HELIOGRAPHY

Nicéphore Niépce, an amateur inventor living near Chalon-sur-Saône, a city 189 miles (304 km) southeast of Paris, was interested in lithography, a process in which drawings are copied or drawn by hand onto lithographic stone and then printed in ink. Not artistically trained, Niépce devised a method by which light could draw the pictures he needed. He oiled an engraving to make it transparent and then placed it on a plate coated with a light-sensitive solution of bitumen of Judea (a type of asphalt) and lavender oil and exposed the setup to sunlight. After a few hours, the solution under the light areas of the engraving hardened, while that under the dark areas remained soft and could be washed away, leaving a permanent, accurate copy of the engraving. Calling the process heliography (“sun drawing”), Niépce succeeded from 1822 onward in copying oiled engravings onto lithographic stone, glass, and zinc and from 1826 onto pewter plates.

In 1826/27, using a camera obscura fitted with a pewter plate, Niépce produced the first successful photograph from nature, a view of the courtyard of his country estate, Gras, from an upper window of the house. The exposure time was about eight hours, during which the sun moved from east to west so that it appears to shine on both sides of the building.

Niépce produced his most successful copy of an engraving, a portrait of Cardinal d’Amboise, in 1826. It was exposed in about three hours, and in February 1827 he had the pewter plate etched to form a printing plate and had two prints pulled. Paper prints were the final aim of Niépce’s heliographic process, yet all his other attempts, whether made by using a camera or by means of engravings, were underexposed and too weak to be etched. Nevertheless, Niépce’s discoveries showed the path that others were to follow with more success.

BUTTERFLY PHOTOGRAPHY TIPS

Unless you have a long handled net, chasing butterflies is not a sport you are likely to win at.  They have good eyesight and will often flit away long before you get anywhere near close enough to photograph them.  Maximize your chances by seeking them out at the beginning or the end of the day when they are less active and alert.

If you can't shoot early in the morning or in the evening the best advice is to find a place that butterflies gather, sit down and make yourself comfortable and wait.  It is often a better idea to let butterflies come to you rather than to try and chase them.  It may take a while but will be far more productive than trying to run after them.

Many butterflies' wings are covered in iridescent or reflective scales and patterns.  Photographing these in bright, direct sunlight will not produce good results.  If you have to work in these kind of conditions use a diffuser to soften and reduce the strength of the light or stand between the sun and your subject to cast a shadow on it, but be aware that either of these tactics may spook them and send them flying off again.

As butterflies are fairly large insects it is sometimes difficult to achieve enough depth of field to render them wholly in focus. Photographing them either from the side or directly above will make this more easily achieved.  Try to get the front of your lens as parallel as possible to your subject to get the best results.  Alternatively you could utilize the shallow depth of field to give artistic results.

Using a reasonably small aperture (f-8 or higher) will increase the depth of field available to you.  The offset of this will of course be reduced shutter speed, so you will have to juggle around your ISO, shutter and aperture settings to get the best compromise you can.  Lenses or cameras with image stabilization can help to reduce camera shake at lower shutter speeds, but you may also wish to consider using a tripod or other form of support.

As with virtually all wildlife photography, clear, sharp eyes are vitally important to getting a good image.  Getting the eyes in focus is often easier with manual rather than auto focus, as you are able to fine tune the focal point as you desire.  With shallow depth of field you might also find it easier to roughly fix your focusing point and move your camera to achieve proper focus, rather than tweaking your focusing ring.

If you have a garden, or even just a small window-box it is easy to attract butterflies to it.  Plant nectar-rich flowers with simple "single" or tubular blooms and before long you will find butterflies flocking to them.  Ask at your local garden center or look online for tips about which flowers will attract your local species.

If you want to take pictures of a particular or unusual species, research is the key.  A quick search of the web will bring up numerous resources describing typical habitats, geographical spread, flight periods, food plants preferred by the adult and caterpillar and a goldmine of other information.  

Another good place to hunt out more unusual species is your local butterfly house.  Again, research what species they have on show and when they are flying.  A quick call to their customer services should be able to provide all of the information you need.  While you are on the phone don't forget to check if there are any restrictions on both photography (e.g. whether tripods are allowed) and the use you can make of any images taken on their premises.  Some locations do not allow commercial use of photographs taken on their site without prior permission for example.

If you are serious about photographing butterflies, consider joining your local butterfly conservation society.  This will give you insider access to information and experience that is not normally available to the public such as up to date sightings and historical records. 

MACRO PHOTOGRAPHY TECHNIQUES

Make Sure Your Subject Is Perfect

When you're working at such close focusing distances any imperfections become more noticeable and they can end up distracting the viewer or spoiling what could be an excellent shot. However, taking the time to look at your subject, making sure the butterfly you're photographing doesn't have a damaged wing or your fungi specimen isn't dirty or had a bite taken out of it, will mean you won't be disappointed when you review your shots on your computer once home. 

Get Up Early

Not everyone's a fan of early starts but if you want to shoot macro photography out in the field, it's something you should get used to doing. Some subjects tend to be less active in the morning, especially when it's still a little chilly, making them easier to photograph and plants, flowers and other foliage are less likely to have had a bite taken out of them early on too. Morning's can bring a sprinkling of dew which adds another level of interest to your shots and morning light is softer and warmer too. 

Try Backlighting

Low, morning light makes it easier to back light your subjects which can give your macro shots an interesting twist. Objects which are slightly translucent such as leaves, flower petals and butterfly wings look really good when light shines through them from the back. Keep a close eye on your shots though as the light levels can fool your camera into thinking the scene's too bright and it will underexpose the shot. If you do have problems just use exposure compensation to fix it. 

Switch To Manual Focus

When working close to a subject autofocus tends to end up searching backwards and forwards for something to focus on. Eventually it may focus on the right point but it's much quicker to switch over to manual where you'll be able to focus more precisely. If you're not used to using manual focus it can take a little bit of practice but if you try shooting flowers, fungi and other objects which are less likely to fly or run off, you don't have to rush so can take your time in getting your focusing spot-on. Then, once you're used to working manually, move on to more tricky subjects such as insects and other wildlife.

Try Pre-Focusing

Some macro subjects such as insects move fast and scare easily so pre-focusing your lens before they come into frame can increase your chances of capturing a good shot. Find something that's of a similar size of your subject and position it the same distance away as your subject will be when it lands. 

Pack A Polarising Filter

A polarising filter can be fitted to a lens to ensure the colours captured are the same as the real thing, giving your shots more punch in the process. Attaching a polarising filter to your lens will slow your shutter speeds down, however so make sure you're using a tripod to stop shake which can spoil your shot when working hand-held. 

Avoid Shake

Camera shake is more noticeable when working close to your subject so always use a tripod If you have one, use a remote release to fire the shutter button so you don't have to touch the camera or use the camera's self-timer. Making sure your image stabilisation is on and using quicker shutter speeds, which you can get by switching to a higher ISO if you're working in low light, will help keep movement to a minimum but it's still best to fasten your camera to a tripod.

Windy Days Are Your Enemy

As already mentioned, any movement in the frame is exaggerated when working at such close focusing distances so what may seem like a small breeze to you can look like a strong, winter gale blowing through your image. 

You can hold your subject in place with plamps etc. or if you're patient, just wait for the wind to stop blowing. You can also try and shelter the plant you're photographing with a make-shift shield. Card works well but if you're out in the field try using your camera bag or even your own body to shield your subject from the wind. Also, using a slightly quicker shutter speed will freeze motion but this isn't always possible, especially when working in darker locations such as woods. 

Get In Close Then Add Some Space

By isolating part of a flower, insect or leaf you can create strong, abstract shots. So find detail that interests you and really zoom in close, filling the frame with striking shapes and interesting patterns. 

Don't forget to try the opposite too so your subject has some space to 'breath'. Why? Well it can help give your image context as well as create a sense of scale in your shot. Do keep your background simple if you do this though as you don't want it to distract from your main subject. 

Light Your Shot Well

Where possible, try to use natural light, however there are times when this isn't possible such as working in the woods where light levels are lower or when you're working with subjects that move quickly.

Rather than using your camera's built-in flash which is harsh and often too direct, try using a ring flash which can give a more even spread of light. Watch out for overexposed 'hotspots' appearing on your subject and when using natural light, make sure your own shadow isn't caught in-frame. You may also need to use a reflector to bounce much needed light into dark areas of the shot. You can buy reflectors but one made from a piece of card and silver foil can work just as well. 

MUSHROOM PHOTOGRAPHY TIPS

Most photographers shy away from shooting fungi, mostly because it is not seen to be a glamorous thing to do. Yet these life forms are just begging to be photographed and the picture potential is there to be taken. Fungi can be found anywhere where organic matter is decaying, especially in woodland, and in particular around autumn and early winter.

To photograph fungi all you need is a simple set-up, so this form of photography is widely accessible and thoroughly enjoyable.

WHERE TO FIND FUNGI

Different types of fungi need their own habitats, but most will be found growing in deciduous woodland. The best places to look for them are on fallen branches and decaying stumps. You can also find them among mossy areas and dense leaf litter. Another good place to find them is on tree trunks, when a telephoto lens will be required.

One thing to remember about fungi is that they spread as mycelia (very thin root-like structures) underground and absorb nutrients from decaying vegetation before revealing their existence on the surface as reproductive fruiting bodies we commonly see as toadstools or mushrooms. These mycelia can travel for a at least a mile underground.

YOUR PHOTOGRAPHY GEAR

Most lenses can be used to shoot fungi, but because some species may be quite small, a dedicated macro lens will be the preferred lens to use. Macro lenses give results that are life size  They also give you maximum aperture, which means you will get a brighter image that is essential in dark woodland.

If you do not have a macro lens you can easily use much cheaper, but effective, close-up filters. These do not affect your camera’s automatic functions. Another possibility is the use of extension tubes.

An effective way of photographing fungi is to use a telephoto or a zoom lens from a distance to isolate the fungi from their surroundings. Actually, different focal lengths will help create different perspectives and results, so it is best to experiment.

GETTING IN CLOSE

As soon as you have found a good looking fungus to photograph, be it the fruiting body of a puffball mushroom, a stink horn mushroom, a death cap mushroom or whatever, you need to figure out the best way to photograph it.

The good thing about photographing fungi is that they are static objects, so you have lots of time to shoot them. Look at the surrounding light and the size and shape of the fruiting body.

Mobile Photography Concept

                                                                                         

Mobile photography is an emerging and powerful medium. Services like Instagram have made it possible for those with little or no photography background to quickly improve their skills and engage with a vast network of like-minded artists, and to have their work seen by a large and enthusiastic audience. This hands-on class will encourage and empower you to improve your photography skills by using the camera sitting right in your pocket.
 

Basic elements that make a great photograph are the same whether you're using a $4,000 DSLR or a $200 cell phone.

Even though the picture quality of a DSLR varies, when compare the picture of the mobile camera. But the sense of photography with simple editing work in Photoshop or a Picasso photo editor will makes the picture a ‘wow’ one. There are also many more mobile applications which make the photo editing more viable as soon as the picture is photographed.

The above picture seen here is taken from the place Marthandamthurai which is the southern part of India in which the estuary water is mixing on the sea.

This picture is photographed by Samsung galaxy Ace, which is a 5 megapixel camera later edited by Picasso Photo Editor.

This is the simple way in which the Mobile Photography Concept applies.

Black and white Photography

“When you photograph people in color, you photograph their clothes. But when you photograph people in Black and white, you photograph their souls!” 
― Ted Grant

Whatever the technology is blooming day by day, Black and white photographs makes the feel of life where the others are focus on colors. The life inside the photographs can be identified sooner when the picture colors are black and white.

We see and live in a world of color. That's how we've evolved, and it's the world that we know. Naturally, people gravitate to color photography like a kid to candy, attracted to images that pop with Disney-like vibrancy. Our affinity for color even can show up in our speech. We use the word "colorless" to describe a thing or an experience that's dull, tedious or boring. So, why shoot black-and-white when today's digital darkroom technology makes color management so easy?

Black-and-white is timeless, but more than that, it transcends reality and transforms an image into a realm that isn't abstraction, but isn't reality either. A black-and-white image deconstructs a scene and reduces it to its forms and tones. Distracting colors are recast as subtle shades of gray that add to a composition—at least if the image has what it takes to be rendered in black-and-white. 

*Thanks for Mr.Tisho Grahary, who contributes his artistic talent for this photograph*

Silhouette photography: tips for shooting into the sun

Silhouette photography is when you shoot a subject with back light so that you only show its outline. As the subject is thrown into shadow due to the position of the lighting, you can’t see texture, you can’t see its three-dimensional form, and you can’t even see its color. What you are left with is the shape alone.

To shoot successful silhouette photography you first need to choose a subject that can be identified by its two-dimensional shape.

A strong outline is not enough: you also need to photograph the subject from the right angle to accentuate this shape. Silhouette photography of a person, for instance, works better if you shoot their profile rather than shooting them head on.

For a bigger subject, such as a building, you will need to hunt out the best angle to shoot from by walking around it, and then possibly coming back when the sun is in front of you and behind the structure.

To get clear silhouette photography, you need a subject which can be isolated against the sky or by a plain bright backdrop – it is much harder to get a silhouette of a building in a built-up area than of one that stands in an open space.

Although you can shoot silhouette photography in practically any weather, silhouettes look more impressive when shot against a deep blue sky or a dramatic scarlet sunset.

The biggest problem with silhouette photography is getting the silhouette to look dark enough. If you shoot in auto modes, your camera will refuse you to give you a perfect exposure.

You want the shadowy outline to be as black as possible, and not a muddy grey. Because of this you need to take control of the settings yourself.

Interior Photography Lighting

One thing that photographers will tell you is to use natural lighting whenever possible. You will, however,  want to stay away from an overly bright window as it can lead to problems with exposure and white balance. Another pointer is to keep the window off to the side. If too much light is coming inside, draw the curtains or shades. Never photograph into the light, but bright light in the background is superior to indoor lighting. You may want to shoot your room at various points throughout the day to see which lighting is best.

A general rule of thumb is that Eastward rooms should be taken in the morning and Westward in the afternoon.Rooms with Northern and Southern exposure should be taken when the rooms are their brightest. It’s best not to shoot on a dark and dreary day. If rain is in the forecast, try putting off the shoot, if at all possible, until the sun begins to shine again.

For a gentler, softer light you may prefer to photograph your room at dawn or dusk when the sun is just rising or just about to set. A sunset can make for a magnificent interior photograph. If a flash is necessary, if you’re photographing at night or on a darker day, use a flash that has an adjustable head and point it up toward the ceiling to bounce the light from there to create a more diffused light.

WAY TO TAKE STUNNING PORTRAIT

Break the Rules of Composition

There are a lot of ‘rules’ out there when it comes to composition and I've always had a love hate relationship with them. My theory is that while they are useful to know and employ that they are also useful to know so you can purposely break them – as this can lead to eye catching results.

The Rule of Thirds is one that can be effective to break – placing your subject either dead center can sometimes create a powerful image – or even creative placement with your subject right on the edge of a shot can sometimes create interesting images.

Another ‘rule’ that we often talk about in portrait photography is to give your subject room to look into. This can work really well – but again, sometimes rules are made to be broken.

Experiment with Lighting

Another element of randomness that you can introduce to your portraits is the way that you light them. There are almost unlimited possibilities when it comes to using light in portraits. Side-lighting can create mood, back-lighting and silhouetting your subject to hide their features can be powerful. Using techniques like slow synch flash can create an impressive wow factor.

Move Your Subject Out of their Comfort Zone

I was chatting with a photographer recently who told me about a corporate portrait shoot that he had done with a business man at his home. They’d taken a lot of head and shoulder shots, shots at his desk, shots in front of framed degrees and other ‘corporate’ type images. They had all turned out fairly standard – but there was nothing that really stood out from the crowd.

The photographer and the subject agreed that there were plenty of usable shots but they wanted to create something ‘special’ and out of the box. The photographer suggested they try some ‘jumping’ shots. The subject was a little hesitant at first but stepped out into the uncomfortable zone and dressed in his suit and tie started jumping!

The shots were amazing, surprising and quite funny. The shoot culminated with the subject jumping in his pool for one last image!

While this might all sound a little ‘silly’ the shots ended up being featured in a magazine spread about the subject. It was the series of out of the box images that convinced the magazine he was someone that they’d want to feature.

Ways to Take Stunning Portrait

Alter Your Perspective

Most portraits are taken with the camera at (or around) the eye level of the subject. While this is good common sense – completely changing the angle that you shoot from can give your portrait a real WOW factor.

Get up high and shoot down on your subject or get as close to the ground as you can and shoot up. Either way you’ll be seeing your subject from an angle that is bound to create interest.

Play with Eye Contact

It is amazing how much the direction of your subject’s eyes can impact an image. Most portraits have the subject looking down the lens – something that can create a real sense of connection between a subject and those viewing the image. But there are a couple of other things to try:

A. Looking off camera – have your subject focus their attention on something unseen and outside the field of view of your camera. This can create a feeling of candidness and also create a little intrigue and interest as the viewer of the shot wonders what they are looking at. This intrigue is particularly drawn about when the subject is showing some kind of emotion (ie ‘what’s making them laugh?’ or ‘what is making them look surprised?’). Just be aware that when you have a subject looking out of frame that you can also draw the eye of the viewer of the shot to the edge of the image also – taking them away from the point of interest in your shot – the subject.

B. Looking within the frame – alternatively you could have your subject looking at something (or someone) within the frame. A child looking at a ball, a woman looking at her new baby, a man looking hungrily at a big plate of pasta…. When you give your subject something to look at that is inside the frame you create a second point of interest and a relationship between it and your primary subject. It also helps create ‘story’ within the image.

I have just started blogging about my interest and passion towards photography. I have to travel a lot. This picture is clicked in my lonely path along a single railway track.