Law of Attraction Subconscious Mind Power

Manifestation Magic

It is of great importance to know who is behind this wonderful program of knowledge, his name is Alexander Wilson. He is the author of the Manifestation Magic program. He is a neuroscience researcher who studied anatomy in college. He has studied and understood the functions of the brain together with the human body. At some point in his life time, things fell on the wrong and everything was bad for him but immediately he gathered the knowledge of vibrating at a much higher frequency, his life changed for good. This program has been used to transform the lives of thousands of people across the globe. This manifestation is very trustworthy, it will work for you. This great program consists of knowledge about oneself and ways to go about in to reveal the true person within you to achieve success. This program comes with two bonus programs as well namely; the chakra power system and the manifestation magic 360 days transformation. The manifestation magic program is divided into two modules. Module 1 is a quick-start manifestation guide while module 2 consists of energy orbiting and twilight transformation. This is a push-button manifestation system. You can create anything you desire in life and manifest abundantly by just pushing the play button. You don't need to read any book or study any course or perform exercises before you see results, you just need to listen and learn. More here...

Manifestation Magic Summary

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Why Composition Is Important

There are a few reasons why what your camera sees is different from what you see. First of all, your eyes aren't little optical machines that function in a vacuum. Instead, all that you see is supplemented, enhanced, and interpreted by your brain. In a sense, when you see a majestic landscape while hiking through the backwoods of Kauai, some of the splendor of the scene is actually being added by your mind. Lift the camera to that same view, and you get a totally objective representation of the scene, without any intelligent enhancements. That's because the 3

How This Book Is Organized

For many photographers, the camera flash is an untamed beast that never behaves. But there are situations in which a burst of light can make the difference between success and a ho-hum result. This chapter provides a collection of hacks that will change your mind about electronic flash.

Use the Rule of Thirds

Here's what you should do in your mind, draw two horizontal and two vertical lines through your viewfinder so that you have divided each plane the horizontal and the vertical into thirds. In other words, your image should be broken into nine zones with four interior corners where the lines intersect. (See Figure 3-4 for an example of this technique.) It is these corners that constitute the sweet spots in your picture. If you place something typically the focal point in any of these intersections, you'll typically end up with an interesting composition.

This Page Is Intentionally Left Blank

Preparing the Shooting Script (Second Step). The second part of your shooting script will outline how you will put across your idea and story objective by listing the shots you plan to take. Review the notes you made while conducting your research, and list each photo idea you pictured in your mind. Each one should be followed by a description of the composition you visualized. Whether it should be a long shot, medium shot, close-up, high or low angle of view, what the point of focus is, and any unusual lighting conditions or requirements. (5) Summary. Carry out this format and plan each picture you have visualized in your mind while conducting the research. Keep in mind that you can change this as the situation warrants. You can even add new picture ideas or delete some. The script is only a guide. Figure 1-7 illustrates a simple picture story sketch from an assignment to photograph a newly-opened bowling alley.

The Management of Reflection and the Family of Angles

We will begin our discussion of reflection with a thought experiment. We would like you to create three different images in your mind. First, on a desktop, imagine a piece of very thick, perfectly smooth, gray paper. The gray should be a medium one, light enough to write on but dark enough that no one would confuse it with white. Next, visualize a piece of metal of the

And a Serious Health Warning

During certain months of the year (if at all), you will also see how the Moon badly interferes with your attempts to view faint objects, and you will discover how certain wet months will also interfere with viewing, and imaging. Is there any light pollution in your proposed location By studying your proposed site carefully you may find that viewing is exceptionally good on most clear evenings, but becomes impossible on the Saturday nights when the local football team is playing, and the huge banks of halogen lights are turned on. Lastly, you will learn your way around the night sky, which is important on two counts. Firstly, if your first real telescope is of the goto variety, as it is very likely to be, then you will know where to look for the scope's alignment stars. Secondly, you will know what the faint fuzzy areas are that suddenly come into view as your eyes become dark adapted, and or the seeing conditions become exceptionally good. Even though your goto scope will take you...

The Structure of a

Because of the exposure from my first ad that I made no money on, I started getting calls from art buyers who wanted me to bid on jobs. They would fax me a layout with the cryptic question, how much Estimating the value of your time as a photographer is one of the most difficult things to do in this industry. Bid too high, and people think you're out of your mind and won't take you seriously. Bid too low, and people think you're desperately inexperienced and won't take you seriously.

Choosing a Printer for Digital Photography

The bad news is that the vendors have a nefarious purpose behind their industrious efforts. Those who sell printers these days want to make their devices so easy to use and to produce hard copies that are so pleasing to the eye that you'll be tempted to make more and more prints. And that's where the money is The cost alone of special photo papers and inks used during the first few months can easily exceed the price you paid for a color printer. As you read the descriptions of the printing options that follow, you need to keep foremost in your mind not how much the equipment costs to buy, but how much it costs to use. I provide some guidelines and tips as you go along.

Image Ratings and Other Flags

Don't underestimate the value of rating your own images. Most browsers have a star rating system with a range from one to five. Use your own judgement to rate your images, and remember, you can always re-rate them again later should you change your mind. Once you have made your initial rating, have your browser display the four- or five-star images so you can start optimizing your best shots.

Loss of Light and Loss of Colour

Loss Colour Underwater

From my experiencing of teaching you can be assured without a shadow of doubt that the reality of light and colour loss will one day catch up with you if you do not understand and work hard to remember the principles whilst you're shooting. I find that beginners often forget that horizontal distance also reduces light and colour. If you are 7 m deep and 3 m from your subject, the total light path is actually equal to 10 m. For another example, cast your mind back to an occasion of good visibility in 10 m of water. Can you remember that your eye saw a much more colourful spectacle than your camera was able to record This was because your brain compensated for the blue colour cast and effectively 'saturated' the warmer colours. Your camera cannot perform these tasks by itself, it needs some help from you, and by understanding the fundamentals of how light behaves underwater you will be able to take greater control of your underwater photography.

Figure 427 The Camera Raw workspace set up as I like it while winnowing

When you see an image that is unacceptably unsharp, hit the Delete key. The thumbnail will stay in place until you leave Camera Raw, but a red X appears in the upper corner of the affected thumbnail. If you change your mind about eliminating that image, simply click on the red X to deselect the image for deletion. You can zoom out by double-clicking the Hand icon. All the images will appear in the Preview window, scaled to fit. Now you can review the images for unacceptable characteristics, such as too much lens flare, an embarrassing facial expression, awkward pose, or the unexpected appearance of someone in front of the lens just at the moment of click. Now that you've eliminated a lot of wasted file space and processing time, you can save even more time by adjusting whole groups of images simultaneously.

What Happens During The Import

If you start an import and realize you made a mistake or change your mind about something, it's often best to let the import finish and clean up after-the-fact. Stopping an import in progress increases the likelihood of bad data in the Lightroom catalog (especially if Lightroom crashes while trying to stop the import) and brings into question the accuracy and completeness of the files in subsequent imports.

Photographic Techniques for Retouching

That being said, I'm going to provide some tips on the art of retouching without retouching. Sometimes, having a few of the often-broken rules spelled out for you can be enough to keep them closer to the forefront of your mind when you take your photos. For example, I was a professional photographer for more years than I deserved, with my photos used in newspapers, magazines, television ads, wedding albums, and so forth, ad nauseum. The only advantage my experience gives me when I set out to take photos at my daughter's soccer games or on family vacations is that when I, predictably, take a real clunker of a photograph, I can usually provide a detailed technical description of the terrible goof I made.

The Four Kinds Of Light

What you have to deal with, as a photographer, is really four different categories of light. And you have to separate these in your mind, so that you understand what is going on and can play with each one as you wish. (1) The first category is light reflected off the surface. (2) The second would be what I call the body color of the crystal light that is reflected from the internal goings on, the little cracks and fissures and translucencies that are inside the crystal. (3) The third category is light that is actually introduced from the back. (4) And the fourth is light reflected off the inside-back faces of the (transparent) crystal light that entered more or less through the front of the crystal, bounced off an inside back face and then emerged again through the front. You need to balance all of these against each other that's the challenge, the artistic part and also the scientific part. All of these different light paths sort of blend together as you make the choice of what you...

Tip Back Up BW Photos with Color

When you are shooting in black and white (or sepia), consider shooting the same exact scene in color, too. That way, you'll have the full-color version, in caseyou change your mind regardingthe best style forthat particular photo. (As we discussed in Chapter 5, if you shoot your b& w photo in RAW file format, you will automatically have a full-color version of the picture.)

Approach and organization

Going instead to their own environment (home or work) means that you can make local features form a part of the portrait, adding information and allowing you scope for interesting composition (Figure 9.3). Unlike candid portraiture, the sitter must be directed. Uncertainty or overmanagement on your part is likely to result in either self-conscious or 'stagey'-looking portraits. Make up your mind what facial features you should emphasize or suppress. Observe the way your sitter uses hands, sits or stands. You need to establish a relationship, talking and putting the sitter at ease while you decide setting, pose, lighting and viewpoint.

Practice makes perfect

Consciously work on mastering one rule of composition for three or four photo shoots, then move on to the next rule you want to master. After a while, you'll recognize the elements in your viewfinder that you can use to create compelling portraits. You'll know how to compose the image instinctively because of your practice. You'll know which rule of composition is ideally suited for the picture. You'll also know when to break the rules to achieve the image you have in your mind's eye. But before you can break the rules, you've got to master them.

Concentration when you are Underwater

Do you have a photographic task in mind but as soon as you are breathing from compressed air a couple of metres below the surface, your brain turns to mush and your mind goes blank Something stops working on your digital camera. You know for certain that you can fix it, but for some odd reason you seem unable to apply your mind and concentration to the job.

The computer workstation

Igital imaging is essentially computer based. The computer is at the centre of any digital photography system (Figure 10.1). (Some point-and-shoot digital cameras will simply connect directly to a printer to output pictures you have taken, but this then cuts out a huge range of controls over results known as image processing.) One of the great strengths of working with an image in digital form is the way its data can be adjusted at the computer stage. Your final result can be previewed on its desktop (the monitor screen) and, provided you save (record in memory) your original input image, you can step back to where you started any time you make a mistake or change your mind.

The Perception of Time

This chapter concentrates on camera-based axioms dealing with the representation of space and time. Restricting your picture-making options for conceptualizing time and space to a linear, Newtonian point of view is to constrain your mind and your camera responses. This is not to discourage imagemakers from working in this established mode, but to encourage exploration in uncharted zones where time can be visualized as up, down, in, out, and around space.

Henri Cartier Bresson The Founding Father

The concept of educated instinct is useful for teaching your mind to instinctively prepare for and react to the situations you are capturing in your images. If there is one founding father of this concept in photography, it is Henri Cartier-Bresson, who spent his life seeking out those decisive moments. By doing so, he created a new understanding of this branch of photography. Bresson's approach to this technique is essential to understanding the type of emotional photojournalism that we are ex-

How Does Focal Length Relate To The Size Of The Image

What about the photo with the 50mm lens It's not particularly wide-angle and it's not particularly telescopic. It's what we call normal. The reason it's called normal is that it takes in a horizontal angle of view that is about the normal field of view with which we perceive the world around us. In other words, when you look at a scene, the area that is sharply focused in your mind is approximately the same as that produced by a normal lens. Lenses that cover wider fields of view are called wide angle. Lenses that focus on a narrower field of view are popularly called telephoto lenses.

Lesson 131Neosymbolism Creating in Lightroom

As always in Lightroom, you first download your images to your computer and then import them into Lightroom. Once they are downloaded, use Grid (hit G) to view and select your favorite. Double-click on an image (or hit E) to see it larger in Loupe mode. Use the Pick tool (highlight the image and hit P) to select your favorites and Reject (hit X) those that are out of focus or not to your liking. To change your mind about an image, Unpick it (hit U). In the filmstrip at the bottom, use filters to select just your picks (click on the left flag) and those not yet flagged (the middle flag). As you reject images, they will disappear from the screen but not be deleted. Use Cmd Ctrl+Z to undo any flagging mistakes. Figure 13.14 shows the filter flags. You can also use the colored labels or the stars to filter and select images. Flags are local and seen only in that folder or collection. Color labels, keywords, and rating stars are global and follow the image everywhere.

Fine Tuning Your Panorama

On the right side of the Photomerge window, you see several rows of buttons and checkboxes. You'll usually want to try at least a couple of these settings to improve your panorama. At the top, you see the usual OK and Cancel buttons for when you're ready to create your panorama or when you change your mind about the whole process. Next are the Undo and Redo buttons. If you Undo something and change your mind again, click Redo. Both Undo and Redo are grayed out until you do something they can change. The Help button takes you straight to the Photomerge section of the Elements Help files.

Optimizing Color Balance

Once you get the exposure and contrast just right, turn your mind to making the color balance ideal for any particular image. The overall color should be accurate (free of unwanted color casts) for familiar objects that represent memory colors an apple should be pure red, and a sky should be pure blue, for example.

To the left of your message click Send

Emailing your photos with Picasa couldn't be easier. You simply select the photos and click a button. Picasa automatically resizes the photos to email-friendly size and attaches them to a new email message. There's only one possible hitch in this rosy scenario You may have to tweak Picasa's email settings before you send photos. (But unless you change your mind, you don't have to tinker with the settings again.)

Setting Toolbar Options

The Toolbar has a setting for Use All Filmstrip Photos, Selected Photos or Flagged photos see Figure 7-2. If the Collection you're using only contains photos that you intend to include in the gallery, make sure the Toolbar option is set to All Filmstrip Photos. If for some reason you have photos in the Filmstrip that you don't want to include, you can modify your Collection, or just click to select the photos you want to include and use the Selected Photos source. (However, as explained previously, using these temporary selections will likely mean more work later if you should change your mind or need to rebuild the gallery.)

Adjusting Slideshow Settings

Unfortunately, there is no Preview option for slideshows, so if you don't have a clear image in your mind of what difference each setting will make to the completed product, you may find that working your way through the Slideshow Presets dialog requires a certain amount of trial and error. However, it is logical, starting out with the amount of time each image should be displayed. You have three options manual, automatic, or fit to music. This last option is perhaps the most interesting as it leaves each image on the screen for the whole duration of each track that it plays.

When you like the results click OK to apply the changes to your image

Of course, if you change your mind after adding an adjustment layer, you can use the Undo command or History palette (if you're using Photoshop or Elements) to go back in time before the adjustment layer was created. You can also delete the layer, and your image returns to its original state.

Expose for the Shadows and Develop for the Highlights

If you decide that Zone II is the appropriate zone for the Important Shadow Area of your subject, place your meter reading on Zone II and start from there. (The only danger with this approach is that you cannot change your mind after taking the picture and give that area more exposure later.) The purpose of the Zone System is to give you creative control, not to lock you into hard and fast aesthetic limitations. Whenever you are in doubt about how to proceed with a given image, make a decision and pay careful attention to your results. Be sure to keep careful records when you are unsure. In general, you can count on the obvious associations I have mentioned before. Light clothing, concrete, and white objects in the shade are usually Zone VII. Dark foliage, dark clothing, and brown hair are commonly Zone III. Paper and white objects in sunlight are generally Zone VIII.

Scans that will be viewed only onscreen and not printed 72 ppi is generally

Considered enough for onscreen viewing. Just remember that when you scan at this low resolution, you won't get a good print at a decent size if you change your mind later on. If there's any chance you'll want to print your image, then you're better off scanning at a print resolution (see the next bullet list item) and then creating a separate, downsized copy for onscreen viewing. Better yet, just look at the pixel dimensions of your scan and forget the ppi entirely.

Practicing til your images are pixelperfect

The best way to practice portrait photography is to take pictures of people every chance you get. Tell your friends and relatives about your love of photography, and ask them if they'd be willing to let you photograph them every now and again. Practice your photography when you see something that inspires you, such as a compelling portrait from a magazine, or a picture you see on the Web. With the picture fresh in your mind, try your best to create a reasonable facsimile with a friend or relative.

Photographys Effect on the Arts

As both a photographer and viewer of photographic images, it is important to know that there is no fixed way of perceiving a subject, only different ways that a subject can be experienced. Concentrate on photographing your experience of what is mentally and emotionally important, what is actively in your mind, and what you care about during the process of picture-making. When looking at other photographs, especially ones that are unfamiliar or that you do not understand, attempt to envision the mental process that the photographer used to arrive at the final image. Regardless of approach, the visual photographers emphasize the what and the haptics the how. Learn to recognize these two different fundamental outlooks and appreciate their unique ways of seeing and knowing the world.

The Advent of Straight Photography

1.5 Utilizing the tableau vivant, Witt digitally composites himself as a character to explore his own anxieties, desires, humor, and trepidations. This format, which references the ability of the subconscious mind to combine elements from different events and places, allows Witt to transform the eveiyday into the uncanny. Here he ironically evaluates himself, a form of behavior modification that gets one to police oneself. 1.5 Utilizing the tableau vivant, Witt digitally composites himself as a character to explore his own anxieties, desires, humor, and trepidations. This format, which references the ability of the subconscious mind to combine elements from different events and places, allows Witt to transform the eveiyday into the uncanny. Here he ironically evaluates himself, a form of behavior modification that gets one to police oneself.

Saving Your Work

As you work on your photos, Lightroom automatically saves your adjustments in the catalog and continually generates screen previews based on the adjustments that have been applied. Your original file (regardless of its format) remains unaltered, giving you unlimited flexibility for changing your mind later.

Nature

Ansel Adams described visualization as seeing in your mind's eye the finished image before actually making an exposure. A useful skill for any photographer, it becomes all the more critical in black-and-white. Your final image will be rendered in tones, or degrees of brightness, rather than in individual colors. This means different colors (say, red flowers and green leaves) may appear the exact same shade of gray when transformed into b& w.

Have you Ever

Cast your mind back to a recent occasion when you were escorted by your dive guide. A clink from his dive tank and his extended arm directs your vision upwards into the blue water column. Perhaps a turtle, napoleon wrasse or a white tip reef shark. You look upwards out into the blue and towards the surface but as soon as the sighting has passed you realign your body position to what is comfortable for you horizontal, finning alongside the reef with your eye-line looking downwards.

The Art Directors

When you're shooting, an art director's job is to scrutinize the crap out of the test images. What we think is just fine, will never be close to what the art director thinks is perfect. Too much room, not enough room, what's that spec, why are the eyes like that, etcetera, etcetera. Don't take this personally. You don't suck as a photographer. You just don't have 15 bosses you have to show the shot to when the gig is done. Rather than make the mistake of getting defensive and screwing up your ability to be creative, just go with the flow. You'll be surprised about many of the comments are actually valid. Okay, okay, just keep that paycheck on your mind it will make the time go faster.

Of Photography

Scenes during close combat and frequently put his own life on the line. War became an addiction for him. 'One does become a junkie,' he once said. 'Even when I was like that, I wasn't suffering in a way, I was excited about just looking for the next war. and it becomes obsessive. And also, it's not very nice in a way, if you think that all your mind can run to is other people's demise it wasn't right somehow.'

Stars Definition

If you want to straighten or level an image, choose the Level tool and drag a line that describes absolute horizontal or perpendicular in the rotated image. The image will rotate instantly and cropping handles will appear around it. If you want to do further cropping, just move the cropping handles until you see the crop you want. If you change your mind and don't want to rotate or crop,

The golden hour

However, before you can draw full benefit from your new-found ability to analyze a scene in your mind, it's important to also have the basics of photography down perfectly. I understand that many of you know all this like the back of your hand in that case, feel free to skip past it. However, if you aren't completely confident, then here's your chance for a quick-fire refresher

Exposure Value EV

Maybe you want to use a wide aperture of say f 2.8 to have a limited depth of field, picking out just the subject sharply from a blurred background EV10 tells you the shutter speed needs to be 1 125 sec. Alternatively, you may want to emphasise movement and create subject motion blur by using a longer shutter speed of say 1 2 sec - the same EV10 reading then tells you that you will need an aperture of f 22 to achieve the longer shutter speed. Having that EV number first doesn't pin your mind to a specific photographic approach. It lets you consider the amount of light you have relative to your film speed or chosen digital ISO sensitivity, then encourages you to decide how to divide up that energy between intensity and duration.

Storage Options

Some people select a digital camera based on the kind of storage it provides. Virtually all digital cameras have removable storage of some type. Those that don't have storage make you connect your camera to your computer from time to time to download existing pictures to make room for more. In most cases, however, if you need to take more pictures in a session, just buy an additional digital film card (usually called CompactFlash, SmartMedia, Sony Memory Stick, or some other trade name). There are still a few things to keep in the back of your mind as you choose a camera.

Ranking and Deleting

When you see an image that's technically unacceptable, just press Delete Backspace. A red X will appear in the upper-right corner of the thumbnail. If you change your mind before leaving Camera Raw, select that image and press Delete Backspace again. The red X will be gone. Don't leave Camera Raw until you're sure you want to delete the images in the Trash, because that's exactly what will happen. Of course, you could still open the Trash and drag any images back to the folder they came from. You just have to be able to identify them by their filename since your system's file browser may not read RAW files.

Setting Higher Goals

When reviewing your images, look beyond the obvious technical criticisms taking your game to the next level will require a deeper look at your work. You may be capable of finding the right moment, but are you handling it in a thoughtful and artistic way Is your lighting dramatic and well suited to your subject Are your angles innovative and flattering to your subject Is your equipment limiting you in any way from capturing the image the way it's playing out in your mind There are relatively few things you have control over in wedding photojournalism. Be sure you've addressed all of the elements that you can control and fine-tune.

Fireworks

Camera on a tripod and point it to the general location in the sky where the first few bursts occur. Try to avoid including complex backgrounds or well-lit structures in the frame as these will distract from the fireworks themselves (and may over- expose your sensor given the long exposure times). This said, judicially positioned horizon detail does provide a sense of scale for your images. So check out the environment. Take a few test shots before making up your mind.

Solid Color

The only difference between this adjustment layer and simply filling an empty layer with any color from the color picker is that a Solid Color adjustment layer will let you change your mind by simply presenting you with the Color Picker dialog. A Solid Color adjustment layer, in conjunction with Blend Modes, opens all sorts of possibilities for special colorization and semi-toning effects. Using a solid layer on a black and white image creates an image toned in the solid color. In Figure 6-17 shows the result of using a solid color layer on a color image. In this case, the Solid Color adjustment layer was used with the Overlay Blend Mode at about 40 percent opacity. For more on using this technique, see Changing an Object's Color in Chapter 8.

Making The Exposure

You have walked miles through wind, rain, and deep snow with little food. Your toes are frozen and blistered your illusions of grandeur are fading like the sun in the clouds above. But you do have your camera Then you approach the destination and what you behold in front of you is spectacular. No words can describe the scene before you. The desire to capture it with your camera is overwhelming, pulling on your fingers like a child wanting to break into Willy Wonka's Chocolate Factory. Now it is up to you to make the technical decisions that will best record for all of eternity what you have worked so hard to discover. But lurking in the back of your mind is the fear that you will fail to capture the essential, unique beauty of what you have found, and this fear stems from your lack of understanding the instrument in your hands. This is a primal fear This fear can freeze your intellect and reason, and confound your technical knowledge and creative strategies. The worst symptoms are...

Saturation Testing

Note Throughout this chapter, I provide instructions for altering your images using adjustment layers. They allow you to change your image without actually changing the underlying pixel values. Instead, they embed instructions in your image that describe what changes should be applied. You can change your mind, fine-tuning the adjustment at any time, without any cumulative loss of image quality. While the adjustments can be made directly to the image, I strongly recommend using adjustment layers.

Step 1 Logging

Lightroom also utilizes templates and I would highly recommend using these to record the location information while it is fresh in your mind when you download the images. In the field, I will take a snapshot of the interpretive signs at the location to remind me not only of where the pictures were taken but also to provide valuable information about the subject. Once all my images are stored in the necessary folders for the shoot, and all the files are on multiple hard drives, I can begin the fun part The simplicity of this method becomes quite apparent when I return to my studio and drag and drop one folder from my shoot onto my studio hard drive (my RAID). Once on my RAID, I can then delete the images from the memory cards to be ready for the next shoot. If you are using Lightroom, you must complete several steps. First, the catalog must be exported, which creates a file that can then be imported on your

Recognizing the Keys

For example, you could complain it is raining and not go out and make pictures, or you could notice that it is raining and see it as an opportunity to make the diffused, shadowless picture that has been lurking in the back of your mind. Color and composition keys offer guides for understanding how we visually think. They are not

Dive PhotoGuide com

Where he goes, you go. What you shoot, he shoots. He will show you how to look for macro and wide-angle opportunities how to use your eyes, mind, memory and imagination to enable you to 'see in pictures' and 'see in your mind's eye what the lens may see'. Limiting the trip to only 12 divers means that everyone gets plenty of 'Edge-time'. All this combined with a superb, dedicated dive boat all to yourselves. Imagine relaxing in the hot tub with a cool beer and chatting about the images you have taken and those you are yet to shoot.

Preparative Thinking

Resetting your mind starts with the basics, most of which are things you probably currently practice. Review everything again anyway. It's never a bad idea to recheck your preparatory steps before a shoot. This is, of course, an imperative when shooting once-in-a-life-time events, like weddings, in a photojournalistic style.

Rear curtain sync

Everything we've spoken about in this chapter goes back to one of the things I said right at the beginning of the book Know your equipment. Not everything discussed here will be in your camera or flash manual, but knowing and understanding how your camera and flash work will help you realize the photos you are creating in your mind's eye.

Quick Fix Options

When you open an image in Quick Fix (in Elements, choose Image Enhance Quick Fix), you'll see two preview screens side by side. This enables you to view the original image as well as the image as it appears after you make any adjustment. If you are not satisfied with an effect, simply click the Undo button to undo the last adjustment. If you change your mind after clicking Undo, you can click Redo to reapply the change. This is a great way to cycle between before and after versions of the image while deciding whether you want to keep a particular adjustment.

By Mark Webster

Which may lead you to question his sanity. They are patient however and will point several times until you finally see the frog fish or inimicus and realization dawns After a couple of dives your mind adjusts to the environment and you will begin to spot a few things for yourself - this brings a sense of achievement which is often deflated when your guide points to another 'better' subject right beside the one you have found The diversity on the sand and rubble alone is seemingly endless, but there are also shallow wall reefs and some classic coral reef areas which provide variety and even more hidden subjects.

Camping

On almost all expeditions, regardless of difficulty level, you will need to spend a couple nights in the mountains. The comfort levels of the various available accommodations vary considerably, from three-star mountain huts with showers and electricity to hanging bivvies in the middle of a north face. But in almost all cases, camping time is an opportunity to relax, rest, and reflect on the achievements of the day. It is also often your only period of free time, which makes evenings and early mornings perfect opportunities for photography. These are the moments when you can liberate your mind from the preoccupations of the day. Additionally, as any decent photography book ought to mention somewhere, you often find the best light at those hours when the sun is low, creating a warm, lovely depth and gentle contrast.

Stero Photography

Photographs are great at rendering the details in a scene but don't readily convey the impression of depth. Everything is rendered on a flat plane. Ever since photography was invented, people have been trying to correct this. There have been hundreds, if not thousands, of stereo patents filed and demonstration devices built. Sir Charles Wheatstone discovered the principles of stereoscopic vision in 1838, a year before photography was invented. 3-D or stereoscopic imagery uses two images of the same scene taken from slightly different viewpoints. Using one of many viewing technologies, the images are combined in your mind producing a third dimension depth. 3D effects arise from the fact that each of your eyes sees from a slightly different perspective. To demonstrate this, hold your finger about a foot from your nose and close one eye, then reopen it and close the other. Your finger will appear to jump from side to side. This difference is due to parallax.

Conclusion

What photography student couldn't take a beautiful portrait of a beautiful person Reality is exactly what the camera is designed to record. Unfortunately, many photographers base their estimation of their own level of expertise on their best photographs of their most beautiful clients. The problem is, these aren't the images that will sustain your business and your livelihood. To be a successful professional and enjoy a profit from every session (not just the sessions of beautiful people), you need to evaluate your least photogenic clients and see how you made them look. Do you give them a version of reality that they can live with, or is your mind working desperately to save your ego, by telling yourself, What do you expect, she or he was too overweight, too short, too homely, etc.

Final Checklist

The most important thing that I can tell you is to plan the entire portrait in your head before you start posing your subject. See the completed portrait in your mind's eye. See the placement of your subject and the placement of your lights. Once that's done, it's a simple matter to complete the task. If, on the other hand, you start posing your subject with no goal in mind (or if you start changing your mind), you'll end up constantly adjusting your subject, lights, and props. This wearies your subject and makes you look unprofessional.

Educated Instinct

If I y now, your mind has been reset V yJ J and your enthusiasm recharged. When you're at a family gathering or simply home with your kids, practice listening for anything that tips you off. Practice evaluating their expressions and reactions all the time. You can also go out in search of these moments at a coffee shop or restaurant. Sit alone and look busy with a book or a laptop while listening and watching how people move, when they react most forcefully and why. Look for behavioral nuances and physical prompts of ensuing emotion. Always be framing and calculating the shot in your mind. Get used to body language and the information it is constantly sending to you. Photojournalism epitomizes the everyday, so it stands to reason that you can practice it every day, all the time.

Existing Outfits

Your next step is to begin gathering props, outfits, and costumes to use in your photographs. Before you rush out and start spending money on new things, search around the house to see what you already have. You will be surprised at how many useful items you can find when you put your mind to it. You can also borrow from your family and friends. Nearly any kind of clothing can be made to look sexy or sensual if you work at it a bit, but some things seem to work better than others. Here are a number of examples to help get your creative juices flowing

Shark Fin Soup

Underwater photographers are often prepared to spend small fortunes on travel to exotic overseas locations in search of unique images or exciting encounters. Most will tell you that the biggest adrenaline rush comes from being close to those larger denizens such as sharks, mantas or whales but these encounters often occur in very remote areas or might be unnatural feeding scenarios with crowds of other divers in the audience. If your budget does not stretch to Cocos, Galapagos, Ningaloo, the Azores or even a chumsicle in the Bahamas then you might be tempted to put the idea of meeting the big guys out of your mind. But all is not lost, we do have our own big creature encounters around the UK coastline, although their appearance may be seasonal and brief and conditions often less than ideal. In order to experience this you need to be a little flexible in you trip planning and leave your dive skin at home as you will be sampling the chilly waters of the Atlantic, English Channel or...

Working Methods

Select a subject that inspires personal wonderment and that could produce an astonishing reaction from your viewers. Then proceed to use a combination of viewpoint and light to generate your visual statement. All sorts of questions should be running through your mind at this stage as part of the decision-making process. Answering them requires independent visual thinking and experimentation. Try not to compete with what you have seen others doing. Competition tends to lead to copying of ideas and style. Direct copying means no longer discovering things on your own. Watch out for envy too, as it can also take away from your own direction and inclinations. The most rewarding pictures tend to be those that are made from your heart as well as your mind. Box 10.1 presents some methods to consider. Use your monitor to review and adjust your exposures as you work.

Departure Point

Think about what you want to do before you do it. When you pick up a camera to do something deliberate and specific, the possibility of capturing the significant and the useful is greater than if you stand on the corner hoping and waiting for something to occur. Avoid being the photographer Irish playwright George Bernard Shaw described, who, like a codfish, lays a million eggs in the hope that one might hatch. Prepare your mind in advance and start in a specific direction, but remain flexible and open to the unexpected. Look for the fortune cookie that reads Intelligence is the door to freedom and alert attention is the mother of intelligence.

Megapixel 11x14

A popular print size with pro photographers is the 13x19 large print, and the Epson Stylus Photo R2400 is the king of this realm. I've never seen another printer even touch it, except for maybe the R2200 it replaced. Its color output is really stunning, but where the R2400 really kills is when you print black-and-white prints. You'll lose your mind. Plus, the R2400 uses Epson's UltraChrome K3 archival-quality inks, so your prints are going to last longer than you will by a long shot. Of course, besides the 13x19 prints, it also does all of the smaller sizes as well (Epson claims it does 11x14s in less than two minutes, but I can't swear to this because once I printed my first borderless 13x19 print, that was the last time I wanted to print an 11x14, and you'll probably feel the same bigger is better way I do, too). This is as in love with a printer as I've ever become. It costs around 850, which, for what it does, is a bargain.

History

Clicking any step in the History panel will return the image to that state. History is linear, however if you make further adjustments after going back to that state, all the steps that were after it will be lost. History is most useful for recovering from mistakes or changing your mind. If you want to go back and forth, that's where Snapshots come in.

Diagonal

With leading lines and other elements in a layout, you can suggest to the reader's subconscious mind that the eyes follow a desired course through the page. For example, a photograph placed in the primary optical area should have leading lines that direct the eyes of the reader into a page or story. These lines must not direct the reader's attention away from or out of the story.

Alternative Media

I've concentrated on normal paper because it's the most common type of media. However, there are many alternatives to paper for inkjet printing. Wood veneer Sandpaper Aluminum foil Open your mind to the possibilities but at the same time, be forewarned about the possible fatal dangers to your printer whenever you put non-recommended media through it. (See more about special printing techniques in Chapter 11.)

Strengthen The Bond

Strengthen The Bond

Better Your Relationships With Others And Attract Success With People. If you're searching for a relationship or you're presently unhappy with the one you're currently in, the very first thing you have to realize is who you are as an individual and what you want in a partner. This isn't a simple task in the least and is a lot more complicated than it appears. What it involves is stepping out of your comfort zone.

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