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.
When create a PPT choosing the proper image is very important, the "appropriate" absolutely does not mean the more beautiful the better, the larger the better, sometimes we need to deliberately ignore texture and beauty of an image under particular circumstance. The key point is to select the specific that match the whole rhythm and background the PPT needs to be. The following is my personal experience to share with you.
The larger images often taken with high resolution, which is more clear, quality and can be transformed freely to meet users' requirements. On the other hand, when display under full screen mode, they will have better visual impact to match text or other element. If you only have low resolution images, I suggest do not use them.
Choose the picture that match with the PPT style and color, which will provide consistent results. A randomly selected image may cause an abrupt impression. Therefore, in the production of PPT, strategy is very important. Good photos often highlight your work.
Lowered light levels can often be dealt with simply by upping the ISO setting, but consider ﬁrst whether the scene should actually look darker than average. As rain begins to pelt down from darkgrey clouds, you can best preserve the sensation by making sure that the clouds and everything else are indeed dark in the image, and not try to brighten them to make it look as if it's not such a bad day.
Quite the opposite happens if the sun breaks through to light up the foreground or middle ground, and the contrast shoots up between lit landscape and dark sky. This combination is always dramatic, and order to capture it you should avoid over-exposure at all costs. Dark skies can radically alter the lighting of a picture, not just in landscape photography. A facade of a building suddenly illuminated by the sun against a dark sky can look very dramatic indeed,as can a mountain ridge suddenly highlighted in otherwise gloomy conditions, or a ﬁeld of rice glowing bright green against a dark grey backdrop. You might encounter these conditions spontaneously, but you may also have to wait. You may also have to run so that you are in the right place at the right time — before the sun goes in again. And again you might consider bracketing so as not to lose the moment.
All cameras use automatic exposure by default, and the simpler ones offer few possibilities to over- ride this. Nevertheless, automatic exposure systems are not yet content-aware, and any unfamiliar light- ing conditions call for judgment. The saving grace with digital photography retouch is that you have some lat- itude when processing the image, with the possibilities for recovering mistakes, as we show in the At Home section. Nevertheless, three basic considerations will get you through most exposure issues to do with lighting.
First, how bright or dark should the scene be? This may not seem obvious until you come across certain conditions, like snow, a bright sandy beach or a village nestled in a valley at dusk, as the lights begin to come on. lust remember that the cameras exposure system will always try to give you an av- erage mid-tone. While this perfectly suits most scenes, it would render a snowscape a dirty grey, a bright tropical beach too dark, and fading dusk unnaturally light.
In quickretouch we use photoshop to perform retouching jobs like removing unnecessary element, changing background, adjusting exposure. It is a very powerful software for the industry. The latest version brings improved processing algorithm for quicker retouching and the support for Retina displays.
Retouching is a "magic" if completed professionally. It can convert average photos to stunning artwork. No wonder the use of retouching tools under various circumstance is at the peak of popularity today. But not that everybody understand how the technique works. All the secret can be revealed from the amazing tool developed by Adobe - Photoshop. The latest version photoshop working with tweaked algorithms delivering faster and more quality elimination of various defects in a photo. Removing unwanted element without spoiling the composition now goes smoother than before.
Photoshop is not that hard to master based on our experience. Even with literally zero graphical skills, a user can fix damaged images by removing various scratches, tears and spots devaluing them. With a few mouse strokes an old photo starts looking much better, skin blemishes on a portrait go away, and unnecessary objects do not spoil the landscape any more.After a cerntain period of practice you can improve your photos by the software even easier. For instance, a user can now change background of a photo with combination of several built-in functions.
Let's start with everyone’s favourite, the warm, raking light from a low sun, either within the ﬁrst two Most of the land mass and 90 percent of the population are in the northern hemisphere, which accounts for our one-sided view of how the sun appears to move in the sky — that is, left to right and mainly from the south. Not so, however, in Australasia, southern Africa and the south of South America, where everything, including the seasons, is reversed. Photographing sunrises trains you to anticipate where the disc will appear, but in the southern hemisphere it will rise to the left of the pre-dawn glow, not the right. For anyone planning where the sun will be at a particular time of day, this is criicial. The sun’s path is from right to left, and in the northern part of the sky. The same applies, of course, if you are shooting the stars at night, and the constellations are different.
With the co-operation of weather (by no means guaranteed, the time of day has an extraordinary effect on light and images. Provided that you are not rushing at breakneck speed through one destination after another, this is the lighting variable that can offer you the greatest measure of control.Being patient is a kind of passive control, but by learning to anticipate the angle and colour of light that will best suit a scene, you are able to plan a day’s shooting during which you extract the maximum creative effect for your landscapes and shots of people, buildings and monuments.
The sun’s passage through the sky has a major effect on the quality of light, in particular the angle at which the light falls on a scene, and the resulting shadows it casts. All this assumes that there is sulﬁcient sunlight to cast those all-important shadows. Shadows are important in so much travel photography because they enhance texture, bring contrast of tone and even colour. Under a clear sky, they will be more blue than the sunlit areas, and this can be particularly pleasing early and late in the day. hours of morning daylight or the last two of the afternoon (the period of time is shorter in the tropics where the sun rises and sets almost vertically, longer in higher latitudes where its angle of ascent and descent is more gradual).
Some photographers call it “golden” light. It’s great for landscapes because its raking angle heightens texture and throws longer shadows, and it's good for tallish subjects like people and buildings because it lights one side fully. The deep warmth of the light is also attractive, although this is something you can enhance or moderate easily during processing.