Photography Life: 2017

Friday, February 17, 2017

WILDLIFE PHOTOGRAPHY

Amazing Wild Life Photography tips. It will help you in better way to clicks right shots of Wildlife Photography.

Thursday, February 16, 2017

Basic Photography Tutorials

Know Your ISO, SHUTTER SPEED, APERTURE better way.

EXPOSURE–THE MOST BASIC ELEMENT OF PHOTOGRAPHY.

APERTURE.

SHUTTER SPEED.

ISO.

PUTTING IT ALL TOGETHER.

Learn basic photoshop for beginners.

New to Photoshop? Our exclusive Photoshop Basics tutorials are perfect for beginners and cover everything you need to know to get up and running quickly!

1. Getting Started with Photoshop.

3. Photoshop For Beginners: The Power of Layers.

Wednesday, February 1, 2017

15 ways to find the perfect angle in photography.

1: BE READY – MOMENTS COME AND GO QUICKLY.

2: CAREFUL COMPOSITION TO EITHER EXPAND UPON OR CONTRACT THE FEEL OF THE PHOTO.

3: APERTURE CONTROL FOR DOF.

4: UNDERSTAND THE EXPOSURE TRIANGLE.

5: PAY ATTENTION TO YOUR LIGHT SOURCES.

6: ALWAYS CHECK YOUR CAMERA SETTINGS.

7: PRACTICE.

8: DECIDE ON A CLEAR CENTER OF ATTENTION.

9: REMEMBER THAT YOUR EYE HAS A BETTER DYNAMIC RANGE THAN YOUR CAMERA.

10: ALWAYS HAVE BIRDS EYE.

11. SHOOT FROM UNDER/BELOW THINGS.

12. USE REFLECTIONS.

13. HOLD YOUR CAMERA UP HIGH.

14. SHOOT FROM THE HEIGHT OF YOUR

SUBJECT.

15. TILT YOUR PHOTOS FOR A MORE DYNAMIC LOOK.

Friday, January 27, 2017

Improve your photography

Stop looking for subjects to photograph and learn to see.

Look for colours. Or do the opposite: look for a total absence of colour, or shoot in black-and-white.
Look for repetition and rhythm. Or do the opposite, and look for something completely isolated from the things around it.
Look for lighting, and the lack of such. Take photographs of shadows, or of reflections, or of light streaming through something, or of things in total darkness. Many people find 'golden hour' (last two hours of daylight) to be the ideal light conditions for photographs. This is due to the directional light it creates, which can create depth in a photo when utilized properly. However, that doesn't mean one can't photograph during mid day and still find good light. Sun directly over head can be viewed as harsh, look for foggy conditions or open shade to find nice soft light. But, rules are made to be broken, don't take these guidelines too literally!
Look for emotion and gesture if you're photographing people. Do they show happiness? Mischievousness? Sadness? Do they look thoughtful? Or do they just look like another person mildly annoyed to have a camera pointed at them?
Look for texture, forms, and patterns. Great black-and-white photographs are stunning because black-and-white forces the photographer to look for these things.
Look for contrasts. Look for something that stands out from the rest of the shot. In your composition, use the wide end of your zoom (or a wide-angle lens) and get closer and make it so. Look for contrasts of all the things above: colour amid dullness, light among darkness, and so on. If you're photographing people, try putting (or finding) your subject in a context in which they stand out. Look for happiness in unexpected places. Look for a person in a surrounding in which they appear out-of-place. Or ignore this and take them completely away from their context by opening your lens all the way to blur the background. In short...
Look for anything that will hold a viewer's interest which isn't a traditional "subject". As you find your niche, you'll probably find that you end up going back to taking photographs of subjects again. This is fine. Looking for things which aren't subjects will improve your photography no end—you'll soon see a different world altogether.

Keep your photos as simple as possible. Get as close to your subject as you can.Use your feet, and use your zoom lens (if you have one) to fine-tune your composition. Get rid of anything that doesn't give some important context to understand your photo fully.

Shoot film. If you already shoot film, then shoot digital as well. Both film and digital cameras have their place in the learning photographer's arsenal. They both have their advantages and disadvantages, and both will teach you a different set of habits. The worst habits of digital, are balanced out by the better habits of film, and vice versa.

Digital cameras give you immediate feedback on what you are doing right and what you are doing wrong. They also reduce the cost of experimentation to zero. Both of these things are invaluable to the new photographer. However, the zero cost of digital makes it far too easy to fall into the habit of "spraying-and-praying" and hoping a good photo comes out at the end of it.
Film cameras force you to be more careful about what you are taking. Even amillionaire would be reluctant to sit around on his yacht taking thirty-six photographs of his bathing towel on film.^[2] The economic incentive to make more of the shots you take might lead to less experimentation (which is bad), but it does make you think harder before taking photographs (which can be good, if you have a good idea of what you should do before taking the picture). What's more, film stillhas a look all its own, and you can pick up professional-quality film gear ludicrously cheap as well.

Show the best of your work to other people. Which is to say, find the best of your work and show only that to other people. Even the greatest photographers don't take superb shots every single time; they're just very selective about what they show to others.

Be brutal about it. If they're not great shots to you, then never show them. Your standards will increase over time, and even the ones you might have once thought were passable will probably look pretty lame to you a few months down the line. If this means that all you had for a day's worth of shooting was one or two photos, then that's okay. In fact, it probably means you're being just harsh enough.
Don't look at images full size. Ken points out that the most important parts of an image are those that can be seen when the picture is seen at thumbnail size. There are people out there who will pick at flaws they can only see in 100% crops of your photos. That's okay, because they aren't really worth listening to. Feel free to pass over anything that doesn't look great when it takes up a quarter of your screen (or less).

Seek out and listen to the critiques of others. Don't fall into the trap of posting in "critique my photos"-type threads on the Internet; these are usually full of the pixel-peepers mentioned above. Still, it's good to seek out constructive criticism, as long as you're careful about who you listen to.

Listen to artists. If someone has some great artistic work to show— photos, paintings, music or anything else—then this is reason to take them seriously, since other artists instinctively understand visceral impact, whether it's in their field or not (and if your photo doesn't make an impact, it's probably better deleted). Most non-artists do, as well, although they aren't as well positioned to tell you what you're doing right (and they're more likely to be nice to you to avoid hurting your feelings).
Ignore anyone who critiques your photos harshly and has no stunning photography to show. Their opinions are simply not worth listening to.
Figure out what you're doing right and what you're doing wrong. If someone liked a photograph, what made them like it? If they didn't, what did you do wrong? As said above, other artists will probably be able to tell you these things.
Don't be modest if someone likes your work. It's okay, photographers love beingcomplimented on their masterpieces as much as anyone else does. Try not to be cocky, though.

Look for work that inspires you. This doesn't mean merely technically impeccable; any (very rich) clown can stick a 400mm f/2.8 lens onto a $3000 digital SLR, get a well-exposed, super-sharp photograph of a bird, and that still won't make them Steve Cirone. Rather, look for work that makes you smile, laugh, cry, or feel anything, and not work that makes you think "well exposed and focused". If you're into people photos, look at the work of Steve McCurry (photographer of the Afghan Girl), or the studio work of Annie Leibowitz. If you're on Flickr or any other photo-sharing website, then keep an eye on the people who inspire you (though don't end up spending so much time at your computer that you're not out taking photos).

Learn some technical trivia. No, this is not the most important part about taking photographs. In fact, it's one of the least important, which is why it's all the way down here; a great photo taken by a point-and-shooter ignorant of these things, is far more interesting than a boring photo perfectly focused and exposed. It's also infinitely better than the one that wasn't taken at all because someone was too busy worrying about this sort of trivia.
- Still, it's handy to have a working knowledge of shutter speed, aperture, focal length, etc., and what effects they will have on your picture. None of this will make a bad photo into a good one, but it can sometimes keep you from losing a good photo to a technical problem and can make great photos even better.

Tuesday, January 24, 2017

Basic Photography

Don’t crop your photos.
Share fewer photos on social media.
Don’t just take 1–2 photos of a scene (work the scene).

Never compare yourself with others.
Aim to improve your photography by 1% everyday.
Aim to make complex photos, not complicated photos.
Cross-pollinate your photography to be more creative.
The photos you decide not to make are more important than the photos you do make.
Photography is 90% editing your work (choosing your best photos) and 10% actually making photos.
Apply the 80/20 rule in your photography.
Aim to get one good photo from a thousand photos.
Shoot both horizontal and vertical photos.
Use minus-exposure compensation in harsh light.
A photographer’s best tool is his/her smile.
Shoot with your flash more often.
How can you turn your obstacles into an opportunity?
Make interesting photos out of boring things
Shoot RAW+JPEG

Thursday, January 19, 2017

Canon 7D Review

7D with Canon EF-S 15-85mm f/3.5-5.6 IS USM Lens Mounted - Front with Flash Up

The Canon EOS 7D is without question, the best APS-C sensor-sized DSLR Canon has ever produced (as of this review date of course). And of course, "best" is a vague word. Let me use seven or eight thousand words to clarify that sentence.

The 7D is the first model of a new camera line. Under Canon's current naming scheme, the first clue as to where the 7D fits in Canon's lineup is in the model number itself. The fewer digits in front of the D, the higher the camera line. Once 1 digit is reached, the lower the number, the higher the camera line (this is reversed for the zzD, zzzD and zzzzD lines). Canon's 1D-Series line is the best available. So in this case, we have a single digit line (the best), but a higher number within the single digit lineup. In short, this is a very high end DSLR and the only single-digit model with an APS-C-sized sensor.

Another fact is that select features found in lower end camera lines can top those found in the best lines. And that is clearly the case with the 7D compared to the other currently (as of this review date) available lines including the 1-Series bodies. Here is a quick summary of the new and advanced featuresfound in this DSLR:

Quick function:-

Contained in the bulge in the top of the 7D viewfinder is a built-in flash as seen in the ready-to-use position above along with a Canon EF-S 15-85mm f/3.5-5.6 IS USM Lens mounted. The Canon 7D is the highest-end Canon EOS DSLR model to sport a built-in flash, but what is really a big deal is that this flash includes an Integrated Speedlite Transmitter for control of multiple off-camera EOS Speedlites. NoCanon 580EX II Flash or Canon ST-E2 Speedlite Transmitter is needed to completely control as many remote flashes as desired.

7D Wireless Flash Operation Diagram

Canon 7D Review Update

On June 28, 2012, Canon announced Canon EOS Firmware Upgrade Version 2.0.X. This is a major update to the previous firmware version with the following EOS 7D features being added/updated:

Maximum Burst Rate for Continuous Shooting extended to 130 JPEG Large/Fine and 25 RAW (from RAW 126 and 15)
GPS Receiver GP-E2 compatibility added
Manual Audio Level Adjustments added - 64 levels
Maximum Limit for ISO Auto Limit now set by user (ISO 400-6400) - formerly set at ISO 3200
In-camera RAW Image Processing
In-camera JPEG Image Resizing
In-camera Ratings
Quick Control During Playback
Customization of File Names
Time Zone Settings
Improved Scrolling of Magnified Images

The Canon EOS 5D Mark II was first. The Canon EOS Rebel T1i was second. And the Canon EOS 7D is now the third Canon DSLR to be given the HD video feature. While it is not a perfect-for-everyone video package, the 7D, with its huge-to-video-camera-standards sensor, delivers impressive video image quality. As I write this, Canon issued a press release regarding NBC using the 7D and 5D II for capturing the Saturday Night Live show's intro. The large sensor combined with the huge range of lenses available gives even those on a tight budget the ability to create incredible video projects utilizing shallow DOF and low/available light. Press the START/STOP button and get started.

What you get with the 7D is most similar to the 5D II's feature set. Here is the list: Full HD video capture at 1920 x 1080 resolution (1080p) with selectable frame rates of 24p (for that cinema-style look), 25p or 30p. The EOS 7D will also record 720p HD at 50p or 60p (59.94) and SD video at frame rates of 50p or 60p (59.94). The 7D includes a built-in monaural microphone (gets the job done) and a 3.5mm jack for an external stereo microphone such as the Rode Stereo Video Mic. In-camera video trimming is a new feature.

Summary of EOS 7D Mark II Features

20.2 Megapixel CMOS APS-C Sensor supporting next generation Dual Pixel CMOS sensor-based AF
10.0 fps continuous shooting for up to 130 JPG/31 RAW frames
Dual DIGIC 6 Processors
Highly customizable AF system featuring 65 All Cross Type AF Points with f/8 center point sensitive to -3 EV extreme low-light conditions
ISO 100-16000 with expansion to 51200
Built-in GPS receiver with a digital compass records location information (longitude, latitude, elevation, direction and UTC time) to EXIF
Improved custom controls with built-in Intervalometer and bulb timer
60 fps 1080p video, speed and sensitivity-customizable Movie Servo AF, MOV and MP4 recording formats and uncompressed HDMI out
Magnesium alloy body, shutter durability rated up to 200,000 cycles and enhanced dust and weather resistance
EOS Scene Detection System features a new 150,000-pixel RGB+IR Metering Sensor for improved precision
3.0-inch Clear View II LCD monitor (approximately 1,040,000 dots)
Flicker Mode adjusts shutter release timing to avoid flickering light issues
Dual Memory Card Slots supporting one CF (UDMA Mode 7) and one SD/SDHC/SDXC (UHS-I) memory card
100% view, 1.00x magnification Intelligent Viewfinder II
Distortion correction joins Canon's previously introduced in-camera chromatic aberration and peripheral illumination correction
New LP-E6N Battery and Battery Grip BG-E16.

Sunday, January 15, 2017

Nikon 5200

General
Model Name:	Nikon D5200
Prices:	Compare Prices
Manufacturer URL:	Manufacturer website
Predecessor:	Nikon D5100 D5100 vs D5200
Successor:	Nikon D5300 D5200 vs D5300
Model Number:	D5200
Alternate Model Number(s):
Camera Format:	SLR
Currently Manufactured:	No
Retail Price:	$899.95
Street Price:	$544.61
Date Available:	2013-01-30
Tripod Mount:	Yes
Weight:	29.2 oz (827 g) includes batteries, kit lens
Size:	5.1 x 3.9 x 3.1 in. (129 x 98 x 78 mm)
Waterproof:	No
Waterproof Depth:	n/a
Image Sensor
Sensor Type:	CMOS
Sensor Manufacturer:	Toshiba
Effective Megapixels:	24.1
Sensor Format:	APS-C
Sensor size:	366.6mm² (23.50mm x 15.60mm)
Approximate Pixel Pitch:	3.92 microns
Focal Length Multiplier:	1.5x
Aspect Ratio:	3:2
Color Filter Type:	RGBG
Anti Aliasing Filter:	Fixed
Self-Cleaning:	Yes
Sensor shift image stabilization:	No
On-Sensor Phase Detect:	No
DxO Sensor Score:	84
DxO Color Depth Score (bits):	24.2
DxO Dynamic Range Score (evs):	13.9
DxO Maximum Effective ISO Score (iso):	1,284
Image Capture
Image Resolution:	6000 x 4000 (24.0 MP, 3:2), 4496 x 3000 (13.5 MP, 3:2), 2992 x 2000 (6.0 MP, 3:2)
Image File Format:	JPEG (EXIF 2.3), RAW (14-bit .NEF), RAW+JPEG
Continuous-mode frames/second:	4.9
Video Capture
Can take movies:	Yes
Movie Resolution:	1920x1080 (60i/50i/30p/25p/24p) 1280x720 (60p/50p) 640x424 (30p/25p)
Movie File Format:	MOV (Video: H.264/MPEG-4 AVC; Audio: Stereo Linear PCM)
Composite Video Out:	Yes
NTSC/PAL Switchable Video:	Yes
Video Usable as Viewfinder:	No
HD Video Out:	Yes
HD Video Connection:	HDMI
Lens & Optics
Lens Mount:	Nikon F
Lens:	Nikkor AF-S DX 18-55mm f/3.5-5.6G VR
Focal Length (35mm equivalent):	27 - 83mm
Focal Length (actual):	18 - 55mm
Zoom Ratio:	3.00x
Aperture Range:	f/3.5 - 22 (W), f/5.6 - 38 (T)
Integrated ND Filter:	No
Normal Focus Range:	28 cm to Infinity 11.0 in to Infinity
Macro Focus Range:
Filter Thread:	52.0mm
Thread Type:	n/a
Optical Image Stabilization:	Yes
Digital Zoom:	No
Digital Zoom Values:	n/a
			Auto Focus
Auto Focus:	Yes
Auto Focus Type:	OVF: 39-point (9 cross type) TTL phase detection with 3D focus tracking by Nikon Multi-CAM 4800 DX; Live View: Contrast detect with Face-priority AF, wide-area AF, normal-area AF, subject-tracking AF
Auto Focus Assist Light?	Yes
Manual Focus:	Yes
		Viewfinder
Viewfinder:	Optical / LCD
Viewfinder Type:	SLR type; eye-level pentamirror, 95% coverage, 0.78x mag., 17.9mm eyepoint, -1.7 to +0.7 diopter, Type B BriteView Clear Matte Mark VII screen
Focus Peaking:	No
EVF Resolution:	n/a
Viewfinder Magnification (35mm equivalent):	0.52x
Viewfinder Magnification (nominal/claimed):	0.78x
Display
Eye-level Viewfinder:	Yes
Rear Display:	Yes
Rear Display Size (inches):	3.0
Rear Display Resolution:	921,600 dots (307,200 px)
Touchscreen:	No
Articulating Screen:	Yes
Tilt Swivel Screen:	Yes
Selfie Screen:	Yes
Max Playback Zoom:
Top Deck Display:	No
Exposure
Maximum ISO (native):	6400
Minimum ISO (native):	100
ISO Settings:	Auto, 100 - 6400 in steps of 1/3 EV; expandable to 25600
Auto ISO Mode:	Yes
White Balance Settings:	Auto, Incandescent, Fluorescent (7 types), Direct Sunlight, Flash, Cloudy, Shade, Preset Manual; all except Preset Manual with fine tuning
Shutter Speed Range:	30 - 1/4000
Bulb Mode:	Yes
Exposure Compensation:	+/- 5.0EV in 0.3EV steps
Metering Modes:	2016-pixel 3D Color Matrix Metering II, Color Matrix Metering II, Center-weighted, Spot (2.5% of frame)
Program Auto Exposure:	Yes
Aperture Priority:	Yes
Shutter Priority:	Yes
Full Manual Exposure:	Yes
Creative Exposure Modes:	16 Scene modes (Portrait, Landscape, Child, Sports, Close-up, Night Portrait, Night Landscape, Party/Indoor, Beach/Snow, Sunset, Dusk/Dawn, Pet Portrait, Candlelight, Blossom, Autumn Colors, Food); Effects (Selective Color, Miniature, High and Low Key, Silhouette, Color Sketch and Night Vision); In-camera HDR, Active D-Lighting
Self Timer:	2s, 5s, 10s, 20s; 1 to 9 exposures seconds
Time Lapse (intervalometer):	Yes
High Resolution Composite:	No
Flash
Built-in Flash:	Yes
Flash Modes:	Auto, auto with red-eye reduction, auto slow sync, auto slow sync with red-eye reduction, fill-flash, red-eye reduction, slow sync, slow sync with red-eye reduction, rear-curtain with slow sync, rear-curtain sync, off; Advanced Wireless Lighting supported with SB-910, SB-900, SB-800 as master
Flash Guide Number (ISO 100):	12.0 m / 39.4 ft.
Flash Range Description:	Lens dependent; Approx. 39/12, 43/13 with manual flash (ft/m, ISO 100, 68F/20C)
Max Flash Sync:	1/200
Flash Exposure Compensation:	-3 to +1 EV in 0.3EV steps
External Flash Connection:	ISO hot shoe
Built-In Wireless Flash Control:
Image Storage
Usable Memory Types:	SD / SDHC / SDXC
UHS Support:	UHS-I
Other Memory:
Dual Card Slots:	No
RAW Capture Support:	Yes
Uncompressed Format:	RAW (14-bit .NEF), RAW+JPEG
Movie File Format:	MOV (Video: H.264/MPEG-4 AVC; Audio: Stereo Linear PCM)
Included Memory:	No memory included
Included Memory Type:
Connectivity
Built-In Wi-Fi:	No
NFC:	No
Bluetooth:	No
Built-In GPS:	No
Microphone Jack:	Yes
Headphone Jack:	No
External Connections:	USB 2.0 High Speed
PictBridge Compliant:	Yes
DPOF Compliant:	Yes
Remote Control:	Yes
Remote Control Type:	Optional: wired or wireless
Connections (extended):	Type C mini-HDMI with CEC, Accessory Terminal (MC-DC2 remote cord or GP-1 GPS unit), 3.5mm stereo mic jack
Performance Timing
Cycle time for JPEG shooting in single shot mode (seconds per frame, max resolution):	0.47
Cycle time for RAW shooting in single shot mode (seconds per frame):	0.52
Buffer size for RAW shooting in single shot mode (frames):	9
Cycle time for RAW+JPEG shooting in single shot mode (seconds per shot):	0.54
Camera penalizes early shutter press?	No
JPEG shooting speed in burst mode (fps, max resolution):	4.9
Buffer size for JPEG shooting in burst mode (frames, max resolution):	Unlimited
RAW shooting speed in burst mode (fps):	5.0
Buffer size for RAW shooting in burst mode (frames):	7
RAW+JPEG shooting speed in burst mode (fps):	4.9
Buffer Size for RAW+JPEG shooting in burst mode (frames):	5
Shutter lag (full AF, wide/mid):	0.30 seconds
Shutter lag (full AF, tele):
Shutter lag (full AF, live view - DSLR):	1.40 seconds
Shutter lag (prefocused, live view - DSLR):	0.352 seconds
Shutter Lag (manual focus):	0.298 seconds
Shutter lag (full AF, with flash):	0.37 seconds
Shutter Lag (prefocused):	0.088 seconds
Shutter Lag (notes):	OVF: Full AF shutter lag, Wide-area mode = 0.386s Live View: Full AF shutter lag = 1.4s Prefocused = 0.352
Startup Time:	0.5 seconds
Play -> Record Time:	0.3 seconds
Flash cycle time, full power:	4.0 seconds
Power
Battery Life, Stills (CIPA Rating Monitor/Live View):
Battery Life, Still (CIPA Rating OVF/EVF):	500 shots
Battery Life, Video:
Battery Form Factor:	Proprietary EL14 (7.4v, 1030mAh)
Usable Battery Types:	Lithium-ion rechargeable
Batteries Included:	1 x Proprietary EL14 Lithium-ion rechargeable
Battery Charger Included (dedicated charger or AC/USB adapter):	Yes
Dedicated Battery Charger Included:	Yes
Internal Charging Supported:	No

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