Choosing the right cannon lenses for certain type of photography can assist contribute more creative control to digital photography.

The job could turn a complex trade off between price, size, weight, lens speed and picture quality. This tutorial aims to give you lenses refference for canon slr camera by supplying a basic review of concepts relating to image quality, focal length , perspective, prime vs. zoom lenses and aperture or f-number.

Choosing the right Cannon lenses for Beginners Photography

For those new to the field of photography, it is important to balance professional performance with adaptable and practical application.

-Canon EF 50mm f/1.2 L USM Lens

A highly versatile lens makes this a perfect lens for beginners looking for a high performance output with ease of use.

-Canon EF 70-300mm f/4-5.6L IS USM UD Telephoto Zoom Lens

An excellent and flexible investment for the serious amateur with an interest in a variety of photography mediums.

Choosing the right Cannon lenses for Sport and Action Photography

Shooting high-action events require on-the-spot configurations and super-fast autofocus details to capture the nuances of the moving subjects.

-Canon EF 70-200mm f/4 L IS USM Lens-

This lightweight lens offers superior performance with advanced image stabilization (IS) and low apertures perfect for capturing fast moving subjects.

-Canon EF 400mm f/4 DO IS USM Super Telephoto Lens

Super image stabilization and diffractive optics combine with a fast and reliable auto-focus to capture the best sharp images in action and sports photography.

Choosing the right Cannon lenses for Portraits Photography

Portraits are the windows to the soul of the photographer’s subject and present a challenging and beautiful medium for translating the often unseen world of what lies beneath the mundane surface of people, places, and things.

-Canon EF 85mm f/1.2L II USM

A versatile lens offering beautiful color rendition and depth of field; perfect for portrait work or semi-stationary subject matter.

-Canon EF-S 17-55mm f/2.8 IS USM Lens

Meets the demands of professional and amateur work, this highly versatile lens is suited to a variety of settings including portrait work with a wide zoom range and IS technology.

Choosing the right Cannon lenses for Wedding Photography

With weddings, there are no “do overs” and missing that perfect shot could mean a permanently missed opportunity. With this in mind it is important for amateur and professional photographers to have the right kind of lens to suit the varying needs of the event.

-Canon EF 200mm f/2L IS USM Telephoto Lens

features powerful performance and fast autofocus, as well as two stabilizer buttons to produce sharp and clear images every time.

-Canon TS-E 45 mm Lens

A unique tilt shift lens allows freedom to capture beautiful wedding shots in creative and unconventional ways, with super sharp images and adjustable tilt-shift planes.

Choosing the right Cannon lenses for Low light Photography

Low light situations present a unique set of challenges as well as stunning opportunities to create and capture the rare and beautiful often concealed under the veil of shadow or lack of light.

-Canon TS-E 24mm f/3.5L II Ultra Wide Tilt-Shift Lens

Refinement and excellence are key elements in this unique lens with 8.5 degrees of tilt and 12 mm of shift to capture the best in perspective work.

-Canon EF 16-35mm f/2.8L II USM Ultra Wide Angle Zoom Lens

Another excellent selection featuring crisp and clean images with a stunningly quick autofocus feature.

Choosing the right Cannon lenses for Landscape Photography

Landscapes are the artistic statement of the natural and man-made world, requiring the elegance and sophisticated approach of a suitable lens.

-Canon 14mm f/2.8L II USM Ultra-Wide Angle Lens

With a round six blade aperture and flare-reducing lens coating, this specialized lens allows for unique panoramic shots without fisheye or linear distortion.

-Canon TS-E 90mm Tilt Shift Lens

Open the door the new creative possibilities with a tilt and shift axis of 90 degrees and an adaptable plane of focus.

Source Article : http://www.picturecorrect.com/

Like many successful photographers, Bruce Smith achieved his first huge break in fashion photography by setting up a test shoot with a model.

Bruce will show you the way how he arranges his fashion lighting methods of high and low key lighting, and also how to get the most effective shots when operating with studio strobe/flash or location strobe/flash or reflectors and diffusion screens and additionally the varied modifiers that he makes use of to get his wonderful fashion images.

Just what this Fashion Photography Training course covers :

• The Studio
• Studio Lights techniques for normal studio
• Preparing to take pictures
• Guiding your models
• Discover ways to generate a flow of positive energy in your very own photos
• You will additionally learn to compose your own images
• Work your photos to match layouts and pages of magazines
• Discover ways to handle your digital work-flows
• Clear up the secrets around color balance
• Management of your graphic files
• Discover ways to make the most out of studio lights
• Find out how to make use of your meter to help manage image contrast and exposure
• Obtain the solutions to all of those concerns you can never find the answers to
• Have a lot of fun and go back home with a few wonderful photos for your own stock portfolio or internet site

Fashion Stylist Our stylist is just one of the essential elements of the successful team that will be making the exciting fashion ‘looks’ during the MasterClass. This essential role will add that powerful ingredient to ensure that the images taken are unique to the school. Bruce uses their vast expertise to ensure the correct stylist fits into his team to assure the best results.

Make Up Artist / Hair Stylist Make Up and Hairdressing could possibly be referred to as the ‘icing on the cake’. The technical and imaginative abilities of the H&MUA are fundamental in order to the success of any kind of fashion shoot. Bruce decides his H&MUA for their creativity and remarkable ability to give wonderful looks rapidly on the day.

The team has been assembled to help you get the most from the week and are saved to hand to resolve questions and advise on aspects of planning and shooting trend. This means that there are many opportunities to take advantage of their insights and knowledge all through the week. This discussion will only enhance the benefit which you obtain using this Master Class.

Models We can not create fabulous fashion images with out fabulous trend models. Bruce only picks models that are regular professionals along with suiting the certain looks which are created throughout his fashion photography grasp classes.

You are able to choose to take 3, 4 or perhaps 5 days of this studio fashion photography program. See booking and special discounts page back links bellow, for dates, discounts and locations for these programs.

Booking A Studio Fashion Photography Course:
Accommodation Should you require lodging during these courses, some of us will be staying in an motel called The Windmill Hotel, Cricklewood, the quite near to the studio, you will need to purchase this immediately and make your own reservations.

Traveling and transfers For almost any of these courses you will need to organize your own travel arrangements, flights , when coming from abroad, transfers to and from the accommodation to be able to the location of the studio. Closest station in order to Adrian Pini Studios is actually Brent Cross, there is a pick up services at around 8.30am and returning to the train station at approx 5.30pm.

To get the best out of virtually any of these photography program, we counsel you to take any portfolio modifying and Photoshop for fashion retouching course used the day after each and every of the 3 and 4 day classes, its integrated as a part of the 5 day classes.

Did you like these fashion photography tips? Interested in Fashion Photography Courses? Well now you can by Discovering this Fashion Photography Course…what are you waiting for?

Related Articles :

• Photography studio lighting techniques , Video series 
• 8 Tips for Fashion Photography
• Quality Portfolio for Hire A Professional Model

Tips for Wedding Photography in Winter - In these recession times, a lot of and more couples decide on a winter wedding due to discounts in costs and bigger availability during this less popular season. I knew the appointed photographer for that wedding would need some seriously sensible luck to provide a satisfactory wedding album. So what should a photographer do to create sure the elements won’t reduce the quality of his or her wedding photos? Here are some helpful Tips for wedding photography in winter:

• Lighting: natural light in the winter is hard to get and limited to only few hours. If you have to take photos outdoors, schedule it in the morning when light is the best. It is best to take outdoor wedding photo in natural light with a reflector and a tripod. If you use a flashgun, make sure to use a diffuser to soften the light. Off camera flash is better than on camera flash.

• Dress warm: do I need to say why? Many brides may be happy to endure the freezing temperature and pose in only a wedding dress for that perfect shot of a life time. However if the photographer is feeling cold, he/she will naturally rush through everything to get back to the warm venue. So make sure to wrap yourself in many layers against the elements and stay calm through the shooting session. Advise the bride and groom that they bring a coat to keep themselves warm in between shots.

• Shadow: be aware of the winter sun if there is one. Do not shoot towards the sun or position your subject in the sun because it can cast harsh, long shadows that can distract the viewer from the subject.

• Colours: take advantage of the clean white backdrop that you will not get in other times of the year and pop out any objects of bright colours, such as the bride’s bouquet or bridemaids’ dresses.

• Go Black & White: if you want to include winter landscapes in your photos, the stark and bleak view usually looks better in black and white than in colour. Positioning your subject against an endless, cloudless sky and clean white backdrop can create atmospheric, high-key shots.

Thats all tips for wedding photography in winter from me, hope these tips may assist you get through a freezing wedding shooting session and achieve satisfactory results. good luck along with your photo session!

How to Resize images is really important if you like sharing your photographs online, whether on Facebook or on your own blog. While your camera shoot terribly high resolution images. it’s always a good plan to down-size or pictures, not only as a result of most websites ignore large pictures, however also because making those pictures smaller can actually make them look better.

In this quick tutorial, I will show you the proper way to resize images . I have seen people employ all kinds of different techniques when it comes to resizing images in Photoshop.The below method is how I personally do it and it has been working great for me, at least based on your feedback. You can employ this technique to any photograph – whether it is a portrait or a sweeping landscape.

1) Why Resize / Down-Sample Images?

Why would you want to resize an image? Your camera is a very advanced tool and it contains millions of pixels. This is good if you want to print your images, but what if you want to share those photographs online? Many websites won’t even let you upload high resolution images, while others like Facebook will down-size them for you, automatically lowering the resolution and quality of those photographs. Because this automated photo reduction process is often not optimized for best quality, it can make your resized photo appear soft and might even result in loss of colors. To prevent that, it is always a good idea to properly resize your images before you use them online. This way, you are in full control of how your photo should look.

2) The image resizing workflow

Once again, there are many different ways to down-sample images. Here is the workflow I personally use for my Photographs:

• Import images into Lightroom
• Make necessary adjustments to the image I want to resize
• Open the image in Photoshop
• Clean up the image (sensor dust specks, unwanted objects, etc) using spot healing and other tools
• Do additional image adjustments like contrast boost, dodge and burn, levels and curves, etc
• Run a single pass of noise reduction (only applies if there is visible noise at 100%)
• Run a single pass of sharpening at 50-75% (Unsharp Mask) – this step is only needed if you will be using the high resolution image for print
• Down-sample the image to target resolution (target resolution is typically 1024 pixels wide for horizontals and 500 pixels wide for verticals)
• Run another pass of sharpening at 25-50% (Unsharp Mask)
• Export the image in sRGB color profile

The process might seem complex, but it is actually not. I do not do this with every image – only the images I want to showcase (like when publishing wallpapers, etc). Everything else gets processed very simply, by just exporting directly from Lightroom.

3) The image resizing process

1.) First, let’s open our photograph in Photoshop by going to File->Open and selecting the photograph we want to edit:

Make sure to pick the full resolution file, not a previously resized version. If you use Lightroom, simply right click on the target image and then select Edit->Open in Photoshop. I am assuming that you have already worked on your photograph and adjusted its exposure, levels, saturation, etc. (Camera RAW or Lightroom). Always make sure to edit problem areas in full resolution, so either do it using Lightroom’s built-in tools or in Photoshop. I prefer the latter when I know that I will be working in Photoshop.

2.) Once the full resolution image is edited, run a single pass of noise reduction. I prefer a selective noise reduction process that only cleans up noise in problem areas. I find it to work better than Photoshop’s “Reduce Noise” filter. you can use Nik Software Dfine reducing noise like screenshot below :

 The purpose is to reduce noise in the sky and other affected areas of the image.

3.) This step is only needed if you plan to keep the original image in full resolution for print. There is no practical reason to sharpen an image before you down-scale it (big thanks to Mark for correcting me). If your purpose is only to publish an image to the web, then skip this step completely.
Make sure to apply a good sharpening technique to your high-resolution image. While commercial tools are great for this step, Photoshop’s built-in filters like “Unsharp Mask” and “Smart Sharpen” work great too. Here I am using 75% sharpening with 1 pixel radius:

4.) Now we are at a very important step – we will be down-sampling the image to lower the image resolution. To accomplish this, go to Image->Image Size and you will be presented with the following dialog:

At this point, you have to select the target resolution. I personally export 1024 pixels wide, but you might need to export in smaller or larger sizes (depending on what you want to do with it). Make sure to check “Constrain Proportions” on the bottom. Now type the target pixel size in the “Width” input with “pixels” selected next to it. As you type the width, you will see that the height will automatically adjust to a smaller number. For me, Photoshop automatically picked “681″, as seen below:

The next big task is to select a resampling method. On the very bottom of the screen you should see a dropbox with the following choices: Nearest Neighbor, Bilinear, Bicubic, Bicubic Smoother and Bicubic Sharper. I personally favor the “Bicubic (best for smooth gradients)” one, because it does a great job in reducing noise without sharpening the image (which we have already done). Occasionally I use “Bicubic Sharper” for some images, but “Bicubic” is my preference. Click OK after you are done making your choice.

5.) Now the image is much smaller in size. Noise should be completely gone as well (assuming it was not too noisy to start with), thanks to the Bicubic down-sampling method that we have used in the previous step. Now it is time to sharpen the image a little more, which will be the final step of the process before we extract it. Once again, either use a good selective sharpening process, or Photoshop’s “Unsharp Mask” as I have:

Remember, this is your final step to make your image look good, so be very careful in sharpening it. Pick an are of the image with the most detail and play with the sharpening “Amount”. I set mine on “50%” and it was plenty to bring out the detail I want. I could do “75%” with a 1 pixel radius and still get a good result though, so the range of 50%-75% seems to work great for this particular image. Every photo is different though, so you might find yourself using between 25-75%. Make sure not to over-sharpen the image!

6.) The final step is to extract the image for the web. Do not simply use the “Save” function – it will create a huge file that is not appropriate for the web. Instead, go to File->Save for Web & Devices. A screen will come up, as shown below:

This screen is very important, because it controls the format, resolution and other important things that will be embedded to your image. First, select JPEG as the format. I typically set my Quality to “80%”, which is a good target for photographs. I find that anything lower than 70% visibly degrades image quality and anything above 80% is an overkill for the web. Make sure that both “Optimized” and “Embed Color Profile” are checked. Blur should be at 0 and Matte does not matter (white by default). Next, make sure to check “Convert to sRGB” – you need this so that the colors in your photos are displayed correctly. I also often leave my “Copyright” metadata. Click Save, pick a location where you want to save the final image, give it a name, then click Save again.

I have been asked a lot about the PPI (pixels per inch) setting that I use on my web photos. Whether you use Lightroom, Photoshop or any other image processing software, the value you use for PPI does not matter. You can leave it at whatever value (I believe 72 is default) and you don’t need to change anything. The PPI value is only important for print – changing it while exporting images for the web will only add metadata to the file and will have no impact on how it is actually displayed on a monitor.

That’s it! Here is  final image processed about  how to resize images with the above steps:

Light, Composition and Subject are some components that must be understood by photographer when shooting picture. every part of image has its appropriate light, your photo will going to be failure  if the light is not good

Food Loves Natural Light.

If I can use natural light I will as it is always my first choice. Using natural light is not as easy as it seems. It took me years before I could master this technique. The main benefit of using natural light there is no need for lighting equipment. Here are some tips that will help you to overcome some of the problems.

Today we would like to explore a more advanced yet simple technique of photographing food using natural window light

Tips On Using Natural Light:

Problems you might experience using natural light and the solutions.
Problem 1: Inconsistent color.
On cloudy days color temperature can jump sporadically every minute, shifting white balance from 4800 to 6500 degrees.
Solution: White diffusion should be used.
On overcast days I use: Tough Silk Diffusion. (a really fine thin diffusion that keeps light in a beam and fine tunes white balance)

On sunny days (Indirect light / north exposure) I use Opal Tough Frost (light diffusion, it keeps the beam focused and white balance leveled)

On sunny days (direct sunlight) I use Tough White Diffusion (thick diffusion keeps light evenly diffused) or Tough Frost (also thick diffusion but keeps beam more focused at the center and makes the image a bit less flat compared to Tough White)

Note: White balance should still be checked and fine-tuned before taking your final shot.

Problem 2: Only one light source (Sun) is used.
When we are in need of extra light you generally add another light, right? Having the sun as your light source limits you to a single source.
Solution: Light can be bounced back onto dark areas (when needed) using a white card or white bouncer. Mirrors can also be utilized to bounce sharper directional light.

Problem 3: The shoot can run out of light.
The sun is not going to work overtime.
Solution:
Plan accordingly and keep track of time. It’s always a good idea to have a backup light (tungsten or strobe) just in case. With the camera on a tripod shooting is still possible as the sun is setting by controlling the exposure using very slow shutter speed.

Problem 4: Motion Blur.
When shooting with diffused natural light. Your exposure might require slow shutter speeds.
Solution: Use a tripod. Consider using the mirror lock up function in your camera to minimize camera shake, also consider using a remote trigger.

Notes on soup steam: Steam can be captured naturally without using cigar smoke. But be prepared to shoot within 15 seconds of the soup hitting the set. Also, a lower angle is preferable when emphasizing steam. Dark backgrounds will help steam show up better. (I had very specific angle instructions for the shot in the video above)

Sometimes steam can play against you as it will diminish the color and appeal of fresh beautiful ingredients. If you are shooting a job for a client it always good to shoot both versions with and without.

Conclusion:

Take control of the natural light and treat the sun as you would any other type of photographic light source. Do not forget to have fun and enjoy your meal.

Related Article : Photography and light source

To begin, duplicate the layer into new layer, then set the new duplicate layer’s blending mode to overlay. Next, create a new solid color adjustment layer set to a dark gray. I used #565656. These steps are to enhance the colors a bit, and to create a base for the lighting effect.

Now add some shadow. We’ll do this with a single gradient adjustment layer by using following settings.

Now some lights. Choose a soft white brush and paint on a new layer above all others with a blending mode set to Soft Light.

Now for the most intense light occurring directly over the rose we’ll use a new layer with the same soft white brush. Set this layer’s blend mode to Overlay.

With a little bit of imagination this method can be utilized and modified in any number of ways to fit your project.

To achieve the quality street photos, the photographers need to follow certain tips following about reactions that may encountered that extremely improve the quality and mood of your street photography.

Hostility

A negative reaction usually appear for every nervous neophyte are most expects and fears. I’ve never encountered a level of hostility that threatened to escalate into violence. 

Resentment

This is typically simply an expression of self-consciousness. a technique to counter it’s to convince your subject that their natural instinct is correct – example, that nobody interested photographing them. so try this which works usually than you may expect. pretend you were not really taking a picture of them at all. Subtly re-aim the camera and take (or pretend to) some of shots beside or beyond them.

Disapproval

This is most likely the foremost common non-positive reaction. Most of the time you’ll be able to simply brazen it out – smiling broadly, nodding affably, moving briskly however unhurriedly away.

Sometimes, people ask you to delete the photos. It’s probably best to avoid getting into a debate about who does or does not have the right to demand that you just delete a picture (answer: nobody). Unless you’re thinking that you have captured something truly brilliant, though, it’s best to capitulate, if only for the sake of good photographic karma.

A foolproof methodology of getting round this is to use film. Since you can’t delete a photo from a film camera, nobody will demand that you do.

Neutrality

Some people do not react at all. This lies at the edge of what we might call the sweet spot of street photography. A young woman may give you a haughtily dismissive gaze, an older man may simply have seen too much of life to be perturbed by some whippersnapper with a camera.

But do not overdo it:  take one or two shots, then move on.

Obliviousness

This is the centre of the sweet spot of street photograph. people on a busy street are often too distracted to notice a lot of, giving a photographer free rein. Street fairs and carnivals are the ideal situation – many dfferent pople o choose rom and most of them in good pirits.

Indulgence

Indulgent people aren’t blivious, they are just urious or mildly amused. they offer the street photographer a restorative dose of complicity. One knowingly indulgent smile from a stranger will counteract an a whole day of wet clothes, aching feet and missed opportunities.

Posing

When taking street shots, sometimes you find individuals happily posing for you; different times, you might explicitly ask somebody if they mind posing for a shot. In either case, the danger is that they instinctively lapse into their standard having-my-picture-taken pose, one which is commonly unflattering and seldom interesting. you can counteract this by pretending you are not ready, or having problems with the camera, then quickly firing off a shot. Some people have such interesting faces that posing does not matter; others are so relaxed or eccentric that even when posing they’re incapable of being boring.

Mugging

No, this isn’t when a disgruntled subject sprints off with your camera (though I admit, on a mean city street there’s a risk). Mugging is when somebody else jumps into the frame. It can be fun to look at people pulling faces and monkeying around, but it rarely makes for an interesting photo. The exception is when the subject and interloper interact and inadvertently make the image work.

Passing by

City streets are an endlessly interesting subject in their own right. however what looks like a compelling scene when you are squinting through the viewfinder will sometimes come across a bit flat in the final image. waiting for someone to walk into the scene can work wonders. just scope out an interesting background, then wait for a suitable person to come along. It can get a bit frustrating when the perfect subject does come along only to notice you setting up a photo and helpfully walk behind you.

Street photography is rife with ironies and contradictions. The shots would not exist in any meaningful way without people in them, however many of these people might, if asked, opt to remain out of the frame. The secret is to empathise together with your subjects and treat them as you’d hope to be treated yourself – with kindness and respect. After all, this is a celebration of the streets and the people in them.

Article By John Carvill from http://www.guardian.co.uk/