Step closer to the subject before you shoot

01

First of all, consider the distance between your camera and the subject for framing a better picture. Don't just start shooting randomly from where you are. Instead, make sure that you get a sense of a proper distance. This can define the composition of an image and turn an ordinary keepsake picture into a masterpiece.

As shown above, the first shot appears unexceptional and has failed to express the subject's personality. By simply moving a step nearer, the photographer managed to capture her facial expression, and also framed out much of the distracting background, producing an impressive photo.
Ask yourself what you really want to put into the picture Think over which part you would like to emphasize Don't just rely on zoom controls; try to move forward or backwards

Step closer to your subject

Considerable changes in background composition can arise from merely stepping closer to the subject. By moving a step forward, you will find it easier to take portrait-like shots and it is also easier to compose the picture. In this case, it is suggested to step forward/backwards to change/crop the size of subject in your composition instead of using zoom control. Taking a shot in this manner provides a better sense of distance, and it brings more styles of expression into zooming after your distance changes.

Observe your subject and think about what effect you wish to achieve before taking the shot When taking photos, do you often start shooting from anywhere you're standing? If yes, it's not surprising if you find it difficult to get good results. A fundamental tenet of photography is the distance between the photographer and the subject. Good photography starts with considering your composition. A skilled photographer shoots, in some respects, with precise calculation of the space left for the subject, shot framing and composition, which usually results in impressive, outstanding photos. It takes time to master such skills, but we can change our composition markedly just with a step closer to our subject. Find your sense in photography; the first thing is to find out what you really want to put into a picture and how to do it.

Feel free to frame your shot by including only a part of the subject

Telephoto side is convenient for close-up portraits. Wide-angle side requires much closer distance between the photographer and the subject, whereas telephoto range allows the photographer to keep a certain distance while properly composing a shot without providing excessive background. Focal length is crucial in this case

Bc gn hn n vn ny trc khi bn bn
Trc ht, hy xem xt khong cch gia my nh ca bn v i tng cho khung mt hnh nh tt hn. Khng ch bt u chp ngu nhin t ni bn ang c. Thay vo , hy chc chn rng bn c c mt cm gic v mt khong cch thch hp. iu ny c th xc nh cc thnh phn ca mt hnh nh v chuyn mt hnh nh lu nim thng thng thnh mt kit tc.

Nh tr nh b y tr n, c c shot u ti n ut hin kh ng co ngoi l v khng th hin c tnh ca i tng.Bi ch cn di chuyn mt bc gn hn, cc nhip nh gia qun l nm bt biu hin trn khun mt c, v cng ng khung trong phn ln cc nn mt tp trung, sn ut mt hnh nh n tng.

Hy t hi mnh nhng g bn thc s mun a vo hnh nh Hy suy ngh trn m phn bn mun nhn mnh Khng nn ch da vo cc iu khin phng to, c gng di chuyn v pha trc hoc pha sau

Bc gn hn n ch ca bn

thay i ng k trong thnh phn nn c th pht sinh t ch n thun l bc gn hn vi i tng. Bng cch di chuyn mt bc v pha trc, bn s tm thy n d dng hn chp nh chn dung ging v n cng d dng hn to nn hnh nh.Trong trng hp ny, ngh cho bc tin / ngc tr li thay i / v kch thc ca i tng trong sng tc ca bn thay v s dng iu khin zoom. Tham gia mt shot theo cch ny cung cp mt cm gic tt hn v khong cch, v mang nhiu phong cch th hin thnh phng to sau khi thay i khong cch ca bn. Quan st ch ca bn v suy ngh v nhng g hiu qu m bn mun t c trc khi tim Khi chp nh, bn thng bt u quay t bt c ni no bn ang ng? Nu c, n khng ngc nhin nu bn cm thy kh khn c c kt qu tt. Mt nguyn l c bn ca nhip nh l khong cch gia cc nhip nh gia v ch . Good nhip nh bt u vi xem xt thnh phn ca bn. Mt nhip nh gia c tay ngh non, trong mt s kha cnh, vi tnh chnh xc ca cc khng gian cn li cc i tng, khung hnh v thnh phn, m thng l kt qu n tng, hnh nh ni bt. Phi mt thi gian lm ch cc k nng nh vy, nhng chng ta c th thay i r rt thnh phn ca chng ti ch vi mt bc gn hn n ch ca chng ti. Tm cm gic ca bn trong nhip nh, iu u tin l tm ra nhng g bn thc s mun a vo mt bc nh v lm th no lm iu .

Hy khung shot ca bn bng cch bao gm c ch l mt phn ca i tng

Pha xa v tr thun tin cho close-up chn dung. Bn gc rng i hi rt gn khong cch gia cc nhip nh gia v ch ny, trong khi xa phm vi cho php cc nhip nh gia gi mt khong cch nht nh trong khi ng cch sng tc mt cnh m khng cn cung cp nn qu nhiu. di tiu c l rt quan trng trong trng hp ny

02

Positioning subject and background

It is common to overlook the background when one is fixated on capturing a vivid shot of the subject. Conversely, unnecessary objects from the background just ruin a shot. Pay attention to your shooting position and your shots may turn out considerably more polished.

This shot was taken in a park. The subject's vivid expression was captured, but the shot was spoilt by the abrupt appearance of a signboard in the background. In this case, the photographer only needs to move a bit to take a cleaner shot. Check the scene again before you press the shutter button in case you find unexpected objects popping out.

Angle of view for the eyes and camera lens are different Use your subject to block out undesired background objects Also check the background form

It is important to consider the subject's position relative to the background

In case the signboard appears in the background, the camera should be moved so that the sign is hidden behind the subject. To do this, the photographer only needs to take a step to the side instead of removing the signboard - by positioning the camera, subject and background object in line. It is a common practice among professional photographers to cover unwanted objects with the subject. To exclude unnecessary background objects from your shot, try changing the relative positions of subject and camera All kinds of objects can appear in the backgrounds of your tour shots. The signpost of a quaint village can be memorable, while a warning sign that says "STAFF ONLY" will only scare viewers away. Sometimes, objects excluded in your visual observation may still appear in your shot due to the difference in angle of view between your eyes and the camera lens. It's a good habit to confirm the shot with LCD previews before pressing the shutter button. Such a simple habit change is enough to ensure better pictures. With wider familiarity with cameras, people tend to overlook the basics in their haste to take better pictures - be careful in minding every detail.

Watch out for undesirable shapes and lines in the background

Shapes and lines in the background should also be rechecked after signs or other unnecessary objects have been excluded. The portrait on the left was taken in front of cactus plants; here they look like horns popping out of the subject's head. In this case, a simple change in shooting angle gives the shot a cleaner background in which the subject is emphasized and the portrait looks much cleaner

nh v i tng v hnh nn
Ngi ta thng b qua cc nn khi mt l gn b vi mt shot chp sinh ng ca ch th. Ngc li, cc i tng khng cn thit t nn ch lm hng c mt shot. Ch n v tr chp ca bn v bc nh ca bn c th bt ra nh bng hn ng k.

shot ny c chp trong mt cng vin. biu hin sinh ng ca i tng b bt, nhng bn h hng bi s ut hin t ngt ca mt bin hiu trong nn. Trong trng hp ny, ngi chp nh ch cn di chuyn mt cht c mt shot sch hn. Kim tra hin trng mt ln na trc khi bn bm nt chp trong trng hp bn tm thy cc i tng bt ng ut hin ra ngoi.

Gc nhn ca mt v ng knh my nh khc nhau S dng cc ch ca bn ngn chn cc i tng nn khng mong mun Ngoi ra kim tra cc mu nn

iu quan trng cn xem xt v tr ca i tng so vi cc nn

Trong trng hp bin hiu ut hin trong nn, my nh s c di chuyn k c n pha sau i tng. lm iu ny, cc nhip nh gia ch cn c mt bc vo bn trong thay v loi b cc bin hiu - bi v tr my nh, ch , i tng nn ng. l mt thc t ph bin gia cc nhip nh gia chuyn nghip trang tri cc i tng khng mong mun vi i tng. loi tr cc i tng nn khng cn thit t shot ca bn, hy th thay i cc v tr tng i ca cc i tng v my nh Tt c cc loi i tng c th ut hin trong cc hnh nn ca bc nh du lch ca bn. Cc ct du hiu ca mt ngi lng c knh c th c ghi nh, trong khi mt du hiu cnh bo ni rng "NHN ONLY" ch s ngi xem i. i khi, cc i tng b loi tr trong quan st trc quan ca bn vn c th ut hin trong shot ca bn do s khc bit v gc nhn gia mt v ng knh my nh. l mt thi quen tt xc nhn vic bn vi mn hnh LCD xem trc trc khi nhn nt chp. Nh mt s thay i thi quen n gin l m bo hnh nh tt hn. Vi hiu bit rng hn vi my nh, mi ngi c xu hng b qua nhng vn c bn trong s vi vng ca h c hnh nh tt hn - hy cn thn trong minding tng chi tit.

Xem ra cho cc hnh dng khng mong mun v dng trong nn

Hnh dng v ng trong nn cng nn kim tra li sau khi c du hiu hoc cc i tng khng cn thit khc c loi tr. Bc chn dung bn tri c chp pha trc ca cy ng rng, y h trng ging nh sng ut hin trong u ca ch . Trong trng hp ny, mt s thay i n gin trong gc chp cho tim mt nn sch, trong ch c nhn mnh v chn dung c v sch s hn nhiu

Capture fun shots with relative positioning

As it can be boring to capture all daily shots with a friend making the "V" gesture, one can use unconventional methods to achieve truly original shots, making them more interesting. Special equipment is not needed; use your imagination.

Use visual illusions Shoot with relative positioning of subject and background Zoom and adjust sizes of subject and background

It's fine to take the shot with the girl standing in front of the funny statue. However, it is even better to alter the shot in an original way. With the relative positioning of subject and the statue, a more interesting photo can be made by exploiting visual illusion.

First: Confirm the standing position of the subject and the position of the statue

To set up the optical illusion, determine the relative positions of subject and statue Adjusting the distance between subject and background statue is the first step in composing the scene. There is no effect when the subject is merely leaning against the statue. Instead, the subject should be positioned closer to the camera (relative to the statue) in order to achieve a balance in size proportion with the statue. Try to find the position where the subject's gestures will overlap with the statue. You can get the subject to try all kinds of different gestures till you find one you like. Simulated effects like touching the statue's head, kissing the statue, etc. may be experimented with the key being clever relative positioning between the background statue and the subject.

Second: Proportionate sizing with zooming

Utilize the imaging characteristic of telephoto range to enlarge the background object The relative size of the subject and the statue in the frame is finally fine tuned with zooming. There is a wide-angle end and a telephoto end in focus zooms, and the size proportion of the subject and the statue can be balanced by using the zoom ends wisely. Long focal length makes further backgrounds look larger, thus the subject and the statue in the example here would appear to be the same size. Fine tune your zooming to properly set the imaging size of subjects when finalizing your composition. In case the size difference between subjects is too great, the subjects can still be included in the frame by wisely utilizing the imaging characteristics of lenses and the method of relative positioning.

Chp nh th v vi v tr tng i
V n c th c khoan nm bt tt c cc mi chch nga hng ngy vi mt ngi bn lm cho "V" c ch, ngi ta c th s dng cc phng php c bit t c bc nh tht s ban u, lm cho h th v hn. thit b c bit l khng cn thit, s dng tr tng tng ca bn.

S dng hnh nh o tng Shoot vi v tr tng i ca cc ch th v nn Phng to v kch thc iu chnh ca ch v nn

N cng tt c nhng shot vi c gi ng trc bc tng bun ci. Tuy nhin, n thm ch cn tt hn thay i mt cch bn vo u. Vi v tr tng i ca cc i tng v bc tng, mt hnh nh th v hn c th c thc hin bng cch khai thc o nh th gic.

Th nht: Xc nhn v tr ng ca i tng v v tr ca bc tng

thit lp nhng o nh quang hc, xc nh cc v tr tng i ca cc i tng v bc tng iu chnh khong cch gia i tng v tng nn l bc u tin trong vic sng tc hin trng. Khng c tc dng khi i tng ch l da vo bc tng. Thay vo , cc i tng nn c t gn vi my nh (so vi bc tng) t c mt s cn bng trong t l kch thc vi bc tng. Hy th tm v tr m cc c ch ca i tng s trng vi bc tng. Bn c th phi th tt c cc loi c ch khc nhau cho n khi bn tm thy mt bn mun. cc hiu ng m phng ging nh chm vo u ca bc tng, hn cc bc tng, vv c th c th nghim vi cc phm c minh nh v tng i gia cc bc tng nn v ch .

Th hai: tng ng c phng to

S dng cc c trng hnh nh ca dy tele m rng i tng nn Kch thc tng i ca cc i tng v bc tng trong khung pht tin l cui cng iu chnh phng to. C mt kt thc gc rng v kt thc mt tele trong phng tp trung, v t l kch thc ca i tng v bc tng c th c cn i bng cch s dng zoom kt thc mt cch khn ngoan. Kiu tiu im lm cho nn thm trng ln hn, do cc i tng v bc tng trong v d y s ut hin c cng kch thc. M iu chnh ca bn phng to xc nh kch thc hnh nh ca cc i tng khi hon thnh phn ca bn. Trong trng hp s khc bit kch thc gia cc i tng l qu ln, cc i tng vn c th c bao gm trong khung bng cch s dng mt cch khn ngoan nhng c im hnh nh ca ng knh v phng php nh v tng i

Flash is useful even in bright scenes

It is common for subjects to turn out poorly-lit when photographed standing in front of a window brightly lit by sunshine. In such cases the built-in flash should be used, to provide the necessary subject lighting and ensure proper image quality.

It's fine to take the shot with the girl standing in front of the funny statue. However, it is even better to alter the shot in an original way. With the relative positioning of subject and the statue, a more interesting photo can be made by exploiting visual illusion.

Brightness of the subject is fundamental to proper exposure Exposure compensation has its limits Built-in flash is suitable for strongly backlit subjects

Use built-in flash for strongly backlit subjects

Use bursts of bright flash light to brighten the subject Sometimes a shot will turn out poorly lit if no flash compensation is imposed upon the subject while the scene looks bright enough - a typical situation is a backlit scene. From the view of the photographer, a backlit scene looks bright and should pose no problem to the shot; yet the subject is actually completely shadowed. Take a shot under such circumstances and the subject's face is totally dark in the picture. Although exposure compensation may help brighten the shot, a high contrast scene is usually beyond the capacity of exposure compensation to rectify. Then we should use the built-in flash; in other words, we should counter the bright backlight with bursts of bright flash light. To ensure image quality, it is suggested to set the flash mode to "On" with flash output automatically, so that the brightness of the subject can be properly balanced with that of the background. In this case, prepare your shot with LCD preview. In a scene like this, in which the subject looks darker than the background, built-in flash prevents the shot from exposure failure.

Shoot with coloured filter on the flash

Alter the flash colour wisely Flash can be used indoors and outdoors, and is capable of bringing new styles into your shots beyond merely brightening the subject. The example shots here were taken with flash as well as translucent coloured candy wrappings covering the flash unit. As shown in the shots, flash light was coloured and blended properly with the ambient lighting. Flash is convenient in most situations, but it may overwhelm a shot since its tone resembles sunlight. However, coloured flash light can blend with the ambient light and result in an interesting shot. In addition, note that the colour change of flash light will not affect the ambient lighting.

Flash l hu dng ngay c trong nhng cnh ti sng

N c ph bin cho cc i tng cho ra nh sng km khi chp nh ng trc ca s mt sng thp sng bi nh nng mt tri. Trong trng hp ny c xy dng trong flash nn c s dng, cung cp nh sng cn thit i tng v m bo cht lng hnh nh ph hp.

N cng tt c nhng shot vi c gi ng trc bc tng bun ci. Tuy nhin, n thm ch cn tt hn thay i mt cch bn vo u. Vi v tr tng i ca cc i tng v bc tng, mt hnh nh th v hn c th c thc hin bng cch khai thc o nh th gic.

sng ca ch th l c s tip xc thch hp Tip xc bi thng c gii hn ca n Built-in flash l ph hp cho cc i tng mnh m backlit

S dng n flash cho cc i tng mnh m backlit

S dng tia nh sng n flash sng lm sng i tng i khi mt shot s ln lt ra khng nh sng nu khng c bi thng flash c p dng vi cc i tng trong khi cnh trng sng - mt tnh hung in hnh l mt cnh backlit. T quan im ca cc nhip nh gia, mt cnh backlit trng ti sng v nn t ra khng c vn bn, nhng ch l thc s hon ton ti. Hy bn trong trng hp ny v khun mt ca i tng l hon ton en ti trong hnh. Mc d tip xc bi thng c th gip lm sng bn, mt cnh tng phn cao thng vt qu kh nng b phi sng khc phc. Sau , chng ta nn s dng n flash, ni cch khc, chng ta nn truy cp cc n nn sng vi n ca nh sng n flash sng. m bo cht lng hnh nh, ngh thit lp cc ch n flash "On" vi sn lng n flash t ng, sng ca i tng c th c ng cch cn bng vi cc nn. Trong trng hp ny, chun b chp ca bn vi mn hnh LCD xem trc.Trong mt cnh nh th ny, trong ch th trng ti hn so vi nn, n flash ngn chn bn t khng tip xc.

Shoot vi b lc mu trn flash

Thay i mu sc flash mt cch khn ngoan Flash c th c s dng trong nh v ngoi tri, v c kh nng mang phong cch mi vo bc nh ca bn vt qu ch sng cc mn hc. Cc bc nh c chp v d y vi n flash cng nh bao b bnh ko m mu bao gm cc n v n flash.Nh th hin trong cc bc nh, nh sng n flash l mu v pha trn ng vi nh sng mi trng xung quanh. Flash l tin li trong hu ht trng hp, nhng n c th p o mt shot t giai iu ca n ging nh nh sng mt tri. Tuy nhin, mu sc nh sng flash c th pha trn vi nh sng xung quanh v kt qu trong mt shot th v. Ngoi ra, lu rng s thay i mu sc ca nh sng n flash s khng nh hng n nh sng xung quanh.

Eliminate greenish skin tones

Why do gr enish tones tend to appear in portraits taken on the grass on a sunny day? Is there a solution to this? Here is the detailed explanation of the simplest solution, using simple accessories.

In shots of a subject sitting on grass on a perfect sunny day, the appearance of a greenish tint on the subject's face utterly ruins the photos. This green tint is caused by strong reflection from the grass, more common when the grass is well-grown and dense. To solve this, move to a better shooting location or use a neutral-coloured reflecting board.

Light reflection from the grass is the cause of greenish tones Move to a location without greenish reflection Try using white sheets or other items

Choose a shooting location without greenish reflection

Reflection from the grass is the root of all evil; a simple change of shooting location solves all problems The greenish skin tone in shots with green backgrounds is an issue of colour deviation caused by reflection of light. The strong sunlight reflected from the grass onto the face causes a greenish facial skin tone. The reflection from the grass is stronger than it looks, and the better a lawn is mown, the stronger the reflection. The simplest solution is to change a shooting location. It is not necessary to shoot the subject on the lawn in order to have a green background. To avoid the green cast, step out of the lawn and then shoot with the lawn included as background. The grass under the subject is the source of the greenish reflection; facial skin tone will not be affected as long as the reflection comes from a neutral-coloured surface. As shown above, a clean shot without colour deviation was achieved by simply moving a few metres onto the park pavement.

Try using white sheets, reflection board, etc.

In this shot, a reflector was used, which is available in photography accessories stores. White bed sheets, the blank back of a poster or other items with large white areas can also be used. Colour deviation in shots can be eliminated when such items are laid under the subject, covering reflection from the lawn. This is especially useful on sunny days when the greenish reflection is relatively stronger.

Find a sheet with a large white area and lay it beneath the subject In case you cannot find a better shooting location, try blocking the greenish reflection from the lawn to the subject's face. The reflection can be controlled by manually setting a neutral-coloured area in front of the subject. Reflectors are most suitable for such situations; however, white bed sheets or the blank back of a poster or other large sheets of paper can also be used as substitution in order to capture a cleaner shot. In principle, neutralcoloured (white) items should be used in such cases. Note that a coloured sheet reflects colour tones upon the subject's face, bringing colour deviation into the shot as well

Loi b mu xanh da tn
Ti sao tng mu xanh lc c xu hng ut hin trong bc chn dung thc hin trn c vo mt ngy nng? C mt gii php cho iu ny? Di y l li gii thch chi tit cc gii php n gin, bng cch s dng cc ph kin n gin.

Trong bc nh ca mt i tng ngi trn c vo mt ngy nng p hon ho, s ut hin ca mt mu xanh trn khun mt ca i tng hon ton di tch cc bc nh. Mu xanh l cy ny c gy ra bi s phn chiu mnh m t c, ph bin hn khi c cng l trng thnh v dy c. gii quyt iu ny, di chuyn n mt a im chp tt hn hoc s dng mt bng mu trung tnh phn nh.

nh sng phn chiu t c l nguyn nhn ca cc tng mu xanh lc Di chuyn n mt v tr m khng c s phn chiu mu xanh lc C gng s dng tm mu trng hoc cc mt hng khc

Chn mt v tr chp nh m khng c s phn chiu mu xanh lc

S phn chiu t c l gc r ca tt c cc iu c, mt thay i n gin ca v tr chp gii quyt mi vn Cc mu da xanh trong cc bc nh vi nn mu xanh l cy l mt vn ca s sai lch mu gy ra bi s phn chiu ca nh sng. Nhng nh sng mt tri mnh m phn t c ln mt cc nguyn nhn mt mu da xanh mt. Nhng phn nh t c mnh hn c v, v tt hn l mown c, cng mnh s phn nh. Cc gii php n gin nht l thay i mt v tr chp. N khng phi l cn thit chp cc i tng trn bi c c mt nn mu xanh l cy. trnh cc din vin mu xanh l cy, bc ra khi bi c v sau bn vi bi c bao gm nh l nn tng. Cc c theo ti ny l ngun gc ca s phn chiu mu xanh lc, mu da trn khun mt s khng b nh hng min l s phn nh n t mt b mt mu trung tnh. Nh trnh by trn, mt shot sch m khng c s sai lch mu sc t c ch bng cch chuyn mt vi mt trn va h cng vin.

Hy th s dng bng trng, phn nh bng, vv

Trong nh ny, phn c s dng, trong c sn trong nhip nh ca hng ph kin. t White ging, pha sau trng ca mt tm p phch, hng mc khc vi khu vc rng ln mu trng cng c th c s dng. lch mu trong cc bc nh c th c loi b khi cc hng mc c t theo ch , bao gm s phn chiu t bi c. iu ny c bit hu ch trong nhng ngy nng khi phn chiu mu xanh lc l tng i mnh hn.

Tm mt t giy vi din tch ln mu trng v t n bn di ch Trong trng hp bn khng th tm thy mt a im chp tt hn, c gng ngn chn s phn chiu t bi c xanh khun mt ca ch . phn c th c iu khin bi tay thit lp mt khu vc trung lp mu pha trc ca ch . Phn l thch hp nht cho tnh hung nh vy, tuy nhin, khn tri ging mu trng hoc quay tr li khong trng ca mt tm p phch hoc t giy ln khc cng c th c s dng nh thay th chp mt shot sch hn. V nguyn tc, trung lp mu (mu trng) hng nn c s dng trong trng hp nh vy. Lu rng mt trang mu sc phn nh mu sc khi mt ca i tng, mang li lch mu sc vo bn l tt.

Arrange backgrounds in a portrait

Portraits are different from landscape photos In portraits, a simpler background helps to deliver the charm of the subject. Now we introduce to you some simple techniques which can be regarded as the basis of portrait photography.

This shot lacks a sense of focal length and background; it looks cluttered, lacking emphasis on the subject. A cleaner background should be chosen; set focal length to the telephoto end and exclude most of the background, to emphasize the subject, and deliver a much cleaner composition.
It makes things easier when the subject stays a certain distance from backgrounds Reduce backgrounds in the frame with imaging characteristics of telephoto range The best solution is to use both telephoto range and relative positioning with backgrounds

Choose a simpler background

Keep the distance between background and subject; fine tune the composition for simplifying background One of the most important ways to keep the background uncluttered is to choose the scene wisely. For portrait shots, a cluttered background robs the subject of emphasis. Be wary too, of background objects in close-up face portraits. Try to avoid roads or buildings crossing behind the subject's head; try to exclude such objects from the shot as much as possible. If they cannot be excluded, at least keep them away from the subject's head in the shot. Mind your angle of shooting. In the examples above, the shot was improved by changing the shooting location and the distance of the background.

Improve composition arrangement with telephoto side

Wide-angle Telephoto

For distant views which cannot be simplified with wide-angle,use telephoto side to adjust the composition Wide-angle side includes much wider backgrounds into a shot. The background cannot be easily simplified even by changing the shooting distance and the scene. Telephoto on the other hand helps to simplify backgrounds, as shown above, due to the narrower angle of view which excludes much of the background from the frame. The photographer moreover has achieved a nice clean shot by excluding the distant woods crossing behind the subject's head. Lively, clean shots which emphasize the subject require efficient utilization of shooting distance and selecting the right focal length

Sp xp cc hnh nn trong bc chn dung mt

Gng in hnh l khc nhau t cc bc nh phong cnh. Trong bc chn dung, mt nn n gin gip cung cp s quyn r ca i tng. By gi chng ti gii thiu vi cc bn mt s k thut n gin m c th c coi l c s ca nhip nh chn dung.

shot ny thiu thc ca di tiu c v nn; c v ln n, thiu s nhn mnh v vn ny. Mt nn sch hn nn c la chn, thit lp di tiu c n ht tele v loi b hu ht cc nn, nhn mnh ch , v cung cp mt thnh phn nhiu hn.

N lm cho d dng hn khi ch th li mt khong cch nht nh t ngun gc Gim hnh nn trong khung vi nhiu c im hnh nh ca tele Gii php tt nht l s dng c hai phm vi xa v v tr tng i vi nn

Chn mt nn n gin

Gi khong cch gia nn v ch , thnh phn tinh chnh cho n gin ha nn Mt trong nhng cch quan trng nht gi cho nn gn gng l chn cnh mt cch khn ngoan. i vi nh chn dung, mt nn ln n cp c ch ca s nhn mnh. Hy cnh gic qu, cc i tng nn trong bc chn dung khun mt cn cnh. C gng trnh nhng con ng hoc cc ta nh qua pha sau u ca i tng; c gng loi tr cc i tng nh vy t cc bn cng nhiu cng tt. Nu h khng th c loi tr, t nht l gi chng i t u ca ch trong bc nh. Tm gc ca bn chp.Trong v d trn, bn c ci thin bng cch thay i v tr chp nh v khong cch ca cc nn.

Ci thin thnh phn tha thun vi pha xa

Gc rng

Tele

i vi quan im xa m khng th c n gin ha vi gc rng, s dng pha xa iu chnh cc thnh phn Gc rng mt nn bao gm rng hn vo mt shot. nn khng th c d dng n gin ha hn bng cch thay i khong cch chp v cnh. Tele mt khc gip n gin ha hnh nn, nh c hin th trn, do cc gc hp ca xem m khng bao gm phn ln cc nn t khung. Cc nhip nh gia, hn na t c mt c st p sch s bng cch loi b cc khu rng xa qua pha sau u ca i tng. Lively, sch s chp trong nhn mnh yu cu i tng s dng hiu qu chp khong cch v la chn di tiu c quyn

Match metering mode with subject lighting

07

Metering modes should be chosen in accordance with the lighting on the subject to ensure proper exposure. Most cameras are set to evaluative metering by default, but this is not the ideal solution for all scenes. In this chapter, we'll learn to match metering pattern to the lighting on the subject.

With evaluative metering in the first shot, the subject's face came out shadowed. This was remedied in the second shot with spot metering of the subject's face. Spot metering is especially useful for shooting backlit scenes since it can properly determine exposure with calculations based on the backlit subject.
The default evaluative metering is not an all-purpose solution Observe the lighting on the subject Spot metering is an efficient solution for strongly backlit subjects

Matching metering mode to lighting on subject ensures correct exposure

Evaluative metering: suits most situations and prevents most mistakes
Evaluative metering is close to an all-purpose metering mode, and is the default setting on almost every camera. It evaluates the overall brightness in the frame and calculates the basic average exposure. It can be used for landscapes, portraits and all other photo types. However, it is inefficient for high contrast objects or backlit scenes, resulting in occasional unstable exposure. In general, it is the best metering mode for subjects brightly lit by sunshine from the front. Should the brightness of a shot be unsatisfactory in this metering mode, try using exposure compensation to brighten or darken the shot to your satisfaction. Evaluative metering is a fundamental metering mode and can be used as a reference for other metering modes in various situations.

Centre-weighted average metering: better for subjects in frame centre

This mode determines exposure with surrounding information while regarding the brightness at the frame centre as the priority. Its exposure characteristics resemble that of a film camera. This metering mode is independent from ambient brightness and tones, and is suitable for shots in which the subject is in the frame centre. It is efficient for scenes in which the subject and composition rarely change, such as a portrait with the subject in frame centre, photos of flowers and plants, etc. But in this metering mode, overblown or shadowed areas around the frame centre will not be factored in the shot exposure, hence it is necessary to avoid possible blowout or black-crush in a shot. This metering mode may not be as allpurpose as evaluative metering, but it is convenient for photographers accustomed to film exposure setting.

Spot metering: determines exposure from small area, for impressive photos
Spot metering has the narrowest sampling area among the metering modes. It determines the overall exposure by analyzing the brightness only from a specific, small area, thus it affords greater control over image brightness. With its very limited metering area, spot metering is not suitable for regular shots, as it is unable to provide average overall brightness in landscapes or other photo types. But the precise metering characteristics of this mode are perfect for when you need to set exposure based on a very specific portion of the frame. For instance, when the subject is in intermittent shadow cast by overhead branches in bright sunlight, or when it is lit by bright light streaming in from a window. Spot metering is also very suitable for determining exposure on backlit subjects.

Exposure is harsher for digital cameras than for film cameras Exposure is harsher for digital cameras than for film cameras, because the reproduction range from bright to dark (dynamic range) of digital cameras is narrower. Film cameras are able to deliver adequate brightness and darkness in a frame as long as the exposure is about right. But inaccurate exposure in digital cameras will leave the image with blowout or black-crush. Therefore, with a digital camera, metering modes should be chosen properly so as to ensure required exposure. However, since digital cameras provide previews and reviews for your shots, a couple of trial shots of a scene with the various metering modes can help you find the correct exposure.

Ph hp vi ch o sng chiu sng i tng

ch o sng nn c la chn theo quy nh ca nh sng v ch ny m bo tip xc thch hp. Hu ht cc my nh c thit lp o sng Evaluative theo mc nh, nhng y khng phi l gii php l tng cho tt c cc cnh quay. Trong chng ny, chng ta s tm hiu ph hp vi mu o nh sng v ti ny.

Vi o sng Evaluative trong shot u tin, khun mt ca i tng ra n ti. iu ny c khc phc trong nhng shot th hai vi o im ca khun mt ca i tng. o sng im c bit hu ch chp cnh ngc sng v n ng cch c th xc nh tip xc vi cc tnh ton da trn cc ch backlit.

Cc o sng Evaluative mc nh khng phi l mt gii php tt c cc mc ch Quan st nhng nh sng trn cc ch o sng im l mt gii php hiu qu cho cc i tng mnh m backlit

Kt hp ch o sng chiu sng v vn m bo tip xc chnh xc

Qut o: ph hp vi tnh hung nht v ngn chn hu ht nhng sai lm
Qut o c gn mt ch o sng a mc ch, v l thit lp mc nh trn my nh hu nh tt c. N nh gi sng tng th trong khung v tnh ton cc phi nhim trung bnh c bn. N c th c s dng cho phong cnh, chn dung v hnh nh tt c cc loi khc. Tuy nhin, n khng hiu qu cho cc i tng tng phn cao hay cnh backlit, kt qu tip xc khng n nh thng xuyn. Ni chung, n l ch o sng tt nht cho cc i tng sng thp sng bi nh nng mt tri t pha trc. Nu sng ca nh mt l khng t yu cu trong ch o sng, hy th s dng b sng lm sng ti cho cc shot n s hi lng ca bn. Qut o l mt ch o sng c bn v c th c s dng nh mt tham kho cho cc ch o sng khc trong nhng tnh hung khc nhau.

Trung tm trng trung bnh o: tt hn cho cc i tng trong khung trung tm

Hnh thc ny quyt nh tip xc vi xung quanh thng tin khi lin quan n sng trung tm khung hnh l u tin. c im ca n tip xc ging nh l ca mt my nh phim. Ch ny o c c lp t sng mi trng xung quanh v nhc, v ph hp cho chp trong ch l trung tm khung hnh. l hiu qu cho nhng cnh trong cc i tng v thnh phn him khi thay i, chng hn nh mt bc chn dung vi ch trung tm khung hnh, hnh nh ca hoa v thc vt, vv Nhng trong ch o sng, khu vc thi phng hoc m xung quanh trung tm khung hnh s khng c yu t trong cc tip xc bn, v vy n l cn thit trnh n c th c hoc nghin-en trong mt shot. Ch ny c th khng o c nh tt c cc mc ch nh o sng Evaluative, nhng n l thun tin cho cc nhip nh quen vi vic thit lp tip xc vi phim nh.

o sng im: xc nh din tch tip xc t nh, cho hnh nh n tng

o sng im c din tch hp ly mu trong s cc ch o sng. N quyt nh phi sng bng cch phn tch tng th sng ch t mt khu vc c th nh, do n kh nng kim sot ln hn sng hnh nh. Vi din tch o rt hn ch, o sng im khng thch hp cho chp thng xuyn, v n khng th cung cp sng trung bnh tng th cnh quan hoc cc loi hnh nh khc. Tuy nhin, o c im chnh xc ca ch ny l hon ho cho khi bn cn phi t phi sng da trn mt phn rt c th ca khung. V d, khi ch l trong bng ti lin tc din vin ca cc ngnh trn cao trong nh sng mt tri, hoc khi n c thp sng bi nh sng truyn t mt ca s. o sng im cng rt ph hp xc nh tip xc v cc ch backlit.

Tip xc l khc nghit hn cho my nh k thut s hn cho my nh phim Tip xc l khc nghit hn cho my nh k thut s hn cho my nh phim, bi v phm vi sao chp t sng n (phm vi nng ng) ti ca my nh k thut s l hp hn. Phim nh c th cung cp sng v bng ti trong mt khung min l tip xc c v bn phi. Nhng tip xc khng chnh xc trong my nh s s li hnh nh vi n hoc nghin-en. V vy, vi mt my nh k thut s, ch o sng nn c la chn ng n m bo tip xc cn thit. Tuy nhin, t my nh k thut s cung cp cho xem trc v nhn xt cho bc nh ca bn, mt vi bc nh th nghim ca mt cnh vi ch o sng khc nhau c th gip bn tm thy nhng tip xc chnh xc.

Use shooting angle for flattering results

We all like to have our legs look more beautiful and slender in a photo but it is difficult to do so with ordinary shooting angles. However, a simple change in the camera's shooting position helps a lot to accomplish this.

In the shots above, one taken with an ordinary shooting angle and the other with a slightly unusual shooting angle, the difference is obvious, though both were shot at the same location. By utilizing the lens feature which makes objects closer to the lens look bigger, the model's legs were made to look longer simply by lowering the shooting angle.

Utilize the fact that objects closer to the lens look bigger Legs look most slender at wide-angle end The subject is the priority in choosing shooting position

A simple change of shooting angle can produce remarkable results

Shot at an ordinary angle

The subject was framed in the centre, and the camera equidistant from the subject's head and her legs, resulting in no distortion of proportions. This is an angle commonly used for capturing a subject's entire body.

Shot at a lowered angle

Shot with the camera lowered to the ground, the subject's legs are magnified while her head looks smaller, thus making her seem leggier. Such a phenomenon is also related to focal length, being more pronounced at wide-angle end.

Shot from a higher angle

This was shot from a higher angle, above the subject's head. The model's head is closer to the lens and is thus magnified, while her legs appear shorter than they actually are - the girl may not be so thrilled to see her photo like this.

Shooting angle and focal length with which legs look the longest The impression given by photos can vary considerably depending on the angle from which they were taken. The emphasis in a frame changes with the different camera positions. As mentioned before, it is a fact that objects closer to the lens look bigger. A look-down shot magnifies the subject's head which is closer to the lens, while a look-up shot magnifies the legs which is closer to lens. Therefore, in the former, the subject appears to have an enlarged head and short legs, whereas in the latter shot, the subject's legs appear longer. During field shooting, the focal length of lenses should also be taken into account. Try wide-angle shots in different shooting angles, and you will come to understand how such magnifications develop with the lenses introducing distortions into a shot. In other words, try using wide-angle side while lowering your shooting angle, if you want to have the model's legs look more slender

S dng gc quay cho kt qu tng bc

Chng ta u mun c chn ca chng ti trng p hn v mnh mai trong mt bc nh nhng n rt kh lm nh vy vi gc chp thng thng. Tuy nhin, mt thay i n gin v tr chp ca my nh gip rt nhiu thc hin iu ny.

Trong bc nh trn, mt chp vi mt gc chp thng thng v khc vi mt gc quay hi khc thng, s khc bit l r rng, mc d c hai b bn ti cng mt v tr. Bng cch s dng cc tnh nng ng knh m lm cho cc i tng gn gi hn vi cc ng knh nhn ln hn, i chn ca m hnh c thc hin tm cn l bng cch h thp nhng gc chp.

S dng thc t l cc i tng gn gi hn vi ng knh nhn ln hn Chn nhn mnh mai nht gc rng kt thc Cc i tng c u tin trong vic la chn v tr chp

Mt s thay i n gin v gc chp c th to ra kt qu ng ghi nhn

Bn vo mt gc bnh thng
mn ny c ng khung trong trung tm, v cc my nh cch u t u ca ch v chn ca mnh, kt qu khng c s bin dng ca t l. y l mt gc thng c s dng chp ton b c th ca i tng.

Shot mt gc h xung
Shot vi camera h ung mt t, i chn ca i tng c phng to trong khi u trng nh hn, do lm cho c y dng nh leggier. Nh mt hin tng cng lin quan n chiu di tiu c, c r nt hn gc rng kt thc.

Bn t mt gc cao hn
iu ny c bn t mt gc cao hn, trn u ca i tng. Cc m hnh u l gn gi hn vi ng knh phng i v v th, trong khi hai chn ca mnh ut hin ngn hn h thc s l - c gi c th khng c nh vy vui mng xem nh ca mnh nh th ny.

Bn sng gc v di tiu c m nhn chn di nht n tng c a ra bi nhng bc nh c th rt khc nhau ty thuc vo gc m chng c chp. S nhn mnh trong mt thay i khung hnh vi cc v tr my nh khc nhau. Nh cp trc y, n l mt thc t l cc i tng gn gi hn vi cc ng knh trng ln hn. Mt shot nhn ung phng i u ca i tng l gn gi hn vi ng knh, trong khi mt "hnh nh phng i cc chn m l gn gi hn vi ng knh. V vy, trc y, i tng ut hin c mt u to, chn ngn, trong khi cc shot sau, chn ca i tng ut hin lu hn. Trong lnh vc chp, tiu c ca ng knh cng cn c a vo ti khon. Hy th chp gc rng cc gc chp khc nhau, v bn s hiu nh th no nh phng i pht trin vi cc ng knh gii thiu cc bin dng thnh mt shot. Ni cch khc, hy th s dng gc rng pha trong khi lm gim gc chp ca bn, nu bn mun c i chn ca m hnh trng mnh mai hn.

Arrange subjects wisely for a group photo

It is fun to take group photos of family and friends. But all too often, people just stand in a line and wait for the photographer to take a snap while they do their ordinary gestures. Actually, group shots don't have to be bland; with some simple steps, they can look very impressive - the secret lies in the arrangement of the subjects.

It is difficult to portray familial joy with the child stuck in between two mountain-tall grown-ups, and it is hard to see the child's facial expression, too. Instead, simply have the adults crouch to the height of the child and their faces closed up: the result is a nice photo of a happy family.
Have adults crouch to the height of children Capture full-body photos in other shots Emphasize the leading subject with careful arrangement

Capture the child's sightline

Having adults crouch to the height of the child helps to capture interesting facial expressions for intimate family shots Children are of greatly different height from adults, and can disappear among standing adults. It is ideal to have all the subjects' faces at the same height, thus adults must crouch to the height of the child so as to keep their faces at the same level and all their facial expressions included in a frame for a perfect group shot. Full-body shots are not necessary; just the upper body will do since their facial expressions are the focus. If you wish to photograph the child in costume, take the child's own portraits aside from the group photos. Don't try to include everything in a single shot; you can

bring greater life to your photography by taking different shots for different purposes.

Line-up arrangement can be really boring

Arrange the distance between child and adults; emphasize the child as the leading subject It is common for people to line up to take a group shot. Although this is a traditional manner of group shot arrangement, it is difficult to distinguish the leading subject in such shots. On memorable occasions like your son's birthday or school ceremony, it is ideal to have your son, the leading subject, to be the focus of the picture. The first thing to do while capturing the shot is to rearrange all your subjects. Position your son in front and a certain distance from the adults, who should back up a little; then it will be easy to tell the leading subject in your shot. In addition, it Position the child to the front; always give prominence to your shots. helps a lot to emphasize a child in a frame when taking the shot by the eye level of the child instead of that of the adults. Set the focus on the child; adults in the background may be blurred a little because of the distance between them and the child - but this is an expected effect when you take a shot with such a effect when using this technique to make the child the leading subject of the picture.

Sp xp cc i tng mt cch khn ngoan cho mt b nh

N l th v chp nh nhm ca gia nh v bn b. Nhng tt c cc qu thng xuyn, mi ngi ch ng mt dng v ch cho cc nhip nh gia c mt snap trong khi h lm nhng c ch thng thng ca h. Trn thc t, nhm nh khng phi l nht nho; vi mt s bc n gin, h c th trng rt n tng - b mt nm trong s sp p ca cc i tng.

Tht kh din t nim vui gia nh vi nhng a tr b mc kt gia hai ngn ni, chiu cao trng thnh, v tht kh nhn thy nt mt ca tr, qu. Thay vo , ch cn c crouch ngi ln vi chiu cao ca tr em v khun mt ca h ng ca tng: kt qu l mt hnh nh tt p ca mt gia nh hnh phc.

C ngi ln crouch n nh cao ca tr em Chp nh ton thn trong cc bc nh khc Nhn mnh ch hng u vi s sp xp cn thn

Bt c con ca sightline

C ngi ln crouch n chiu cao ca tr s gip nm bt cc biu thc th v cho bc nh khun mt thn mt gia nh Tr em c chiu cao rt khc vi ngi ln, v c th bin mt ngi trng thnh thng trc. l l tng c tt c cc 'i tng phi i mt ti cng mt chiu cao, do ngi ln phi ci mnh chiu cao ca tr gi cho khun mt ca h ti cng cp v tt c cc biu hin khun mt trong mt khung cho mt nh hon ho. nh chp ton thn khng cn thit, ch cn phn trn c th s lm t nt mt ca h l tp trung. Nu bn mun chp nh con trong trang phc, chp chn dung ring ca a tr ngoi cc bc nh ca nhm. ng c gng bao gm tt c mi th trong mt tm nh no, bn c th mang li cuc sng tt hn chp nh ca bn bng cch chp khc nhau cho cc mc ch khc nhau.

Line-up sp xp c th c thc s nhm chn

B tr khong cch gia tr em v ngi ln, nhn mnh cc con l nhng ch hng u N c ph bin cho mi ngi p hng c mt shot nhm. Mc d y l mt cch truyn thng ca nhm shot sp p, rt kh phn bit ch hng u trong cc bc nh . Trong nhng dp ng nh nh sinh nht con trai ca bn hoc l trng, l l tng c con trai ca bn, l i tng hng u, c s tp trung ca hnh nh. iu u tin cn lm trong khi chp nh l sp p li tt c cc i tng. V tr con trai ca bn pha trc v khong cch nht nh t nhng ngi ln, ai s tr li ln mt cht, sau n s V tr cc con pha trc, lun lun cao cnh ca bn. c d dng ni vi ch hng u trong shot ca bn. Ngoi ra, n s gip rt nhiu nhn mnh mt a tr trong mt khung khi chp nh chp c cp c mt ca con thay v l ca ngi ln. Thit lp tp trung vo tr em, ngi ln trong nn c th b m mt cht v khong cch gia h v a tr - nhng y l mt hiu ng mong i khi bn c mt bn c hiu lc nh vy khi s dng k thut ny lm cho a tr dn u ca hnh nh.

Include the photographer into the photo

It is fun to review your photos from a memorable trip. However, in most cases there is one person missing in these photos - the photographer rarely shows up in his or her own shots. With a self-timer, the photographer too can share room with the others in a joyful, pleasant picture.

Even if it was an interesting trip, the photos can seem lonely if only one person is pictured. Recording memories means to include everyone in the photos. For this, try shooting with the self-timer and a tripod. For a compact camera, a small tripod that fits in a backpack is sufficient, and very convenient to bring along on trips.

Prepare a tripod suitable for your camera Set the focus with your subject as reference Use various poses to inject life into your pictures

Shooting Steps
Set up the tripod and self-timer

Fix the camera in position with a tripod and prepare to shoot. Switch to self-timer mode and set the focus with the subject as reference. The image could be blurred without focusing on the subject, so recheck your focus. Then activate selftiming by pressing shutter button and run into the framing area.

Most digital cameras today offer multiple self-timer modes. Some even offer different timings or continuous self-timed shots. There's then no need to run, and plenty of shots from which to pick the perfect one.

Use self-timer and a tripod to have fun recording memorable times A tripod is necessary for capturing everyone including the photographer in a single shot. It is quite common to see people prop their cameras on railings because they had forgotten their tripods: this is not recommended, as the camera might drop and get damaged. Once the camera is mounted on a tripod, set up the self-timer. This is a feature which enables the camera shutter to operate automatically. Many cameras even offer choices of different self-timing periods. Set your focus with the subject, press the shutter button and lock the focus, then all the photographer needs to do is to move into the reserved position among the group, and strike a pose - fairly simple, isn't it?

Try various poses for your photos

Don't be shy, try all the poses you know and keep pleasant memories in your photos How often can all our friends gather together to take photos? Stop lining up for boring shots; try to have fun with all kinds of poses in these precious moments. The latest models of the IXUS series offer customizable self-timers that allow users to take continuous shots with self-timer enabled; they are able to snap various poses and expressions in multiple shots. Once the self-timer is set, the rest of the operation is the same as that with a single-shot self-timer. The snapping will automatically proceed, with the shutter operation indicated by the flashing self-timer lamp on the camera. Even if the auto shutter may not capture the perfect moment, it is satisfying nonetheless, since it delivers photos that convey the actual ambience, with everyone in it.

Bao gm cc nhip nh gia vo bc nh

N l th v xem li bc nh ca bn t mt chuyn i ng nh. Tuy nhin, trong nhiu trng hp c mt ngi mt tch trong cc bc nh - nhip nh gia him khi ut hin trong bc nh ca ring mnh. Vi mt chp t ng, cc nhip nh gia cng c th chia s phng vi nhng ngi khc trong mt hnh nh vui v d chu,.

Thm ch nu l mt chuyn i th v, nhng bc nh c th c v c n, nu ngi ch c mt hnh. Ghi nh c ngha l bao gm tt c mi ngi trong cc bc nh. i vi iu ny, hy th chp vi ch chp t v chn. i vi mt my nh nh gn, mt chn nh ph hp vi mt trong ba l l , v rt thun tin mang theo trong nhng chuyn i.

Chun b mt chn thch hp cho cc my nh ca bn t trng tm vi ch ca bn tham kho S dng t th khc nhau a cuc sng vo hnh nh ca bn

Bn sng bc
Thit lp cc sn v hn gi

Sa cha my nh v tr vi gi ba chn v chun b bn. Chuyn sang ch chp t ng v thit lp tp trung vi cc ch nh tham kho. Cc hnh nh c th b m m khng tp trung vo ch ny, do , kim tra li tp trung ca bn.Sau kch hot t thi gian bng cch nhn nt chp v chy vo khu vc khung.

Hu ht cc my nh k thut s ngy nay cung cp nhiu ch hn gi. Mt s thm ch cung cp cc nh thi khc nhau hoc lin tc t hn gi chp. C th khng cn phi chy, v rt nhiu bc nh m t la chn hon ho nht.

S dng hn gi v gi ba chn vui chi ghi thi gian ng nh chn my l cn thit chp tt c mi ngi bao gm cc nhip nh gia trong mt shot duy nht. N l kh ph bin xem ngi dn chng my nh ca h trn lan can, v h qun mt gi ba chn ca h: iu ny khng c khuyn co, nh l my nh c th c th v b h hng. Mt khi camera c gn trn mt chn my, thit lp ch chp t. y l mt tnh nng cho php ngi chp my nh hot ng t ng. Nhiu my nh thm ch cung cp nhng la chn khc nhau thi gian t thi gian.t trng tm ca bn vi ch ny, nhn nt mn trp v cc kha tp trung, sau tt c cc nhip nh gia cn phi lm l di chuyn vo v tr dnh ring gia cc nhm, v cuc nh cng gy ra - kh n gin, phi khng?

Hy th t ra cho cc bc nh ca bn

ng ngi, hy th tt c cc t th m bn bit v gi nhng k nim th v trong bc nh ca bn Thng xuyn tt c cc bn b ca chng ti c th tp hp li vi nhau chp nh?Stop p cho nhng bc nh nhm chn, hy th vui chi vi tt c cc loi t ra trong nhng khonh khc qu gi. Cc m hnh mi nht ca IXUS cung cp hng lot ty chnh gi t cho php ngi dng chp nh lin tc vi chp t ng kch hot, h c th chp khc nhau gy ra v th hin trong nhiu bc nh. Khi chp t ng c t, phn cn li ca hot ng ging nh l vi mt b m thi gian duy nht-shot t.C c chp t ng s tip tc, vi nhng hot ng mn trp ch bo bng n hn gi nhp nhy trn my nh. Ngay c khi chp t ng c th khng nm bt c thi im hon ho, n c p ng d sao, v n cung cp cc bc nh m truyn t li khng kh thc t, vi tt c mi ngi trong .

Snap children in motion with pre-focus

All parents wish to snap shots of their energetic children. But sports photography requires special techniques; snapping shots in ordinary manner is not enough to achieve a good sports photo. The following is the introduction to a simple technique of sports photography.

Subjects in motion can be tricky. When shot in an ordinary manner, the first shot lacks tension and boy appears to be toying with the ball. In the second shot, pre-focus was used to capture the desired moment. For even greater impact, it was taken at a low angle. You can take several trial shots in this method till you get the results desired.

Utilize the AF-lock function Keep shutter button half-pressed The key is to keep your subject in sight when pressing down shutter button

Shooting Steps
Switch to continuous mode Lock focus on the ball

Continuous mode allows the user to continuously capture images by holding down the shutter button. Football is a fast moving sport; even with a child, the kicking of a football can happen in a mere split-second. Check that the memory card in the camera has ample capacity for continuous shooting.

Half-press the shutter button with the AF frame completely overlapping on the ball; the focus is locked when the AF frame turns green. AF lock is commonly used in sports and portrait photography. Make sure the focus is set and locked on the ball.

Refine your composition

Continuous shooting

Refine your composition by moving the camera gently while keeping the shutter button half-pressed, and reserve room in the frame for the football player - this may seem a bit difficult at first, but you will get adept at it after adequate practice. If the shutter button is released during this stage, return to STEP 2 and re-focus to ensure image sharpness.

Hold the camera steady and prepare to snap away. Observe the boy when he runs towards the ball, and start snapping shots at the right moment. During this process, it is recommended to observe the boy's movement with your eyes instead of the camera's LCD, which provides lagged views of real-life movements - your eyes are more reliable.

Snap tr em trong chuyn ng vi trng tm trc

Tt c cc bc cha m mun bc nh chp cc con trn y nng lng ca h. Tuy nhin, nhip nh th thao i hi k thut c bit; chp nh bng cch thng thng l khng t c mt hnh nh th thao tt. Sau y l phn gii thiu mt k thut n gin ca mn th thao nhip nh.

i tng trong chuyn ng c th c kho lo. Khi bn mt cch bnh thng, cc shot u tin cu b thiu cng thng v dng nh l th chi vi qu bng. Trong bn th hai, trc khi tp trung, c s dng nm bt nhng thi im mong mun. i vi cc tc ng cn ln hn, n c thc hin mt gc thp. Bn c th chp mt vi th nghim phng php ny cho n khi bn c c kt qu mong mun.

S dng chc nng AF-lock Gi nt chp na-p Cc chnh l gi cho ch ca bn trong tm nhn khi nhn nt chp xung

Bn sng bc
Chuyn sang ch lin tc Kha tp trung vo tri bng

Ch lin tc cho php ngi dng chp nh lin tc bng cch gi nt chp. Bng l mt mn th thao di chuyn nhanh, thm ch vi mt a tr, cc ca bng c th y ra trong vi phn giy ch. Kim tra xem th nh trong my nh c kh nng phong ph chp lin tc.

Half-bm nt chp vi khung AF hon ton trng nhau v bng; tp trung b kha khi khung AF mu xanh l cy. AF kha thng c s dng trong th thao v nhip nh chn dung. Hy chc chn rng trng tm l thit lp v b kha vo bng.

Tinh chnh thnh phn ca bn

Chp lin tc

Tinh chnh thnh phn ca bn bng cch di chuyn my nh nh nhng trong khi vn gi nt chp na p, v phng d tr trong khung cho cc cu th bng - iu ny c v hi kh khn lc u, nhng bn s nhn c chuyn nghip sau khi thc hnh y . Nu nt chp c pht hnh trong giai on ny, tr li Bc 2 v tp trung li m bo sc nt, hnh nh.

Gi n nh v chun b my nh chp xa. Quan st cc cu b khi ng chy theo hng bng, v bt u chp bc nh ti thi im ng. Trong qu trnh ny, c gii thiu quan st chuyn ng ca cu b vi i mt ca bn thay v mn hnh LCD ca my nh, cung cp quan im tt ca cc phong tro thc t - i mt ca bn l ng tin cy hn.

Be innovative when photographing children

Photographing children can be challenging. Children can get bored with doing the same things repeatedly; they might also be bashful. Therefore, when photographing children, the originality of the photographer is more important than photographic techniques. Try interesting postures and make the shooting process a game-like experience.

Does your child make the same poses in all his photos? That's boring. Interesting photos can be shot with the help of surrounding objects like the way the tree was used in the shot above that captured the angel-like look on the boy's face. Don't make the child feel bored, try different shots with various toys and objects.

It is convenient to use Face Detect AF Bring along some toys for the shoot Don't repeat the same requests on children

Put in effort, shoot at various angles

Snap a child's serious look Have variation in posture

When encountering something new, children tend to forget that there is a camera; here, even a playful boy has such a serious look on his face. To capture natural-looking shots, try to keep a distance and use telephoto side.

Avoid having the child stand in every photo. Here, having him sit on the ball conveyed a sense of maturity. Snapping kids with their new toys keeps them from getting bored; use Face Detection AF to capture the child's face as the priority.

Try interesting perspectives

Let kids lie on the lawn

This is one way to exploit perspective: using wide-angle end to magnify the lollipop in front of the lens. The boy thought it was a game, thus the interesting expression on his face; leaning the shot added a sense of momentum.

It is not necessary to have a child stand all the time during outdoor shoots. Occasionally, let them lie on the lawn; this helps to pacify even the naughtier ones for a while; the key to such shots is to finish shooting as soon as possible

Hy sng to khi chp nh tr em

Chp nh tr em c th c th thch. Tr em c th nhn c chn vi lm nhng iu tng t lp i lp li, h cng c th rt r. V vy, khi chp nh tr em, c o ca cc nhip nh gia l quan trng hn k thut chp nh. Hy th t th th v v lm cho qu trnh chp mt kinh nghim ging nh tr chi.

Con ca bn lm cng t ra trong tt c cc hnh nh ca mnh? l nhm chn. Hnh nh th v c th c bn vi s gip ca cc i tng xung quanh nh cch cy c s dng trong cc shot trn chim c xem nh thin thn trn khun mt ca cu b.ng lm cho con cm thy bun chn, hy th chp khc nhau vi cc chi khc nhau v cc i tng.

l thun li s dng d tm khun mt AF Mang theo mt s chi cho bn Khng lp li cc yu cu tng t trn tr em

N lc, bn gc khc nhau

Snap l mt a tr nhn nghim trng C s khc bit trong t th

Khi gp mt ci g mi, tr em c xu hng qun rng c mt my nh; y, ngay c mt cu b vui ti nh mt ci nhn nghim trng trn khun mt. chp bc nh trng t nhin, c gng gi khong cch v s dng ph tele.

Trnh ng a tr trong mi tm nh. y, c anh ngi trn qu bng chuyn ti mt cm gic trng thnh. Chp tr em vi nhng chi mi ca h gi cho chng khi b chn; s dng nhn din khun mt AF chp khun mt ca a tr l u tin.

Hy th quan im th v

Hy tr em nm trn bi c

y l mt cch khai thc quan im: s dng gc rng kt thc phng i cc lollipop trc ng knh. Cu b ngh rng n l mt tr chi, do cc biu hin th v trn khun mt ca mnh; nghing bn thm mt cm gic .

N khng phi l cn thit c mt a con ng tt c thi gian trong qu trnh chp ngoi tri. Thnh thong, hy chng nm trn bi c, iu ny gip bnh nh, ngay c nhng ngi naughtier trong mt thi; cha kha cc mi chch nga nh vy l kt thc chp cng sm cng tt.

Make your pet look cuter in photos

We all like to take along photos of our pets and show them off to friends. But pets can be incredibly difficult to photograph, nd poorly taken photos can even make your pet look less charming. Especially for small pets, you need to find the right shooting angle.

The cute expression on a pet's face can hardly be captured from our height; it is a fundamental requirement to photograph at the pet's eye level. Moreover, the best pet photos convey a sense of affection; it is a must to have such affection when taking photos of your pet.
Photograph at the same level as the pet's eyes It is a must to prepare the pet's favourite snacks or toys If possible, use only natural ambient lighting instead of flash

Crouch or lie prone: place your camera at the same height as your pet's eye level
Try using benches at the park; but remember your pet may jump off the bench at any time Small pets are much shorter even when standing. It is hard to take cute photos with the photographer shooting from his own height. For a good pet photo, it is necessary to lower the camera to the pet's eye level. On the other hand, you may try shooting with the pet raised on a bench at a park. But be mindful that the pet may jump off and run around. You can also consider changing audio feedbacks (e.g. shutter sound) on the camera to attract the pet.

Put on clothes that are easy to clean, in case you have to lie on the ground to shoot. A large pet is easier to shoot with the camera at a higher level. It is preferred to have two persons team up for pet photos, one to distract the pet with food or toys while the other shoots.

Be mindful of the flash when photographing pets

Flash On

Flash Off

The eyes were closing due to dazzling flash light; the entire image has excessive contrast and fails to deliver the tenderness of the puppy- not cute at all. Flash makes your pet look scary; try shooting with natural lighting

Shot with natural ambient light coming from the window; lighting was soft and thus the puppy stayed quiet; and soft lighting reflects the touch of the puppy's smooth fur - a good photo to share.

Pet photos are not only taken outdoors; in many cases, they are taken indoors. But the lighting in the scene may turn out inadequate even when the room looks bright enough, in which case the flash may be automatically activated - but flash is not ideal for pet photos. The soft feel of a pet's fur may be lost when it is lit with flash light, and the "green-eye" phenomenon, similar to red-eyes in portrait shooting, may arise. Red-eye correction mode may help a bit, but it is not necessarily efficient in solving this green-eye issue. All said, it is suggested to take pet photos with natural ambient lighting; it is preferred to shoot near a bright window when the photo is taken indoors - the cuteness of the pet can be faithfully captured when you take advantage of bright light from the window wisely.

Hy nhn d thng hn con vt cng ca bn trong bc nh

Chng ta u mun mang theo nh ca cc vt nui ca chng ti v hin th chng cho bn b. Tuy nhin, vt nui c th c v cng kh khn chp nh, v chp nh km thm ch c th lm cho con vt cng ca bn trng quyn r hn. c bit l cho vt nui nh, bn cn phi tm ra gc chp phi.

Cc biu hin trn khun mt d thng ca mt con vt cng kh c th c chp t trn cao ca chng ti, l mt yu cu c bn chp nh trong tm mt ca vt nui. Hn na, cc bc nh vt nui tt nht truyn t mt thc v tnh cm, l mt phi c tnh cm nh vy khi chp nh ca con vt cng ca bn.

nh cng cp nh i mt ca vt nui l mt phi chun b n nh hoc chi yu thch ca con vt cng Nu c th, ch s dng nh sng xung quanh t nhin thay v n flash

Crouch hoc nm nghing: t my nh ca bn mc cao nh mt con vt cng ca bn

Hy th s dng bng gh cng vin, nhng hy nh con vt cng ca bn c th nhy ra khi gh bt c lc no vt nui nh l ngn hn nhiu ngay c khi ng. Tht kh c hnh nh d thng vi cc nhip nh gia chp t trn cao ca mnh. i vi mt hnh nh vt nui tt, n l cn thit h thp my nh tm mt ca vt nui. Mt khc, bn c th th chp hnh vi cc vt nui ln ln trn gh di cng vin. Nhng hy nh rng cc vt nui c th nhy ra v chy xung quanh. Bn cng c th xem xt vic thay i phn hi m thanh (v d nh m thanh shutter) trn my nh thu ht cc vt nui.

Mc qun o c d dng lm sch, trong trng hp bn phi nm trn mt t bn. Mt vt nui ln c d dng hn chp vi my nh mc cao hn. N c a thch c hai ngi i ln cho hnh nh vt nui, mt nh lc hng cc vt nui vi thc n hoc chi trong khi cc khc bn.

Quan tm ca flash khi chp nh vt nui Flash Trn Flash Off

i mt l ng ca do nh sng n flash chi; ton b hnh nh c tng phn qu mc v khng giao du dng, con ch con ca khng d thng cht no. Flash lm nn nhng con vt cng ca bn ng s, hy th chp vi nh sng t nhin

Shot vi nh sng xung quanh t nhin t ca s, nh sng c mm mi v do cc con ch con li yn tnh v mm nh sng phn nh cc lin lc ca b lng mt ca con ch con - mt hnh nh tt chia s.

Hnh nh Pet khng ch thc hin ngoi tri, trong nhiu trng hp, chng c ly trong nh. Nhng nh sng trong cnh c th bt ra khng y , ngay c khi cn phng v ti sng , trong trng hp n flash c th c t ng kch hot - nhng flash khng phi l l tng cho hnh nh vt nui. Cc cm thy mm mi ca lng ca th nui c th b mt khi n c thp sng bng nh sng n flash, v "mt xanh" hin tng, tng t nh mt trong chp chn dung, c th pht sinh. Sa cha mt ch c th gip mt cht, nhng n khng nht thit phi c hiu qu trong vic gii quyt vn ny mt mu xanh l cy. Tt c cho bit, ngh chp nh vt nui vi nh sng xung quanh t nhin, n c a thch bn gn mt ca s sng khi nh c chp trong nh - nhng tinh ca vt nui c th c trung thnh bt khi bn tn dng li th ca nh sng t ca s mt cch khn ngoan.

Add more flavour to your food photos

Delicacies are often photographed as memorable moments on holiday trips. But all too often, such photos turn out dull. The secret to making food photos look great lies in lighting and shooting angle; a bold composition is of great importance as well.

When a delicious dish looks dull in the picture, it was most likely taken with flash and the photographer standing. The secret of food photography is that it must be taken with natural lighting and at a low angle. The camera should be close enough to the dish to distinguish each element in the food. These simple pointers can alter the entire image into an impressive shot.

Sit at a brightly-lit position Do not use flash even when lighting is low Hold the camera as close to the dish as possible

Macro mode and low shooting angle are the fundamentals of food photography!

Example 1: Fried rice

Remember shooting angle and composition. The sense of the food will be lost if you try to include everything into a frame; keep the camera at the same eye level at which you enjoy the food, and get as close to the dish as possible.

Example 2: Rice dumpling

This was shot at a very low angle to present the special shape of a rice dumpling. No flash was used; light from a window lent the photo a sense of three-dimensionality.

Sit at a position where it is easier to shoot It is a must for food photography that flash is never used. This is because flash lights the subject from the front, resulting in dull-looking shots which do not convey the sense of the dish. Instead, shoot with sunlight from nearby windows, or with fluorescent lights, ideally at where the dish is slightly backlit. Therefore, when taking pictures of delicacies, first find seats near windows or bright lights, and then capture the shots with pointers as described above. Should the dish be excessively shadowed due to the backlighting, try making a temporary reflector with sheets of white napkin and reflect adequate lighting upon your dishes for beautiful, inviting pictures

Thm nhiu hng v cho cc bc nh thc phm ca bn

Mn ngon thng chp nh l khonh khc ng nh trong nhng chuyn i ngh. Nhng tt c cc qu thng xuyn, hnh nh ra bun t. B quyt lm cho hnh nh thc phm nm nhn tuyt vi trong nh sng v gc chp, mt thnh phn in m l quan trng nh l tt.

Khi mt mn n ngon trng n trong hnh, n c rt c th chp vi n flash v ng cc nhip nh gia. B mt ca nhip nh thc phm l n phi c thc hin vi nh sng t nhin v mt gc thp. Cc my nh nn c ng cc mn n phn bit tng yu t trong thc phm. Nhng gi n gin c th lm thay i ton b hnh nh vo mt nh n tng.

Ngi v tr rc r nh sng Khng s dng n flash ngay c khi nh sng thp Gi my nh cng gn vi cc mn n cng tt

Macro ch v gc chp thp l nhng nguyn tc c bn ca nhip nh thc phm!

V d 1: Cm chin
Hy nh gc chp v thnh phn. Cc ngha ca thc phm s b mt nu bn c gng bao gm tt c mi th vo mt khung; gi my nh cp mt cng lc m bn thng thc cc mn n, v nhn c cng gn vi cc mn n cng tt.

V d 2: go bnh bao
iu ny c quay mt gc rt thp trnh by hnh dng c bit ca mt bnh bao go. flash khng c s dng; nh sng t mt ca s cho mn hnh nh mt cm gic ba chiu.

Ngi v tr mt ni n c d dng hn bn l phi cho chp nh thc phm m khng bao gi s dng flash. iu ny l do n flash i tng t pha trc, kt qu chp m nhn khng chuyn ti c ngha ca mn n. Thay vo , chp vi nh sng mt tri t ca s gn , hoc vi n hunh quang, l tng ti ni mn n hi backlit. V vy, khi chp nh ca mn ngon, u tin tm thy ch ngi gn ca s hoc nh sng, v sau nm bt cc ln chp vi con tr nh m t trn. Nu cc mn n c qu mc ti do n nn, hy th lm mt phn tm thi vi tm khn trng v phn nh y nh sng khi cc mn n ca bn cho p, hnh nh mi.

Master the grid lines: Landscape view

It is difficult to keep the frame levelled when shooting oddly-shaped subjects, and even if care is taken, you might only realise after the shot was taken, that the frame was not levelled. The remedy is to use a grid display, a feature present in almost all compact digital cameras.

It is difficult to judge frame levelness, especially where subjects have complex shapes, as shown above. In this case, turn on the grid display and level the frame by overlapping the reference horizontal line with the grid on the LCD. Grids are also useful for buildings shots and landscapes.
Find a horizontal line in the frame Or find a vertical line in the frame when there is no horizontal line in the scene Use multiple lines as reference in case lines in the frame are too short

Be flexible in using grids to achieve a perfectly levelled frame

Levelled shots are possible even when subjects are of irregular shape In the above case, the subjects are cone-shaped chimneys, and there is no horizontal line in the frame - just a typical example of when it is very difficult to achieve a perfectly levelled shot. Simply turn on the grid display: while no horizontal line can be found in the frame, the pillars in the centre are perfectly vertical and can be used as reference against the vertical grid lines to correct the inclination of the entire frame. Using the camera's grid display, any slight inclination of the frame can soon be corrected; this is one of the most important techniques in building/structure photography.

Grids also improve indoor shooting

Use multiple lines as reference if lines in the frame are too short Most indoor shooting is done at wide-angle, where the camera lens returns a distorted perspective of the subject. This creates difficulties in frame levelling, which can be remedied by using the grid display. In the above example, oblique lines predominate; the top and bottom sides of the painting frames cannot provide correct horizontal reference. Hence, the frame was levelled with reference to the vertical sides of both painting and window frames. Both are used because individually they might be too short and hard to see as reference lines. To sum up, using multiple horizontal/vertical lines helps to ensure the frame level more precisely

Thc s li ng: Cnh xem

Tht kh gi cho khung san bng khi chp hnh tng k l, v ngay c khi chm sc c thc hin, bn ch c th nhn ra sau khi bc nh c chp, l khung khng san lp. bin php khc phc l s dng mt mn li, mt tnh nng hin nay hu ht cc my nh k thut s nh gn.

Tht kh levelness khung thm phn, c bit l ni cc i tng c hnh dng phc tp, nh trn. Trong trng hp ny, ln lt trn mn hnh li in v mc khung hnh ca chng cho dng tham chiu ngang vi cc mng li trn mn hnh LCD. Li cng hu ch cho cc cng trnh bc nh v cnh quan.

Tm mt ng ngang trong khung Hoc tm mt ng thng ng trong khung khi khng c ng ngang trong cnh S dng nhiu dng tham kho ti ng trng hp trong khung qu ngn

Hy linh hot trong vic s dng li in t c mt khung hon ho san lp

nh Levelled l c th ngay c khi i tng c hnh dng khng u Trong trng hp trn, cc i tng l ng khi hnh nn, v khng c ng ngang trong khung - ch l mt v d in hnh khi n l rt kh khn t c mt c st hon ho san lp. n gin ch cn bt mn hnh hin th li: trong khi khng c ng ngang c th c tm thy trong khung, nhng tr ct trung tm l hon ton thng ng v c th c s dng lm ti liu tham kho i vi cc ng li dc sa cc xu hng ca ton b khung. S dng mn hnh hin th li in ca my nh, bt k nghing nh ca khung sm c th c sa cha, y l mt trong nhng k thut quan trng nht trong nhip nh kin trc /.

Li in cng ci thin chp trong nh

S dng nhiu dng tham kho nu dng trong khung qu ngn Hu ht chp trong nh c thc hin gc rng, ni m cc ng knh my nh v mt quan im xuyn tc ca i tng. iu ny to ra kh khn trong vic san lp mt bng khung hnh, c th c khc phc bng cch s dng mn hnh hin th li. Trong v d trn, ng xin chim u th, cc bn trn v di ca cc khung tranh khng th cung cp ng tham chiu ngang. Do , khung hnh c san bng c s tham kho cc bn theo chiu dc ca c hai khung tranh v ca s. C hai u c s dng bi v c nhn h c th l qu ngn v kh nhn thy l cc ng tham kho. Tng hp, s dng nhiu theo chiu ngang / dc ng gip m bo mc khung hnh chnh xc hn.

Master the grid lines: Portr it view

Improperly levelled photos taken in portrait view lack poise and stature. Even when you have paid extra attention to the frame level, a little inclination is all it takes to ruin that vertical impression. The grid display not only helps to correct inclination, but is also a great aid in composition.

For subjects composed of straight lines, the frame must be kept perfectly levelled. Any bit of inclination will ruin a shot; perfect levelling exudes true ambience and results in an impressive photo. It is fundamental to photography to keep your frame perfectly levelled when the shot is not intentionally required to be inclined.

Perfectly represent the shape of the subject Keep the frame precisely horizontal and vertical Flexibly use the grids to arrange your composition

Keep your frame precisely horizontal/vertical before shooting

Grids also help to ensure the camera is parallel to the subject With subjects composed of horizontal and vertical lines, perfect levelling is a must. The grid display helps; but in many cases, the grids and the subject's lines cannot overlap due to the composition, as shown above. Here, it is suggested to mount the camera on a tripod and then check its levelling along both horizontal and vertical lines. If it fails to be levelled, it means that the camera is not parallel to the subject. You should then step further away and visually check that the camera, on its four sides, is parallel to the subject.

Try using grids to compose portraits

Firstly place the subject in frame centre and confirm the frame verticality - also the camera level when the camera is parallel to the wall lock the auto focus on the subject and hold it when turning the camera sideways to adjust composition. Then recheck the inclination of the camera against the grid display. Finally, press down shutter button to capture the shot. Flexible arrangement of space makes a better-looking shot Flexibility in using grids ensures the horizon is level and vertical angle is complementary. The camera's grid feature is also effective in composition as a reference to achieve visual balance among objects in the frame. As seen in the shots above, a little more room on the left of the subject was more easily added with the help of the grid display. A better composition was easily achieved through wise management of space.

Thc s li ng: Chn dung xem

Khng ng san bng bc nh chp trong bc chn dung thiu nh c xem v tm vc. Ngay c khi bn quan tm b sung cho cc cp khung hnh, mt khuynh hng t c tt c phi mt lm hng m n tng dc. Mn hnh li khng ch gip cho chnh xc nghing, nhng cng l mt tr gip ln trong thnh phn.

i vi cc i tng bao gm cc ng thng, khung phi c gi hon ton san lp.Bt k bit ca xu hng ny s lm hng mt shot; exudes san lp mt bng hon ho ng khng kh v kt qu trong mt hnh nh n tng. N l c bn chp nh gi khung hnh ca bn hon ton san bng khi bn khng phi l c bt buc phi c nghing.

Tuyt i din cho hnh dng ca i tng Gi cc khung chnh xc theo chiu ngang v chiu dc linh hot s dng li in sp xp b cc ca bn

Gi khung hnh ca bn mt cch chnh xc theo chiu ngang / dc trc khi chp

Li cng gip m bo my nh song song vi cc ch Vi i tng bao gm cc ng ngang v dc, san lp mt bng hon ho phi l mt. Mn hnh hin th li gip, nhng trong nhiu trng hp, cc li in v ng dy ca i tng khng th trng do thnh phn, nh c hin th trn. y, n c ngh gn my nh trn gi ba chn v sau kim tra ca n dc theo hai ng ngang v thng ng. Nu n khng c san bng, c ngha l my nh l khng song song vi ch . Sau , bn nn bc xa hn v trc quan kim tra xem my nh, trn bn mt ca n, song song vi ch .

Hy th s dng li sng tc nh chn dung

Th nht ni i tng trung tm khung hnh v xc nhn verticality khung - cng cp my nh khi my nh l song song vi tng kha t ng tp trung v ti ny v gi n khi chuyn my nh sang mt bn iu chnh thnh phn. Sau kim tra li nghing ca my nh vi mn hnh hin th li. Cui cng, nhn nt chp chp nh. Linh hot sp xp khng gian lm cho mt shot tt hn tm kim Tnh linh hot trong vic s dng li in m bo c mc chn tri v dc gc c b sung. tnh nng li in ca my nh cng c hiu qu trong thnh phn nh l mt ti liu tham kho t c s cn bng th gic gia cc i tng trong khung hnh. Nh thy trong cc bc nh trn, mt cn phng nh hn bn tri ca ch th c d dng hn cng vi s gip ca cc hin th li. Mt thnh phn tt hn l d dng t c thng qua qun l khn ngoan ca khng gian.

Lighting and perfect portraits

It is the dream of most photographers to achieve perfect, beautiful portraits. The process of capturing the subject's essence rarely changes, o mater if the subject is an adult or a child. Portrait photography encompasses many techniques. This section discuss the most important aspect - lighting.

In the first shot, the subject was facing the sun, resulting in shadows beneath her nose and neck. Switching position with the camera eliminated the shadows while achieving proper exposure. Moreover, a reflector was used to improve the subject's skin and hair, and her expression has softened. The overall effect is completely different from the first shot.

beneath nose and neck Sometimes backlighting is better than frontlighting Highlight the eyes with reflection boards

Remember the characteristics of light

Frontlight - Heavy shadows, not suitable for portraits

Here is an example of a subject lit from the centre. The shot was taken in a rather traditional manner; but for a portrait, due to high contrast in the picture, such a method is not suitable. The example scene was brightly lit up from the front at the centre, resulting in shadows beneath the subject's nose and around her neck; and her eyes were slightly squinted because she was facing bright sunshine. Note that some lighting conditions on a sunny day may result in dull-looking portraits.

Backlight - Eyes wide open and facial expression more natural

Positions have been switched in this shot, and the subject is now lighted from the back, a condition known as "backlighting". A characteristic of this lighting condition is that no heavy shadow appears on the subject. Moreover, the subject has no need to squint, so her eyes and facial expression also look more natural - a suitable lighting condition for portraits. In these shots auto exposure is on the basis of the bright background; increase the exposure compensation values if the scene looks a bit dark.

Backlight + reflector - Professional lighting control

The advantages of backlighting and front-lighting can be integrated into a portrait shot with a reflector placed between the camera and the backlit subject. With such an arrangement, the portrait can be refined considerably. Soft light from the reflector highlights the subject's eyes and light up her skin colour in a very flattering manner; this is a professional technique of lighting control commonly used in portrait photography.

nh sng v chn dung hon ho

y l c m ca hu ht cc nhip nh gia t c hon ho, chn dung p. Qu trnh thu gi bn cht ca i tng him khi thay i, mater khng nu ch l mt ngi ln hoc tr em. Chn dung bao gm nhiu k thut nhip nh. Phn ny tho lun v cc kha cnh quan trng nht - nh sng.

Trong bn u tin, ch th l phi i mt vi nh nng mt tri, dn bng bn di mi v c ca c. Chuyn i v tr vi my nh loi b bng ti cn t c tip xc thch hp. Hn na, phn c s dng ci thin ln da ca ch th v tc, v biu hin ca c lm mm. Hiu qu tng th l hon ton khc nhau t shot u tin.

di mi v c i khi n nn l tt hn so frontlighting nh du mt vi Ban phn nh

Hy nh rng cc c tnh ca nh sng

Frontlight - Heavy bng, khng thch hp cho chn dung

Di y l mt v d v mt ch sng t trung tm. shot ny c thc hin mt cch kh truyn thng, nhng i vi mt chn dung, do tng phn cao trong nh, nh mt phng php khng thch hp. Cc v d c cnh sng sng ln t pha trc ti trung tm, kt qu bng bn di mi ca i tng v xung quanh c ca c, v i mt hi squinted bi v c y phi i mt vi nh nng mt tri ti sng. Lu rng mt s iu kin nh sng vo mt ngy nng c th dn n bc chn dung nhn m.

n nn - Mt m rng v khun mt biu hin t nhin hn

V tr c chuyn vo bn ny, v ch l by gi thp sng t pha sau, mt tnh trng c gi l "n". Mt c trng ca iu kin nh sng ny l khng c bng ln ut hin trn ch . Hn na, ch khng cn phi nheo mt, do , mt v nt mt biu hin cng trng t nhin hn - mt iu kin nh sng thch hp cho bc chn dung. Trong nhng bc nh t ng tip xc l trn c s nn sng, tng gi tr b sng nu cnh trng ti bit.

n nn + phn x - Kim sot nh sng chuyn nghip

Nhng li th c nhiu nh sng v chiu sng pha trc, c th c tch hp vo mt nh chn dung vi mt phn t gia my nh v ch backlit. Vi s sp p nh vy, bc chn dung c th c tinh ch ng k. Soft phn nh sng t nhng im ni bt i mt ca i tng v nh sng ln mu da ca mnh mt cch rt hnh din, y l mt k thut chuyn nghip ca iu khin nh sng thng c s dng trong nhip nh chn dung.

Taking environmental portraits

Portraits are more than close-ups of the subject's upper body. There are various photography techniques to wisely arrange scene environment; a full-body shot is also a commonly used technique. Free your photos from regular composition and challenge the art of photography.

When at an interesting place, the all-so-similar upper body close-ups are no longer needed. Apart from expressions, the setting is also important in portrait photography. Here, the full-body subject in a wide, open space and some surrounding objects compose a brilliant shot.

Special locations are more interesting than regular ones Enjoy the fun of free space arrangement Capture the right expression with ambience at the location

Shooting steps
Choose a location Place model in the frame

Wide, open space along with used machinery deliver a lifeless quietness in the picture. While portraits are frequently shot at beautiful locations, such a scene in a factory affords the opportunity for unique-looking photos; fashion magazines often use such locations to deliver the emphasis on a beautiful subject - the model.

When positioning the model, be mindful of lighting and the direction she should face - light is coming from large windows on the left, so she should face the windows to prevent her face from being shadowed. A sweet smile may not be suitable here; the shot should be taken with a slight sense of loneliness on the model's face to fit the setting.

Embellish the background

Done!

An interesting enough photo can be captured solely with the model standing in the scene - but why not experiment with something even more unexpected? Some easels were found lying about in the factory; we can try to incorporate these into the background. After some trial and error, several easels were arranged in a line behind the model. Portraits are more than mere upper body close-ups

Place the easels in the background and have the model included in the frame again - an incredible image is there to be captured, which will surely result in an impressive photo. To sum up, it is a photographer's call to take portraits as his creativity dictates; one need not be limited by regular techniques or locations to shoot good portraits.

Many people mistakenly limit the definition of portraits to solely upper body photos. Indeed, an upper body shot better presents the subject's facial

expression; however, the expressions in these close-ups rarely vary. Why not change a shooting location and try something different? For this, a unique location to achieve a clear, interesting contrast between subject and environment is preferred. Besides, space with multiple objects is much more inspiring and equates to greater freedom in composition. Such freedom may be a bit difficult to grasp at first, but one can always use photos in fashion magazines as reference; try varying your shots and you will find something new.

i chn dung v mi trng

18

Gng in hnh hn cn cnh ca c th trn ca ch . C nhng k thut nhip nh khc nhau sp p mt cch khn ngoan mi trng cnh; mt shot ton thn cng l mt k thut thng c s dng. hnh nh min ph ca bn t cc thnh phn thng xuyn v thch thc ngh thut nhip nh.

Khi mt ni th v, trong tt c--tng t trn c th cn cnh khng cn cn thit. Ngoi cc biu thc, ci t cng rt quan trng trong nhip nh chn dung. y, cc i tng ton thn trong mt khng gian rng m, v mt s i tng xung quanh son bn rc r.

v tr c bit c nhiu th v hn nhng ngi thng xuyn Hy tn hng nhng nim vui ca s sp xp khng gian trng Bt c biu hin ngay vi mi trng ti a im

Bn sng bc
Chn mt v tr t m hnh trong khung

Rng, khng gian m cng vi my mc thit b s dng cung cp mt s tnh lng v hn trong hnh. Trong khi bc chn dung c thng xuyn bn vo cc v tr p, nh mt cnh trong mt nh my dnh c hi cho cc bc nh c o, tm kim, tp ch thi trang thng s dng a im cung cp s tp trung vo mt ch p - m hnh.

Khi v tr cc m hnh, hy ch ca nh sng v ch o ca c y nn khun mt - nh sng c pht ra t ca s ln bn tri, v vy c phi i mt vi nhng ca s trnh mt c khng b m. Mt n ci ngt ngo c th khng thch hp y, bn phi c thc hin vi mt cm gic nh ca s c n trn khun mt ca m hnh ph hp vi cc thit lp.

Tn to nn

Xong!

Mt hnh nh th v c th c chp ch vi m hnh ng trong cnh - nhng ti sao khng th nghim vi mt ci g bt ng hn na? Mt s gi v c tm thy nm v trong nh my, chng ti c th c gng kt hp cc thnh nn. Sau mt s th v sai, mt s gi v c sp p theo mt ng pha sau m hnh. Gng in hnh l nhiu hn ch l trn c th cn cnh

t gi v trong nn v c cc m hnh trong khung hnh mt ln na mt hnh nh ng kinh ngc l c c bt, m chc chn s gy ra mt hnh nh n tng. Tng hp, n l mt nhip nh gia gi c bc chn dung nh l mnh lnh sng to ca mnh, mt khng cn phi c gii hn bi cc k thut thng xuyn hoc a im chp chn dung tt.

Nhiu ngi nhm ln gii hn nh ngha ca bc chn dung cho cc bc nh ch duy nht trn c th. Tht vy, mt thn trn bn tt hn hin nt mt ca i tng, tuy nhin, cc t ng trong nhng cn cnh him khi thay i. Ti sao khng thay i mt v tr chp nh v th mt ci g khc nhau? i vi iu ny, mt v tr duy nht t c mt s tng phn r rng, th v gia ch th v mi trng c u tin. Bn cnh , khng gian vi nhiu i tng hn nhiu cm hng v tng ng vi t do hn trong thnh phn. Nh vy t do c th l mt cht kh khn nm bt lc u, nhng ngi ta c th s dng hnh nh trn cc tp ch thi trang nh ti liu tham kho, th thay i nh ca bn v bn s tm thy mt ci g mi.

High key and low key photography

"High key" and "low key" means the photographer intentionally brightens or darkens the photo, respectively, to achieve unique visual effects. They are used when it is required to alter the mood of a photo with "improper" exposure. Proper exposure is not the only way to achieve good photos.

High key

The example here is a high key photo taken with +1 exposure compensation; notice that the model's face profile remains clear. There is no "correct" level of exposure compensation, one must judge from actual conditions, check the preview and fine tune the increments to one's preference.
Mild lighting is used for high key photos Strong contrast lighting is used for low key photos Apply exposure compensation to suit your purposes

Low key

This shot is a low-light, low key photo taken with -1 exposure compensation. With a simple change of exposure, the mood of the image turns more somber than with proper exposure. The dark areas are completely darkened - this is intentional, rather than a shooting mistake.

This shot is a low-light, low key photo taken with -1 exposure compensation. With a simple change of exposure, the mood of the image turns more sombre than with proper exposure. The dark areas are completely darkened - this is intentional, rather than a

High key and low key photography

"High key" and "low key" means the photographer intentionally brightens or darkens the photo, respectively, to achieve unique visual effects. They are used when it is required to alter the mood of a photo with "improper" exposure. Proper exposure is not the only way to achieve good photos.

High key

The example here is a high key photo taken with +1 exposure compensation; notice that the model's face profile remains clear. There is no "correct" level of exposure compensation, one must judge from actual conditions, check the preview and fine tune the increments to one's preference.
Mild lighting is used for high key photos Strong contrast lighting is used for low key photos Apply exposure compensation to suit your purposes

Low key

This shot is a low-light, low key photo taken with -1 exposure compensation. With a simple change of exposure, the mood of the image turns more somber than with proper exposure. The dark areas are completely darkened - this is intentional, rather than a shooting mistake.
Express yourself freely; but remember lighting is crucial "High key" and "low key" are neither camera features nor mechanical terms - they are merely photography terms describing the expression style. There is no formal definition for the point at which "high key" leaves off and "low key" begins. The only way to distinguish them is the photographer's preference; and there are actual conditions difficult for achieving high key/low key photos. High key photos are easier to achieve with balanced and smooth lighting since they require increased exposure. For low key photos, high-contrast lighting is preferred because contrast lighting may darken areas in an image that are already dark. High key and low key are not simply processes to brighten or darken an image; they are methods for an image to achieve the balance between ambience, and lighting conditions. A simple blacked out picture of nothing cannot be called a low-key photo; and a complete white blank of picture can hardly even be

This shot is a low-light, low key photo taken with -1 regarded as a photo. exposure compensation. With a simple change of exposure, the mood of the image turns more sombre than with proper exposure. The dark areas are completely darkened - this is intentional, rather than a shooting mistake.

Express yourself freely; but remember lighting is crucial "High key" and "low key" are neither camera features nor mechanical terms - they are merely photography terms describing the expression style. There is no formal definition for the point at which "high key" leaves off and "low key" begins. The only way to distinguish them is the photographer's preference; and there are actual conditions difficult for achieving high key/low key photos. High key photos are easier to achieve with balanced and smooth lighting since they require increased exposure. For low key photos, high-contrast lighting is preferred because contrast lighting may darken areas in an image that are already dark. High key and low key are not simply processes to brighten or darken an image; they are methods for an image to achieve the balance between ambience, and lighting conditions. A simple blacked out picture of nothing cannot be called a low-key photo; and a complete white blank of picture can hardly even be regarded as a photo

Cao trng im v thp phm chp nh

"High trng" v "cha kha thp" c ngha l cc nhip nh gia c lm sng hoc lm ti hnh nh, tng ng, t c hiu ng c o trc quan. Chng c s dng khi n l cn thit lm thay i tm trng ca mt hnh nh vi phi nhim "khng ng". Thch hp tip xc khng phi l cch duy nht t c hnh nh tt.

High chnh

V d y l mt hnh nh chnh cao chp vi 1 b sng, thng bo rng h s khun mt ca m hnh vn cn r rng. Khng c mc "ng" bi thng tip xc, ngi ta phi phn xt t iu kin thc t, hy kim tra xem v tinh chnh s gia tng n s thch ca mt ngi.

nh sng nh c s dng cho hnh nh cao trng im C nh sng tng phn c s dng cho hnh nh t quan trng p dng b phi sng cho ph hp vi mc ch ca bn

Low chnh

shot ny l mt, nh sng thp chp nh chnh vi -1 b sng. Vi mt s thay i n gin tip xc, tm trng ca hnh nh ny s chuyn thnh m m hn so vi tip xc thch hp.C c khu vc ti hon ton ti - y l c , hn l mt sai lm chp.

Th hin chnh mnh mt cch t do, nhng nh chiu sng l rt quan trng "High trng" v "cha kha thp" khng phi l tnh nng camera cng khng phi v c kh h ch l nhng iu kin chp nh m t phong cch biu hin. Khng c nh ngha chnh thc cho cc im m ti "cao trng" l ra v "t quan trng" bt u. Cch duy nht phn bit h l s thch ca nhip nh gia, v c iu kin thc t kh khn t c cao trng im / hnh nh t quan trng. Cao hnh nh chnh c d dng hn t c cn bng vi nh sng v mn k t khi h yu cu tip xc tng ln. i vi hnh nh quan trng thp, nh sng tng phn cao c a thch v c th phn chiu sng vng ti trong hnh nh mt m ti. Cao trng im v thp chnh l qu trnh khng n gin ch lm sng hoc ti mt hnh nh, h l nhng phng php cho mt hnh nh t c s cn bng gia mi trng v iu kin nh sng. Mt n gin b bi en trong hnh nh ca khng c g khng th c gi l mt hnh nh thp trng im; v mt hnh nh hon ton trng trng c th hu nh khng cn c coi l mt bc nh.

shot ny l mt, nh sng thp chp nh chnh vi 1 b sng. Vi mt s thay i n gin tip xc, tm trng ca hnh nh chuyn nhiu hn so vi phi nhim sombre thch hp. Cc khu vc ti hon ton ti - y l c , hn l mt sai lm chp.

Shooting with convenient filters

Most compact digital cameras cannot be mounted with dedicated filters; but you can achieve the same effect of professional filters by using candy wrapping paper (cellophane), which comes with candy and hardly costs anything. Let's try shooting with these cost effective and "sweet" filters.

A filter can be improvised from translucent candy wrapper; crinkled paper creates an interesting blurred effect on the image. It's fun trying other everyday objects as filters. Even compact cameras that cannot support professional filters can be great fun when they are used creatively.
Translucent film-like wrapping paper is suggested Crinkle the paper before shooting Try different effects in a single scene

Shooting steps
Choose your background Focusing

Choose a background with care. The filter's translucence benefits a background with light sources, as these will be blurred in interesting ways. As such, a street corner with neon signs was chosen for the example shot. Try observing the preview with the "filter" covering the lens.

Place your subject, then focus as you would in normal shooting. With a DSLR, you can mount the filter before focusing; however, there is no mounting jack for our "convenient filter". In our case, just focus on the subject first with the compact camera, and then keep the autofocus locked.

Cover the lens with wrapper

Take the shot

Hold the AF lock and cover the lens with the filter with the other hand to facilitate this, you can mount the camera on a tripod first. The process has to be repeated if half-pressed shutter button is accidentally released. Try rolling out the filter in the palm first, to make it a bit easier.

Our candy wrapper filter has crinkles that provide different levels of subdued light in different parts. Check the effect with LCD previews and take trial shots with different parts of the wrapper over the lens. Also, try other materials as filters - you may get surprising results.

Try using different materials as filters

Could you imagine candy wrapper as photographic filter? Buy candies with translucent wrappers - candy for you, wrapper for your lens! Crinkles on candy wrappers provide a completely different experience from dedicated glass filters. Want the light to be softer? Simply crinkle the wrapping more. You can also try other translucent materials as filter.

Chp vi cc b lc tin li
Hu ht cc my nh k thut s nh gn khng th c gn kt vi cc b lc chuyn dng, nhng bn c th t c hiu qu tng t ca cc b lc chuyn nghip bng cch s dng giy gi ko (giy bng knh), m i km vi bt c iu g chi ph ko v hu nh khng. Hy c gng chp hnh vi cc hiu qu v chi ph "ngt" cc b lc.

Mt b lc c th c improvised t bao bc ko m, nhn giy to ra mt hiu ng th v m trn hnh nh. Tht th v ang c gng i tng khc hng ngy nh cc b lc. Ngay c my nh nh gn, c th khng h tr cc b lc chuyn nghip c th c rt th v khi chng c s dng mt cch sng to.

Translucent giy gi ging nh b phim c ngh vt nhn giy trc khi chp Hy th hiu ng khc nhau trong mt cnh duy nht

Bn sng bc
Chn nn ca bn Tp trung

Chn mt nn vi chm sc. translucence li ch ca b lc mt nn tng vi cc ngun nh sng, v chng s b m theo nhng cch th v. Nh vy, mt gc ph c du hiu neon c la chn cho cc shot v d. Hy th quan st xem trc vi "b lc" bao gm cc ng knh.

Ni ch ca bn, sau tp trung nh bn s chp bnh thng. Vi DSLR, bn c th gn kt cc b lc trc khi tp trung, tuy nhin, khng c jack gn cho "b lc tin li" ca chng ti. Trong trng hp ca chng ti, ch cn tp trung vo i tng u tin vi my nh nh gn, v sau gi ly nt t ng b kha.

Bao gm cc ng knh vi wrapper

i bn

Gi AF kha v bao gm cc ng knh vi cc b lc vi cc mt khc to thun li ny, bn c th gn camera trn mt chn u tin. Qu trnh ny c lp li nu p na nt chp l v tnh pht hnh. Hy c gng tung ra cc b lc trong lng bn u tin, lm cho n mt cht d dng hn.

bao bc ko ca chng ti lc crinkles cung cp cc mc khc nhau ca nh sng du trong cc phn khc nhau. Kim tra hiu qu vi mn hnh LCD xem trc v chp th nghim vi cc b phn khc nhau ca bao bc trong ng knh. Ngoi ra, hy th cc vt liu khc nh cc b lc - bn c th nhn c kt qu ng ngc nhin.

Hy th s dng cc vt liu khc nhau nh cc b lc

ng c th tng tng c bao bc ko nh b lc nhip nh? Mua bnh ko vi giy gi m - ko cho bn, bao bc cho ng knh ca bn!Crinkles trn giy gi ko cung cp mt kinh nghim hon ton khc nhau t cc b lc knh chuyn dng. Bn mun nh sng c nh nhng hn? n gin ch cn nhn cc gi nhiu hn na. Bn cng c th th cc vt liu khc nh lc m.

Bring more beauty into your nightscape photos

Various preparations are needed for a beautiful nightscape photo. Capturing the magic of a nightscape can be far more technically complicated than just admiring the view. Let's learn some basic skills of nightscape photography.

Auto mode with flash turns the image into complete darkness, whereas a non-flash shot can reproduce the splendour of the evening sky. The key to a great nightscape is to capture the shot just before it turns completely dark, when there is still some light in the sky. The stygian profiles of buildings can be captured, providing an outstanding ambience.
The best shooting moment is right before nightfall Review the white balance of the scene with your eyes Apply negative exposure compensation to darken the image

Shooting steps
Adjust white balance Choose a Custom Color

White balance in a nightscape shot is determined by the brightness in the sky and the lighting on the streets. In the photo above, fluorescent preset is selected over the proper WB to deepen the blue sky and match the street lighting.

A suitable colour preset heightens clarity. As telephoto side is more frequently used in nightscape shots, the Vivid preset adapts best for stronger colour contrast. It also highlights the magenta in the clouds which are so effectively captured with the telephoto landscape technique.

Set negative compensation

A tripod is required for nightscape shots; use the self-timer wisely Low ISO speed is required to keep the nightscape image clean; in this case the shutter speed is slowed, so a tripod is needed. Choose a tripod that matches the size of your camera - a small tripod is enough for compact cameras. Using self-timer on your camera mounted on a tripod also prevents the image from being blurred by shakes as the shutter button is pressed. Be sure to arrive to your shooting location early so you can observe the surrounding conditions, adapt to any changes in the shooting plan and allow time to calmly set up your gear.

Most nightscape photos are shot right before the evening, with negative exposure compensation to make it seem like night; -1 setting was used here.

Creative light effects

Creative Light Effect is an interesting feature, where point sources of light are depicted as specific shapes (e.g. stars) to produce fantastic images. Such specialty features, which are often overlooked, allow you to capture shots with unique effects. Refer to your camera's user guide to see if your camera offers the Creative Light Effect feature.

Mang v p nhiu hn vo cc bc nh ca bn nightscape

cc ch phm khc nhau l cn thit cho mt bc nh nightscape p. Thu gi s k diu ca nightscape c th c thm rt nhiu k thut phc tp hn l ch ngm nhn. Hy tm hiu mt s k nng c bn ca nhip nh nightscape.

Ch t ng vi n flash quay hnh nh vo bng ti hon ton, trong khi mt c st khng flash c th ti to s huy hong ca bu tri bui ti.Ch a kha cho mt nightscape ln l nm bt c bn ngay trc khi n bin hon ton ti, khi vn c mt s nh sng trn bu tri. Cc cu hnh stygian ca cc ta nh c th c chp, cung cp mt mi trng ut sc.

Cc thi im chp tt nht l ngay trc khi m xung Xem li cc cn bng trng ca trng vi i mt ca bn p dng tiu cc b phi sng ti cho cc hnh nh

Bn sng bc
iu chnh cn bng trng Chn mt mu Custom

Cn bng trng trong mt shot nightscape c xc nh bi sng trn bu tri v nh sng trn ng ph. Trong nh trn, hunh quang t trc c chn qua WB thch hp lm su sc hn bu tri xanh v ph hp vi chiu sng ng ph.

Mt mu sc ph hp sn lm tng s r rng. Nh pha xa l thng xuyn c s dng trong cc bc nh nightscape, cc Vivid ci sn thch nghi tt nht cho tng phn mu sc mnh m hn. N cng lm ni bt mu ti trong m my m l c hiu qu vi k thut chp cnh xa.

t tiu cc bi thng

chn my c yu cu cho chp nightscape; s dng ch chp t mt cch khn ngoan

Tc ISO thp l cn thit gi cho hnh nh nightscape sch; trong trng hp ny l tc mn trp chm li, do , gi ba chn l cn thit. Chn mt chn ph hp vi kch thc ca my nh ca bn - mt chn nh l cho my nh compact. S dng hn gi trn my nh ca bn c t trn gi ba chn cng ngn chn vic hnh nh b m do rung khi nt chp c nhn. Hy chc chn n vi v tr chp ca bn sm bn c th quan st cc iu kin xung quanh, thch nghi vi mi thay i trong k hoch chp v cho php thi gian bnh tnh thit lp thit b ca bn.

Hu ht cc bc nh nightscape b bn ngay trc khi bui ti, vi bi thng tip xc tiu cc lm cho n c v nh m; thit lp -1 c s dng y.

Sng to hiu ng nh sng

Sng to hiu ng nh sng l mt tnh nng th v, ni m ngun sng im c m t nh hnh dng c th (v d nh sao) to ra hnh nh tuyt vi. tnh nng c bit nh vy, m thng b b qua, cho php bn chp nh vi cc hiu ng c o. Hy tham kho hng dn s dng my nh ca bn xem nu my nh ca bn cung cp tnh nng sng to hiu ng nh sng.

Fantastic nightscapes and portraits

Most people still find it difficult to capture successful night portraits, merely because they do not understand the differing concepts of portrait shooting and nightscape shooting. This combination technique merges equal measures of nightscape and portrait photography, taken in less than ideal situations. A blending of the Auto mode, with scene modes and powerful anti-shake systems might provide the perfect solution until you are confident with your personal night photography skills.

Unlike other flash-enabled auto modes that black out the background, the night portrait mode produces impressive photos; it brightens the background while maintaining optimal exposure for the subject, adjusting ISO speed and shutter speed automatically.
Select Night Snapshot or other equivalent modes Confirm that auto focus is locked in position Confirm the balance between subject and the background

Shooting steps
Select Night Snapshot mode Enable face-detect smart AF

Scene modes are camera settings that allow the latter to tackle particular shooting conditions with a single press of a button. In the IXUS series, Night Snapshot mode combines flash with high ISO settings and better anti-shake solution, thus portraits taken in this mode are suitably brightened.

Enable Face Detect AF in cameras that support this mode. This ensures the subject is automatically given focus priority, thus the photographer can shoot without AF lock, a relief when taking shots likely to be blurred by shaking hands.

Confirm the auto focus

Press down shutter button

Half press the shutter button after the AF frame overlaps with the subject, to achieve the focus. In the above shot, the AF frame is overlapped with the girl's face, indicating that her face is in focus. Auto focus sometimes fails to detect the subject's face during night portrait shooting, but a mode like Face Detect can do the job. Understand and take advantage of sophisticated scene modes

Gently press down the shutter button to capture the shot. The flash will light up the face, and ISO speed may be automatically increased. In some scenes the shutter speed may be slower, so never put the camera away after the flash is lit, but hold the position for several seconds in order to prevent the camera being shaken by your hands.

Night portrait shooting is quite different from ordinary shooting. The key is to understand all the features in your camera. It is alright to manually set up the shot; nonetheless manual operation requires much fine tuning, from background exposure to flash output, etc., and it involves several trial shots - your precious evening may slip away before you complete all these procedures and your efforts may turn out to be useless. Alternatively, one can simply let the Night Snapshot mode take care of the settings, so the photographer can pay extra attention to the subject's expression and thus shoot better images.

Logo nightscapes v chn dung

Hu ht mi ngi vn thy kh khn chp chn dung ban m thnh cng, ch v h khng hiu cc khi nim khc nhau v chp chn dung v nightscape chp. K thut ny kt hp kt hp cc bin php bnh ng ca nightscape v chp nh chn dung, chp trong vng cha y tnh hung l tng. Mt pha trn ca cc ch t ng, vi ch hnh nh v chng rung h thng mnh m c th cung cp cc gii php hon ho cho n khi bn t tin vi k nng c nhn ca bn chp nh m.

Khng ging nh cc flash-kch hot ch t ng l mu en ra khi nn, cc ch chn dung m sn ut hnh nh n tng, n lm sng nn trong khi duy tr tip xc ti u cho vn ny, iu chnh tc ISO v tc chp t ng.

Chn Night Snapshot hoc ch tng ng khc Xc nhn rng b kha t ng tp trung v tr Xc nhn s cn bng gia ch th v nn

Bn sng bc
Chn ch chp m Kch hot tnh nng pht hin khun mt thng minh AF

Ch cnh c ci t camera cho php sau ny gii quyt cc iu kin c th chp vi mt bm vo mt nt. Trong lot IXUS, Night nh chp kt hp ch flash vi cc ci t ISO cao v tt hn gii php chng rung, do bc chn dung chp ch ny l ph hp sng.

Kch hot tnh nng d tm khun mt AF trong my nh c h tr ch ny. iu ny m bo ch th c t ng c tp trung u tin, do cc nh nhip nh c th chp m khng cn AF kha, mt o khi chp nh c th b m do rung tay.

Xc nhn t ng tp trung

Bm nt chp xung

Mt na bm nt chp sau khi chng ln khung AF vi ch ny, t c s tp trung. Trong nh trn, khung AF l chng cho vi khun mt ca c gi, ch ra rng khun mt ca c l trong tp trung. T ng tp trung i khi khng pht hin khun mt ca i tng trong qu trnh chp chn dung ban m, nhng mt ch nh d tm khun mt c th thc hin cng vic. Hiu v tn dng cc ch cnh phc tp

Nh nhng bm nt chp chp nh. n flash s sng ln mt, v tc ISO c th c t ng tng ln. Trong mt s cnh quay tc chp c th chm hn, do , khng bao gi t my quay i sau khi flash c thp sng, nhng gi v tr cho mt vi giy ngn chn cc my nh b rung chuyn bi bn tay ca bn.

Chp chn dung ban m l kh khc nhau t chp thng thng. iu quan trng l hiu r tt c cc tnh nng trong my nh ca bn. N l sao t thit lp cc shot, tuy nhin hng dn hot ng i hi phi iu chnh nhiu tin pht, t tip xc vi nn flash u ra, vv, v n lin quan n chp mt s th nghim - bui ti qu bu ca bn c th trt i trc khi bn hon thnh tt c cc th tc ny v n lc ca bn c th bt ra c v dng. Ngoi ra, mt cch n gin c th ch chp m chm sc ca cc ci t, do , cc nhip nh gia c th tr thm s ch n biu hin ca i tng v do chp hnh nh tt hn.

Shooting photos of precious jewellery

With the rising trend of online auctions, more and more people are shooting small article photos. Below are examples of how to take appealing, top-notch jewellery photos.

The subject looks cheap when shot on a piece of white paper; backgrounds like this fail to bring a precious look to jewellery. In the shot above, a reading lamp was used for lighting and the pleat of black cloth lent the subject a solid look. The same piece of jewellery looks entirely different in the two shots.

Switch to Macro mode Arrange the background wisely for a solid picture Pay attention to reflections on the subject

Preparing a solid background

Gently draw the cloth from four sides to the centre with both hands. Putting a piece of paper under the cloth will help it hold its shape, preventing it from being flattened, and making it easier to move the jewellery about in order to find the best shooting setup. You may also raise the height of the cloth with a square box.

Pleat the cloth to produce a sophisticated touch First, choose a background that suits the jewellery. Here, a piece of black velvet was used to produce a sophisticated look. Background colour should match that of the jewellery; and the material selected accordingly. Reflective, shiny material or an excessively bright background is unlikely to produce a sophisticated look. It is fine to flatten the fabric as background, but folds add sophistication to the image. In addition, a more solid look for the background can be achieved with paper stuffed beneath the fabric.

Never shake the camera when shooting small subjectsthe

The self-timer also helps to eliminate shadow cast. For example, setting the delay to 4 seconds is enough to prevent a hasty shooting process, while giving the photographer enough time to step away so as not to cast shadows upon the subject.

Through out this book you have been advised to use a tripod to reduce shake or motion in the photo. When shooting small objects, a table top tripod is sufficient for the task , but due to the small size it is inherently more likely to produce wobble or shake when the shutter is depressed. Using the self-timer feature will resolve that possibility, but you also need to check subjectsthe composition after you have started the selftimer. If you moved it from your chosen composition, you should have time to move it back before the camera fires. Avoid camera shakes and shadow cast; use the self-timer Use ISO 80 to achieve the highest image quality; reading lamps are convenient light sources as their lighting angle is flexible, though sometimes they do not provide adequate brightness. Fluorescent lamps have a colour tone that matches better with automatic white balance and are more adaptable for jewellery shots. However, shutter speed is slower so an anti-shake system is required. In the above shot, a mini tripod was also used. The shot was taken in Macro mode and the AF frame was locked on the part of jewellery which was represented in the close-up shot. The subject is small and has intricate details that the photograph needs to display for the optimal sales ad. Wide angle end can enlarge the subject without distorting the item. Selftimer was used to slow shutter speed and prevent camera shake caused by pressing the shutter button. The seconds afforded by self-timer mode also give the photographer time to step away to prevent a shadow or reflection in the shiny facets of the jewellery.

p nh ca cc trang sc qu gi
Vi xu hng tng bn u gi trc tuyn, ngi dn ngy cng c chp nh bi vit nh. Di y l v d v lm th no hp dn, hnh nh trang sc hng u.

mn trng r khi bn vo mt mnh giy trng, ngun gc nh th ny khng mang li mt ci nhn qu gi trang sc. Trong bc nh trn, mt chic n c sch c s dng cho chiu sng v cc pleat vi mu en cho vay nhn mt ch c. Cng mt mnh trang sc c v hon ton khc nhau trong hai bc nh.

Chuyn sang ch Macro Sp xp cc nn mt cch khn ngoan cho mt hnh nh rn Ch n phn nh v ch

Chun b mt nn tng vng chc

Nh nhng rt ra vi t bn pha n trung tm vi c hai tay. t mt mnh giy theo vi s gip n gi hnh dng ca n, ngn chn khng cho n c lm phng, v lm cho n d dng hn di chuyn cc trang sc v tm cc thit lp chp tt nht. Bn cng c th lm tng chiu cao ca vi vi mt hp vung.

Pleat vi sn xut mt chm tinh vi u tin, chn mt nn tng ph hp vi cc trang sc. y, mt mnh vi nhung mu en c s dng sn ut mt ci nhn tinh vi. Mu nn phi ph hp ca cc trang sc v vt liu c la chn ph hp. Phn quang, sng bng vt liu hoc mt nn sng qu kh to ra mt ci nhn tinh vi. N l tt san bng cc loi vi lm nn, nhng np gp tinh t thm cho hnh nh.Ngoi ra, mt v vng chc cho nn c th t c bng giy nht bn di vi.

Khng bao gi lc my nh khi chp subjectsthe nh

Cc nng chp t ng cng gip loi b b bng ti. V d, thit lp s chm tr n 4 giy l ngn chn mt qu trnh chp vi vng, trong khi thi gian cho nhip nh gia, bc i khng lm bng khi ch ny.

Thng qua trong cun sch ny bn c khuyn nn s dng mt chn gim lc hoc chuyn ng trong bc nh.Khi chp nhng vt nh, mt chn bn hng u l cho nhim v ny, nhng do kch thc nh, n l hi c kh nng sn ut hoc lc lc l khi mn trp l chn nn. S dng tnh nng hn gi s gii quyt c kh nng , nhng bn cng cn phi kim tra thnh phn subjectsthe sau khi bn bt u ch chp t. Nu bn di chuyn n t phn la chn ca bn, bn nn c thi gian di chuyn n tr li trc khi cc v chy my nh. Trnh lc my nh v b bng, s dng ch chp t S dng ISO 80 t c cht lng hnh nh cao nht, cc n c sch l ngun nh sng thun tin nh gc chiu sng ca h l linh hot, mc d i khi h khng cung cp sng. n hunh quang c mt tng mu ph hp tt hn vi cn bng trng t ng v c nhiu kh nng thch ng cho nh chp trang sc. Tuy nhin, tc mn trp chm nn mt h thng chng rung c yu cu. Trong nh trn, mt chn my mini cng c s dng. shot ny c thc hin ch chp v khung AF b nht trn mt phn ca trang sc c i din trong cc shot-n gn. i tng l nh v c chi tit phc tp m cc bc nh cn hin th cho cc qung co bn hng ti u. Gc rng kt thc c th phng to i tng m khng lm sai lch mc. T ng hn gi c s dng lm chm tc mn trp v ngn chn my nh rung gy ra bng cch nhn nt chp. Nhng giy dnh bi ch hn gi cng cung cp cho cc nhip nh gia thi gian bc i ngn chn mt bng hoc s phn nh trong cc kha cnh sng bng ca trang sc ny.

Shooting fantastic photos of model cars

Shooting photos of your scale model collections is one of the most exciting ways to use your digital camera. Such photography once was the preserve of professional studio photographers, but today, anyone can shoot professional-looking photos of miniature models using digital cameras. Here's how.

Reflective subjects can be difficult to shoot since they mirror surrounding objects and light. Use of a soft box prevents such blemishes. Moreover, digital camera allows users to magnify and recheck the frame for even the tiniest imperfection. All of these components combined will result in a professional looking image.
Eliminate shadow cast with soft box Use reading lamps as multiple sources of light The telephoto end in Macro mode helps to prevent cast from the camera

Eliminate cast with soft boxes

Shoot professional-photos with professional-looking soft boxes Shiny subjects surrounding objects source. In the were built up cocoon to soften was a time consuming very often the The modern photographer a 'pop-up' soft subjects like model cars reflect objects and a direct light the past, rolls of tracing paper up around the subject like a soften external lighting. This consuming process, and the results were inconsistent. Photographer can purchase soft box like the one shown above from almost any photography store for less than 15 USD. The model shown literally springs open, requiring no further set-up, and collapses just as easily for flat

storage. In the above example, a reading lamp was used to provide lighting from outside the soft box, illuminating each side evenly and distributing soft light on the subject. You might want to set-up additional lamps if stronger lighting is needed for highlight and contrast. Positioning lamplight on the area behind the model will turn it completely white, creating a dramatic backdrop for the black model car. Shooting reflective subjects - in or out of a soft box - requires particular attention to lighting. What appears to be a minor sparkle to the naked eye can morph into a glaring explosion in your photograph. No matter how good it looks in the LCD before, during and after the shot, always take another snap - the security shot.

Work on the background colour as well

Change the colour and texture of the background; make up stories with your model car photos A simple change of background colour alters the ambience of the entire scene. The colour change can be done inside the soft box, and it is incredibly easy to do: firstly, prepare sheets of paper and crop them to the size that fits into the opening of the soft box. Keep the length of the paper sheets longer than the width so as to produce a curved background that looks like it is stretching away. Besides paper, fabric can also be used; try different materials as the background and enjoy your shooting. You can also use things related to cars as the background: a map, for example, and fully express your creativity.

Chp nh tuyt vi ca chic xe m hnh

Chp nh ca b su tp m hnh quy m ca bn l mt trong nhng cch th v nht s dng my nh k thut s ca bn. Nh vy mt ln chp nh ch dng cho cc nhip nh gia phng thu chuyn nghip, nhng ngy nay, bt c ai c th chp nh chuyn nghip ca cc m hnh thu nh bng cch s dng my nh k thut s. y l cch.

i tng phn quang c th c kh khn bn k t khi h gng xung quanh i tng v nh s ng.S dng mt hp mm ngn nga nhc im . Hn na, my nh k thut s cho php ngi dng phng to v kim tra li cc khung hnh cho s khng hon ho, ngay c nh nht.Tt c cc thnh phn ny kt hp s cho kt qu tm kim mt hnh nh chuyn nghip.

Loi b bng c vi hp mm S dng n c sch nh nhiu ngun nh sng S kt thc ch chp tele gip ngn nga c t camera

Loi b c vi hp mm

Chp nh chuyn nghip vi chuyn nghip-tm hp mm Shiny i tng xung quanh i tng ngun. Trong ci kn c xy dng lm mm c tiu th mt thi gian rt thng cc nhip nh gia hin i l mt 'ca s pop-up' i tng mm mi nh nhng chic xe m hnh phn nh cc i tng v nh sng trc tip qu kh, cun giy can xung quanh vn ny nh mt mm bn ngoi nh sng. Qu trnh ny tiu th, v kt qu l khng ph hp. Nhip nh gia c th mua hp mm mi nh mt trong nhng th hin trn t ca hng hu ht cc nhip nh di 15 USD. M hnh hin th en l xo m, khng i hi thm thit lp, v sp ch nh d dng cho vic lu tr bng phng.Trong v d trn, mt chic n c c s dng cung cp nh sng t bn ngoi hp mm, chiu sng mi bn u v phn phi nh sng mm mi v ti ny. Bn c th mun thit lp thm n chiu sng mnh hn nu l cn thit lm ni bt v tng phn. nh v nh n trn khu vc pha sau m hnh s bin n hon ton trng, to ra mt khung cnh n tng cho chic xe

m hnh mu en. Chp cc i tng phn - trong hoc ra khi mt hp mm - yu cu c bit quan tm n nh sng. Nhng g dng nh l mt nh lp lnh bng mt thng c th bin thnh mt v n r rng trong bc nh ca bn. Khng c vn nh th no tt n s tm trong cc mn hnh LCD trc, trong v sau khi bn, lun lun c mt snap - tim an ninh.

Lm vic trn cc mu nn cng

Thay i mu sc v kt cu ca nn, to nn cu chuyn vi hnh nh chic xe m hnh ca bn Mt thay i n gin ca mu nn thay i khng kh ca ton b khung cnh. S thay i mu sc c th c thc hin bn trong hp mm, v n l v cng d dng lm: th nht, chun b t giy v cy trng h vi kch thc ph hp vo vic m hp mm.Gi di ca t giy di hn chiu rng to ra mt nn cong m hnh nh n c ko di ra. Bn cnh giy, vi cng c th c s dng; th vt liu khc nhau nh l nn tng v tn hng chp ca bn. Bn cng c th s dng nhng th lin quan n xe hi nh l nn tng: mt bn , v d, v hon ton th hin sng to ca bn.

Altering images with white balance

Digital cameras offer white balance settings as a solution for preserving correct colour tones under any lighting condition. However, it can be fun to use these presets to intentionally alter the colour tone, like the effect of colour filters, adding a dose of charm to your shots that cannot be found in ordinary photos.

When shooting in sunshine with Day Light white balance, this matching setting will produce colours correctly as shown in the "BEFORE" shot. Switch to Tungsten setting and a different colour tone and ambience results, as shown in the "AFTER" shot. Together with a change in the subject's expression, an ordinary shot can turn into a work of art.

Understand the principles of correct colour reproduction Apply the effects after judging the light sources Start with shooting in sunshine to grasp this technique

Shooting in sunshine with Tungsten white balance setting

Tungsten white balance Auto white balance

Why is the Tungsten white balance reproducing a bluish tone in sunshine? White balance settings are designed to correct colour tones to match the light source; a colour shift occurs when there is a mismatch. In the above example, when white balance was set to Tungsten, the bluish tone used to correct images under tungsten lighting was added to the shot, reproducing a bluish tint. This kind of colour shift has interesting creative applications; everyone should have a try.

Try different white balance settings

Intentionally apply white balance settings to shots without matching the ambient lighting Besides Tungsten setting, there are other white balance settings we can explore. Fluorescent setting adds magenta to counter the greenish tone in fluorescent light, thus reproducing a magenta tone when this setting is used in sunshine. On the other hand, Cloudy setting uses amber to compensate for the deep blue in a cloudy sky; in sunshine it reproduces the image with a deep brownish tone. Numerous effects can thus be achieved, with regards to white balance setting and ambient lighting.

Thay i hnh nh vi cn bng trng

My nh k thut s cung cp cc thit lp cn bng trng nh mt gii php bo qun tng mu chnh xc trong bt k iu kin nh sng. Tuy nhin, n c th c vui v s dng cc ci t trc c lm thay i tng mu, ging nh tc dng ca cc b lc mu sc, thm mt liu thuc m bc nh ca bn m khng th c tm thy trong bc nh bnh thng.

Khi chp trong nh nng mt tri vi Ngy cn bng trng nh sng, ci t ny kt hp s to ra mu sc chnh xc nh trong cc shot "TRC". Chuyn sang n trn v mu sc thit lp mt giai iu khc nhau v kt qu bu khng kh, nh th hin trong cc shot "SAU".Cng vi s thay i trong biu hin ca ch , mt nh thng thng c th bin thnh mt tc phm ngh thut.

Hiu c nguyn tc ti to mu chnh xc p dng cc hiu ng sau khi nh gi cc ngun nh sng Bt u vi chp trong nh nng mt tri nm bt c k thut ny

Chp trong nh nng mt tri vi ci t cn bng trng n trn

Tungsten cn bng trng T ng cn bng trng

Ti sao cn bng trng n trn ti to mt giai iu xanh trong nng? ci t cn bng trng c thit k ng tng mu ph hp vi ngun sng, mt s thay i mu y ra khi c s khng ph hp. Trong v d trn, khi cn bng trng c thit lp n trn, nhng giai iu xanh dng iu chnh hnh nh di nh sng vonfram c bn, ti to mt mu xanh. Loi thay i mu sc c nhng ng dng th v sng to, tt c mi ngi cn phi c mt c gng.

Hy th ci t cn bng trng khc nhau

C p dng cc ci t cn bng trng nh chp m khng ph hp vi nh sng mi trng xung quanh Bn cnh Tungsten thit lp, cn c nhng ci t cn bng trng chng ta c th khm ph. Ci t thm n hunh quang mu ti chng li nhng giai iu mu xanh lc di nh sng hunh quang, do ti to mt tng mu ti khi thit lp ny c s dng trong nh nng. Mt khc, c my ci t s dng h phch b p cho cc mu xanh su trong mt bu tri nhiu my, trong nng n ti to hnh nh vi mt tng mu nu su. Nhiu hiu ng nh vy, c th t c, lin quan n thit lp cn bng trng v nh sng xung quanh.

Shooting in monochrome
Although this is the heyday of colour photographs, monochrome photos are still very much in fashion, perhaps for their quiet charm or the reminiscence of things past. Regardless, shooting monochrome photos with a digital camera can be a challenging and refreshing experience.

Information is considerably reduced in this monochrome shot of an old iron gate since there are only two colours; but the richness of the grey tones is especially evocative. A simple shot like this can easily become a window into the past. Try shooting with Sepia mode as well and indulge in a world without colours.

Experience the unique accent absent from colour photographs Black and white shooting may be unsuitable for some subjects For a greater challenge, try Sepia mode

Subjects suitable for monochrome photos

Exceptions are primary characteristic colour are subjects whose characteristic is Subjects suitable photos include buildings and suitable for monochrome include old street scenes, portraits. Because all colours other than black and white are excluded, photos of memorable occasions like family gatherings are less suitable for monochrome photography. This also applies to subjects where colour is a defining characteristic, such as flowers, sunsets and pastoral vistas. The colours of the subject and the expression of the image should be taken into consideration before shooting.

Challenge yourself, shoot in Sepia mode

Try Sepia mode on an old motorbike. The motorbike is black; black and white photos of less colourful subjects are of little difference from photos taken in normal colour modes. But the entire ambience of the image can be changed with Sepia mode, which brings a touch of nostalgia into the frame. Embrace the unique accent of warmth and nostalgia In the past, sepia photos had to be produced with special chemicals in the film development. Alternatively, black and white photos could also turn sepia with age as they faded. It is hard to tell the difference between these two types of sepia photos. With digital photography, sepia photos can be produced whilst the images are being processed within the camera. Compared to black and white photos, sepia conveys a greater sense of warmth and power and is suitable for subjects that take well to black and white shooting. Sepia or black and white shooting, it's your call.

Chp trong n sc
Mc d y l thi ho ng kim ca nh m u, nh en trng vn cn rt nhiu trong thi trang, c l quyn r y n tnh ca h hay s nh li ca nhng iu trong qu kh. Bt k, chp nh n sc vi mt my nh k thut s c th l mt kinh nghim y thch thc v lm mi.

Thng tin c gim ng k trong bn n sc ca mt cng st c k t khi ch c hai mu sc, nhng s phong ph ca cc tng mu xm c bit gi nhiu lin tng. Mt shot n gin nh th ny c th d dng tr thnh mt ca s vo qu kh. Hy th chp vi ch Mu nu v v thng thc trong mt th gii m khng c mu sc.

Kinh nghim nhng ging duy nht vng mt t cc bc nh mu en v trng c th chp c khng ph hp vi mt s i tng i vi mt thch thc ln hn, hy th ch Sepia

ph hp vi hnh nh n sc i tng

Ngoi l l mu c trng chnh l i tng c c im l i tng hnh nh ph hp bao gm cc ta nh v ph hp vi n sc bao gm nhng cnh ph c, chn dung. Bi v tt c cc mu khc vi mu en v trng c loi tr, hnh nh ca nhng dp ng nh nh hp mt gia nh t thch hp cho chp nh n sc. iu ny cng p dng cho cc i tng ni m mu sc l mt c tnh xc nh, chng hn nh hoa, hong hn v rng mc v. Cc mu sc ca i tng v biu hin ca hnh nh nn c xem xt trc khi chp.

Thch thc chnh mnh, chp ch Mu nu

Hy th ch Mu nu trn mt xe gn my c. xe my c mu en, nh en trng ca t i tng y mu sc l s khc bit nh t cc bc nh chp ch mu bnh thng.Nhng bu khng kh ton b hnh nh c th c thay i vi ch Mu nu , c mang li mt lin lc ca ni nh vo khung. Nm ly ging c o ca s m p v ni nh Trong qu kh, hnh nh Mu nu c sn ut vi ha cht c bit trong vic pht trin in nh. Ngoi ra, hnh nh mu en v trng cng c th bin nu vi tui nh h phai nht. Tht kh ni s khc bit gia hai loi hnh nh Mu nu .Vi nhip nh k thut s, hnh nh Mu nu c th c sn ut trong khi nhng hnh nh ang c l trong my nh. So vi nh en trng, nu truyn t mt ngha ln hn ca s m p v quyn lc v ph hp cho i tng c tt chp en trng.M u nu hoc chp hnh mu en v trng, l cuc gi ca bn.

Panoramic photography:panoramic shooting

Panoramas are images with exceptionally wide fields of view. There was a time when special mechanisms designed to rotate camera lenses were used to capture such images. Today, anyone with a digital camera and photo editing software can easily capture sweeping panoramas.

This final photo consists of several images merged together using PhotoStitch software, bundled with the IXUS digital camera. That such a wide field of view can be incorporated into a single photo just by image merging is truly impressive. Try it when you shoot landscapes.

Tripods help to perfect the stitches Do not adjust the level/inclination of camera during panoramic shooting Leave a bit more overlapping portions in between images

Shooting steps

Mount the camera on a tripod; smoothly and steadily rotate the camera in a half circle; the source images for making a panorama are thus captured. Shoot carefully for easier image merging Enable Stitch Assist if it is present in your camera when you try to shoot a panorama. Stitch Assist provides a convenient panorama shooting guide which displays instantly the previous shot so that you can see the overlapping portion to be stitched with the next shot. Panorama shooting can be started by rotating the camera either to the left or to the right. Evaluate and divide the field of view into several parts in mind, and then start shooting. The key is to rotate the camera horizontally - a tripod helps a lot to make better stitches. Try rotating the camera around first to find the right feeling before shooting. Changes in level/inclination of the camera in the midst of panorama shooting will ruin the stitching, so make sure your camera is perfectly levelled first and then follow the guide to finish shooting.

on cnh hnh nh: chp ton cnh

Ton cnh l nhng hnh nh vi cc lnh vc c bit rng xem. C mt thi gian khi cc c ch c bit c thit k xoay ng knh my nh c s dng chp nh nh vy. Hm nay, bt c ai vi mt my nh k thut s v phn mm chnh sa nh c th d dng chp nh ton cnh qut.

iu ny nh cui cng bao gm mt s hnh nh kt hp vi nhau bng cch s dng phn mm PhotoStitch, i km vi my nh k thut s IXUS. l mt lnh vc rng ln nh vy xem c th c kt hp vo mt nh ch bng cch kt hp hnh nh tht s n tng. Hy th n khi bn chp phong cnh.

Chn gip hon thin khu Khng iu chnh mc / nghing ca my nh trong qu trnh quay ton cnh li mt cht phn chng cho gia cc hnh nh

Bn sng bc

Gn camera trn mt chn, m v n nh xoay my quay trong mt na vng trn, nhng hnh nh ngun lm mt bc tranh ton cnh do b bt. Shoot cn thn cho hnh nh d dng hp nht Kch hot tnh nng chp ghp nu n hin din trong my nh ca bn khi bn c gng chp mt bc tranh ton cnh. Stitch Assist cung cp mt bc tranh ton cnh chp thun tin hng dn hin th ngay lp tc bn trc bn c th xem phn chng ln nhau c khu li vi bn tip theo. chp Panorama c th c bt u bng cch quay camera hoc sang tri hoc bn phi. nh gi v phn chia cc lnh vc ca mnh vo mt s b phn trong tm tr, v sau bt u chp. iu quan trng l xoay camera theo chiu ngang - chn my s gip rt nhiu lm cho mi khu tt hn. Hy th quay camera xung quanh u tin tm cm gic ngay trc khi chp. Thay i cp / nghing ca my nh gia chp ton cnh s lm hng cc khu, do hy chc chn rng my nh ca bn l hon ton chng u tin v sau lm theo hng dn kt thc chp.

Panorama photography:post editing

Stitch up captured images with the bundled software PhotoStitch, which is also capable of merging images taken without Stitch Assist mode.

Simply merge images with PhotoStitch!

Run PhotoStitch and open required images

Run PhotoStitch installed on your computer and start merging the images. Click [Open] in [1. Selection and Arrangment] tab as shown in the left screenshot. A window will pop up; select panorama source images in the pop-up window. Images captured with Stitch Assist are easy to distinguish since they are named as "STx_xx". Since selecting a specific image from numerous pictures can be difficult, it is wise to move your source images into a new folder before you start merging. Select all the source images for the merge. You can open one image at a time, or select all the images by holding Ctrl key and clicking on the image files.

Confirm source images and start merging

Open and display all source images on the processing panel. Recheck whether all the required images are on the panel. In addition, since the merging is not yet started, you can choose to merge images vertically, horizontally or merge them into a matrix. The example shots were taken horizontally, so you only need to confirm whether the [Horizontal] option is selected in [Arrange]. The panel displays images in their name order; make sure the order of source images is correct and then click [Start] in [2. Merge] tab to have all images automatically merged.

Recheck the stitches and save the picture

Source images are merged once [Start] is clicked. At this point, recheck whether all images have been correctly stitched. Magnify and review the image in detail by pressing the [Enlarge] button, and then zoom out to review the overall image. Make sure to review carefully the critical stitches. Click [Display Seams] to display green squares of overlapping stitches for a convenient review. In case any stitch is found improperly overlapped, click inside the green square and a correction panel will pop up, with which you can manually drag and drop the image to correct the overlapping portions. After all procedures are completed, click [Save] in the [3. Save] tab.

Review the final image

With these steps the merging is done and you now have an impressive panorama. After the image is saved, a notification dialogue inquiring [Review saved images?] will pop up; click [Yes] and then recheck the merged image by adjusting the size of the image window and zooming in on the image details.

Be sure to install software programs in the bundled disc

Dedicated software has its particular advantages If you want to make the most out of the camera when post editing panorama images, be sure to install all the software included in the Canon DIGITAL CAMERA Solution Disk supplied with the camera. Also included in the disc is a dedicated image browser that allows you to browse ordinary picture files and even displays photograph metadata according to your camera model; it also provides access to abundant services on the Canon website.

Panorama hnh nh: chnh sa bi

Stitch ln chp nh vi cc phn mm ng gi PhotoStitch, m cng c kh nng kt hp hnh nh chp m khng c ch chp ghp.

n gin ch cn kt hp hnh nh vi PhotoStitch!

Khi PhotoStitch v hnh nh cn m

Khi PhotoStitch ci t trn my tnh ca bn v bt u hp nht cc hnh nh. Nhn [Open] trong [1. La chn v sp p tab] nh trong cc nh chp mn hnh cn li. Mt ca s s bt ln, chn hnh nh ton cnh ngun trong ca s pop-up. nh chp vi chp ghp rt d phn bit v chng c t tn l "STx_xx". K t khi la chn mt hnh nh c th t nhiu hnh nh c th c kh khn, n l khn ngoan di chuyn hnh nh ngun ca bn vo mt th mc mi trc khi bn bt u nhn sp nhp. Chn tt c cc hnh nh m ngun cho cc hp nht. Bn c th m mt hnh nh cng mt lc, hoc chn tt c cc hnh nh bng cch gi phm Ctrl v click vo cc tp tin hnh nh.

Xc nhn hnh nh ngun v bt u hp nht

M v hin th tt c hnh nh ngun trn bng l. Kim tra li xem tt c cc hnh nh cn thit l trn bng iu khin. Ngoi ra, k t khi sp nhp vn cha bt u, bn c th chn kt hp cc hnh nh theo chiu dc, ngang hoc kt hp chng thnh mt ma trn. Cc bc nh c chp theo chiu ngang v d, v vy bn ch cn phi xc nhn xem [ngang] ty chn c chn trong [Sp p]. Cc bng hin th hnh nh theo th t tn ca h, chc chn rng th t ca cc hnh nh ngun l chnh xc v sau nhp vo [Start] trong [2. Hp nht] tab c tt c cc hnh nh t ng sp nhp.

Kim tra li cc mi khu v lu hnh nh

Ngun hnh nh c kt hp mt ln [Start] c nhp. Ti thi im ny, kim tra li xem tt c hnh nh c chnh xc khu.Phng to v xem xt cc hnh nh c th bng cch nhn vo [Phng to] nt, v sau thu nh xem hnh nh tng th. Hy chc chn xem xt cn thn cc mi khu quan trng. Click [Hin th cc va] hin th hnh vung mu xanh l cy ca mi khu chng cho xem xt li thun tin. Trong trng hp khu no c tm thy khng ng chng cho, nhp vo bn trong hnh vung mu xanh l cy v mt bng chnh sa s hin ln, vi bn c th t ko v th cc hnh nh sa cha cc phn trng lp. Sau khi mi th tc c hon tt, chn [Save] trong [3. Lu] tab.

Xem li cc hnh nh cui cng

Vi cc bc sau vic sp nhp c thc hin v by gi bn c mt bc tranh ton cnh y n tng. Sau khi hnh nh c lu li, mt cuc i thoi thng bo hi [Xem lu hnh nh?] S bt ln, nhp chut [C] v sau kim tra li cc hnh nh kt hp bng cch iu chnh kch thc ca ca s hnh nh v phng to trn cc chi tit hnh nh.

Hy chc chn ci t chng trnh phn mm trong a i km

Phn mm chuyn dng c li th c bit ca n Nu bn mun lm c nhiu nht ca my nh khi ng bi chnh sa hnh nh ton cnh, hy chc chn ci t tt c cc phn mm c trong Canon DIGITAL CAMERA Solution Disk cung cp vi my nh. Cng bao gm trong a l mt trnh duyt nh dnh ring cho php bn duyt cc tp tin hnh nh bnh thng v thm ch c nh hin th siu d liu theo m hnh my nh ca bn, n cng cung cp truy cp ti cc dch v phong ph trn trang web ca Canon.