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How To Find Opportunities In Nature Photography

For those thinking about testing with photography there are all kinds of possibilities for trying to photograph different physical surfaces. For example, things such as timber and things made of wood can often give the photographer with a range of challenges and photographic examination. Regardless of whether the photos will be shot in full-color or in the black and white style it is important to make a well thought out “strategy” before starting. This would include thinking about the kinds of special effects and outcomes desired and then working out a few different methods to shooting such images.

Let’s first think about photos of timber or wooden objects. Because this is an organic material lots of people may not think of bringing wood into their photographic set up for a photo session, but if we take just a moment to think about how timber might look we can realize how it would succeed in the “sterile” or cleaner setting of a studio surroundings.

There are plenty of timber subjects to choose from. Even your basic subjects such as coloured pencils right through to furniture can provide you with some great photographic opportunities. But it’s not just man-made subjects that we can look for. It is also naturally occurring in driftwood and tree branches too. A single tree branch or portion of bark will expose crevices, moss or lichen, and a large variety of special tones and finer details.

A photographer might want to take photos of the numerous textures and tones in a piece of driftwood using only the sepia settings on their digital camera, or they may instead rely on the color features to photograph the texture and different color patterns in something like Tiger Maple. Clearly, this will mean that that a variety of approaches is needed, and choosing the right setup becomes imperative to success.

So, how do you know the correct approach to photographing wooden textures? It all boils down to how creatively you examine your subject. That piece of driftwood could be captured along the sandy beach where it was found; through the various tones of the wood and the textures of the sand completing and where you place things in the photo. This same piece of wood, on the other hand, may be brought into the studio and set against a solid black or white background where its swirls, lines, ridges, and various tones will become the whole scene as an alternative.

Irrespective of the sort of wood to be photographed and the choice between color or black and white, it is vital to bear in mind that sharpness in texture is the ultimate goal. For this example we will come back to that piece of driftwood and consider looking at it “up close” and also looking at it “au natural” with the digital camera.

If a photographer has made the decision to bring the timber into the studio and get in close to the patterns and textures that have organically occurred they are going to need to evaluate the right method to do this. Should they shoot with a macro lens or should they use the same approach as they would with up-close portraiture? Generally, it is best to make use of the zoom lens (such as put to use in a greater part of portrait settings) to get a really wonderful range of options. If you choose close up for such a picture you are going to have to really struggle with the light process, but the zoom lens will let the skilled photographer keep at a fair distance and really flood the timber with a large deal of easily controlled lighting. This means that shadows can be created when needed or they can be completely eradicated by the lighting setup too.

If we shoot outdoors to take pictures of that piece of driftwood as it lies on the sands, we are going to have to reflect on the depth and value of its spot in the shot. Should we stand above it and just shoot down into its patterns? Is it better to juxtaposition it beside the pale sands, the gray waters, and the pale blue sky? Should it be photographed in black and white? Some of these questions have more to do with a photographer’s private preferences than anything else, but for the purpose of this conversation we will opt for the color shot of the driftwood.

It is going to be an object in dark grey and black tones placed in a setting that is full of paler and softer colors. A skilled photographer is going to have to use a lot of of the equivalent treatments for this photograph as they would for average landscape photography. This means they will want to make sure that their forefront and background are in the identical focal depth as the subject, and they will need to ensure that the light of the setting is balanced. Implementing a polarizing filter can diminish any reflections off the water and the sands and keep the colors a bit cooler.

Clearly, these are just simple examples of how a single piece of wood can produce an enormous series of photographic possibilities, but it is important for any photographer to keep in mind that their broad surroundings are an ideal subject for experimentation.

Want to find out more about photography, then visit Amy Renfrey’s site on how to choose the best digital photography information for your needs.

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