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Photograph Tips - Architecture

Photograph Tips - Architecture

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Published by Aldo
Canon photograph tips
Canon photograph tips

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Published by: Aldo on Nov 17, 2009
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06/08/2010

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S  s b s   s
 A spectacular prairie or steppe. An enchanting desert. A museum that, from the outside, is a work of art in itself.Rugged Mountain ranges with impressive valleys. Or a stately square in a metropolis. You want to record theseimpressions in a photograph. Even so, the result will be disappointing sometimes. With the tips and tricks fromthis course you can improve both the quality and artistic content of your photographs. Get cracking with it anddon’t take a photograph, but an experience home with you!
play with colour contraStS
l     s
Landscapes & Architecture | 1
Where does the difference between an ordinary photograph and anexceptional one lie? In lots of areas. But rhythm is an important factor.Certainly in ‘busy’ situations - such as an extremely ornate facade or avaried landscape - the eye needs calm to be able to comprehend theversatility of the subject. Rhythm and order provide this.
l   ss
So consciously look out for repeating elements. For example, roofs of houses,a row of windmills or telephone poles, a colonnade or leaves from a tree that 
are blowing in the same direction. It’ll surprise you how many you nd once
 you have an eye for them. You’ll discover an angle through which hiddenstructures and series suddenly transform into an artistically united whole.
‘everything haS rhythm...’
Vast landscapes are often beautiful because they sometimes are a singlecolour. For example snowy mountain tops, a wooded slope or sandy dunes.If you shoot a photograph of this, the results are not always that impressive.That is because just that one colour can be a bit too much of a good thing.Or in other words, too little. You miss a refreshing element. You can solve thisby adding a strongly contrasting colour. Put, for example, a couple of brightlycoloured skis straight up in the snow or a couple of bright yellow Wellingtons in
a eld. Be conscious of the place where you put the extra colour element. Red
will certainly demand a lot of attention.
g   s 
Do you regularly take your camera with you when you go out? Approach ‘colour’ asa theme for a change. For example, choose a single colour for a day that you thenlook for in the city (or outside it). You’ll see that you’ll photograph your surroundingsin a completely different way. This way, you connect all sorts of subjects together thanks to the colour, in all its shades and nuances. Save the photographs at homein colour categories. This will give you exciting collections, which you can later enjoycomparing to each other.
lss & a
 
keep the ‘human dimenSion’ in mind
 Actually, you can consider photography as an advanced form of realistic painting. Everyone
understands that a painter rst thinks about the composition that he’s going to make.
The different parts of a picture are not given a particular place in the composition by accident.In the case of landscape photography, mother nature has already laid out all the elements for  you. It’s up to you to make an interesting composition from it all. Creating depth is a handytrick for success here.
work with depth of field
us    s
Compact cameras are equipped with a special mode with which you can shoot moreattractive landscape photography, most often just referred to as ‘landscape’.
You will nd this mode under ‘S’, ‘Scene’ or ‘Scenery’. Check to ensure that your ash is off.
c s
Is your camera switched to the correct mode? Ensure that your photograph gets more depth.We’ll take a vast lake as an example, with wooded banks on the far side and, behind that,hills or mountains. So three layers. Don’t just snap a shot as if you were standing on thebank, but look for a twig or bush that is hanging over the water’s edge. Position this in the
foreground, crouch down and you’ll see that this fourth layer amplies the other three. Youcan use this method in almost every view; you can always nd something that you can put 
in the foreground.
low light, lotS of effect 
 Atmospheric images often owe their strengths to darkness. For example, a landscape in the dusk or a church interior. But how do you communicate this special atmosphere? After all, darkness andphotography don’t go that well together. So you’ll have to make gooduse of the available light. You achieve the most beautiful effects at the boundaries of what is possible. As a result, far from all of thephotographs will be successful, but this makes experimenting all themore exciting and a successful print all the more beautiful.
Landscapes & Architecture | 2
Colossal buildings, monuments or trees can be so impressive that youimmediately want to photograph them. Wait just a beat, and ask yourself if the size of the subject will be visible on the photograph. The term‘big’ only really takes on meaning thanks to the opposite phenomenon:‘small(er)’. Prevent a great impression from becoming boring by introducinga comparative element in the composition. This can be a person next toa statue. But also an animal can lend the overwhelming impression of the landscape more value. What is important is that you play with theproportions. This leaves the original impression intact more.
us    ss
To begin with, switch your camera to ‘night’ mode. You’ll
nd this under ‘S’, ‘Scene’ or ‘Scenery’. Then ensure that 
 your camera doesn’t move. A tripod is an excellent solutionhere. Or look for support, for example a wall or church bench.Putting down your camera and using the self-timer workswell too. Finally, you can also raise the ISO rating in themenu. This makes your camera more sensitive to light.The photograph will become slightly grainier, but this canalso produce an artistic effect.
 
Literally. Because what applies to your eyes, also applies to a camera lens.
Using colour lters is a tried and tested method of adding colour and
achieving a romantic effect. Through simply holding the lens of a pair of sunglasses in front of your camera you’ll get surprising results. An ordinary
pair of sunglasses works ne, but for more colour contrast use a pair of glasses with a UV lter in the glasses.
look at the world through a(different) pair of glaSSeS
 As a photographer, you should never just look at a landscape or building,but try to discover a diagonal line. The rising crest of a dune for example, along road or the edge of a roof. This makes the photograph more dynamic.You can also look for individual parts that together form a line. Consider a ridge of mountains, clumps of trees or window frames viewed from acertain angle. And another composition rule that is useful for landscapesis to position the horizon at 1/3rd of the picture. Tilt the camera slightlyforward for more land, back slightly for more sky. This will immediatelymake your photograph less ‘standard’.
interplay of lineS
Landscapes & Architecture | 3
Your camera has many more possibilities than have been discussed here for getting more out of yourself and for taking more attractive photographs. Many people are hesitant about delving deeper into the menuand trying out new functions that they don’t already know. Understandable, but certainly unnecessary.Experiment and don‘t let yourself be put off. And if you get stuck, switch your camera off and start again!
If you’ve been taking photographs for a while and the tips above are obvious to you, you may benet more
from the following more advanced advice.
ts  S-ps
 A wide-angle lens works well enough for landscape photography.In the case of a compact camera, the lens is in this position when
 you switch it on. For single-lens reex users a telephoto lens is also
very suitable for photographing landscapes, due to the fact that youextract the depth from the photograph. Through this, foregroundand background form a whole, while in reality they are sometimeskilometres apart. Approaching landscapes as planes you unite with a telephoto lens
produces interesting results. The effect is difcult to describe and is
a lot clearer in the pictures themselves. Try experimenting with this.
Through rst photographing a view with a wide-angle lens and then
with a telephoto lens. You’ll see the difference immediately.
uSe a telephoto lenS

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