Digital Photographer Annual

180 Pages·2016·46.79 MB·English

NEW FREE DOWNLOAD
MASTER THE ART OF PHOTOGRAPHY
200 amazing Photoshop Actions
(cid:116)(cid:1)PERFECT PORTRAITS
(cid:116)(cid:1)SHOOT CREATIVE CLOSE-UPS
(cid:116)(cid:1)AMAZING LANDSCAPES
N
A DEFINITIVE COLLECTION FOR ENTHUSIASTS AND PROFESSIONALS

Welcome To
With the soaring accessibility of image-sharing platforms, the
popularity of digital photography shows no sign of waning. We
all want to see the awe-inspiring sights, treasured memories and
stunning compositions of our family and friends. But whether
you are a grass roots amateur, an aspiring expert or even a paid
professional, there are always new tricks to be learned. Digital
Photographer Annual collates all the best advice for newbies
and veterans looking to realise their creative ambitions. Start
by unveiling our top industry secrets, before fi nding inspiration
from seasoned professionals who specialise in fi elds varying
from food to fashion. Next, our in-depth guides tackle techniques
for shooting specifi c subjects (from wildlife to portraits) and
effects (from macro to mono). Lastly, learn how to overcome
the competition with insightful step-by-step career and how-to
guides that illuminate alternative avenues for growing your profi le
as a professional photographer. Pick up your camera and let’s go!

Imagine Publishing Ltd
Richmond House
33 Richmond Hill
Bournemouth
Dorset BH2 6EZ
(cid:8) [phone]
Website: www.imagine-publishing.co.uk
Twitter: @Books_Imagine
Facebook: www.facebook.com/ImagineBookazines
Publishing Director
Aaron Asadi
Head of Design
Ross Andrews

Editor in Chief
Jon White
Production Editor
Amy Best
Senior Art Editor
Greg Whitaker
Designed by
Kym Winters
Cover images courtesy of
Fabio Antenore, Alberto Ghizza Panizza, Pedro Jarque Krebs,
Lee Jeffries, Jay Lawler, Timo Lieber, Chip Phillips, Lauren Scott

Photographer
James Sheppard
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William Gibbons, 26 Planetary Road, Willenhall, West Midlands, WV13 3XT
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Disclaimer
The publisher cannot accept responsibility for any unsolicited material lost or damaged in the
post. All text and layout is the copyright of Imagine Publishing Ltd. Nothing in this bookazine may
be reproduced in whole or part without the written permission of the publisher. All copyrights are
recognised and used specifically for the purpose of criticism and review. Although the bookazine has
endeavoured to ensure all information is correct at time of print, prices and availability may change.
This bookazine is fully independent and not affiliated in any way with the companies mentioned herein.
Digital Photographer Annual Volume 3 © 2016 Imagine Publishing Ltd
ISBN 9781785464638
Part of the
bookazine series
CONTENTS
TECHNIQUES
60 H OW TO SHOOT FINE
ART: BLACK & WHITE
74 V ITAL KIT TRICKS
FOR MACRO
84 C APTURE STUNNING
CUISINE
90 E SSENTIAL SKILLS
FOR URBAN
PHOTOGRAPHY
INSPIRATION
100 NATURAL PORTRAITS
22 EYE FROM THE SKIES
106 C APTURE VIVID VISTAS
26 LIGHT AND COLOUR
116 S HOOT BENEATH
32 ANIMAL MAGIC THE SURFACE
36 SURF’S UP 122 U NDERSTAND &
CONTROL DEPTH
40 MUSIC MATTERS OF FIELD
46 FASHION PHOTOGRAPHY 130 O NE SHOT STORIES
ON A BUDGET
138 C APTURE FAMILY
54 S UPER SPORT PORTRAITS
40 74
6
GUIDE TO
GETTING PERFECT
SHOTS
CAREER
OUR TOP TIPS ARE
148 10 WAYS TO BUILD A
JUST WHAT YOU NEED
PRESS PORTFOLIO
PAGE 8
152 M ARKET YOURSELF ON
INSTAGRAM
156 1 0 HABITS OF
SUCCESSFUL
“To reach the top of your
PHOTOGRAPHERS
game, you need to work
160 CONSTRUCT A CAREER
hard, hone skills that
IN ARCHITECTURE
maybe never existed
164 SHOOT FOR THE SKIES
before, absorb lots of
168 F IND INSPIRATION ALL information, take failure
AROUND YOU
on the chin and persevere”
172 CROWDFUND YOUR PHOTO
PROJECTS
152 08
7
DIGITAL PHOTOGRAPHER ANNUAL
PERFECT
GUIDE
TO
SHOTS
GETTING
If taking better photos is
one of your New Year’s
resolutions, these top
techniques are just what
you need
Photography is a continual learning
process. No matter how good you think
you are, or how many years you’ve
been shooting, you can get better.
There will always be new subjects to shoot,
techniques to try and technology to master.
However, that’s no bad thing, because if
it were easy, everyone would be a master
photographer and we’d lose interest very
quickly. What makes photography so inspiring
and challenging is that it’s actually quite
diffi cult to take great pictures. Despite the
amazing digital technology we all have access
to these days, photography will always be a
creative process. You can buy the best camera
in the world, equip yourself with an arsenal of
lenses and every gizmo that’s out there, but
at the end of the day, the success of every
photograph you take is down to you, and your
equipment is only there to record what your
eye sees.
To reach the top of your game, you need
to work hard, hone skills that maybe never
existed before, absorb lots of information, take
failure on the chin and persevere. You need to
re-assess and evolve, and develop your own
style and vision so your work stands out from
the crowd. That’s a tall order for anyone, and
it can take years to progress from producing
half-decent snaps to works of art. However,
it’s worth every morsel of effort because the
sense of satisfaction gained from taking great
photographs is immense, and once you’ve got
there, the skills amassed will never leave you –
a bit like riding a bike.
Right
Lead-in lines
The use of the road and glowing light
trails enhance and draw the viewer into
this stunning frosty capture
© Javier de la Torre Garcia
8
GUIDE TO PERFECT SHOTS
9
DIGITAL PHOTOGRAPHER ANNUAL
1
Fill the
foreground
Foreground interest leads the viewer’s eye into a
shot and creates a strong sense of depth
One of the main elements in a landscape Shooting from a low camera angle will allow
composition is the area closest to the camera you to really make a feature of the foreground,
– the foreground. Emphasising it will not only as you don’t have such a clear view of the
help to give your images a strong sense of middle ground, whereas shooting from chest
distance, depth and scale, but it also provides height or eye-level gives a more natural
an entry point into the image for the viewer. perspective. Composing in portrait format also
The strength of the foreground is controlled gives you more space to work with.
mainly by lens choice – the wider the lens, the What can be used as foreground interest?
more foreground you can include. Moderate Pretty much anything really – rocks, rivers,
wide-angle focal lengths around 15-18mm paths, walls, puddles, driftwood, fences – there
(24-28mm full frame) are ideal as they’re are always plenty of natural or man-made
wide enough to let you make a feature of the options in the landscape to choose from.
foreground, but not so wide that the rest of the How much foreground should you include?
scene pales into insignifi cance. If you go wider There are no hard and fast rules here. A ratio
– down to 10mm (15/16mm on full-frame) – of 1/3 sky to 2/3 landscape is a nice balance,
you can create really strong images, but you but if you want to really exploit the foreground,
need to get in really close to the foreground you can reduce the proportion of sky to just a
otherwise the composition will look empty. narrow slice across the top of the frame.
Foreground considerations © Lee Frost
There are many different features, both natural and man-made, that you mages
can utilise in your landscape image as effective foreground interest All i
1 Man-made 2 Colour 3 Subtle
subject separation features
matter Boats The colour of Sometimes,
such as these the seaweed potentially
not only feature at the bottom effective
appealing of the frame foreground
colours but, contrasts subject matter
with careful with all the can be easily
composition, other tones overlooked –
their curves can in the scene, experience is key
be used to direct and therefore in identifying and
the eye into makes for ideal utilising features
the landscape foreground that will work
beyond it. interest. photographically.
10