, I set the camera to manual mode and select one 60th or 100th of a second shutter speed to synchronise with the lights and freeze and motion. Then an aperture of F8 or F16 to give a reasonable depth of field. Following this I set up each light with a flash meter such that I get the overall balance of light I require.
In Conclusion
Portrait photography is a very broad subject and requires much experimentation and experience to get good results every time. Find a patient sitter who can be paid off with a free portfolio!
Christopher Thomas is both keen photographer and company director of Viewlink Ltd based in Amersham, Uk. The company focusses on digital photo developing for both amateur and commercial photographers. For more articles by Christopher Thomas please visit the company website at http://www.view-link.com.
Article Source: http://EzineArticles.com/?expert=Chris_Thomas
Introduction
Portraiture is the 'bread and butter' of any professional photographer. Getting it 'right' is essential.
I once heard a professional artist - an oil painter - describe a successful portrait as one which told you something about the subject which you did not already know! I do believe there is something in this.
Capturing people in an unguarded and relaxed moment is possibly the trick.
Outdoor Portraits
Perhaps due to the warm summers that we have had over the past few years, I am finding that outdoor portraiture is becoming more popular.
For families, groups and for individuals this can be a great approach - using locations such as the back garden, a park or green fields - if you live in or near the country.
With this approach there is little point in using a backdrop - it is already there. However, make the backdrop unobtrusive - or an integral part of the study.
When I take an individuals portrait outdoors, and I have done this for several actors and professionals, I look for a green hedge, a nice neutral brick wall or a huge, slightly out of focus, green field to place behind the subject. The background is there - interesting in its texture perhaps - but of little consequence. Clearly the subject has to stand out from the background - so be careful with colour. A lady in a nice green office suit will not profile well against a hedge!
However the backdrop may be an essential feature of the photo. A farming family posed against a hay rick, with a few bales acting as seating props for the more senior members of the family.
I can offer two main tips concerning Lighting Outdoor Portraits. Firstly beware of sunshine! Amateurs always think that bright sunshine is an ideal photo environment. The reverse is true. Bright but even light giving few if any shadows is ideal. Bright overhead sunshine - referred to as 'top light' by professional photographers, leads to shiny foreheads and deep dark eye sockets - very unflattering. In those instances put the subjects in shade - under a tree or some such place.
The above point illustrates the need for example when taking a wedding to have prepared for all contingencies beforehand in finding an appropriate location.
Further, midday clear skies produce blue light, and early morning or late evening sunshine yellow light - be aware of this! Set the colour temperature of the digital camera correctly or use a correcting filter in film work. Or use the colour cast to your advantage.
Secondly use a flash.
I cannot remember using free standing lighting in an outdoor location. But I usually use flash. Why - to give the subjects a 'key light' in their eyes - which ads vibrancy and intimacy to the picture. The flash will also fill in those dark corners where daylight is not penetrating.
Indoor Portraits
I carry lights and backdrop in my working vehicle. So I can create a studio in my client's home within 15 minutes!
Successful indoor portraiture cannot be achieved with on camera flash. This creates deep shadows and look very amateur. Studio lights are essential.
The backdrop is optional. Some customers like to have a neutral photographic background for their study. Others like to feature their home. Both will require lighting.
When lighting beware of mirrors, glass fronted frames and shiny objects which will pick up the flash!
I generally use three lights for indoor portraiture. A soft light from the left, a soft light from the right at reduced intensity, and a low level 'key light' at my rear. The light from the left will illuminate the subject, the light from the right will fill in the shadows and the key light will provide that all important glint in the eye.
Some photographers try to get very sophisticated with other lighting combinations. However, in my experience, when invited into people's homes to take a set of portraits I recon one has an hour to get the job done! A quarter hour to set up, half and hour to take the shots, and a quarter hour to do the paperwork and get the equipment out. I try not to overstay my welcome and get on the clients nerves!
Studio Portraiture
Studio portraiture is easier for me because I do not have to set up - the equipment is already there.
But while I am in my familiar environment, the client group is not! So take care to relax and familiarise them as to where things are and what to do.
In the studio I use the same basic lighting combination as I would use in peoples homes. This keeps things simple. A range of backdrops should be available from the fashionable pure white through plain colours to traditional multi coloured photo canvases.
The sitting will probably last no more than a half hour to an hour and the customer should have been briefed as to what clothes to bring and changes of clothes which might be required.
What comes out of this is that clients need to be briefed before they leave their homes. Clothes, changes, time, location etc. This highlights the advantages of a home based shoot where everything the customer wants is to hand.
Photographing the Professional Actors and Actresses, Models, Politicians and Corporate Giants are a group of customers who want something special.
They want a special shot - something different. And they are prepared to be patient and experiment to get a distinguished result.
Innovative lighting using lights behind the subject to highlight hair, the use of coloured gels on lamps to provide effects, unusual poses or particular props might be required or desired.
These subject will spend half a day in the studio to achieve something which they want and which will be valuable to them.
This is playtime for the photographer. However, I always get a set of standard shots off first in order to have something in the bag in case the imaginative approach backfires!
Photographing Groups
From Dinner Dances to School Proms the attendant photographer is expected to be able to capture the shot - be it a couple or a group of twenty friends.
In these instances I select - or have been allocated! - an appropriate spot and either set up a backdrop or use a feature of the environment.
In these instances where I may be photographing a very diverse grouping I put up three lights as before, left, right and a light behind me. They are all set at similar levels to provide an even coverage of the area in front of me - such that however many subject that I have, they are evenly lit.
Posing the Subjects
A complex subject and could occupy a book. This is one of the areas where the innovation and inspiration of the photographer comes to the fore. Since many decisions are made on the fly and adapting to a situation it is difficult to make rules.
A few basics:
Have the subjects stand at an angle to the camera - not facing it. This presents a more interesting profile. But the subjects should look into the camera lens. Except for the couple who might look into each other's eyes!
Have a range of seats and stools available. When twenty people appear wanting to me photographed together, arrange them tightly using stools for the ladies - even getting some - gents? - to kneel on the floor - football team style.
Setting up The Lights
I use high power studio flash lights - both on location and in the studio itself. They are readily available from several manufacturers.
I very rarely point the lights at the subject! They are too harsh and bright! The only time I do this is in a hall when photographing an orchestra or very large group when I need the light coverage.
Pointing the lamps away from the subject I fit white umbrellas, which reflect a lower and softer light towards the subject.
All of the lights I use are able to slave. That is, when turned on, a light will fire itself if it detects a flash from another unit. This saves a great deal of wiring on location - and in the studio! I need only connect the camera to one light and the rest of the lights will slave.
Getting the Exposure Right
When taking outdoor portraits I use the programmed function of the camera most of the time. The camera is sophisticated enough to take into account the small amount of additional light from the on camera flash.
In the studio, or in the home environment when using lights, I set the camera to manual mode and select one 60th or 100th of a second shutter speed to synchronise with the lights and freeze and motion. Then an aperture of F8 or F16 to give a reasonable depth of field. Following this I set up each light with a flash meter such that I get the overall balance of light I require.
In Conclusion
Portrait photography is a very broad subject and requires much experimentation and experience to get good results every time. Find a patient sitter who can be paid off with a free portfolio!
Christopher Thomas is both keen photographer and company director of Viewlink Ltd based in Amersham, Uk. The company focusses on digital photo developing for both amateur and commercial photographers. For more articles by Christopher Thomas please visit the company website at http://www.view-link.com.
Article Source: http://EzineArticles.com/?expert=Chris_Thomas
Wednesday, December 14, 2005
How to Get into a Top UK University Even If You Don't Have the Right Qualifications
How to Get into a Top UK University Even If You Don't Have the Right Qualifications by: Tony Radford
How to Get into a Top UK University Even If You Don't Have the Right Qualifications
If you have a strong desire to study at a UK university, but do not have the necessary qualifications, this short article describes the perfect route for you.
The Way In
Many universities provide a training course called a Foundation Year. The Foundation Year provides essential preparation for a chosen course of study and also covers areas such as IT skills, maths and numeracy, academic and studying methods and communication skills.
Some Foundation Year courses provide English language preparation, to ensure your English is up to the required academic standard. Most Foundation Year programmes have a minimum language skill requirement, although many universities provide English language training.
A Foundation Course provides you with all the basic skills you need to gain access to a UK University course. Many Foundation Courses even guarantee you a place on the degree course you are aiming for, provided of course that you achieve the required standards in the Foundation Year.
You should definitely consider a Foundation Year if you do not have the necessary qualifications to gain entry to a degree course.
Typical Entry Requirements
Foundation Year entry requirement vary from university to university, so you must find out what is required at the university you are considering. However, there are some basic requirements:
* Most Foundation Year courses require you to be at least 18 years old.
* You must be able to prove that you have completed Secondary education in your home country.
* English - The English language requirement is likely to be at least IELTS 5.5 or TOEFL 525. Some Universities provide English courses.
* Maths - You should have the equivalent of at least a Grade D in Mathematics at GCSE level.
* You must of course have a strong desire to succeed in your chosen area of study and any evidence of your desire will be very helpful in your application.
* Some 'life experience' may be required for certain courses.
What Can You Study?
Foundation Year courses are available in an very wide range of disciplines including:
- Business, Marketing, Accountancy - Law - Social Science, Humanities, Arts - Hospitality, Consumer Technology, Leisure - Science and Engineering - Information Technology, Computing - Food and Health - Joint Honours Programmes
A Foundation Year is often organised into course units, designed to prepare you for your intended course. Some units are mandatory, others optional, many will be specified by the degree course you are preparing for.
Foundation Year Mentoring
Some Universities offer a Foundation Year mentoring scheme. A mentor is a volunteer who offers confidential help and guidance based on their experience. The mentor relationship can be very helpful.
How Do You Apply ?
First you should decide which degree you wish to study at University.
Then you should identify the University or universities offering a Foundation Year course that is the appropriate preparation for degree you have chosen. The
Then you need to apply for a place on the Foundation Year through the University & Colleges Admissions Service (UCAS). This is the university applications processing organisation in the UK and all applications for university places, including Foundation Year, go through UCAS www.ucas.ac.uk
Summary
A Foundation Year is all about giving you the chance to gain a place in a English University. For many it is a second chance – the chance to develop, the change to get a degree, the chance to get on that first rung of the ladder to success.
About The Author
Tony Radford
Manchester Metropolitan University offers a very successful and substantial Foundation Year programme and welcomes applications to courses from overseas students. Click http://www.mmu.ac.uk/international/courses/foundation.php here for full inform
How to Get into a Top UK University Even If You Don't Have the Right Qualifications
If you have a strong desire to study at a UK university, but do not have the necessary qualifications, this short article describes the perfect route for you.
The Way In
Many universities provide a training course called a Foundation Year. The Foundation Year provides essential preparation for a chosen course of study and also covers areas such as IT skills, maths and numeracy, academic and studying methods and communication skills.
Some Foundation Year courses provide English language preparation, to ensure your English is up to the required academic standard. Most Foundation Year programmes have a minimum language skill requirement, although many universities provide English language training.
A Foundation Course provides you with all the basic skills you need to gain access to a UK University course. Many Foundation Courses even guarantee you a place on the degree course you are aiming for, provided of course that you achieve the required standards in the Foundation Year.
You should definitely consider a Foundation Year if you do not have the necessary qualifications to gain entry to a degree course.
Typical Entry Requirements
Foundation Year entry requirement vary from university to university, so you must find out what is required at the university you are considering. However, there are some basic requirements:
* Most Foundation Year courses require you to be at least 18 years old.
* You must be able to prove that you have completed Secondary education in your home country.
* English - The English language requirement is likely to be at least IELTS 5.5 or TOEFL 525. Some Universities provide English courses.
* Maths - You should have the equivalent of at least a Grade D in Mathematics at GCSE level.
* You must of course have a strong desire to succeed in your chosen area of study and any evidence of your desire will be very helpful in your application.
* Some 'life experience' may be required for certain courses.
What Can You Study?
Foundation Year courses are available in an very wide range of disciplines including:
- Business, Marketing, Accountancy - Law - Social Science, Humanities, Arts - Hospitality, Consumer Technology, Leisure - Science and Engineering - Information Technology, Computing - Food and Health - Joint Honours Programmes
A Foundation Year is often organised into course units, designed to prepare you for your intended course. Some units are mandatory, others optional, many will be specified by the degree course you are preparing for.
Foundation Year Mentoring
Some Universities offer a Foundation Year mentoring scheme. A mentor is a volunteer who offers confidential help and guidance based on their experience. The mentor relationship can be very helpful.
How Do You Apply ?
First you should decide which degree you wish to study at University.
Then you should identify the University or universities offering a Foundation Year course that is the appropriate preparation for degree you have chosen. The
Then you need to apply for a place on the Foundation Year through the University & Colleges Admissions Service (UCAS). This is the university applications processing organisation in the UK and all applications for university places, including Foundation Year, go through UCAS www.ucas.ac.uk
Summary
A Foundation Year is all about giving you the chance to gain a place in a English University. For many it is a second chance – the chance to develop, the change to get a degree, the chance to get on that first rung of the ladder to success.
About The Author
Tony Radford
Manchester Metropolitan University offers a very successful and substantial Foundation Year programme and welcomes applications to courses from overseas students. Click http://www.mmu.ac.uk/international/courses/foundation.php here for full inform
Saturday, December 10, 2005
Composition - Improving Technique at the Picture-taking Stage
Out of all the steps involved in taking a photograph, the one that creates most impact is correct composition. It is also the one that is the most fun and where you are likely to have the greatest control. It follows, then, that getting composition right in the viewfinder at the time of shooting will yield the best results with regard to the final image.
So, how can you ensure great composition and a great image?
fill the viewfinder: if your subject is too far away, get closer; if it is too near, move further back. Alternatively, use a zoom lens to alter the relative size of the subject in the viewfinder
avoid empty space: look around in the viewfinder and only choose to shoot when you are certain all the elements you require are in view
don't just look at the subject: check the background and the foreground. Are there unsightly objects or distractions? If so, what can you do about it?
Moving your subject might be an option. Otherwise you can either remove the distractions or shoot from a different angle
check your viewfinder: next time you have your camera to your eye, look around at the whole field of view in the viewfinder. Look at the edges, the top and bottom and both sides. It is so easy just to focus in on the subject without being aware of the huge spaces around it
isolate your subject: anything near to the subject will create a distraction. You can isolate it in a number of ways: move the subject or move the distractions; use a larger aperture to throw the foreground an background out of focus; wait until the surroundings get clearer (e.g. when taking pictures in crowds); get in close
turn your camera: most cameras have a rectangular screen and picture taking capability. Most shots will be in landscape format (with the long sides of the image at the top and bottom resulting in a postcard-shaped image).
If you turn the camera 90 degrees you then have "portrait" view. Try using this for some of your subjects and see what difference it makes
Many of these steps may seem simple, but you will be surprised how many photographers ignore basic rules. By thinking about your composition when you take your photography, you will enhance the potential of the final image and improve your photographic skills.
Eric Hartwell is an enthusiastic photographer and owner of the photography resource site The Shutter. He would pleased to hear from anyone who might wish to become involved in the site - email click here to send email
Article Source: http://EzineArticles.com/?expert=Eric_Hartwell
So, how can you ensure great composition and a great image?
fill the viewfinder: if your subject is too far away, get closer; if it is too near, move further back. Alternatively, use a zoom lens to alter the relative size of the subject in the viewfinder
avoid empty space: look around in the viewfinder and only choose to shoot when you are certain all the elements you require are in view
don't just look at the subject: check the background and the foreground. Are there unsightly objects or distractions? If so, what can you do about it?
Moving your subject might be an option. Otherwise you can either remove the distractions or shoot from a different angle
check your viewfinder: next time you have your camera to your eye, look around at the whole field of view in the viewfinder. Look at the edges, the top and bottom and both sides. It is so easy just to focus in on the subject without being aware of the huge spaces around it
isolate your subject: anything near to the subject will create a distraction. You can isolate it in a number of ways: move the subject or move the distractions; use a larger aperture to throw the foreground an background out of focus; wait until the surroundings get clearer (e.g. when taking pictures in crowds); get in close
turn your camera: most cameras have a rectangular screen and picture taking capability. Most shots will be in landscape format (with the long sides of the image at the top and bottom resulting in a postcard-shaped image).
If you turn the camera 90 degrees you then have "portrait" view. Try using this for some of your subjects and see what difference it makes
Many of these steps may seem simple, but you will be surprised how many photographers ignore basic rules. By thinking about your composition when you take your photography, you will enhance the potential of the final image and improve your photographic skills.
Eric Hartwell is an enthusiastic photographer and owner of the photography resource site The Shutter. He would pleased to hear from anyone who might wish to become involved in the site - email click here to send email
Article Source: http://EzineArticles.com/?expert=Eric_Hartwell
Portraits: Prepare First
The golden rule when taking pictures of people is to always think about what you are doing before you press the shutter release. What do you hope to achieve? Is the image being taken for record purposes (that would make it a formal shot) or is it to display the personality of the sitter?
Pressing the shutter release in a haphazard manner will lead to uninteresting and poorly thought out shots. Neither you nor your subject will be pleased with the results.
Think about a number of issues first:
- What makes the subject interesting? – does your subject have a part of their personality that you wish to show – are they relaxed, happy, serious, austere, cheeky and so on. Or are they being snapped to depict a trait or a connection – for example a picture detailing their occupation, sport or interests?
- Is the arrangement appropriate? – there’s no point having an interesting subject with a competing background. Clear clutter and make your background and environment suit the sitter.
A teacher would look at home behind (or sitting on) a desk or surrounded by books. A basketball player wouldn’t. A child would be best placed near to toys, games and bright colors but your grandmother would wish a more mature and homely environment around her.
You could always choose a large aperture to blur out the background or place a white sheet behind the sitter to make the background neutral.
- Can you use props? – a pen, a book, a chair, a flower – something to make the subject feel more relaxed and to give the viewer a connection with the subject. Props can be very useful ways of enhancing a portrait.
- Is the lighting correct? – shots of females and children often look best with diffused light. Watch out for harsh shadows cast by angled lighting and always have a reflector ready to bring light into shadow areas.
Rugged faces look startling with harder and angled lighting whereas smoother faces look better with softer more flattering light.
Prepare yourself before the shooting begins.
Eric Hartwell is an enthusiastic photographer. He owns and runs the photography resource site http://www.theshutter.co.uk and the associated discussion forums http://www.theshutter.co.uk/forums as well as the regular weblog at http://thephotographysite.blogspot.com Anyone interested in getting involved contact him at shutter@theshutter.co.uk
Pressing the shutter release in a haphazard manner will lead to uninteresting and poorly thought out shots. Neither you nor your subject will be pleased with the results.
Think about a number of issues first:
- What makes the subject interesting? – does your subject have a part of their personality that you wish to show – are they relaxed, happy, serious, austere, cheeky and so on. Or are they being snapped to depict a trait or a connection – for example a picture detailing their occupation, sport or interests?
- Is the arrangement appropriate? – there’s no point having an interesting subject with a competing background. Clear clutter and make your background and environment suit the sitter.
A teacher would look at home behind (or sitting on) a desk or surrounded by books. A basketball player wouldn’t. A child would be best placed near to toys, games and bright colors but your grandmother would wish a more mature and homely environment around her.
You could always choose a large aperture to blur out the background or place a white sheet behind the sitter to make the background neutral.
- Can you use props? – a pen, a book, a chair, a flower – something to make the subject feel more relaxed and to give the viewer a connection with the subject. Props can be very useful ways of enhancing a portrait.
- Is the lighting correct? – shots of females and children often look best with diffused light. Watch out for harsh shadows cast by angled lighting and always have a reflector ready to bring light into shadow areas.
Rugged faces look startling with harder and angled lighting whereas smoother faces look better with softer more flattering light.
Prepare yourself before the shooting begins.
Eric Hartwell is an enthusiastic photographer. He owns and runs the photography resource site http://www.theshutter.co.uk and the associated discussion forums http://www.theshutter.co.uk/forums as well as the regular weblog at http://thephotographysite.blogspot.com Anyone interested in getting involved contact him at shutter@theshutter.co.uk