For those thinking about testing with photography there are all kinds of possibilities for trying to photograph different physical surfaces. For example, things such as timber and things made of wood can often give the photographer with a range of challenges and photographic examination. Regardless of whether the photos will be shot in full-color or in the black and white style it is important to make a well thought out "strategy" before starting. This would include thinking about the kinds of special effects and outcomes desired and then working out a few different methods to shooting such images.
Let's first consider photographs of timber or objects made of wood. Due to the fact this is an organic many people may not think of bringing wood into their photographic set up for a photo session. But just stop and think for a moment. Think about how timber might as an abstract or macro photo with close up lines and swirls, we begin to realize how this would work being shot in any location.
Wood may be in the form of man-made subjects ranging from pencils right through to home furniture to boxes and plates. It is also naturally occurring in driftwood and branches too. A single tree branch or piece of bark will reveal crevices, moss or lichen, and a large number of special hues and grains.
A photographer might want to take photos of the many textures and tones in a piece of driftwood using only the black and white settings on their digital camera, or they may instead depend on the color functions to photograph the texture and different color patterns in something like Tiger Maple. Clearly, this will mean that that choosing the right setup becomes imperative to stunning images.
So, how do you know the correct approach to photographing wooden textures? It all boils down to how creatively you examine your subject. That piece of driftwood could be captured along the sandy beach where it was found; through the various tones of the wood and the textures of the sand completing and where you place things in the photo. This same piece of wood, on the other hand, may be brought into the studio and set against a solid black or white background where its swirls, lines, ridges, and various tones will become the whole scene as an alternative.
Irrespective of the type of wooden textures to be photographed and the decision between color or black and white, it is important to remember that sharpness in texture is the final purpose. For this illustration we will return to that piece of driftwood and consider looking at it "up close" and also examine it "au natural" with the digital camera.
If a photographer has made the decision to bring the timber into the studio and get in close to the patterns and textures that have organically occurred they are going to need to evaluate the right method to do this. Should they shoot with a macro lens or should they use the same approach as they would with up-close portraiture? Generally, it is best to make use of the zoom lens (such as put to use in a greater part of portrait settings) to get a really wonderful range of options. If you choose close up for such a picture you are going to have to really struggle with the light process, but the zoom lens will let the skilled photographer keep at a fair distance and really flood the timber with a large deal of easily controlled lighting. This means that shadows can be created when needed or they can be completely eradicated by the lighting setup too.
If we head outside to take photos of that piece of driftwood as it lies on the sands, we are going to have to think about the depth and value of its position in the shot. Is it wise that we stand over it and just shoot down into its patterns? Is it more intersting to juxtaposition it against the pale sands, the gray waters, and the pale blue sky? Should it be done in black and white? Some of these questions have more to do with a photographer's private preferences than anything else, but for the purpose of this conversation we will opt for the color shot of the driftwood.
It is going to be an object in dark grey tones in a setting that's bright. A photographer is going to have to make use of various methods for shooting as they would for standard landscape photography. This means they will want to make sure that their foreground and background are in the identical focal depth as the subject, and they will need to make sure that the light of the setting is balanced. Implementing a polarizing filter can diminish some reflections off the water and the sands and keep the colors a bit cooler.
Clearly, these are just straightforward examples of how a individual piece of wood can create an infinite range of photographic opportunities, but it is important for any photographer to bear in mind that their broad background environment is an ideal scene for experimentation.
Let's first consider photographs of timber or objects made of wood. Due to the fact this is an organic many people may not think of bringing wood into their photographic set up for a photo session. But just stop and think for a moment. Think about how timber might as an abstract or macro photo with close up lines and swirls, we begin to realize how this would work being shot in any location.
Wood may be in the form of man-made subjects ranging from pencils right through to home furniture to boxes and plates. It is also naturally occurring in driftwood and branches too. A single tree branch or piece of bark will reveal crevices, moss or lichen, and a large number of special hues and grains.
A photographer might want to take photos of the many textures and tones in a piece of driftwood using only the black and white settings on their digital camera, or they may instead depend on the color functions to photograph the texture and different color patterns in something like Tiger Maple. Clearly, this will mean that that choosing the right setup becomes imperative to stunning images.
So, how do you know the correct approach to photographing wooden textures? It all boils down to how creatively you examine your subject. That piece of driftwood could be captured along the sandy beach where it was found; through the various tones of the wood and the textures of the sand completing and where you place things in the photo. This same piece of wood, on the other hand, may be brought into the studio and set against a solid black or white background where its swirls, lines, ridges, and various tones will become the whole scene as an alternative.
Irrespective of the type of wooden textures to be photographed and the decision between color or black and white, it is important to remember that sharpness in texture is the final purpose. For this illustration we will return to that piece of driftwood and consider looking at it "up close" and also examine it "au natural" with the digital camera.
If a photographer has made the decision to bring the timber into the studio and get in close to the patterns and textures that have organically occurred they are going to need to evaluate the right method to do this. Should they shoot with a macro lens or should they use the same approach as they would with up-close portraiture? Generally, it is best to make use of the zoom lens (such as put to use in a greater part of portrait settings) to get a really wonderful range of options. If you choose close up for such a picture you are going to have to really struggle with the light process, but the zoom lens will let the skilled photographer keep at a fair distance and really flood the timber with a large deal of easily controlled lighting. This means that shadows can be created when needed or they can be completely eradicated by the lighting setup too.
If we head outside to take photos of that piece of driftwood as it lies on the sands, we are going to have to think about the depth and value of its position in the shot. Is it wise that we stand over it and just shoot down into its patterns? Is it more intersting to juxtaposition it against the pale sands, the gray waters, and the pale blue sky? Should it be done in black and white? Some of these questions have more to do with a photographer's private preferences than anything else, but for the purpose of this conversation we will opt for the color shot of the driftwood.
It is going to be an object in dark grey tones in a setting that's bright. A photographer is going to have to make use of various methods for shooting as they would for standard landscape photography. This means they will want to make sure that their foreground and background are in the identical focal depth as the subject, and they will need to make sure that the light of the setting is balanced. Implementing a polarizing filter can diminish some reflections off the water and the sands and keep the colors a bit cooler.
Clearly, these are just straightforward examples of how a individual piece of wood can create an infinite range of photographic opportunities, but it is important for any photographer to bear in mind that their broad background environment is an ideal scene for experimentation.
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