Photography Lessons for Beginners: Free Videos for Homeschooling. The "wrong" tips for beginner photographers Tips for professional photographers

Experts and photographers unanimously agreed that each of the 34 tips below play an important role in honing your skills.
So arm yourself with new knowledge about using your digital camera settings to reach new heights.

Tip #01: Always reset your camera settings
Imagine a situation in which an interesting picture suddenly appears in front of you, and you want to capture it. Push the trigger and get frustrated. Because the frame was shot with an inappropriate ISO value, etc. The moment is lost. This can be avoided by checking and resetting your camera each time before moving from one shooting to the next. Choose the settings according to the shooting conditions.

Tip #02: Formatting
Format the memory card before taking pictures. Quick format does not erase images. Formatting the memory card beforehand minimizes the risk of any data corruption.

Tip #03: Firmware Update
The firmware in the camera is software for image processing, adjusting a range of settings, and even controlling the functions available to you. Check your camera manufacturer's website for information on how to keep your camera up-to-date with the latest software.

Tip #04: Charging Batteries
Do not blindly rely on the fact that the battery in your camera is fully charged. Charge it up and make sure it has enough power if you plan on shooting for a long time. And in the event that you prefer to photograph a lot, then it would be best for you to purchase a spare battery.

Tip #05: Set the Image Size
In most cases, the camera will default to shooting with high resolution no matter what you are photographing. But do you always need it? Sometimes a small image is enough for you. After all, reducing the resolution means not only that more photos will fit on the memory card. In such a case, you can also increase the shooting speed. If you like sports photography, then a reduced resolution will help you avoid delays while your camera clears its buffer.

Tip #07: Experiment with settings options
When professional photographers are not focused on target photography, they spend a lot of time experimenting. This could be testing a lens to determine the best aperture or focal length for it. As well as checking the ISO and white balance to see which options give the best results, or even testing the dynamic range to be aware of the sensor's capabilities.
You can do the same with your camera to know exactly where its strengths and weak sides. This is not about finding the perfect shot, but experimenting with the equipment to learn about its potential and try out new techniques that will come in handy in future shooting.

Tip #08: Don't skimp on a tripod
A good tripod is worth its weight in gold, so don't skimp on this item. It is better to buy a quality tripod that will last you a long time. This is a long term investment. And don't forget to take it with you when you go shooting.

Tip #09: Handheld camera or tripod?
The very fact of mounting the camera on a tripod can slow you down. While this will help you concentrate on what you are photographing, fixing the camera can take away the spontaneity of your shots. We come to the conclusion that it is best to mix both of these methods, using them alternately. If you're rigorously using a tripod, try taking shots without using one. Also, if you usually work without a tripod, take it with you to see if the difference is in your photographic results.

Tip #10: Impromptu camera support
You don't have to use a tripod to keep the camera stable. Be creative. You can use a wall or a tree as support, or even a bag of rice as a platform. All this will help to avoid camera shake.

Tip #11: Leveling the Horizon Line
The horizon line in the photo should look strictly horizontal, without slopes. If your digital camera has a digital horizon, use it. This will help you save time when editing your shots later in Photoshop. Many DSLRs have an auxiliary reticle that can be activated. It is superimposed on the live image and is visible on the LCD screen of the camera. Focus on her. The horizon must match the horizontal grid line. Also, use the AF points in the center of the viewfinder to do the same.

Tip #12: Double Check Your Kit Contents
This may seem obvious, but double-check your camera bag if you're going to be photographing away from home. It can contain a camera, lenses, a tripod and accessories for it. Don't forget the adapter ring (adapter adapter) if you use screen filters and the like. A forgotten small detail is more likely to ruin a trip than the main elements of your kit.

Tip #13: Auto Focus or Manual Focus?
Do not rely too much on the camera's autofocus. In some situations, manual focus is much better. For example, to photograph a fast-moving subject on a race track or focusing in detail when shooting macro.

Tip #14: How to use autofocus points?
SLR digital compacts can have a dizzying array of AF points. But for most shots, you only need one - the center one. Position it behind your subject, press the shutter button halfway to lock the focus, and then simply recompose the shot.

Tip #15: New Lens
A bad lens will always be a bad lens no matter what camera you put it on. Therefore, before you decide to change your camera, thinking that you have "outgrown" it, consider purchasing a new lens. This may turn out to be a good solution. A few extra pixels and smart settings in a new camera might seem like a tempting prospect. But most likely you will be more suitable for a maximum aperture and more high quality optics to improve the quality of pictures with your existing camera.

Tip #16: Manual focus lens.
There are thousands of lenses left from the days of 35mm film. Many DSLRs are "backwards compatible" with them (notably Nikon and Pentax). They can still find a use in our age digital technologies. In addition, they are so affordable that they provide a great opportunity to expand your arsenal with focal length. But there is also back side. Some lenses work better than others, and the only real way to sort out the good ones from the bad is to try them out. In general, zoom lenses, as well as wide-angle focal lengths, tend to perform worse. In addition, there is a need for manual focusing. In-camera exposure metering can be unpredictable and unreliable. However, there are a few manual focus lenses that can really out-perform the current inexpensive zoom lenses in terms of sharpness.

Tip #17: Focal Length
Wide-angle lenses can give the impression of increased distance between near and far elements, while telephoto lenses visually bring the subject closer, compressing perspective. Use focal length situationally. Consider the distance of the subject of photography.

Tip #18: Using hyperfocal distance
If you want to increase the depth of field in the frame at a given focal length, then select manual focusing of the camera to the hyperfocal distance (HFR). This will ensure maximum image sharpness from half the focal length to infinity.

Tip #19: Check the edges of your frame
Most viewfinders don't give you 100% coverage, so it's easy for unwanted elements to enter the frame. The only way to avoid this is to simply check the camera's LCD screen after taking a test shot. If there is nothing extra in the frame, change the composition and photograph again.

Tip #20: Shoot more than you need
Even when shooting static subjects, use continuous burst mode. Subtle changes in lighting, such as when photographing a landscape with floating clouds. Or while taking a portrait, when a change in facial expression is noticeable. These are examples of shooting where "beautiful moments" happen, which can be missed if you take a single shot. So shoot a lot and then choose the best shots.

Tip #21: Exposure Metering Mode
Serious photographers are skeptical about this. But we urge you not to completely ignore your camera's exposure modes. Especially for the paparazzi. For example, Landscape mode tends to set a small aperture and increase saturation. And Portrait mode combines a wide aperture with more muted colors. Both can be used outside of their intended purpose. The main thing is understanding the given parameters and their creative application.

Tip #22: Don't Forget About Program Line Mode
Don't underestimate your camera mode (P). Selecting it effectively sets the most suitable aperture value and shutter speed for correct exposure of the frame in automatic mode. If you need a wide aperture, just jump into the program to get it. Want a slower shutter speed? Twist in the opposite direction.
44-digital-camera-tips-aperture
SLR camera photography

Tip #23: What's Prioritized Aperture or Shutter Speed?
In a nutshell, the aperture controls the depth of field of the image, and the shutter speed controls the shutter speed, that is, the speed of shooting. Not sure which shooting mode to choose? Decide which of these two elements you want to have maximum control over while shooting. This will be your decision.

Tip #24: Determine your camera's dynamic range
If you don't know what the dynamic range of your camera's sensor is, you won't be able to tell when a scene will exceed it. This way you will lose highlights or shadow details. There are many ways to measure dynamic range. DxO Labs has tested many digital cameras. You can always use their data as a guideline. Visit to find out the limits of your camera's range.

Tip #25: Try Bracketing
You can adjust the exposure of the image in the editor program. But any noise will increase in an underexposed frame, while overexposed shots are basically impossible to recover. When in doubt, apply bracketing. You will receive three frames from different values given parameter, one of which is correctly exposed. Use this feature even if you decide to shoot in RAW format.

Tip #26: Read the histogram correctly
Do not rely literally on the image histogram on your camera's LCD monitor. In bright light, images will appear darker than they really are. And looking at the screen at night, you will see a brighter image, even if it is slightly underexposed. Therefore, it is necessary to learn how to read the histogram correctly. It is the only way to accurately estimate the overall brightness level of an image and to assess the need for image adjustments. If the histogram hits the right end of the scale, consider reducing the exposure and reshoot.

Tip #27: Expose the backlight
It is much easier to restore image details in the shadow areas of the image than the highlights. Therefore, with a significant level of contrast, maintain a high level of detail in bright areas.

Tip #28: Place halftones
Matrix (evaluative, multi-zone) camera metering measures the level of illumination in a scene. Spot metering is also extremely useful. This matters when you are shooting mostly bright or dark scenes. You can use it to set the middle tone, for example when shooting pavement or grass.

Tip #29: Appreciate the contrast
The camera's spot metering will allow you to get accurate meter readings to determine the contrast in a scene. Pick one point from the brightest area and another from the darkest. Determine the range between them. If it exceeds the dynamic range of the camera, you will have to resort to some clipping such as shadows, highlights. Or consider shooting for HDR (High Dynamic Range).

Tip #30: Shooting HDR
To determine the exposure range for HDR images, you need to take a meter reading from the darkest and brightest part of the scene. Then set the camera to aperture priority mode. Switch to manual iris mode and use your readings as the starting and ending points for successive HDR images. Temporarily stop the shutter speed until you cover the exposure range. Exposures can be combined into programs such as Photomatix.
44-digital-camera-tips-nd-filters
SLR camera photography

Tip #31: Use ND Filters to Balance Exposure
For landscape shots, use an ND filter (Neutral Density) to balance the exposure between the sky and the ground. It's best to have a set of NDs with varying degrees of shading to be prepared for different conditions. Also, take two shots - one for the sky and one for the foreground. Then mix them in your editing software.

Tip #32: Using an ND Filter to Extend Exposure
ND (Neutral Density) filters are quite dark. If you want to extend your shutter speed, then they can be a problem for aperture control. A three stop ND filter will allow you to open your aperture three stops to get a shallow depth of field. Moreover, even in bright light conditions.

Tip #33: Polarizers
The polarizing filter effect cannot be recreated in digital form. This makes it an indispensable choice for outdoor photographers looking to soften or enhance blue sky reflections. Don't skimp on price or you will have to skimp on quality.

Tip #34: Black and white on camera or computer?
If you're unsure that you want to print black and white images from your memory card, it's best to shoot in color. You can then convert pictures using image editing software.

Photography is a wonderful opportunity to capture unique, inimitable moments of your life. Pause time, save what will never happen again! This explains the great popularity of photographic equipment and the growing number of amateur photographers every day. This is not playing the saxophone or blowing glass, often no special skills are needed here, you just need to have a camera at your disposal and the desire to shoot! Although, there are people who think differently: they save money for a long time for luxurious expensive equipment, take courses for photographers, in the meantime, losing something more valuable - time.

But since you are reading this article, it means you are already shooting, and you are deeply interested in the quality of your photos. So, here are some tips and tricks that you will definitely need.

1. Be genuinely interested in what you shoot

Professional photographers believe that, as in any art, when taking a photo, a person must be inspired and completely captured by his work, otherwise he is unlikely to get really good pictures! Be truly interested in what you shoot and the results will exceed all expectations. And vice versa - as soon as you lose interest, the photos will become insipid and inconspicuous. Many blame technique for their failed shots, but I will tell you something else - it is not the technique that is important, but the one who holds it in his hands! And his imagination. After all, even Einstein wrote that “imagination is more precious than any knowledge!”. Some, due to the lack of “good” technology, never started filming (“That’s when I’ll take it for myself ...”). And you be smarter and don't let doubt steal your ability to create here and now. Forget about the technical side. Listen better to your feelings.

2. Maximum simplicity

“Less is more” is an ancient wisdom that can be easily applied to the art of photography. There should be nothing superfluous in the picture, a minimum of objects, more simplicity. Learn to see the frame. Perhaps you will need additional literature for this, or maybe a conversation with a more experienced master, photo exhibitions and training videos.

3. Follow only your vision

You will never achieve anything if you inherit someone. Be natural in your desires, and if you like to shoot paper baskets, chili peppers, laughing old people, footprints in the wet sand, small beads or fish in an aquarium - shoot! There are no restrictions, you are free to show everything you want.

5. Get the skills to "see" the frame

To do this, you will have to accumulate certain knowledge. About composition and chiaroscuro, for example. Light is the most important technical problem and a careful study of its features has never hurt anyone! Never shoot if the sun is directly on your lens! For such shots, special photo filters are needed. And then, not the fact that the photo will not be illuminated. When shooting a portrait, pay attention to the shadows that fall on the face, including the shadows that come from the hair and nose. A harsh light, hitting directly from above, on the top of the model, guarantees you funny shadows under the nose and very unfunny ones under the eyes. If possible, diffuse the light, make it as soft as possible (unless, of course, the idea of ​​​​the photo requires the opposite).

As for the composition, here you need to follow one rule - golden ratio rules or the rule of thirds. It consists in the following - the image must be divided into nine equal parts (see the example of the "grid" below) and the joints of the sections should be selected for themselves - they are also called "knots" or visual centers (in the picture they are indicated by bold dots).

The base of your photo, that is, what you would like to highlight, must be placed either in the center of the work or at the intersections of the lines. Examples...

There is also the so-called when you shoot two objects and both of them are very important for the photo. In this case, it is better to breed them in different centers of the golden ratio, like fighters in the ring. Example…

There is another version of the "grid" of the golden ratio and it is called "Spiral of Archimedes"

Everything is even simpler here - where the spiral is twisted, the most important things should be placed there. Like in these pictures...

It is also very important to correctly place the horizon in the frame. Remember, it's bad manners to have a horizon exactly in the middle of the picture! It is better if it breaks the frame from below or from above.

6. Patience

Being able to control yourself and show patience is a huge plus for a photographer. For example, when you have to wait an hour for good light.

7. Feel free to filter out unwanted photos

A. Adams, the leading photographer of our time, said that if you get one really good picture a year, this is already a big plus and an achievement. Most of the footage has to be sifted and thrown into the "bin". This is fine. And very helpful. As a result, you keep only the best. Therefore, do not be lazy to systematically engage in such “screening”.

Most often, amateur photographers buy cameras so that they always have the opportunity to capture the most touching, most significant moments in their lives and the lives of their loved ones. When taking a picture of a person important point is the choice of pose, as well as the composition of the frame. We have already dealt with the composition, now let's talk about poses.

Even a model with ideal proportions can be “distorted” by the wrong pose so that all the captured frames go into the “bin”.

And vice versa, you can visually "stretch" the figure, mask the flaws and emphasize the merits.

When shooting a portrait, always focus on the eyes, when shooting full-length on what you want to emphasize - the arms, the shoulder, the curve of the waist ...

Examples-hints for "advantageous" female poses ...

And also a few "male" poses ...

Article text updated: 1.02.2019

Take any website that deals with photography and you will see that most of it is devoted to the discussion of technical aspects. Topics related to how to learn how to take beautiful pictures are usually not disclosed in such detail. And my blog is no exception: look at least at the bottom of the page for a list of the most commented articles. Today I will try to compensate for this shortcoming a little: I bring to your attention 52 exercises for amateur photographers who want to learn how to take beautiful pictures.

1. How to develop the skills to see a beautiful frame.
2. List of tasks for practical training.
3. Examples of exercises performed by the master of street photography Alexander Petrosyan.

How to improve your photography skills

We have already discussed this in several photo tutorials of the “Photography” section. There is no other way to learn how to shoot beautifully than by following the following learning algorithm:

1. Buy any textbook on photography and read it carefully.
2. Take a camera and instructions without letting go of it, study the Talmud, immediately checking in practice how this or that setting works.
3. Go outside and take as many pictures as possible.
4. Analyze weaknesses and strengths resulting pictures.
5. Shoot new frames, taking into account the identified errors.
6. See how many more photos and paintings of the masters. Trying to understand why their photographs are catchy. Shoot the same way.

Posted in Sony A6000 mirrorless review with sample images taken with different lenses. These are tips for points #4 and #5 of the self-learning algorithm described above. And today we will reveal the topic "What to photograph in order to learn how to shoot professionally." It's no secret that we sometimes find ourselves in a situation where we would like to practice taking beautiful photos, but we have no idea what to shoot.

Photography exercises for beginners

Before we start getting acquainted with the tasks, I want to tell you how the photos presented in today's photo lesson were taken. They were sent to me by a longtime reader of the site, Pavel Chertalev from St. Petersburg, who has long become my friend. In the "Photography" section, you can see with a variety of optics and cropped, to which he switched about a year ago.

In between owning these professional cameras, he bought an ancient second-hand Nikon D40 DSLR, released to the market in November 2006, 12 years ago. I hope that after watching today's lesson, no one will have any doubts that you can learn to take pictures like a professional not only with an expensive camera, but also with an old, very cheap kit. To date, the average price for "Avito" Nikon models D40 is 4-5 thousand rubles (67-83 USD).

All sample shots were taken without flash using a Nikon 35mm f/1.8G prime lens.

All photos in this photo tutorial were taken in RAW format, processed in the Capture NX 2 editor, adjusted in Photoshop and reduced to the size of the site (1400 px on the long side) by the C3C Image Size plugin, which I talked about in the article about how I process my pictures.

The series of photographs that we will see, Pavel called “IKEA Beauty”, but in the context of today's lesson on tasks for training photography skills, I would call it “Parallel rows. Rhythm in photography.

I note that the exercises presented below were not invented by me - I collected them on English-language photographic sites. I wouldn't be surprised if some of you find them familiar. I hope they help someone learn how to take beautiful photos.

A collection of exercises is designed to perform practical exercises during the year: one week for one task. Although, of course, no one bothers to take an "accelerated course".

All exercises are divided into three categories:

1. Photohistory. As the pros say: “A good photographer can take beautiful photo anything. A great photographer can take a photo that tells a story!” The exercises in this section make the amateur photographer not only look for something beautiful, but also try to find a way to tell someone's story.
2. We hone our technical skills. The ability to set up the camera, properly process pictures allows you to remove restrictions on the creativity of an amateur photographer.
3. Artistic expression. Having developed the skills to take pictures and having mastered the camera, unlike the first two categories, the tasks of this section can be understood not literally, figuratively. There is a lot of room for creativity here. You have to express your "I" in your own way.

Pavel's pictures go off topic with the text (I mean, they are just an example of doing one exercise: “rhythms”). I post them so that it is not boring to read the bare text.

Exercise 1.

We tell a story.

The rule of thirds.

The rule of thirds (or "golden ratio") is one of the first rules of composition that most photographers become familiar with. But they do not always understand why they need it. The rule of thirds is great for telling a photo story in a frame. Tell a story using the rule of thirds.

Task 2.

Technical lesson.

Filming in a chamber JPEG .

We take pictures, get nice photos straight from the camera. We don't use Lightroom or Photoshop. We shoot a gorgeous photo, and it should turn out to be of high quality without any processing in an external editor.

Exercise 3

Art lesson.

Earth.

Our inspiration this time is the earth. It can be a landscape or a photograph depicting, in some way, the earth.

Task 4.

Photohistory.

Mirrors.

Tell a story using a mirror or reflection.

Exercise 5

10 frames.

You need to photograph the same object ten different ways. Each shot must be taken at a different angle and at a different distance or focal length.

Task 6.

Artistic exercises.

Sweets.

Show photos of sweets, cakes and other sweet foods so that you really want to eat them.

Exercise 7

Photohistory.

Forgotten.

It is necessary to tell the story of something forgotten in the frame.

Exercise 8

Technical training.

One shot.

We need to imagine that we have room in the camera for only one photo. And so in this exercise we can shoot only one frame. You can not delete spoiled, you can not take a second photo. The most important thing is to carefully examine the scene, think and shoot a masterpiece from one frame.

Task 9.

Artistic exercise.

Still life.

We are training to photograph a still life of several objects.

Exercise 10

Photohistory.

We work with perspective.

Perspective is the interaction between objects in a scene. If we want to show perspective, one way is to use a telephoto lens.

Exercise 11

Development of technical skills.

Separate toning.

Separate toning is a way of processing a photo in the editor, when shadows and highlights are tinted different color. Shadows are painted in one color, and highlights in another. Split rendering is often used in conjunction with tonal perspective to give a scene the look and feel that you want.

Exercise 12

Artistic.

Orange mood.

This week we photograph either something orange, or an orange (because it is orange) or both.

Exercise 13

Photohistory.

"Golden Hour" photography.

"Golden hour" is the time before sunset or after sunrise, when the sun illuminates the earth with a pleasant soft golden color. We need to find a way to use the golden hour to tell the story.

Task 14.

Technical training.

Shooting with wiring.

Panning shooting is used to convey movement when shooting moving subjects. When posting, we must use a slow shutter speed, while keeping the lens behind the subject.

Exercise 15

Artistic skills.

Solid.

Something solid needs to be photographed this week.

Task 16.

Photohistory.

Leading lines.

Leading lines are a very important element of composition for every photographer who wants to become a master. Use leading lines to tell a story.

Exercise 17

Technical training.

Spot of attraction.

Using a vignette or highlight to draw the viewer's eye. Plots where a bright spot attracts attention.

Exercise 18

Artistic.

Lilac color.

This time we photograph everything related to the purple color.

Task 19.

Photohistory.

Back yard.

We are trying to tell a photo story about our surroundings. It can be a look at our daily life.

Task 20.

Technical training.

Heaven.

In this training we will take pictures of the sky. You need to train in Photoshop to replace the sky if it turned out to be uninteresting with another image of the sky.

Exercise 21

Artistic skills.

Soft.

We used to photograph something hard, now soft. You can interpret as you wish.

Task 22.

Photohistory.

Geometric figures.

We photograph everything that represents triangles, squares and circles. All of them are strict compositional elements in the image. We need to find a way to use geometric shapes for our photo story.

Exercise 23

Technical skills. f/8.0

Portrait.

Shooting a portrait using f/8 aperture. Since we have a compressed aperture, we need to keep in mind that we need to isolate the object in some other way than by blurring the background.

Task 24.

Artistic.

Green color.

Green is the color of nature, the color of life and hope.

Exercise 25

Photohistory.

Toy history.

You need to tell a toy story or about toys.

Exercise 26

Technical skills.

Drawing with light.

We put the camera on a tripod at night, open the shutter for 30 seconds and draw our object with a flashlight. You can use flashlights, LED lights and even laser pointers.

Exercise 27

Artistic skills.

Communication.

We live in the 21st century, when communication technologies greatly influence our lives. In this exercise, you need to show the presence of communication or lack of communication between people.

Task 28.

Photohistory.

Portrait as landscape.

We shoot a portrait against the backdrop of a landscape, that is, we must see the environment of our subject.

Exercise 29

Technical.

Water drops.

Photographing water drops. It's a mixture of lighting, macro photography and patience. There are many ways to enjoy shooting.

Exercise 30.

Artistic skills.

Family.

Photographing a family portrait. In order to complicate the task, we photograph a family portrait without people in the frame.

Exercise 31

Photohistory.

Frame.

Another classic composition tool is placing an object in a frame. Let's use this technique to tell our story.

Task 32.

Technical training.

HDR .

HDR is a technique that combines multiple shots taken at different exposures. As a result, we get one shot with a wide dynamic range.

Task 33.

Artistic skills.

"High key".

Photographing a portrait in the High Key style.

Exercise 34

Photohistory.

Stranger.

Tell a stranger's story. Trying to use the environment to show the viewer his story.

Exercise 35

We train technical skills.

We sew a panorama.

We photograph several vertical shots and stitch a panorama from them in Photoshop or another editor.

Exercise 36.

Artistic skills.

"Low key".

"Low key" is the opposite of "high key". We photograph images where most of the tonal range lies on the left side of the histogram.

Exercise 37

Photohistory.

Balance.

Balance is a compositional technique in which each part of the scene is balanced by weight. Balance can be achieved by color, tone, or the arrangement of objects.

Exercise 38

We train technical skills.

50 mm.

Photographing for a whole week using only a 50mm focal length. You can shoot either with a fix, or by fixing our zoom lens with molar tape at a focal length of 50mm.

Exercise 39

Art lesson.

Water.

All week we photograph everything related to water.

Task 40.

Photohistory.

Colored black and white photograph.

We need to tell the story of the color scene. You can not show flowers in the frame. And you need to take pictures in black and white.

Exercise 41.

Technical training.

Levitation.

Levitation is a trick that is partly done with the camera and partly with the help of Photoshop. We are trying to make levitation this time.

Task 42.

Artistic training.

Music.

During the week we photograph music or musicians, we use a wide-angle lens.

Exercise 43.

Photohistory.

Motion.

Capturing movement in a frame in a frozen image is a challenge for every photographer. Let's use this week's moves to tell a photo story.

Exercise 44.

Technical training.

Magical ND -filter.

Use an ND filter along with a slow shutter speed of 30 seconds or longer to take photos. We try to photograph waterfalls or even streets in order to take a mysterious picture.

Exercise 45.

Artistic photography.

Cold.

You need to show a photo story in which you feel the cold emanating from the frame.

Exercise 46.

Photohistory.

The foreground of the landscape.

Many stories revolve around portraits, but landscapes can also tell a story. Tell the story of the landscape using the foreground as the subject and the background as the scene.

Exercise 47.

Technical training.

Figured bokeh.

Read how to make hearts, stars in bokeh and create an interesting picture within a week.

Task 48.

Artistic training.

bodyscape .

It is necessary to remove landscapes from human bodies. See Carl Warner's examples.

Exercise 49.

Photohistory.

"Blue Hour".

Blue hour is one hour after sunset and one hour before sunrise, when the blue or purple hue dominates the sky. Use it to tell your photo story this week.

Task 50.

Technical training.

Full editing.

Take the picture you took in the first exercise and edit it in Photoshop.

Task 51.

Artistic skills.

Fear.

Find a way to show the fear in a way that the viewer can feel it.

Exercise 52.

Photohistory.

Your photo story.

Tell your photo story.

38. Photography. Teaching beginner amateur photographers. Back to improve skills. 1/40, 1.8, 400, 35.

Before proceeding with the exercises listed above, I advise you to familiarize yourself with the work of street photographers Dmitry Zverev (Facebook - DimaZverev) and Alexander Petrosyan (Facebook - YanPetros). In their photo essays you will see samples of pictures that could be obtained during the tasks. Moreover, to give emotions that catch the viewer, both professionals use, among other things, the schemes that we have listed in today's photo lesson, and which should be trained hard:

1. Context in pictures.
2. Interaction of objects in photographs.
3. "Copy" background.
4. Shock is a person in the background.

What is meant by context, and why does it have such a strong effect on the perception of the image? Imagine the following plot: a man with a satisfied face leaves the apartment, closing the door behind him. There is a smile, a thoughtful, dreamy face - emotions, the picture leaves no one indifferent. Now - the same plot, but in the half-open door behind the man you can see a girl in a translucent peignoir, looking after him ... Agree that an unambiguous cartoon immediately appears in your head about what happened before the photographer shot this scene! We understand why the uncle came out happy... Even more chic - in the doorway you can see only women's things scattered on the floor, and a trace of lipstick flaunts on the Don Juan's cheek... This is the context. Both Alexander Petrosyan and Dmitry Zverev actively use it.

Interaction in the frame - such pros have a lot of shots in their portfolio, where the foreground and background objects are somehow interconnected with each other. They do not exist separately.

Background Copy. I don't know how to put it right. We are talking about scenes where something in the background resembles an object in the foreground. For example, there is an uncle with a lush head of hair, and behind him is a huge dog with the same luxurious mane ...

"Shock" or "absurdity" in the background. Let's say two janitors are cleaning the street in the morning against the backdrop of a huge advertising poster, which depicts a fashion model in a bikini advertising bras. Or the same Alexander Petrosyan has a picture where in front is a funny snowman, in the back are granny cleaners ...

Here is a selection of the best shots of Alexander Petrosyan in the blog of the traveler Sergey Doli.

Is it possible to learn how to take beautiful pictures if the photographer has no talent? I have said many times that it probably won’t work to win international competitions, but it’s quite possible to raise the level of your work very, very significantly if you purposefully complete tasks, analyze mistakes and try to correct them, it’s quite possible to become a respected person.

By the way, see how Alexander Petrosyan takes his street photos on the street. Nothing extraordinary, in my opinion, he does not.

Video. Tips for photographers on how to perform exercises to improve their skills using the work of Alexander Petrosyan as an example.

Another video with a story about how it was filmed gorgeous shot evening city. Alexander Petrosyan shows in practice how inconvenient it is if the camera does not have a folding screen.

Video. History of one frame. Manual for performing exercises for self-study amateur photographers.

Well, I hope I didn't waste your time. Now there is something to do, and you know how to train a professional photographer in a year who knows how to tell a photo story in the frame, knows his photographic equipment, owns photo editing editors and is able to apply his skills to create masterpieces. Maybe I will inadvertently educate myself after this lesson.

Most take photos for social networks on smartphones, many take pictures with professional and semi-professional cameras - it has become an art, a fashion hobby and a daily practice. Modern high-quality shooting requires special knowledge and skills.

How to learn to shoot

The success of the shot depends on the photographer, not the high cost of the camera and related equipment. The path to the perfect shot lies through the search for an interesting plot, beautiful light, creativity, the ability to properly set up the camera and equipment.

Choice of technique: instruction

The first step on the way to quality work is choosing a camera. The world of megapixels, sensors, apertures, shutter speeds and lenses seems confusing and complex at first. A storm hits the newbie specifications in which it is difficult to navigate independently. What to pay attention to first of all? A short video about the types of cameras, the principles of operation and the advantages of models will help you to choose equipment consciously.

Manual shooting mode

Having decided to become a professional, it's time to move beyond the automatic shooting mode and master the manual one. An idea about the device of the camera and the processes of work helps to quickly understand the intricacies of manual settings. We offer a detailed lecture where, for clarity and memorization, the internal structure of the camera and its operation are compared with the human eye. No complicated terms at the intersection of anatomy and photography. The video shows examples of settings and the result.

Composition in pictures

The success of a shot is 80% dependent on the composition. Knowledge and application of special rules create depth, space and volume in photography. With the help of compositional techniques, the pros are able to manipulate the viewer's gaze, draw attention to the desired object and create a certain mood. Remember the law of linear perspective from the drawing course at school? The master class will complement school knowledge with two more types of perspectives: aerial and tonal, and will also demonstrate other ways to get a balanced shot.

Focus Masterclass

Knowledge of the basics of composition for a good composition of the frame is not enough. Due to camera and hand shake, incorrect focusing, the image is blurry. Masters prefer manual adjustment, the frame is as clear as possible. The lecturer notes more than fifty focus points. Which way to choose - everyone decides individually and experimentally.

Mistakes with light

Proper lighting guarantees bright shots. Before each click of the shutter, it is recommended to monitor the light sources and its quality. The results of errors with light are sharp shadows on the face, “dirty light”, greenish or faded skin color, “black holes” instead of body parts, smeared silhouettes. A lesson for beginners on the correct placement of light sources and objects in the frame will help to increase the level and quality of work.

How to use an external flash

The design of modern flashes and their functionality are quite complex and hardly amenable to intuitive mastery. In the master class, blog host Mark Rybak talks about flash control, modes and buttons, reflectors and light diffusers, ways to shoot "through the ceiling", "through walls" and "head on". After watching the video, you will be able to adjust the flash depending on the lens width and focal length, the height and width of the room, and weather conditions. Learn how to avoid overexposure, eye flare, and other professional effects.

Studio work

When shooting in the studio, you can immediately see what the photographer really is: an amateur or a professional. A real specialist is well acquainted with studio equipment and knows how to use it competently. There are several lighting schemes with single and multiple light sources that help to get harmonious shots. The main thing is to place the light sources and reflectors at the right distance and point in the right direction. The result is diffused light and soft shadows. The tutorial video demonstrates a set of lighting schemes for different types of filming.

Shooting a portrait on the street

Natural light footage can look vibrant even without post-processing. A few minutes spent learning the secrets of street photography can save you hours of Photoshop work. The pro talks about the need to switch attention from place to light when choosing a location for shooting. How to learn to see the light? What hours are prohibited for outdoor work? How to position the model relative to the incident light? You will learn the answers from a short video with an example of a successful portrait picture taken on the street.

macro photography lesson

The genre of macro photography allows you to consider the invisible world of nature. Plants and insects enlarged many times seem fabulous, and the frame catches the eye for a long time. A master class on shooting the macro universe is given by master Ilya Gomyranov: he teaches how to create interesting color patterns and dynamics, shows the equipment and the necessary items for such a walk.

Artem Kashkanov, 2019

The article you are reading has been in existence since 2008 and every couple of years it is thoroughly edited in accordance with current trends and trends in the field of photography - amateur and professional. This is due to the fact that we now live in a critical era, when photography has turned from the lot of professionals and enthusiasts into a general hobby. And not even a hobby, but an integral part of everyday life.

On the one hand, this is very cool, but on the other hand... Photography ceases to be an art because of its mass nature. Every day, millions (or even billions) of the same type of photos with flowers, cats, plates of food, selfies are uploaded to the Internet, and oddly enough, all this finds its audience - “Instagram stars” gain thousands of likes for unsharp photos like “me and my cat". Just because their pictures are understandable and close to the majority. Photos of recognized masters have a much lower rating among the general public - they do not understand them. Their creations will be appreciated by true connoisseurs of art. This is about the same as comparing two areas of music - pop and, say, jazz.

Let's get back to the question - why do you want to learn photography? If you are doing this only because it is “fashionable”, “prestigious” or “friends advised” - do not bother. This "fashion to be a photographer" will pass sooner or later. If you really want to "rise above the hustle and bustle", this article is for you!

What is the best camera to buy for learning photography?

There is a choice of camera on the site, so here I will list only brief theses.

1. If you really want to learn how to take pictures, you need a camera, not a smartphone. It is highly desirable that this camera be with interchangeable lenses. Smartphones are conceptually sharpened for shooting on the machine. Creativity requires manual mode.
2. To learn photography, it is not necessary to purchase the most modern and expensive equipment. Now amateur technology has developed so much that it satisfies the requirements of not only amateurs, but also advanced photographers with a large margin.
3. The main element in a modern camera is the lens. Buying a simpler carcass, but with a cool lens is a perfectly reasonable idea.
4. The regular ("whale") lens is not as bad as they write and say about it. He gets to the camera almost for free and you should not refuse him. Read more about optics in.
5. There is no point in chasing the most modern models. They are expensive and usually do not offer any significant advantages over the previous model cameras. Prices for new items are unreasonably high.
6. Frank "junk" is also not worth buying, well, maybe used for a symbolic price.

Introduction to basic camera features

So, the camera is bought, now we need to get acquainted with its capabilities. To do this, it is advisable to be patient and study the instructions for the camera. Unfortunately, it is far from always written simply and clearly, however, this does not eliminate the need to study the location and purpose of the main controls.

As a rule, there are not too many controls - a mode dial, one or two dials for setting parameters, several function buttons, a zoom control, an autofocus and shutter button. It is also worth learning the main menu items in order to be able to configure things like . image style. All this comes with experience, but over time, you should not have a single incomprehensible item in the camera menu.

It's time to take the camera in hand and try to portray something with it. First, turn on the auto mode and try to take pictures in it. In most cases, the result will be quite normal, but sometimes the photos turn out too light or, conversely, too dark for some reason. The time has come get to know such a thing as exposure.

Exposure is the total light flux that the matrix caught during the shutter release. The higher the exposure level, the brighter the photo. Photos that are too bright are called overexposed, and photos that are too dark are called underexposed. It's very short. If you want more details, read on. If you know all this - click on the "skip the boring theory" link.

A bit of boring theory - shutter speed, aperture, ISO sensitivity, depth of field.

The picture is exposed when the shutter opens. If fast moving objects enter the frame, then during the time the shutter is opened, they have time to move and the photos turn out to be slightly blurry. The time for which the shutter opens is called endurance.

Shutter speed allows you to get the effect of "frozen motion" (example below), or, conversely, blur moving objects.

Short exposure photo

The shutter speed is displayed as a unit divided by some number, for example, 1/500 - this means that the shutter will open for 1/500 of a second. This is a fast enough shutter speed at which driving cars and walking pedestrians will be clear in the photo. The faster the shutter speed, the faster the movement can be "frozen".

If you increase the shutter speed to, say, 1/125 second, the pedestrians will still be clear, but the cars will already be noticeably smeared. If the shutter speed is 1/50 or longer, the risk of getting blurry photos due to the shaking of the hands of the photographer increases and it is recommended to install the camera on a tripod , or use an image stabilizer (if available).

Night photos are taken with very slow shutter speeds of several seconds and even minutes. Here it is already impossible to do without a tripod.

To be able to fix the shutter speed, the camera has a shutter priority mode. It is designated TV or S. In addition to a fixed shutter speed, it allows you to use exposure compensation. Shutter speed has a direct effect on the exposure level - the longer the shutter speed, the brighter the photo.

What is a diaphragm?

Another mode that can be useful is aperture priority mode.

Diaphragm- this is the "pupil" of the lens, a hole of variable diameter. The narrower this aperture, the more IPIG- the depth of the sharply depicted space. Aperture is indicated by a dimensionless number from the series 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22, etc. In modern cameras, you can choose intermediate values, for example, 3.5, 7.1, 13, etc.

The more aperture value, the greater the depth of field. Large depth of field is relevant for when you need everything to be sharp - both foreground and background. Landscapes are usually shot at apertures of 8 or more.

A typical example of a photograph with a large depth of field is the zone of sharpness from the grass under your feet to infinity.

The meaning of a small depth of field is to focus the viewer's attention on the subject, and blur all the background objects. This technique is commonly used in . To blur the background in a portrait, open the aperture to 2.8, 2, sometimes even up to 1.4. At this stage, we come to the understanding that the 18-55 mm whale lens limits our creative possibilities, since at a "portrait" focal length of 55 mm, the aperture cannot be opened wider than 5.6 - we begin to think about a fast aperture (for example, 50mm 1.4) in order to get a similar result:

Small depth of field is a great way to switch the viewer's attention from the colorful background to the main subject.

To control aperture, you need to switch the control dial to aperture priority mode (AV or A). At the same time, you tell the device what aperture you want to take pictures with, and it selects all the other parameters itself. Exposure compensation is also available in aperture priority mode.

Aperture has the opposite effect on the exposure level - the larger the f-number, the darker the picture is obtained (a pinched pupil lets in less light than an open one).

What is ISO sensitivity?

You have probably noticed that photos sometimes have ripples, grain, or, as it is also called, digital noise. Noise is especially pronounced in photographs taken in low light. For the presence / absence of ripples in the photographs, such a parameter is responsible as ISO sensitivity. This is the degree of susceptibility of the matrix to light. It is denoted by dimensionless units - 100, 200, 400, 800, 1600, 3200, etc.

When shooting at the lowest sensitivity (for example, ISO 100), the picture quality is the best, but you have to shoot with a slower shutter speed. With good lighting, for example, during the day on the street, this is not a problem. But if we go into a room where there is much less light, then it will no longer be possible to shoot at the minimum sensitivity - the shutter speed will be, for example, 1/5 second and at the same time the risk is very high. shakers”, so called because of the trembling of the hands.

Here is an example of a photo taken at low ISO with a long exposure on a tripod:

Note that the swell on the river washed out in motion and gave the impression that the river was not ice. But there is almost no noise in the photo.

To avoid "shake" in low light, you need to either increase the ISO sensitivity in order to reduce the shutter speed to at least 1/50 second, or continue shooting at the minimum ISO and use. When shooting with a tripod at slow shutter speeds, moving objects are very blurred. This is especially noticeable when shooting at night. ISO sensitivity has a direct effect on the exposure level. The higher the ISO number, the brighter the picture will be at a fixed shutter speed and aperture.

Below is an example of a shot taken outdoors at ISO6400 late in the evening without a tripod:

Even in web size, it is noticeable that the photo turned out to be quite noisy. On the other hand, the grain effect is often used as an artistic technique, giving the photograph a "film" look.

Relationship between shutter speed, aperture and ISO

So, as you may have guessed, there are three parameters that affect the level of exposure - shutter speed, aperture and ISO sensitivity. There is such a thing as “exposure step” or EV (Exposure Value). Each next step corresponds to an exposure 2 times greater than the previous one. These three parameters are interrelated.

• if we open the aperture by 1 stop, the shutter speed is reduced by 1 stop
• if we open the aperture by 1 stop, the sensitivity decreases by one stop
• if we reduce the shutter speed by 1 step, the ISO sensitivity increases by one step

Programmed exposure mode

Programmed exposure mode or “P mode” is the easiest creative mode. It combines the simplicity of auto mode and at the same time allows you to correct the operation of the machine - to make photos lighter and darker (exposure compensation), warmer or colder (white balance).

Exposure compensation is usually applied when either light or dark objects dominate the frame. Automation works in such a way that it tries to bring the average exposure level of the image to 18% gray tone (the so-called "gray card"). Please note that when we take more of the bright sky into the frame, the ground turns out to be darker in the photo. And vice versa, we take more land into the frame - the sky brightens, sometimes even whitens. The exposure compensation function helps to compensate for shadows and highlights that go beyond the boundaries of absolute black and absolute white.

Even in the program exposure mode, you can adjust the white balance, control the flash. This mode is convenient because it requires a minimum of technical knowledge, but at the same time it is able to provide a much better result than full automatic.

Also in program exposure mode, you should be familiar with such a thing as bar graph. This is nothing more than a graph of the distribution of the brightness of the pixels in the picture.

The left side of the histogram corresponds to the shadows, the right side - to the highlights. If the histogram looks "cropped" on the left, then the image contains black areas with lost color. Accordingly, the "cropped" histogram on the right indicates the presence of light areas "knocked out" into whiteness.

Most modern cameras have a "live histogram" function - displaying a histogram on top of the picture in the viewfinder in real time. When adjusting the exposure, the histogram will shift to the right or left, while the picture, respectively, brightens or darkens. Your task is to learn how to control the histogram and not let it crawl beyond its limits. In this case, the exposure of the picture will be correct.

Manual mode

In manual mode, the photographer has the ability to control everything. This is necessary when we need to rigidly fix the exposure level and prevent the camera from being "amateur". For example, darken or lighten the foreground when more or less sky enters the frame, respectively.

Manual mode is useful when shooting in the same conditions, such as when walking around the city on a sunny day. Once adjusted and in all the photos the same exposure level. The inconvenience in manual mode begins when you have to move between light and dark locations. If we go from the street, for example, to a cafe and shoot there at “street” settings, the photos will turn out to be too dark, since there is less light in the cafe.

Manual mode is indispensable when shooting panoramas and all thanks to the same property - maintain a constant exposure level. When using auto exposure, the exposure level will depend heavily on the amount of light and dark objects. We caught a large dark object in the frame - we got sky flare. And vice versa, if light objects predominate in the frame, the shadows have gone into blackness. To glue such a panorama then one torment! So, to avoid this mistake, shoot panoramas in M ​​mode, setting the exposure in advance so that all fragments are correctly exposed.

The result - when merging, there will be no “steps” of brightness between frames, which are likely to appear when shooting in any other mode.

In general, many experienced photographers and photography educators recommend using manual mode as the main one. They are somewhat right - when shooting in manual mode, you completely control the shooting process. You can choose the most correct combination of settings for a given from hundreds of options. The main thing is to know what you are doing and why. If there is no clear understanding of the principles of work in manual mode, you can limit yourself to semi-automatic ones - 99.9% of viewers will not notice the difference :)

In reporting conditions, the manual mode is also not very convenient, since you need to constantly adapt to changing shooting conditions. Many do it tricky - in M ​​mode, they fix the shutter speed and aperture, while "releasing" the ISO. Although M is on the mode selector, shooting is far from being in manual mode - the camera itself selects the ISO sensitivity and flash power, and can change these parameters over a wide range.