Earn up to $200 per photo!

If you've never heard of Chris Page, then here's the skinny.

Like you, he's a photographer. But he's a photographer with a difference.

Because he discovered that he could actually get paid to submit photos online.
So, he eventually quit his job and started to make his living simply taking photos and submitting them online. 

He takes pictures of his favorite subjects such as pets, beach, food and travel photography.

And, for some pictures he takes, Chris got paid up to $200 per photo! Sweet!

But Chris didn't stop there, because he saw there were tons of blogs and websites that needed photos - which is where you're set to cash in BIG TIME.

Because he's forged strong links with all these top websites (especially the biggest payers!) and set up a private web site to put these guys in touch with guys like you who are smart enough to know that they can make serious money selling their photos online!

So check this out, right now and take the dollar test drive: photography-jobs.net - you'll be glad you did!

Sincerely.

Krister

P.S. And here's the best bit, you can start making money today with just your camera and laptop. Here's the heads up again: photography-jobs.net 

Great Car Photography - 10 Tips

If you have ever tried to take a great picture a car, you know that it's not as easy as you thought. Although it can be simple enough to take a clear and simple shot of the vehicle, it's far more difficult to capture the design, detail and essence of the car. Here are ten steps which will help you take greater shots of cars.

To begin with

There is a lot of things involved in car photography, so much so that there are entire websites and books dedicated to it. We won't cover everything here, but hopefully this will give you an insight into the world of car photography and get you started with the basics.

To begin, you'll need a car! Any car will do really, but your work will look more professional and exciting if you're working with more interesting vehicles. If all you've got is your everyday Fiat, that is fine. But if your mate has a Lambo, you'd better buy him a couple of drinks and ask nicely if you can borrow it for the day!

Photo by matthiasschack

Location

So you've got your car, now you need a location. You don't see many car adverts in which the car isn't set within an amazing location and bathed with the warm sun in the distance. Most likely you will be shooting on a budget so it will be hard to match the shoots you see in glossy magazines. Still, there are plenty of options to choose from.

You need to make sure that the car is the centre of attention - you don't want your location to steal away attention from the car. You want it to the car look better. Decide, therefore, whether you want to shoot the car in a natural setting, somewhere more unusual or whether you want a more studio feel to it.

Photo by alendrathril

A Natural Setting

In a natural setting, you could have the car either on the road, in a car park, or on the drive. These settings wont necessarily add much to your shot though. Imagine what sort of feel you'd like for your shots. Do you want a gritty and moody feel? Then perhaps head to the top level of a multi-storey car park with views across the city, or to the industrial estates with perhaps some derelict warehouses. Do you want a clean and classy image? Then head to the business district of the city with all the the reflective glass of the office blocks and modern buildings.

As an alternative, you could go for the more classic shot, at the top of a hill with an open vista overlooking the landscape, preferably with the sun setting in the background. Finding a great location will make your photograph stand out more. Try hard to find somewhere that will really enhance the atmosphere of the shot and the features of the car.

Photo by gmeurope

An Unnatural Setting

If you'd rather try an unnatural setting for the car, think whether you'll make the car look alien in it's surroundings. For example, a car doesn't look very mush at home even when shot parked on grass. Still, you'd want to avoid cliché car shots. At the same time don't be overly ambitious and end up having a series of shots that take the car too far out of context.

Possibly the best option is to go for a studio-type shoot. Hiring out a studio large enough can be very expensive though, so explore the alternatives first. If you know someone with a large garage with white walls it may be the perfect alternative. The greatest advantage of using a studio is the opportunity to light the subject creatively. (More on that later.) This can give you the chance to get some great interior and detail shots, but full body shots can end up looking fairly cold and bland.

Finally, when considering your location, think carefully about how the surroundings relate to the colour of your car and whether the tones in the shot compliment each other.

Photo by nairoozdotcom

Lighting

Next comes the matter of lighting - the essential element of every photo shoot! Natural light is always best. The golden hours, just before and during sunrise in the morning and through sunset in the evening would be most recommended. That way, you'll get a lovely warm side wash of sunlight on the car and you can avoid the overtly harsh brightness of the midday sun, which will also cause problems with reflections.

There is also the option of using artificial lighting. There are many ways to light a car for a shoot. The best thing is to set up lights or flashguns one by one, highlighting aspects or angles of the vehicle as you see fit. Then, take a few test shots, ensuring that the lighting setup is just where you want it. This way you wont light the car excessively and you can avoid letting the light sources double up on parts of the car. Use your eyes and take your time, the lighting is a very individual preference and can define the personal style and mood of the shot depending on you.

Photo by 900hp

Angles

Having now set your car up in a great location and figured out the lighting it's time to actually start taking pictures! It's important to think about how you want to portray the car, whether there are any particular features that you want to highlight.

Shooting from eye level, even when done technically correct, can make the car look boring. So to make your shots stand out you'll need to use different angles and vantage points. An interesting point is to shoot from just above the ground. This gives the car an overbearingly menacing look! Experiment and see what works for you and your car. (More tips can be found here.)

Once you've decided which angles work best and show the car in the way that you want, try moving the car to varied positions to get it to work well in the setting. Make sure you avoid distractions behind the car such as trees and telegraph poles / cables. Depending on the angles you've chosen, for full body shots, using a tripod is recommended for extra sharpness. However, for those wonderful angles, you'll need to go handheld...

Photo by uhho

Exterior Details

Once you've taken the full body shots, you can start thinking about any exterior detail shots that might want to highlight. Take a good look around and try to capture any details such as bodywork shapes and lines, logo badges, wheel rims and grills. Here too, it's important to consider the lighting and angles - don't presume that your previous set up will work the same for the various detail shots.

Photo by nairoozdotcom

Interior

Don't forget that there are many interesting interior details worth shooting too. The manufacturers logo, for example, will appear many times within the car's interior. There will likely also be a few nice design features that may be worth capturing. Make sure there is enough light available, especially if you're on location during the evening. You may want to actually take the interior shots first while its still bright, as it would be a shame to miss out on the details. Obviously, if you're in a studio the order of things doesn't really matter.

Photo by DeusXFlorida

Panning

Panning is a technique that is utilised in the world of motorsport photography, but also a fair amount in promotional car photography. The aim is to capture the car in motion, as it hurtles at speed either around a racetrack or some stunning mountainous road. This creates an effect where the car is in focus whilst the background is blurred, indicating motion.

The simplest way of using this technique is from a handheld point and requires you to turn and move in line with the moving car whilst taking your shot. It's important to know the expected movement of the car before you start shooting and as you move around in line with the subject. This is actually not that difficult! It just takes a little practise to get right.

Another panning technique is to shoot the car from another moving vehicle. If both are moving at same speed, you won't need to move the camera, achieving still a similar effect as stationary panning. However, be careful when sticking your camera out the window of a car. It is perhaps best to start with the basics first before you consider the dual car shoot!

Photo by grantuking

Have a go!

Hopefully these suggestions and tips will get you started and give you grounding for taking some great shots of the cars you admire. As mentioned earlier, don't expect to be matching the high quality of the car manufacturer's advertisements straight away, but they're great for inspiration and ideas. There are so many beautiful cars, both modern and old, just waiting to be 'immortalised', so get out there and have a go!

Photo by macieklew

Great Travel Photography Tips

by Geoff Harris

Planning on travelling soon and need some practical advice? Geoff Harris shares ten tips to help you get excellent photographs wherever you choose to go. 

The beauty of travel photography is that it encompasses so many different styles and approaches – portraiture, landscapes, wildlife, architecture, even documentary photography. Most people have been on holiday with a camera, but that doesn’t make them travel photographers – so what is good travel photography? Good travel images are usually well composed, well exposed and go much further than the average snap in capturing the flavour of a place. Good travel images tell a story. They’re interesting to people beyond your immediate circle, and who’ve never even been to the places you’ve photographed. Here are ten practical tips for getting memorable shots from your travels.

1. Plan

Even if you book a trip at the absolute last minute, you should do a bit of research on the best places to photograph in your destination(s). With the internet, you don’t even have to buy guide books any more. Simply do a Google Image search of where you are going and you’ll be hit by a barrage of photographic inspiration. Be ambitious with your photographic itinerary, but realistic; if you’re planning a 40km taxi drive a to a temple, make sure you time it right so you don’t spend the whole morning stuck in traffic. If you have longer in a more exotic destination, it’s often worth booking a photographic guide to make things easier and find interesting subjects. Contact them directly via websites or social media or visit travel photography forums and get some recommendations.

2. Pack carefully

It’s very tempting to take everything but the kitchen sink on a once-in-a-lifetime trip, but don’t overpack. At the very least, you need a  compact with a decent zoom lens, or a Compact System Camera or DSLR. If you can change lenses, try to take a standard wide-to-telephoto zoom (eg 24-70mm), a 50mm or 85mm fixed-length ‘prime’ lens with a wide aperture, and, if space permits, a longer zoom, such as a 70-200mm lens. Try to include a lightweight travel tripod (carbon fibre is ideal) and a cable release for night and long-exposure shots too, and possibly a couple of filters. You may also choose to take a flashgun but this is arguably less important. The crucial thing is to try and fit everything into a comfortable shoulder bag or rucksack that you can take into a plane’s cabin, rather than taking the risk of checking it in. Spare batteries and spacious memory cards are essential too.

3. Get acclimatised

Once you’ve arrived, spend some time just wandering around and getting your bearings. If you’re itching to take some photos, markets are a good place to start, particularly in more exotic locations such as the Far East. Stall-holders want your custom, so they are often fine about being photographed (it’s polite to buy something small in return), and you will find lots of distinctive colour, sights and smells. Remember, shooting small details of a place, or the local produce, can capture its essence as well as any shot of a famous tourist spot. Be sensitive to local customs (hopefully you did some research in advance) and respect religious sensibilities. Take a break if you get hot and thirsty at a local cafe; often you can get great images just watching the world go by.

4. Chase the light

Good light is key to all good photography, travel included. Getting up early to catch the best light is really worth it, and it can free you to work on your photos while family and friends are asleep and crowds are light. Failing that, the last hour before sunset is another great time. Use a free app such as The Photographers Ephemeris to find the exact times of sunrise and sunset, or just work out where the sun will be in relation to iconic buildings you want to photograph. The problem with shooting in the middle of the day in hot, sunny countries is that very harsh shadows can spoil your shots. Dusk and night-time are also great times to experiment with longer shutter speeds to capture traffic trails, or try creative flash effects such as rear-curtain sync.

5. Compose cleanly

All good travel photographers develop an almost Zen-like patience. Rather than racing around trying to photograph every temple in Bangkok, it’s often better to concentrate on the most interesting and photogenic ones and put in the time there, returning at quieter times if necessary. Good, clean composition is really important so be paranoid about messy backgrounds that distract from the main subject, or clutter in the foreground. Think carefully about what you have allowed into the frame before you press the shutter button, and if you have to wait five minutes for someone to get out of the way, so be it. Yes, it might cost you some time, but waiting is often much less frustrating than trying to remove unwanted elements from otherwise successful images in software.

6. Walk, walk and walk some more

Louis Montrose, a recent winner of Travel Photographer of the Year, said his best accessory was a pair of walking shoes. Even in thronged tourist hotspots you can often get interesting images just by exploring some of the nooks and crannies off the main thoroughfares. Travel photography is a process of discovery and revelation, but don’t expect great images to come right up to you. This striking image of a monk was taken at a side-temple at Angkor Wat, one of the most photographed places in Asia. It was the result of going off the beaten track and politely interacting with the subject, leading to an invite to a hidden temple that few tourists get to see. If you can get this kind of shot at a hotspot like Angkor, you can get it anywhere!

7. Think like a portrait photographer

When you look at the work of geniuses like Steve McCurry, you see that so much of great travel photography is also great portraiture. So, if somebody agrees to have their photo taken, remember the golden rules. A prime lens with a fixed wide aperture (say f/2.8), or a telephoto lens, is useful for blurring out the background while keeping your subject sharp. Focus on the eyes by moving the nearest autofocus point over them, or if that seems too complicated and fiddly, by setting face detection AF. Try to avoid poles or objects sticking out of their head and try to keep the background as clean and non-distracting as possible; again, blurring it out with a wide aperture helps here. Eye contact makes for more powerful portraits, but more ‘candid’ portraits work well too. If your subject is grinning and posing, just be patient and stick around; eventually they’ll forget you are there.

8. Think about your settings in advance

The time to practice a more technically challenging creative technique – say panning, motion blur or capturing very fast action – is before you arrive at your location, rather than fumbling with your camera settings as something amazing is happening in front of you. Panning, where you freeze a vehicle while blurring out the background to give a sense of speed, is a great way to get memorable traffic shots, particularly with colourful tuk-tuks or rickshaws. Practicing panning at the side of your local roads will massively boost your success rate when you’re on holiday. Another good tip is to write down key settings for creative techniques on a piece of card and carry it in your wallet or camera bag. Don’t get flustered and race around; it’s better to come away with ten really great shots from one location than 50 mediocre ones from different places.

9. Don’t hide behind zoom lenses

To get interesting photos, put yourself in front of interesting things. The beauty of using short prime lenses that they force you to get closer to your subjects, and often the resulting interaction makes for much more interesting images. Prime lenses often have superior optical quality and wider fixed apertures, too. Yes, you might feel shy, but the worst that usually happens is that you get shooed away. Usually, though, if you are polite and respectful, people will agree to be photographed, and often really enjoy seeing the resulting images on your camera screen. Even seasoned travel photographers admit to feeling shy on the street, but their desire to get a good picture overrides their nerves. This is the state of mind to emulate, without ever being pushy or aggressive.

10. Go beyond the obvious

Again, using the Angkor Wat example, the obvious place from which to photograph is right in front of the temple towers on the main path. By all means have a go, but trying to keep other people out of the scene will be nigh on impossible. Even if you do get a clear shot, it’s a composition that’s been done to death. Why not be a bit more creative and wander around to find more interesting angles and perspectives? Maybe take a portrait shot of a local character with the temple in the background. It doesn’t matter is it’s Angkor, Big Ben or the Pyramids of Giza; there’s always a fresh perspective on an iconic building if you think creatively. Focusing on side temples and smaller details can often yield good shots too, as with this shot of the deity Vishnu at Angkor. Experiment with creative effects and black and white too.

About the Author

Geoff is a highly experienced photography journalist, and recently stepped down as editor of Digital Camera, the UK’s best-selling photography magazine. He now writes for a range of publications. Geoff is a keen travel and portrait photographer, and a Licentiate of the Royal Photographic Society. 

Start a year-long Photography Project in 2012!

As a keen photographer, your list of 

resolutions for 2012 might include an 

intention to photograph a particular 

subject you’ve always dreamed of 

capturing, to learn more about your

camera and what it’s capable of or 

simply to take more photos, more often.

Many photographers choose to embark on a year-long photography project as a result of a new year’s resolution or just from a desire to focus their photographic efforts with a specific goal in mind.

Why?

Personal photography projects can benefit photographers of any experience level – from keen enthusiasts to working professional photographers. Tim Gander is a photojournalist-turned-commercial photographer who praises the benefits of fitting a personal photography project into your schedule. In the past he has undertaken a project to photograph the unique characters and everyday goings-on at an old pub in Bath which has since shut down. More recently he has been working on an ongoing personal project to photograph the bustle of the local livestock market. Previously on the Wex Blog, Tim wrote about what personal photography projects are and why photographers should consider doing one…

Personal projects have an intangible value. They allow a photographer the opportunity to stretch their creativity, try out new techniques without the risk of jeopardizing a paid assignment, or explore a subject which fascinates them.

To find out more about Tim’s personal photography projects, his post Photography: this time it’s personal! is definitely worth a read, or check out his blog here.

The 365 project

A photography project that many photographers choose to get involved in is a 365 project. If it’s not obvious already; you take a photo every day for a whole year (and since 2012 is a leap year, you’ll need to take an extra photo!) Mark Stephenson completed his first 365 project in 2011 and we caught up with him to find out how he got on…


Congratulations on completing your 365 project in 2011! How did you feel on December 31^st when you finished the project?

Thanks! It was a strange feeling on the last day. I had a massive sense of achievement, but also the sad feeling that it was the end of an era. For a short while I toyed with the idea of carrying the project on and doing another year of photos, although for my sanity I decided not to.

This mage of a kiwi fruit is one of Mark's favourites from the year

Have you taken the time to look through all 365 of your photos in one sitting yet? Did you notice any significant changes in your photography, whether it be your style, level of skill or otherwise, over the course of the year?

I haven’t actually but it’s something I will definitely do soon. It will be fun to relive the whole year in pictures and I’m sure it will bring lots of memories back. Personally, I haven’t noticed a massive jump in skill level but I’ve had plenty of comments telling me I’ve improved a lot over the year.


What are the biggest positives that came out of doing the project?

The biggest positive was that it got me using my camera gear on a daily basis. That was the main reason I took on the project – I felt I wasn’t shooting enough. I would find I’d go for weeks with the camera gear sat lonely in the cupboard. Another benefit that’s come out of doing the project is I feel myself thinking more like a photographer every day. Spending a whole year constantly looking for interesting shots changes the way you see the world and even after the project I find myself looking for shots where before I may have missed them.

When all else fails, your cat may provide some photographic inspiration

What did you struggle with the most while working on your 365 project? Were there days where you really didn’t want to pick up your camera?

The struggle is the sheer relentlessness of the project. It’s the days when you have to stay late at work and just want to go to bed when you get home that I found the most difficult. I found it really helps to have some backup ideas. I’d recommend making an “ideas list” for those days when your creativity is lacking. Failing that, the cat was always a good fallback.


Do you have a favourite image from 2011? We’d love to hear the story behind it if you have one!

I think my favourite image is the kiwi fruit shot. I love the vibrancy of the colours and the simple nature of the photo. I took it quite early on after reading about someone doing something similar. It’s a shot I’d like to have printed on a canvas for the kitchen some time. The photo that gets the most attention is the pigeon shot, people seem to love it. Apart from that I proposed to my girlfriend one day using a photo which I suppose is pretty memorable! And now we will always have that picture to look back on.

One of Mark's more memorable photos from his 365 project

Any advice for those considering starting a 365 project or something similar?

Do it. It’s a big commitment but if you’re even considering it then I think you’d benefit from the experience. Once you’re over that initial hurdle of starting and you’ve overcome all your commitment issues, don’t give up. There were many days when I really didn’t want to take a photo, but I also found I got some of my best images on those days as I really pushed my imagination and creativity. As I mentioned before, making a list of ideas is a great help, and please just don’t give up. For the sake of that one photo on the day you want to throw in the towel you’ll thank yourself in the long run if you get through it.


You can find Mark’s final set of all 365 images from his project on Flickr.

Tips for completing a 365 photo project

We also spoke to Helen Ogbourn, another successful 365 project photographer who finished her year-long photography project on 31st May 2011. She shares with us some of her tips for getting through the year and finding inspiration when you get stuck…

1. Take your camera everywhere you go because quite often the best photos come when you least expect it. Try using your camera phone or a compact camera for a change if you usually use a DSLR.
2. Don’t be too particular, not every photo in a 365 project is going to be brilliant. Some days will be far better than others and some days are just about getting any photo. Don’t give up, it’s worth sticking to it for the better days!
3. Share your photos online and get people to follow along, then you are accountable to an audience! It’s nice when people enjoy the photos and follow your experience.
4. Have back-up ideas.  Some days will be full of inspiration and you’ll be spoilt for choice. Make a note of the extra ideas so that you can go back to them on a day where you are feeling less inspired.
5. Join a photo sharing site such as Flickr. There are many groups out there to join and plenty of encouragement from other 365-ers to keep you going.
6. Set some themes for yourself or ask others for suggestions. For example, you could spend a week taking black & white photos or a week of street photography.
7. If you don’t want to think of ideas yourself, websites such as The Daily Shoot will set you a theme each day and can be followed online, by email and twitter.
8. Take the opportunity to learn more about your camera while you do the project and challenge yourself to take photos using different settings.
9. Don’t leave taking your photos until the evening. Get used to thinking about them from when you get up in the morning, it’ll soon become a habit and then you won’t have that evening panic.
10. Go to the library or a bookshop and browse photography books and magazines – you’ll get plenty of inspiration.

Other projects to consider

Taking one photo each day for a whole year will not appeal to everyone, but there are plenty of other weekly and monthly photography projects that may be more practical for some people.  We asked Helen about her photography project experience over the past year and found out a little more about the personal photography goals she has lined up now that her 365 project is done and dusted…


Why did you decide to start a 365 photo project?

Having received a compact camera the year before as a gift, I decided it was time to learn how to use it to its potential and in no time I had caught the photography bug. The only issue was that I had no real idea about types of photographs I wanted to take. It was then that I took on the challenge of taking a photo every day for a year to explore the possibilities.

What is your advice to someone who’s thinking about starting a 365 project or other daily photography project?

365 photo projects are certainly not to be underestimated! They require commitment, imagination and a bit of patience but after a short while the project becomes a part of your everyday life. The challenge of finding a photo opportunity each day can be difficult, however, it’s worth persisting for the satisfaction and rewards that you experience throughout the year.


What are the biggest positives that  have come from working on your various photography projects?

I soon realised I was taking a lot more notice of the world around me and enjoying otherwise mundane activities such as my commute to work! Over the course of my 365 project I got to know my camera incredibly well and used it as an opportunity to shoot with other types of camera, try all different camera modes and use different processing techniques. I’ve became a much more confident photographer and have started to realise that there are types of photography that I find particularly rewarding.

Can you tell us a bit more about the self-portrait project that you’re currently working on?

Having thoroughly enjoyed my first photo project, I wanted to continue to push myself to learn more about photography and decided to take on another one. I’m currently approaching the end of a 30 day project of self portraits which has been a huge challenge! I don’t love being in front of the camera and haven’t previously had a lot of experience of taking photos of people, so I thought this would really get me out my comfort zone.
Initially I was unsure about what a self portrait should be. 26 photos into the project I find myself in a very different position. I enjoy the challenge of thinking of new ideas, I don’t mind being in front of the camera and I’ve come to the conclusion that self portraits can be anything from capturing the very ordinary to the more creative and posed shots. They’re also a great way to experiment with focus settings as a much more manual approach is required here. Tripods are also very useful for this kind of project, but not necessary if you are willing to experiment a bit more.


Do you have any plans for another year-long photography goal in 2012?

I’ve started to take weekly photos in 2012 to reflect my year, in which all photos must include some part of me and an item that has been significant in the week. I am processing the photos using Adobe Lightroom presets, all with a similar tone, so that they fit nicely as a collection to print in a photobook at the end of the year.


A 365 project isn’t for everyone, do you have any other suggestions for those wanting to embark on a photography project that doesn’t require taking a photo every day for a whole year?

Here are some more ideas you may want to consider for photo projects:

• 52 week photo project – one photo each week for a whole year
• 30 day photo project,  perhaps using a particular theme. For example: black and white photos or mobile phone photography
• A day in the life – take one photo every hour for a day
• Work your way through the alphabet and take photos of things beginning with the letters A-Z
• Photograph the seasons throughout the year
• A self portrait project
• A time specific project, for example, taking a photo at 3pm every day, week, month or year

To see more of Helen’s work, visit her blog or Flickr.

So, are you planning on starting a photography project in 2012 or have you already begun? If so, let us know in the comments below – we’d love to hear what you’ll be focusing on photographing this year!

Source: blog.warehouseexpress.com

Point and Shoot Camera Tips

When taking pictures with a point and shoot camera, you can be very limited with your creativity and flexibility. However, you can still take great shots as long as you follow the tried and true compositional techniques for visual images.

Compositional techniques are not only used for photography, they are used for videotaping, painting, and any other visual media. If you can master composition in photography, you can easily take any other field that is similar. A point and shoot camera is what? A visual capture device and although it doesn’t have the bells and whistles of SLR cameras, it still is very powerful.

Many people assume that because it’s a point and shoot camera they won’t take good pictures. People use this as a crutch and blame the poor images as the result of bad quality cameras.

Not True at all!

Think back in the day of the pin hole camera. They took nice photos and all they had was a hole that exposed the image. Nothing else.

 Here is a very useful compositional tip that can help you immensely.

Keep it simple. Working on creating simple compositions means isolating the subject, reducing the background clutter, and making the subject of interest very easily viewable. The viewer should instantly be able to know what he or she is to look at.

You can achieve simpler photos by:

-Moving in closer
-Using the depth of field to blur the background
-Focusing on, for example, one flower instead of five
-Leaving unnecessary information out of the frames of the border.

You can take great photos whether you use a point and shoot camera or a digital SLR. The photo is not made by the equipment but by the eye of the photographer.

Photography Business Quick Steps

I actually have more than one piece of good news for you 

today.

 

Good thing number one: Below you'll find YOUR link to the NEW Photography Business Quick Steps.

It's designed to assist struggling photographers get up and running with 'some kind' of photography business. I said 'some kind' because they will be releasing twelve different choices for you to get into fast. One new photography business category each month.

In some cases you can be up and running in two weeks.

In addition, they've decided to include several bonuses to help you make up your mind.

Now, that's pretty good news but the second thing I have to tell you really kinda' drives it all home.

Good thing number two: To add value to this entire venture (not just the launch) they will be providing FREE photography bonuses each month. A different bonus each month!

Most of the free bonuses are from well known photography trainers and coaches who you will probably already know. I'm impressed they are making such a valued contribution and you will be too once you experience all this extra information.

Here's the link -

 

Start A Photography Business

If it gets too popular (and causes havoc) they might need to close it down to let the dust settle!

...make it happen,
Krister
 

P.S. In case you just scrolled down to the PS, here's the deal:
 
**Photography Business Quick Steps is NOW available.
 
Only buy it if you can use it (it's pretty cheap anyway).
 
This offer isn't short of bonuses, good valuable bonuses - in fact you would even do this for all the great bonuses alone.
 
Anyway, here's your link to the sign-up page:

Start A Photography Business
 
So you might be wondering why I did this.
 
I've learned that there are many photographers who truly love what they do, are good at it and should be given the chance to earn a crust from it.
 
All this stuff you are about to learn has been done before but it's not taught very often - if it ever is. 
 
If this is what you want to do, then you should give this a shot - you really have nothing to lose.
 
And I think that if you use it, you'll love it too.
 
Here's the fancy-pants link again to sign up (complete with dollar bills!)

Start A Photography Business

Click Here!

Tripods - When Do You Need One?

Tripods - When Do You Need One? 
 
By Sheila Crosby
 
With very rare exceptions, the main subject of your photograph must
be sharp - not necessarily the whole picture, but certainly the
subject. Even if you want the subject blurred, to give a sense of
movement, then the background must be sharp. And you'll get the
sharpest photographs by using a tripod.


Sony Magnetic Products - Sony Vct-60Av Tripod - Floor Standing Tripod - 18.9 inch  To 57.6 inch  Height - 6.6 Lb Load Capacity


 
There are three ways your photo can be unsharp: either the focus is
wrong, the camera moved, or the subject moved. Here's how to tell
the difference:
 
    * If something in front or behind the subject is nice and
sharp, then the problem is poor focus. For example, your baby is
blurred, but the carpet underneath is sharp.
 
    * If the background is sharp, but the subject is blurred, then
the subject moved. Sometimes you can do this on purpose to give a
sense of movement, but that's outside the scope of this article.
 
    * If everything is unsharp, then it's camera shake. Serious
camera shake will leave everything streaked in the direction you
moved the camera, usually vertically.
 
This article deals with how to avoid camera shake.
 
Most of the time, you can simply hold the camera in your hand.
Obviously, this is much quicker, and gives you time to grab a shot
of that yeti before it disappears.
 
The great disadvantage of tripods is that they slow you down.
Perhaps the clouds move while you're setting it up, or the sun
sets, or people waiting for you have time to get bored.
 
The great advantage of tripods is that they slow you down. You have
time to see the coke can in the foreground, and move it, before you
take the shot.
 
So when should you use a tripod?
 
    * The longer the focal length of the lens, and the longer the
exposure, the more time the camera has to wobble. You will need a
tripod if the shutter speed is longer than the reciprocal of the
focal length (e.g., 1/60th for a 50mm lens, or 1/500th for a 500mm
lens).
 
    * The bigger the enlargement, the more obvious any camera shake
becomes. If you're hoping to make a 24" x 16" enlargement, you need
a tripod.
 
    * If you're hoping to sell your photos for stock photography,
you need a tripod.
 
    * Macro subjects -- anything over 1/4th life size -- always
need a tripod because you're so close to your subject.
 
    * Negatives bigger than 35mm are wasted unless you use a
tripod. Besides, plate cameras are too heavy to comfortably hold by
hand.
 
 
CHOOSING A TRIPOD


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Different tripods suit different situations.
 
    * Flimsy tripods are a waste of money. It's not a bargain if
you never use it.
 
    * Heavy tripods are fine in a studio, but not for hiking up a
mountain.
 
    * Some tripods have a hook and the bottom of the center column
so you can hang a weight there for greater stability. This is great
for taking landscape photos in a gale, but you rarely get gales in
a studio.
 
    * Some tripods open up considerably taller than others. Check
the height with and without the center column raised. (And check
the stability of the center column, too.)
 
    * Some are easier to adjust than others.
 
    * And of course prices vary widely. But bear in mind that a
tripod might well last you 25 years.
 
 
ALTERNATIVES TO TRIPODS
 
    * Monopods (Also called a unipod) These are easier to carry
around, and faster to point, but less effective. They're popular
with sports photographers, who tend to use long lenses but
obviously can't spend five minutes setting up each shot. 

 
    * Table tripods These are small (about 6" high) and therefore
extremely portable. They're not much use for landscapes unless you
can find something to stand them on, like a rock or wall. (I once
used the speakers at a rock concert. Don't. Speakers vibrate!)

 
    * Clamps These are also small and portable, but you need to
find something to clamp them to. I have a combined table tripod and
clamp, and over the years it's proved very useful.

 
    * Beanbags You can buy photographic beanbags, or make your own
from anything that isn't so full that it's rigid. For example, you
can use an old sock half-filled with rice. You can also take an
empty sock on a hike and fill it with sand or gravel before use.
That way you don't have to carry the filling around. 

I use a bag of peanuts. One of these days I'll be stranded on the side of a
mountain in the mist, and I'll be very glad of those peanuts.
(Kendal Mint Cake doesn't make a good lens support.) The big
disadvantage is that you need something to put the bean bag on.
Sometimes there's a nice convenient wall, just the right place and
height -- just not very often. Sometimes you can park your car and
use the roof - sometimes. Failing that, there might be a lamppost
that you can push the camera against.

 
    * The car window If you haven't got the right kit, or you
haven't got time, wind the car window down to the height you
require and rest the lens on that. It's not nearly as good as a
tripod or beanbag, but it's better than holding the camera by hand.
Just remember to turn the car engine off and ask any passengers to
sit still.

 
IF YOU HAVEN'T GOT A TRIPOD
 
This is definitely second best, but it's inevitable that you'll get
caught without a tripod at least occasionally.
 
   1. Use as fast a shutter speed and as wide a lens as possible.
 
   2. If possible, get into position to use yourself as a tripod,
for example with your back and feet against rocks and your elbows
on your thighs. Warning: bystanders may snigger. If this isn't
possible, plant your legs a little apart, like a sailor, and tuck
your elbows into your ribs.
 
   3. Hold the camera to your eye and compose the picture.
 
   4. Take a deep breath and then breathe out.
 
   5. Squeeze the camera top and bottom to release the shutter. If
you just press from the top, the camera will move down a millimeter
or so.
 
These tips should enable you to take consistently sharper photos.
 
Let me help you to take great landscape photographs. To read more
tips and tricks, click here. 
 
http://www.greatlandscapephotography.com
 
Article Source:  http://EzineArticles.com/?expert=Sheila_Crosby 

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