The days are getting longer, the light outdoors is getting stronger, and the flowers and trees are starting to bloom.
Now is the time to get out and capture the beauty of God's world!
Here is a wonderful article on 25 Tips for Beginners photographing flowers!
25 Tips for Photographing Flowers
Happy Photographing!
Enjoy the Springtime weather!
Appleberry Photography
Ellen
Visit our Fine Art America website!
Appleberry Photography - Fine Art America
Showing posts with label photographing flowers. Show all posts
Showing posts with label photographing flowers. Show all posts
Monday, April 25, 2016
Friday, May 16, 2014
Appleberry Photography-Spring Photography
Capturing the beauty of the growing flowers, seeing the blooming trees and even the dandelions are such a welcome sight!
Here is an excellent video by Jim Crotty on capturing the beauty of Spring!
Spring Photography
Please visit our Fine Art America online store! We will be adding more photographs daily!
Fine Art America- Appleberry Photography
Ellen Stanton & Carol Sue Jones
Appleberry Photography
Thursday, June 20, 2013
Tuesday, June 18, 2013
How to Photograph Flowers Part 2 By NYIP Staff on September 4th, 2012 -Digital SLR Photography
How to Photograph Flowers Part 2
El Niño or not, it's springtime in the Northern Hemisphere and the
tulips and daffodils are poking up around our toes. The magnolias are
ready to pop and the cherry blossoms aren't far behind.
No matter where in the world you live, it's time to grab your camera, don your April-showers raincoat, and get out there among the beautiful spring flowers. (Okay, if you're in the Southern Hemisphere, it won't be spring for six months. But let's not quibble.)
Before we get into some Advanced Techniques you can use in your photographs of flowers, if you haven't done so recently we suggest you review the Basics of Flower Photography presented in an article in this site's Reference Shelf: "How to Take Great Photographs of Flowers." If you've never read that article, do so now. It's full of Basic Concepts on which we're going to expand in this article. Read it...then come back!
Okay. Now that you've read or reviewed that article, let's move on and look at some other things you can do.
When we photograph a flower close up - whether growing in a garden or peeking out of a vase - we often use selective focus. In other words, we shoot with a wide aperture (low ƒ-number) to throw the background out of focus so it doesn't distract attention from the flower. This is a common technique that usually renders the background in muted green (of other plants) or blue (of the sky).
But the background need not be confined to these muted colors.
It's possible to add drama and a sense of the unexpected by inserting a
different type of background into the photograph, like this:
These graceful white lilies pop out in this photograph because of the deep red background. Are these lilies in a garden or a vase? We don't know. All we see are the flowers against the solid-colored background.
How can you produce such a solid-colored background in your flower pictures? Simple. Place a colored panel behind the flowers! A panel of photographic seamless paper. A panel of art-supply construction paper. A panel made from a sheet or pillowcase. Anything. Choose the color you like - and place it as a panel behind the flowers. Indoors, you may need some tape or thumbtacks to fasten your background to a wall. Outdoors, you may be able to prop your background up against other flowers in the garden...or you may have a friend or assistant hold it in place.
Shadows and reflections can be part of the photo. In the picture
to the left, NYI Instructor Jerry Rice used glossy blue paper as the
background. At first glance, you might think this is the blue of the
sky. But then you see the heavy shadow of the flower. The shadow helps
make this picture! It's a wonderful part of the composition. And we know that you don't see shadows like this in the sky.
What color background? You are limited only by your imagination and the availability of supplies. Our suggestion: Use a background color that contrasts with the color of the flowers. If the flower is red, don't use a red background...etc. Neutral colors like gray, black, white, and beige are good if the flower is very colorful. If the flower is a neutral color - like the white lilies, above - a more vibrant background color is usually better.
What lighting? Any light source can do. If you're outdoors, consider natural sunlight. Indoors, you'll probably use flash. Just be aware of the possibility of a hard shadow, and decide in advance if you want your picture to include that shadow, or you want it to be outside the frame.
NYI Dean Chuck DeLaney reports that in warm weather he wanders out
after dark and shoots flowers using only his on-camera flash, as in this
picture of June-blooming peonies. The concentrated light of his
on-camera flash gives sharp definition to the flowers. Further, because
it's pitch-black out, the background is usually totally dark.
Other backgrounds. Don't overlook other possible
backgrounds. Perhaps you want a background that has texture, like the
slate in this picture. (Hint: To bring out texture, have your lighting
come from the side.)
Or you may look for an interesting locale, as in this picture - a
fine example of "Flowers with..." Here we see the tulips with...a
windmill. The entire image is given added impact by the red sunset sky
that silhouettes the windmill and the trees. (We quibble with the
composition of this picture since the top half seems unrelated to the
bottom half. It's as though it were artificially added in the darkroom.
In reality, it was not!) In terms of lighting, note one thing: The
natural light of the sunset sky was not sufficient to properly
illuminate the foreground tulips. So the photographer added light to
them with a small flash, but made sure the exposure was long enough to
capture the windmill and sky too.
Interesting angles. Whether you're photographing flowers indoors or "au natural," consider unusual angles. In this picture the humble spring Crocus never looked more dramatic nor loomed larger. Why? Because the photographer got down low to exaggerate the flower's height. He also came in close to make them loom large. To get down this low, all you need is to be willing to bend over or lie down. To get this close, you need a macro or close-focusing lens. If you don't have such a lens, SLR users can consider getting a set of close-up filters which attach to your lens like regular filters, but provide magnification that allows you to get very close to your subject. A set of three such filters - each offering a different degree of magnification - costs about $40. (Caution: Make sure you purchase a set that fits the diameter of your basic lenses.)
Here's another interesting angle. In this picture, instead of
using a close-focusing lens, the photographer did just the opposite - he
used a wide-angle lens. And he shot from up high to look down on
the flowers in the foreground. From this angle with a wide-angle lens,
he can capture the flowers in the foreground as well as the mountains
and blue sky in the background.
Showing droplets. Here's a tip from Sharon Gumerove, NYI's
Webmaster, who loves to photograph flowers: If possible, show droplets
of dew on a close-up view of a flower. The dew connotes an early
morning view in a quiet garden. In fact, we used to get up extra early
just to capture that dew. Then Sharon told us a trick she learned a
while back: She gets up late and brings along a spray bottle filled with
water and creates her own "dew" any time of day! As an alternative,
some photographers use drops of glycerine (bought at the local drug
store) because it won't evaporate as fast.
The main idea we want to impart to you in this article is that there are lots of opportunities for you to experiment when you photograph flowers. Look for creative and unexpected approaches. For example, we've seen interesting photographs of dead flowers, dried flowers, out-of-focus flowers, even underwater flowers. Point: Let your imagination roam. Most flower pictures are mundane. Look for the unusual. Experiment!
The more you experiment, the more interesting, exciting and gratifying your flower pictures will be.
If there is a "perfect" day to photograph flowers, I've not found it! Some days there is too much sun, some days too much wind, some days the flowers are withered. But with patience and knowledge, you can take beautiful photographs of flowers!
Happy photographing!
Ellen
No matter where in the world you live, it's time to grab your camera, don your April-showers raincoat, and get out there among the beautiful spring flowers. (Okay, if you're in the Southern Hemisphere, it won't be spring for six months. But let's not quibble.)
Before we get into some Advanced Techniques you can use in your photographs of flowers, if you haven't done so recently we suggest you review the Basics of Flower Photography presented in an article in this site's Reference Shelf: "How to Take Great Photographs of Flowers." If you've never read that article, do so now. It's full of Basic Concepts on which we're going to expand in this article. Read it...then come back!
Okay. Now that you've read or reviewed that article, let's move on and look at some other things you can do.
When we photograph a flower close up - whether growing in a garden or peeking out of a vase - we often use selective focus. In other words, we shoot with a wide aperture (low ƒ-number) to throw the background out of focus so it doesn't distract attention from the flower. This is a common technique that usually renders the background in muted green (of other plants) or blue (of the sky).
But the background need not be confined to these muted colors.
It's possible to add drama and a sense of the unexpected by inserting a
different type of background into the photograph, like this:These graceful white lilies pop out in this photograph because of the deep red background. Are these lilies in a garden or a vase? We don't know. All we see are the flowers against the solid-colored background.
How can you produce such a solid-colored background in your flower pictures? Simple. Place a colored panel behind the flowers! A panel of photographic seamless paper. A panel of art-supply construction paper. A panel made from a sheet or pillowcase. Anything. Choose the color you like - and place it as a panel behind the flowers. Indoors, you may need some tape or thumbtacks to fasten your background to a wall. Outdoors, you may be able to prop your background up against other flowers in the garden...or you may have a friend or assistant hold it in place.
© Jerry Rice - NYI Instructor
What color background? You are limited only by your imagination and the availability of supplies. Our suggestion: Use a background color that contrasts with the color of the flowers. If the flower is red, don't use a red background...etc. Neutral colors like gray, black, white, and beige are good if the flower is very colorful. If the flower is a neutral color - like the white lilies, above - a more vibrant background color is usually better.
What lighting? Any light source can do. If you're outdoors, consider natural sunlight. Indoors, you'll probably use flash. Just be aware of the possibility of a hard shadow, and decide in advance if you want your picture to include that shadow, or you want it to be outside the frame.
© Chuck DeLaney - NYI Dean
Other backgrounds. Don't overlook other possible
backgrounds. Perhaps you want a background that has texture, like the
slate in this picture. (Hint: To bring out texture, have your lighting
come from the side.)
Or you may look for an interesting locale, as in this picture - a
fine example of "Flowers with..." Here we see the tulips with...a
windmill. The entire image is given added impact by the red sunset sky
that silhouettes the windmill and the trees. (We quibble with the
composition of this picture since the top half seems unrelated to the
bottom half. It's as though it were artificially added in the darkroom.
In reality, it was not!) In terms of lighting, note one thing: The
natural light of the sunset sky was not sufficient to properly
illuminate the foreground tulips. So the photographer added light to
them with a small flash, but made sure the exposure was long enough to
capture the windmill and sky too.Interesting angles. Whether you're photographing flowers indoors or "au natural," consider unusual angles. In this picture the humble spring Crocus never looked more dramatic nor loomed larger. Why? Because the photographer got down low to exaggerate the flower's height. He also came in close to make them loom large. To get down this low, all you need is to be willing to bend over or lie down. To get this close, you need a macro or close-focusing lens. If you don't have such a lens, SLR users can consider getting a set of close-up filters which attach to your lens like regular filters, but provide magnification that allows you to get very close to your subject. A set of three such filters - each offering a different degree of magnification - costs about $40. (Caution: Make sure you purchase a set that fits the diameter of your basic lenses.)
The main idea we want to impart to you in this article is that there are lots of opportunities for you to experiment when you photograph flowers. Look for creative and unexpected approaches. For example, we've seen interesting photographs of dead flowers, dried flowers, out-of-focus flowers, even underwater flowers. Point: Let your imagination roam. Most flower pictures are mundane. Look for the unusual. Experiment!
The more you experiment, the more interesting, exciting and gratifying your flower pictures will be.
If there is a "perfect" day to photograph flowers, I've not found it! Some days there is too much sun, some days too much wind, some days the flowers are withered. But with patience and knowledge, you can take beautiful photographs of flowers!
Happy photographing!
Ellen
Monday, June 17, 2013
Digital Photography - Flower Photography
There can never be enough said about capturing the beauty of flowers!
Here is an excellent article from The New York Institute of Photography.
Flower Photography
When you photograph flowers, you have to make a couple of important decisions.
As with any photograph, your first decision is to decide: What's my subject? Is it a bouquet of flowers, or the macro view of a stamen? A single flower closeup? A bed of hundreds of flowers? A field of thousands?
From this decision will flow many specifics of the picture you want to take and how to go about it.
Let's start with the macro photo — that is, with extreme closeups. Of course, you can only take this type of picture if your lens has a macro mode. With macro, you're focusing from a few inches! Many of today's point-and-shoot models do have this type of capability.
When we talk about what you see in your camera's viewfinder, bear in mind that we're thinking of the viewfinder in a single lens reflex (SLR) camera, where you see the image as the film or chip will see it – through the lens that takes the picture. The viewfinders on point-and-shoot cameras don't work very well when you're extremely close to your subject. That means with a digital point-and-shoot, you should use the camera's LCD viewing panel to make certain the lens is pointed at your intended subject.
When you take a macro photo, focus is all-important. Your plane of focus is very shallow — just a fraction of an inch. So you have to make another decision: Exactly what part of the flower do you want to be in sharp focus? The pistil? The stamen? A petal? (We've run out of high-school biology terminology, but you get the idea.) Unless you're a botanist, you will probably make this decision "on the fly" — that is, as you look through the viewfinder. When you see the image that you want, press the shutter!
While it is possible to take a good close-up photo handheld, our advice is to use a tripod if at all possible. Particularly if the flower is swaying in the wind, changing the focal point every moment, you're better off not adding the additional confusion of a swaying camera too. Use a tripod and be patient. Most often, the wind will die down from time to time and the flower will stand still and "pose" for an instant. That's the instant to shoot!
While on the subject of wind, here are some other tips: If the wind is blowing hard and steady, the flower will probably sway incessantly and fast, so that you will be hard-pressed to get the shot. Consider waiting for another time — perhaps, the next day — when the wind has died down. If you must shoot during an unremitting wind, place a makeshift shelter around the flower to protect it from the wind. A few sheets of poster board may be sufficient. (Of course, keep the shelter out of the picture!) Or tie the flower stem to a thin post (the type you will find in any garden center).
How should you expose this shot? The easy way is to trust your meter. It will generally give a fairly accurate reading in this situation. For pinpoint exposure, however, we recommend that you use a gray card or take an incident reading. By using one of these alternative methods, you end up with an exposure that is precisely calibrated to the light, and is not affected by the color or reflectivity of the flower.
Macro flower shots can be pretty. But if you want to turn the ordinary macro shot into an extraordinary photograph, try to add something of interest. What? How about a bee gathering pollen? Or a spider crawling inside? Or a butterfly? Now you've got something to grab the viewer's attention beyond a pretty picture. This type of photograph may not come easy — you have to wait for the critter. But if you wait long enough and your patience is rewarded, you can end up with a really great photograph.
Let's move on to consider the shot of a single flower head. Much of what we said for the macro view applies here too. As before, you can't get close enough for this type of picture with point-and-shoot cameras. Once again, you'll be better off using a tripod if possible. Remember also that you don't have to make pictures of single flowers while you're bent over in the garden. Over the years many great photographers have made wonderful still life studies of flowers in a studio setting where there's no wind and the photographer has precise control over the lighting. Whether you're taking pictures indoors or out, once again exposure will be more precise if you use a gray card or take an incident reading. And the picture will often be improved if you can add a crawling critter.
Good focus is still important, but it's not as critical as it was with the macro. The zone of good focus is now a few inches, not just a fraction of an inch. So, while you still want to focus well, you don't need to watch focus quite so critically.
An added decision for you to make with this type of shot is to consider the direction of light. It's possible to take a very attractive picture with the light in its "usual" position, streaming from behind you toward the flower. But give strong consideration to backlighting — that is — light coming from behind the flower, toward the camera. Since flower petals are usually translucent, backlighting can give them an iridescent glow that accentuates the flower's color and brings it to life.
How should you decide which light is best? Easy. Walk around the flower, observing how it looks through the viewfinder from different positions. Keep a sharp eye. You may see an appealing shadow from one position. A glow of iridescence from another. Maybe you can get both together. Walk around, and then take your picture from the position that appeals most to your eye.
We should add two words of warning here. First, when the light comes from behind you, watch your own shadow carefully. Usually, you want to avoid casting a shadow on the flower. Second, when you are shooting with the flower backlit, watch out for flare. You don't want the incoming light to shine directly into your lens producing ghostlike blobs. (You can avoid flare by either positioning your camera so that the light doesn't shine directly into your lens, or by shading the lens with your hand or a hat or any other opaque object. Just be sure that the object is kept out of the image frame.)
There's a second additional decision to make when you are shooting a single flower head. How high or low do you want the camera to be?
In other words, from what angle do you want to shoot the flower?
Once again, the answer is best determined by your eye. As you walk around the flower to watch the play of light from different sides, also look through the viewfinder to see how it looks from different heights. Don't be lazy. Lie down to see it from a squirrel's-eye view. Stand up and raise your tripod to see it from a bumble-bee's view. Let your eye decide which you prefer. Also, in addition to the lighting, consider the tonality of any background that will be visible in the photograph. Brown dirt, green grass, or blue sky can give a very different feeling to the photo.
Let's move on to bigger floral subjects. What about a bed of flowers...or a field of them? Here, you can probably use a point-and-shoot as well as a DSLR. A tripod is less necessary. Focus is no longer critical — it can extend for feet or even miles. And metering with your built-in meter will probably produce a good result.
What about the direction of light? It still can make a difference. If you can check how the flowers look from different sides, by all means do so. Frontlighting may be all right. Backlighting — or sidelighting — may be better. Camera angle — that is, height — is usually less important in this type of long shot. (You should still stoop down to see if the image is improved from a low angle that will accentuate the nearest flowers.)
What should you look out for here? We think you should go back to the very first decision: What's your subject? A bed or field of flowers may look exquisite to your eye, but often makes an awfully dull picture. Look for something that will add interest to the picture. Something else that will draw the eye of the viewer and be the subject of your picture, with the flowers acting as swatches of color that complement it.
If you're photographing a flower bed, look around. Perhaps, a child playing amidst the flowers will make a far more interesting picture. Or the house behind it. Or the apple tree in the foreground? Or the fence in the background. Or anything else you can find to draw the viewer's eye and add interest.
Do the same with a field of flowers. Is there a barn that would make a better subject? A tree? A windmill? A lone person far out in the field. A babbling stream? A majestic mountain landscape?
Chances are if you look around you'll find lots of potential targets that will add considerable interest to your photograph.
To sum all of the flower photography tips up: Flowers are colorful and can make beautiful photography subjects when you're close up and they fill the frame. You're better off finding another subject, and using the flowers as an "accessory," when you're shooting from farther away.
NY Institute of Photography
The New York Institute of Photography has been a provider of high quality photography education since 1910. With more than 100 years of experience, they've trained more successful photographers than any other school in the world.
They currently offer three great photography courses: The Complete Course in Professional Photography, The Complete Course in Digital Photography, and the Fundamentals of Digital Photography. Located in the heart of New York City, NYIP School has graduated students of their home-study programs all over the world, currently serving students in over 150 countries worldwide.
In addition to producing these courses, the New York Institute of Photography continues to produce high-quality, original content and photography tips for anyone interested in photography. This content is written and prepared by student advisors and instructors, who are all professional photographers employed by the school.
I learned so much from NYIP!
This photo was taken in my sister Cate's garden!
Here is an excellent article from The New York Institute of Photography.
Flower Photography
When you photograph flowers, you have to make a couple of important decisions.
As with any photograph, your first decision is to decide: What's my subject? Is it a bouquet of flowers, or the macro view of a stamen? A single flower closeup? A bed of hundreds of flowers? A field of thousands?
From this decision will flow many specifics of the picture you want to take and how to go about it.
Let's start with the macro photo — that is, with extreme closeups. Of course, you can only take this type of picture if your lens has a macro mode. With macro, you're focusing from a few inches! Many of today's point-and-shoot models do have this type of capability.
When we talk about what you see in your camera's viewfinder, bear in mind that we're thinking of the viewfinder in a single lens reflex (SLR) camera, where you see the image as the film or chip will see it – through the lens that takes the picture. The viewfinders on point-and-shoot cameras don't work very well when you're extremely close to your subject. That means with a digital point-and-shoot, you should use the camera's LCD viewing panel to make certain the lens is pointed at your intended subject.
When you take a macro photo, focus is all-important. Your plane of focus is very shallow — just a fraction of an inch. So you have to make another decision: Exactly what part of the flower do you want to be in sharp focus? The pistil? The stamen? A petal? (We've run out of high-school biology terminology, but you get the idea.) Unless you're a botanist, you will probably make this decision "on the fly" — that is, as you look through the viewfinder. When you see the image that you want, press the shutter!
While it is possible to take a good close-up photo handheld, our advice is to use a tripod if at all possible. Particularly if the flower is swaying in the wind, changing the focal point every moment, you're better off not adding the additional confusion of a swaying camera too. Use a tripod and be patient. Most often, the wind will die down from time to time and the flower will stand still and "pose" for an instant. That's the instant to shoot!
While on the subject of wind, here are some other tips: If the wind is blowing hard and steady, the flower will probably sway incessantly and fast, so that you will be hard-pressed to get the shot. Consider waiting for another time — perhaps, the next day — when the wind has died down. If you must shoot during an unremitting wind, place a makeshift shelter around the flower to protect it from the wind. A few sheets of poster board may be sufficient. (Of course, keep the shelter out of the picture!) Or tie the flower stem to a thin post (the type you will find in any garden center).
How should you expose this shot? The easy way is to trust your meter. It will generally give a fairly accurate reading in this situation. For pinpoint exposure, however, we recommend that you use a gray card or take an incident reading. By using one of these alternative methods, you end up with an exposure that is precisely calibrated to the light, and is not affected by the color or reflectivity of the flower.
Macro flower shots can be pretty. But if you want to turn the ordinary macro shot into an extraordinary photograph, try to add something of interest. What? How about a bee gathering pollen? Or a spider crawling inside? Or a butterfly? Now you've got something to grab the viewer's attention beyond a pretty picture. This type of photograph may not come easy — you have to wait for the critter. But if you wait long enough and your patience is rewarded, you can end up with a really great photograph.
Let's move on to consider the shot of a single flower head. Much of what we said for the macro view applies here too. As before, you can't get close enough for this type of picture with point-and-shoot cameras. Once again, you'll be better off using a tripod if possible. Remember also that you don't have to make pictures of single flowers while you're bent over in the garden. Over the years many great photographers have made wonderful still life studies of flowers in a studio setting where there's no wind and the photographer has precise control over the lighting. Whether you're taking pictures indoors or out, once again exposure will be more precise if you use a gray card or take an incident reading. And the picture will often be improved if you can add a crawling critter.
Good focus is still important, but it's not as critical as it was with the macro. The zone of good focus is now a few inches, not just a fraction of an inch. So, while you still want to focus well, you don't need to watch focus quite so critically.
An added decision for you to make with this type of shot is to consider the direction of light. It's possible to take a very attractive picture with the light in its "usual" position, streaming from behind you toward the flower. But give strong consideration to backlighting — that is — light coming from behind the flower, toward the camera. Since flower petals are usually translucent, backlighting can give them an iridescent glow that accentuates the flower's color and brings it to life.
How should you decide which light is best? Easy. Walk around the flower, observing how it looks through the viewfinder from different positions. Keep a sharp eye. You may see an appealing shadow from one position. A glow of iridescence from another. Maybe you can get both together. Walk around, and then take your picture from the position that appeals most to your eye.
We should add two words of warning here. First, when the light comes from behind you, watch your own shadow carefully. Usually, you want to avoid casting a shadow on the flower. Second, when you are shooting with the flower backlit, watch out for flare. You don't want the incoming light to shine directly into your lens producing ghostlike blobs. (You can avoid flare by either positioning your camera so that the light doesn't shine directly into your lens, or by shading the lens with your hand or a hat or any other opaque object. Just be sure that the object is kept out of the image frame.)
There's a second additional decision to make when you are shooting a single flower head. How high or low do you want the camera to be?
In other words, from what angle do you want to shoot the flower?
Once again, the answer is best determined by your eye. As you walk around the flower to watch the play of light from different sides, also look through the viewfinder to see how it looks from different heights. Don't be lazy. Lie down to see it from a squirrel's-eye view. Stand up and raise your tripod to see it from a bumble-bee's view. Let your eye decide which you prefer. Also, in addition to the lighting, consider the tonality of any background that will be visible in the photograph. Brown dirt, green grass, or blue sky can give a very different feeling to the photo.
Let's move on to bigger floral subjects. What about a bed of flowers...or a field of them? Here, you can probably use a point-and-shoot as well as a DSLR. A tripod is less necessary. Focus is no longer critical — it can extend for feet or even miles. And metering with your built-in meter will probably produce a good result.
What about the direction of light? It still can make a difference. If you can check how the flowers look from different sides, by all means do so. Frontlighting may be all right. Backlighting — or sidelighting — may be better. Camera angle — that is, height — is usually less important in this type of long shot. (You should still stoop down to see if the image is improved from a low angle that will accentuate the nearest flowers.)
What should you look out for here? We think you should go back to the very first decision: What's your subject? A bed or field of flowers may look exquisite to your eye, but often makes an awfully dull picture. Look for something that will add interest to the picture. Something else that will draw the eye of the viewer and be the subject of your picture, with the flowers acting as swatches of color that complement it.
If you're photographing a flower bed, look around. Perhaps, a child playing amidst the flowers will make a far more interesting picture. Or the house behind it. Or the apple tree in the foreground? Or the fence in the background. Or anything else you can find to draw the viewer's eye and add interest.
Do the same with a field of flowers. Is there a barn that would make a better subject? A tree? A windmill? A lone person far out in the field. A babbling stream? A majestic mountain landscape?
Chances are if you look around you'll find lots of potential targets that will add considerable interest to your photograph.
To sum all of the flower photography tips up: Flowers are colorful and can make beautiful photography subjects when you're close up and they fill the frame. You're better off finding another subject, and using the flowers as an "accessory," when you're shooting from farther away.
NY Institute of Photography
The New York Institute of Photography has been a provider of high quality photography education since 1910. With more than 100 years of experience, they've trained more successful photographers than any other school in the world.
They currently offer three great photography courses: The Complete Course in Professional Photography, The Complete Course in Digital Photography, and the Fundamentals of Digital Photography. Located in the heart of New York City, NYIP School has graduated students of their home-study programs all over the world, currently serving students in over 150 countries worldwide.
In addition to producing these courses, the New York Institute of Photography continues to produce high-quality, original content and photography tips for anyone interested in photography. This content is written and prepared by student advisors and instructors, who are all professional photographers employed by the school.
I learned so much from NYIP!
This photo was taken in my sister Cate's garden!
Sunday, June 16, 2013
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