Many climbing enthusiasts will already have a bucket load of butt shots, so look for better angles than below. A side view of a climber is often overlooked but has merit. One of the best options is to set up a ﬁxed rope on another route. With a set of ascenders you could even take advantage of two or three diferent positions during a photo shoot.
Once you have settled in a steady position you will be ready to capture emotion on the climber's face and also some dramatic background. The most dramatic viewpoint is from above and the best way to shoot it is to lead the climb yourself. If you need more camera gear haul it up in a Pelican box with plenty of inside foam padding and then pull up your rope so it's out of the shot. A good zoom lens should enable you to shoot variations without constantly changing position. You will get so many facial expressions from above because climbers, constantly looking for footholds, rarely look up. Try to persuade your climbing friends to wear photo-friendly coloured clothing and perhaps a red helmet, so they don't get lost in the background. One simple piece of equipment will give viewers the impression you, as photographer, are hanging in space. It is the camera pole, which can be held away from the face or even lowered over an overhang. Great care is needed to ensure every piece of equipment is well secured. You don't want it falling on anyone.
Follow a few simple rules and you will get the most from your photo shoots on the mountain slopes. You can't take good photos if you are cold, so dress warmly and wear a hat. Fingerless gloves are better than none when handling the camera. You should not wear the camera dangling from your neck by its strap or under your jacket when skiing or snowboarding - if you fell, the camera could injure you. Snow, ice, water and cameras don't mix so keep your electronics dry in a good quality bag and try to avoid falls. A hip pack integrated with a daypack is a nice stable way to carry it. Be particularly careful to check all bag zips are in good condition and secured. You don't want to see your gear plummeting into depths of snow when you are riding the chair lifts. Battery life will always be shorter in cold conditions, so always carry a fully charged spare in a pocket close to your body to keep it warmer. It will then perform better. Murphy's Law says that the most outstanding photo opportunity will present itself at the moment that your battery runs out of power.
Watch out for other mountain users. Skiers and snowboarders move very fast and collisions can hurt. It is better not to stop under the crest of a hill or in fact anywhere where people coming from higher up the mountain cannot see you. It spoils the fun if you get injured or indeed injure someone else. If you absolutely must stop in a precarious spot to take a picture remove your skis or snowboard and stand them up in the snow to give other riders a clear indication of your whereabouts. 'lhat's got the rules out of the way, so let's look at technique. Shoot when the winter sun is low in the sky and use a UV ﬁlter to protect your lens and reduce blue discolouration in spectacular mountain scenes. Use slow shutter speeds (1/125th second) for landscape shots and fast shutter speeds (1/1000th second) to freeze the action. Most skiers wear bright colours which look great against the white backdrop.
Snow is highly reﬂective and tends to fool most cameras' metering systems. The camera will read from many different parts of your picture area and when they are all white and bright it thinks to itself "wow that's bright" and reduces exposure value, making the shot too dark. This is easily resolved by simply adjusting your exposure compensation setting to plus 1 stop. Keep reviewing your images to check exposure and don't forget to change the setting back to normal once you have ﬁnished on the mountain.
You may be able to capture some good action if you persuade your friends to build a jump and then photograph them as they do crazy tricks. Snow boarders are good at this so they may be keen for a photo shoot. Lying down in the snow and shooting as they go overhead makes everything look more dramatic.
Some ﬁll ﬂash can be useful to put in detail but don't overdo it. Tuning its power down by up to one stop looks natural and it's hard to tell that ﬂash has been used. If you have enthusiasm, dog-headed determination, work well with people and have an eye for a good picture, your patience will eventually be rewarded with a truly fantastic image.
Paper cutting is a technique to cut paper into various shapes by using scissor. In china, Paper-cutting is not just cutting the paper into pieces and throwing into the bin, it's one of the oldest and the most popular folk arts, which is widely used as decoration on walls, windows, doors, ceilings, lamps and so on. As a kind of Chinese traditional arts, its creation and development have close relationship with rural folklore and the Solar Terms, such as paper cutting for window decoration, door decoration and lamp decoration in Spring festival and lanterns festival. In northern countries, people placard colored paper cuttings on the white coverings of door, windows to create the festival atmosphere. Marriage paper cutting is put on the walls, furniture and other equipments in the bridal chamber. Chinese paper cuttings are rich in content. The auspicious designs stand for good luck and avoid evil ghosts, for example, child, cucurbit and lotus stand for a family with many children and grandchildren. Domestic birds, livestock, fruit, fish and worms are the main themes expressed by farmers. Due to the different areas, various kinds of paper cutting styles are formed. Shaanxi window paper cuttings are simple, bold and unconstrained; paper cuttings of Hebei and Shanxi province are colored and gorgeous, especially the figures in dramas; paper cuttings in Nanjing of Jiangsu province are delicate and bold.
Paper-cutting originated from ancient activities of worshipping ancestors and gods, and is a traditional Chinese culture. According to the present archaeological records, it originated from 6th century; however people believed that its history could be traced as early as the Warring States Period, long before the paper was invented. At that time, people used thin materials, like leaves, silver foil, silk and even leather, to carve hollowed patterns for beauty. Later, when paper was invented, people realized that this material was easy to cut, store and discard.
Yangzhou paper cutting has won the reputation as the representative of Southern paper cutting in China with its fluent shape, elegant composition, exaggerated image and creative technique. Wei town is regarded as the hometown of paper cutting. Firstly, Craftswomen cut the paper into delicate patterns and then dye the paper cutting bright color. Wei town is regarded as the hometown of paper cutting. Firstly, Craftswomen cut the paper into delicate patterns and then dye the paper cutting bright color. The main content of Wei town paper cutting is dramatis personae, flowers, grasses, fishes, worms, beasts and other auspicious objects which are full of pleasant, healthy feeling and the desire for happiness.
There are two methods of manufacture: one uses scissors, the other uses knives. In the scissor method, several pieces of paper — up to eight — are fastened together. Knife cuttings are fashioned by putting several layers of paper on a relatively soft foundation consisting of a mixture of tallow and ashes.
The family tree is the data sheet that introduces the successor with his elder generations. This is one of the important family possessions that help one to know his origin and background. The pictures and information displayed in this chart assist to getting known about the elder generations. Thus the family tree can be considered to be the running commentary on any dynasty.
Long back into the Victorian days, people used to hang up the oil paintings of their elder family men in the walls. The availability of the bigger spaces those days enabled people to go for huge pictures. Coming to the perspective o the current time, this is something that is not at all possible. The sizes of the apartments one gets to reside these days are significantly smaller compared to the days of past. Thus, he is not in a position to manage space to hang p and display gigantic pictures of their grandfathers. However, it is absolutely compulsory that the family should have its family tree that enables the successors to pay their homage to their origins. Is there any way out?
Clubbing the perspective of decorating the rooms of the home with the display of their respective family trees, these days the majority of people goes for decals. A decal is basically some workouts that are utilized for decorating rooms, hanged or implemented across the walls. They are available in wide varieties of standard options while it can be personalized too. For this capacity to get the widest of the personalization, people these days’ avails family tree wall decals, normally that have the names and the pictures of the individuals who comes at earlier generations.
The family tree I love you wall decals are basically used by individuals to get a perpetual overview to their dynasty. These decals allow people to get to see and pay the homage to the earlier men, while they require the minimum of the space. Also, the cost for personalizing the decals with the pictures ort messages is almost insignificant. Yet another good point about them is that they can be kept in a lively state much longer than the stretches the photographs can be. All of these reasons combines make these to family tree wall decals the best way to keep the memories of the departed men alive over longer span of time. No wonder, they are very popular among people these days.You may visit wall sticker studio for more examples
Sunrises are more meaningful to photograph than sunsets, not in any technical sense, but because you don’t have daylight in which to anticipate where the sun will be on the horizon, and to see what mist or cloud cover there is. Ask around to ﬁnd the best spots to watch the sun come up, and ﬁnd out when it arrives - sometimes the time is listed in local papers. The rewards for getting up early can be great. At this time of day there is often a different kind of light, a beautifully quiet and soft quality with none of the flame and ﬁre associated with sunsets. This morning light can also invade city and harbourside streets — the sea will be calmer than in the evenings - when everyone is asleep, bringing picture opportunities.
The rules for sunsets apply similarly to sunrises, but if you are on any elevated spot, or in a wide open space, such as a desert or steppes, a wide angle will show the full extent of the flooding colour and light. A long lens, on the other hand, will show the shimmering outlines of the sun, which emerges like a living being, changing it colours and shape by the second. The action will happen quick- ly: and you will need to ﬁre off rapid numbers of shots to get the best results.There are many famous high spots to visit to witness the sun's arrival, casting the shadow of the hill or mountain and exploding like a rainbow ripple around the horizon. Some, like Mount Fuji, can be crowded. Since ancient times the rising sun has been celebrated, making places such as Machu Pic- chu and Adanfs Peak particularly magical at this time of day.For more photography retouching tips visit http://www.quickretouch.com.au/
Deserts are deﬁned by their aridity — no more than a few inches of annual precipitation, and in some years no rainfall at all. This simple climatic fact makes them at the same time the most inhospitable and the most impressive landscapes on the planet.
To begin with, they are sparsely populated if at all, which gives them a high ranking among the world's wild places, but also makes travelling through them a specialised affair. The aridity means that continuous sunlight and predictable clear skies are the norm, which makes it possible to plan shooting for key times of day.
The lack of rainfall means little or no vegetation, so that desert land forms are pure and uncovered - rock formations and dunes have clean, graphic lines and shapes found nowhere else. For photography, such starkness of form is a wonderful opportunity for creating stylised, even abstract imagery, though sometimes you might ﬁnd yourself looking for some kind of prop to give the dunes a sense of scale.
If you are making a desert trip, make sure that you are in the hands of a driver and guide who really know what they are doing. Deserts are dangerous places to get stuck in, and the landscape can also be disorienting.
In the popular imagination, the classic desert landscape is of dunes, with or without camels. In reality, dune ﬁelds, or erg as they are known (most desert terminology comes from the Arabic) are much less common than, say, the stone and gravel desert plains. known as reg. For the desert photographer, dunes are the premier cru, and include such marvels as the red dunes of Sossusvlei in Namibia (the oldest in the world), the 100-to-300 metre (330-985ft) Mingsha Shan dunes of the Gobi Desert near Dunhuang in China, the white gypsum dunes of White Sands, New Mexico, and the Erg Chebbi of the Western Sahara in Morocco.
The sinuous lines, ridges and ripples create shapes and patterns that provide endless opportunity for experimenting with composition. Dunes alter their appearance radically with changing light, and are at their most striking when the sun is low. The classic shot is end-on to a dune ridge that is aligned roughly north to south, with a sharp S-curve separating the lit from shadowed sides. Look also for dune slopes in various directions, and for the effect that raking sunlight has on creating patterns from ripples.
When it comes to lens focal length decisions, there are again two classic treatments: telephoto and wide-angle. The telephoto approach is useful for compressing perspective, giving a single dune a more vertical appearance. With its compressing effect and natural selectivity a telephoto lens makes a dune ﬁeld ﬁll the frame more satisfactorily than a standard focal length.
The wide-angle approach is quite different, and takes advantage of the continuous texture of sand. Stand on or close to the ridge itself and angle the camera downwards so that the dune's horizon is close to the top of the frame; the lower part of the image will be ﬁlled with close sand. Provided that the sun's angle throws patterns into relief, this can be very striking, especially if sand particles glint.