One of the most popular subjects for the wildlife photographer is the bird of prey. They are fast, look wicked, and always draw a second glance. Unfortunately, many of them tend to fly a little to high for an image capture, but there are some tricks you can use to get around this dilemma.
Falconry is still a practiced sport in most of America, brought over by the colonists as not just a way of gaining food, but as a leisure time exercise also. Chances are, you have a local group of falconers who take out to the field in the fall until the spring and fly their birds at different types of game. Most of these groups are happy to have a talented photographer along for the trip.
The great thing about a falconer's bird is that it already gone through intense training, getting it used to being around a human or two, so you can get up close without worrying about missing the shot. They are often curious about the camera, and may peck at the lens, so make sure you have a clear filter on the end...hawk beaks can do some damage.
One thing you want to avoid at all costs: never, ever, ever touch the bird with your hand or your camera. Birds of Prey are extremely flighty, and anything too unusual will send them into a panic. Ask the falconer you are with what the comfort zone is for the animal you are shooting, they will work with you to pose the bird in correct lighting and attitude.
There is one word of warning, however. Once you start taking photos of raptors, you may become addicted to using them in all of your shoot!

Who hasn't wanted to be out on the African Veldt, shooting a cheetah at full speed? The images you can get from an outdoor excursion are sometimes the most magnetic.

Even in urban America, you can pursue the creatures that surround us with your camera, and gain some stunning images. Some of the best wildlife photographers in the country rarely venture past the nearest Starbucks! With the interest generated by news stories and driven by new television programs on urban wildlife, never has there been a bigger niche to fill for the photographer.

Check with your local game and fish department, and see if there might be some hawks or falcons nesting on a local building. Raptors are fairly easy to capture on camera because they really aren't afraid of people at all, and typically just stare at you while the photographer snaps away. The intense stare of a predator is a sure-recipe for a gripping photo.

If the wild animals aren't contributing to your effort, head out to the zoo, there are animals there year round, and many of them are so used to people that they have forgotten their shyness and will almost "pose" for the photographer. This especially holds true with primates, they seem as fascinated with the camera as the operator!

Purchase a good macro lens for taking extreme closeups. That dewed spiderweb outside your front porch might make a cover photo that is stunning, as would the shot of a praying mantis on your Gardenia flowers.

The world is full of incredible animals, all just waiting for you to take their picture, and they can be just feet from you!

Portrait and Artistic photographers can now rely on Photoshop and other graphic programs to manipulate digital images, removing blemishes or changing the lighting conditions with a few keystrokes. But, is this the best way to take a photograph?

The MUA, or makeup artist, is a necessary addition to a good shoot, not only for making sure that the subject has the correct skin tones and complimentary makeup, but in a thousand other ways as well.

Just like the photographer is focused on the composition of the image in the small square view, the MUA is focused on how the model looks in the shot. If the lighting is too harsh for someone who is pale, the MUA will be the first to notice.

Makeup Artists spend all of their time working with the range of human skin tones, and how to accentuate or downplay them, according to the requests of the photographer. They can make a pale girl look dark and sultry, they can change a housewife into a pinup model in minutes. This sort of special effects expertise is hard to train for, they are asked to deliver something at a moment's notice.

Not only does the MUA provide the look for your shoot, they also act as a sort of "conscience", since they aren't concentrating so hard on the viewed image, and can see the whole picture. Things that might have been overlooked by the photographer might be obvious to the artist in the background.

Having a makeup artist on the photo shoot is every bit as important as having your camera and lights, truly, one of the necessary items for good portrait shooting.

All great arts and sciences have a person that is known as “the grandfather," of their craft. Well, Alfred Stieglitz may be known as the grandfather of photography, but he can certainly be dubbed “the godfather” as well. Stieglitz really brought photography to the place where it is today. Before Stieglitz’s time, photography was simply a trade, and not considered a noble art. Thanks to Stieglitz, the world can now encompass many different styles of photography, and many great artists throughout time are now known to all.

Stieglitz was born in the United States during the year 1864, and he is -- unfortunately – best known for his marriage to artist Georgia O’Keefe. Raised in a prominent Manhattan home, Stieglitz began his young life studying to be a mechanical engineer, though he soon realized that photography was where his heart wanted to be. Following his heart, Stieglitz took his camera and jumped on a train to explore Europe. Some of his earliest work showcases his travels through the Black Forest, and also emphasizes the life of peasants that he could easily find near the train tracks. Around the year 1893, Stieglitz became editor of the American Amateur Photographer magazine, but this stint only lasted three years due to Stieglitz’s forward thinking approach. Many years later, Stieglitz developed a form of photography that is now known as “straight photography,” and it was during the year 1924 that he married artist Georgia O’Keefe. During this time, Stieglitz also founded the photographic journal Camera Work, and had a large part in getting the Albright-Knox Art Gallery on its feet. Additionally, Stieglitz was a master of pictorialism (see “Pictorialism” article), and through this work he introduced many great impressionists to North America.

Throughout the rest of his life, Stieglitz helped out many popular artists, and many believe that he is also responsible for beginning Ansel Adams’ career, as Adams often showcased his work in Stieglitz’s gallery. The year 1937 marked a turning point in Stieglitz’s life when he was diagnosed with heart disease. Eventually Stieglitz passed away, but his work still remains central to photography today.

Pictorialism is not a photography term that is rampant in today’s artistic world, but photography has its roots in pictorialism, and the art form is still emulated today as a type of fine art photography. Pictorialism began during the 1800s when all the world wanted a painting, or an etching, that was really a photograph. Since the dry-plate process had just begun to spread, techniques such as etching were extremely popular, and this process sparked the interest of photographers everywhere.

Special techniques including soft focus, various filters and lens coatings, darkroom mastery, and printing processes from far away lands were used in order to create a photograph that was disguised as a painting or etching. A few photographers even went so far as to literally scratch the surface of their photographs with sharp utensils in order to create an etched effect. Other photographers simply wanted to emulate the great impressionists such as Monet, Cézanne, and Degas. Although this style of photography was interesting, the impressionist movement did not last for long, and neither did the photographs that were meant to copy the great masters. Eventually, people wanted to see photography for photography, not for painting or etching. Thus, only a few pictorialists have survived the test of time.

One of the great pictorialist manipulators to emerge from the 1800s is the notable photographer Alfred Stieglitz. Unbeknownst to many art lovers, Stieglitz actually introduced Picasso, Matisse, Rodan, and many other famous painters to America. Stieglitz was also the inspiration for many other photographers that came after him (see “Willy Ronis” article), and he is known as “the grandfather of pictorialism” today. One current photographer, Sally Mann, has chosen to reproduce the reproductive pictorialism style in her book What Remains. For any photography lover, this Mann’s book is a must read. If you are to trace the roots of photography, you would become knee deep in pictorialism, the craze that started it all.

Sometimes a photograph is more than a pretty picture, and artist Willy Ronis knows how to capture a moment in time with the click of a button. Although many people many not know Ronis’ name, he is truly one of the more magnificent photographers of all time. Ronis has a passion for drawing subjects out of their everyday lives in order to offer them to his camera as sacrifice – and this is the true mark of a photography genius.

Ronis grew up in Paris during a time when his father’s family portraiture business was about to crumble. Wanting to be the valiant son, Ronis promised his dying father (who had been diagnosed with cancer) on his death bed that the family shop would continue to operate. Immediately, Ronis gave up his dream of becoming a musician, and turned to the world of photography. Such artists as Ansel Adams and Alfred Stieglitz provided Ronis with all the inspiration he would need to begin a career as a photographer. Finding portraiture lacking, Ronis did not stick to his earlier promise and closed the family store. Ronis chose to listen to his intuition instead, and as his work gained popularity he gained a spot at LIFE Magazine as the first French photographer on staff. Ronis’ personal life and career grew, and through happiness and pain, he photographed it all.

Today, Ronis still remains in Paris, but – sadly – he cannot carry around his camera equipment due to old age. Still, Ronis remains an integral part of the Taschen publishing company, and his prints can be found all over the world. Some of Ronis’ most famous prints include Provencal Nude – featuring his wife --; A nous la vie!; Mon Paris; and many more. Take the time to view a few of Willy Ronis’ work, and you will see why this man has marked the world of photography forever.

Although street photography is not mentioned that often, this type of photography is both vibrant and imaginative. The concept behind street photography is to take a documentation approach to photography by capturing candid photos of strangers going about their daily business.

Some of the best scenes for street photography are crowded sidewalks, parks, malls, beaches, and many other public settings. The trick when it comes to street photography is to remain largely anonymous, and capture everyday activity from an interesting perspective. Street photography is often reflective of a particular society, or class, and it really acts as a wonderful human reflection. Most street photography prints are done in black and white, and many of them tend to be based upon contradiction. Although street photography is just gaining in popularity today, this type of photography has been in practice for centuries. Beginning around 1890, photographers began to capture life on the streets, and many of these find prints still exist today. Not only are street photographs incredibly interesting, they can also provide a sort of historical map, or looking glass, into the lives of people many centuries ago. Though street photography may seem like an easy feat, many photographers find that they are less than bold when it comes to photographing random people.

Walking into a group of complete strangers and setting up the perfect shot may gain you a few looks and some less than enthusiastic people, but there are ways to get over this trepidation. Many street photographers begin with a long lens, which will allow you to get close to a subject, but far enough away so that you can run if you have to. Other notable street photographers simply stand in one spot and wait for the perfect photograph. However you go about it, you will want lightweight equipment and a great lens in order to grab the perfect shot. Street photography is really stimulating, and it should be attempted – just for fun- by every photographer at least once.

Some regard candid photography as “true” photography due to its attempt to capture people in a natural environment. The key to snapping a perfectly candid photograph is to simply blend into an area – not by hiding in the bushes – by simply allowing people to note your presence, and at the same time allowing people to get used to you. Once a group of people knows that you are in the area photographing, but you don’t ask them to pose for any shots, most subjects will simply return to their affairs without realizing your presence. Candid photography can present some amazing photographs that posed photography simply cannot compete with.

Often, as a professional photographer, you may be asked to take some candid photos, but this may be harder than it sounds. People rarely hire a photographer for a public occasion, so you will likely be entering into a personal point in a client’s life. Birthdays, weddings, bar mitzvahs, and retirement parties are all occasions that require professional photographers. Just think about capturing a grown man crying with delight at a retirement party, or a child mischievously sticking one finger into a birthday cake – would these subjects allow you to photograph these moments knowingly? A candid photographer can capture instants that would otherwise go unseen, and this is the whole point of candid photography.

Since candid photographers do not want to be noticed, lightweight equipment is essential to their work. Some of the best candids occur when the photographer is able to focus upon a subject’s face, which can be tricky with a large lens and a larger camera. Another important aspect of a candid photographer’s equipment is the shutter reaction time. Will a man cry for a long time? Will a child keep their finger inside of a cake for a few minutes? The answer is “no.” Therefore, you must act quickly and efficiently in order to snap the best photographs. Of course, candid photographers will not have time to consider lighting, angles, and placement, so they must be able to react within a split second – this means knowing all there is to know about photography before attempting to catch a candid shot. Candid photography is often a lot of fun, and any candid photographer will be able to capture some very important moments. The art of candid photography is really the art of true life.

Portrait photography really entered the photography arena during the 19th Century when commissioning a painting of a family began to be rather costly. Although most people who were able to afford a family portrait painting were aristocrats, commoners also wanted a piece of glory; so, they turned to photography in order to capture a family portrait.

During the 19th Century, portrait photography was really in its beginning stages. Often, a family – or sole person – would visit a portrait shop where natural light and mirrors were used to create a realistic photograph. The challenge during this time was to produce a photograph that felt like a paining. Often, if you come across an older portrait, you will note that the subjects sat very still, and did not express any emotion since they wished to look like a painting. Today, portrait photography has advanced as far as equipment goes, but also in the matter of posing subjects in order to catch their individual personality.

The most important element to consider while attempt to conduct a portrait photography session is light. Thankfully, most portraits are done within a studio, so light can be easily manipulated. If you are considering a portrait photography career, you will want to invest in fill lights, kicker lights, and background lights – all essential to this craft. Some of the best portraits are not posed, but they appear to be. In fact, those portraits that are posed can end up looking a lot like the early 19th Century ones, which should not be your goal – unless it has been related to you by a client. Portrait photography has come a long way since the time of thirty second exposures, and mirror tricks, but portrait photography is still alive and well all across the world.

Glamour photography is the type of photography that most people encounter on a daily basis. Glamour photography consists of shooting models using various props, cosmetics, settings, lighting, and airbrushing. Glamour photographers can make a great deal of money if they are at the top of their profession, but there are many photographers out there wishing to break into this industry.

Glamour photography really broke onto the photography scene during the early 1920s. Media would often photograph various stars, and use different lighting and scenery effects to make the stars appear unworldly. When World War II broke out, pin-up photographs became the popular glamour photography trend, and these photos were scattered amongst various troops that were fighting on the front line. Believe it or not, during the conservative 1950s, glamour photography was taboo and practically illegal. The 1950s era proved to be a turning point in the glamour photography world, and those magazines featuring any sort of fashion photography began to label themselves as “art magazines” or “health magazines.”

Another great landmark in the world of glamour photography began with the first Playboy in 1953. Hugh Hefner turned fashion, “health,” and “art” photography into the first ever nude photography magazine. Not only was Hefner instrumental in changing the face of glamour photography, he also combined the original star photographs with nude photographs when he chose to place Marilyn Monroe on the cover of the first Playboy. Today, glamour photography can mean anything from shooting models in print ads to shooting various “Hefner style” layouts for various magazines. A glamour photographer must deal with a hectic set, difficult models, and often various clients that are paying for the shoot. The life of a glamour photographer may be, well, glamorous, but it is also a lot of hard work.

Fine art photography is a rather interesting way to make a living. Some consider fine art photographers the “starving artists” of the photography world, since this type of photography is usually difficult to sell. But, fine art photography is also extremely creative, and this type of art hardly ever has any restrictions. In sum, find art photography refers to photography that reflects other art forms.

During the 19th Century, many fine art photographers aimed at shooting art that was based upon portraiture, but when the 20th Century came around “Pictoralism” was the most popular medium. In short, pictoralism was the art of imitating a painting through photography. Although pictoralism was popular at the time, this type of photography simply didn’t sell, and all but faded away. Throughout the 1970s, fine art photography blew more in the direction of “photojournalism,” and was really used as a form of documentation. Form the late 1970s until today, many different types of fine art photography have been the norm. From Ansel Adams’ great landscape photographs to various nude and portrait photographers.

Today, you can find photography galleries featuring many different types of fine art photography, but many artists are gravitating towards a “stage” photograph. This type of photograph is literally set up to look like an accident. Today’s popular find art photographers include Cindy Sherman and Gregory Crewdson, along with many others. Fine art photography is quickly gaining in popularity, and more and more photography galleries are popping up across the nation. Though nobody knows what sort of fine art trend could be next, it seems as though selling photographs that imitate life will forever be in demand.

Becoming an architectural photographer is a difficult task. Not only must you be efficient and well organized, you must also know everything that your client is looking for. Often, you will be working with a large crew, and you should know that a large amount of money has been spent in order to set up the shot and location. Therefore, you should make the most of your time and communicate efficiently with both the client and owner before shooting. Here are some things that will make your job as an architectural photographer a bit easier.

· Image: have you ever noticed that an otherwise straight building tends to come out warped when you shoot it? This is due to image distortion, and it can be avoided by taking the photograph from the front of a building. Unfortunately, most digital cameras will show a bit of distortion, but standing in front of the building will minimize this undesired effect. If you would like to earn a living as an architectural photographer, you may want to look into a View Camera, which will eliminate all distortion.

· Lens: avoid using a wide-angle lens to shoot a building. A wide-angle lens will often make the building appear deformed. Also, you will want to ensure that you are not shooting too close to the base of a tall building. It is best to shoot from a higher point, in order to avoid a strange composition.

· Lighting: lighting is the one thing that affects every sort of photography. When you are attempting to shoot in natural light, work with a building that has just been shrouded in dusk. Small details in the early night time sky will also work well, but avoid harsh sunlight. In order to capture the best photograph, a tripod will be a worthwhile investment.

You will also want to consider shooting the inside of a building, as many clients will want certain elements within a structure on film as well. Remember that your aim is to shoot the building, so you want to avoid any sort of person or thing that is in your ideal shot. Focus on curves, heights, and the overall style of a building rather than the events taking place within the building. Architectural photography takes a specific sort of person in order to succeed, but if you have a passion for capturing great architecture, this may just be the type of photography for you.

Photographing animals can be a lot of fun. After all, most people can easily relate to many sorts of animals, and animals have become a cherished part of almost every society. Though they are captivating, animals are not always easy to capture on film – especially animals that are in the wild. The other problem with photographing animals is that many people assume a photograph of Fluffy perched upon her favorite pedestal will gain an instant reward – remember, beauty is within the eye of the beholder. Instead of trying to photograph a “cute” animal, use your imagination and attempt to capture an animal in an interesting setting, or strange position. If you are attempting to sell your animal photography, you will want to note the following tools that will help make your animals truly stand out.

Let’s start with the right equipment. Aside from your favorite camera, you may find a few of these extra tools especially useful when it comes to capturing animals on film. An angle finder (waist level finder) will allow you to lay down, or tilt yourself, without twisting your body into an uncomfortable position. An angle finder simply attaches onto the eyepiece of your camera, and it can really make a difference if you are laying down to capture the perfect shot. Another tool that is incredible useful is an extension tube. These clever gadgets allow you to extend your lens without actually putting another panel of glass on your camera, they simply act as boosters. Attach an extension tube in between your camera and your lens, and viola! instant close-up.
You may also want to consider a gold reflector, which will allow you to reflect warn light onto the subject. Simply place the gold reflector in front of the subject and watch as the animal takes on a whole new glow.

There are many more tools that can be used in order to create perfect animal shots, but the main thing to think about while shooting an animal is versatility. Capturing an animal in the wild is not an easy feat – in fact, it is something that most animal photographers will not experience. However, pets can be just as interesting if you catch them in their natural habitat. Watch your dog take on a whole new personality while he thinks that nobody is home, and look for the graceful ways in which your cat contorts while she is relaxing. The possibilities are endless, and practice is always the best way to capture any animal. Remember, animals are rather fast creatures, so you will have to be adequately equipped in order to catch them. Try using a few of the tools mentioned here, and you will instantly see the ways in which the animal world was meant to be seen.

There are so many things to see in this vast world, and if you love to travel you will want to capture each site on film. People, places, things, the world is full of interesting objects that you will want to frame and keep for a lifetime. Travel photography can also be lucrative if you capture a rare shot and sell it to a magazine. Though it may seem like an easy task to shoot a few great travel shots, there are basic steps that any travel photographer should abide by in order to ensure perfect photographs any time.

· People: this is a simple warning about photographing people. In some countries, photographing a stranger is a terrible offense. Always ask your potential subject before you decide to snap a photograph – this way you can set up your shot better as well. Also, if you are traveling to a remote destination, ask you hotel manager whether or not it is okay to shoot pictures of people – some religions may not allow this at all. Always be conscious of your surroundings, and know your place. Another thing to be aware of is attempting to shoot children. Make sure that you always have parental permission before you start snapping away on a playground.

· Flash: you have a flash on your camera, so use it. Outdoor photographs will always look better if you use a flash. Although most people use a flash indoors, using a flash when the sun is particularly bright will avoid unwanted shadows.

· Get a Little Closer: if you see an interesting face – and you have gained permission – step towards your subject and fill the photograph with their face. Pictures that are taken closer to a person tend to come out much better than those that are far away. You will want to capture every wrinkle on an older person’s face, or every freckle on a child’s face, and in order to do this you cannot be far away.

· Positioning: mover you subject to either the left, or the right, of the photograph. Photographs taken of subjects smack in the middle of a picture are often uninspiring. To make things more interesting, allow your subject to move around inside of the shot, and use the background to create an interesting backdrop.

· The Way You Shoot It: turn your camera vertically, then turn it right side up again – see the difference? Some shots are just better when they are vertical. The same rule applies for shots taken above, and below, a subject. Don’t be afraid to move around when you are shooting, you never know what your lens might capture.

Remember the basic rule of photography – always shoot either early in the morning, or just around dusk for best results. Then again, if you are simply taking a few snapshots, lighting doesn’t matter so much. The point of travel photography is to capture intriguing people and things, while at the same time brining home some unforgettable souvenirs. Have fun on your travels, and use your camera a lot – you may never get the same chance again.

Have you ever wondered how those great aerial photographs are taken? It seems rather difficult to shoot a perfect picture from an airplane – and it is. If you’ve ever tried to take a photograph of the clouds from inside an airplane, you know that capturing the scenery, and not the window, is a rather tricky thing to accomplish. Before you can even consider aerial photography, you might want to conquer your fear of heights (if you have one), and ensure that you will be able to look down upon an object without experiencing immediate vertigo. That said, here are some tricks to help you fly high and shoot with confidence.

1. Shake, Rattle, and Roll: it’s a fact, planes vibrate – this means that you will vibrate too. When you are up in a small airplane (small planes work best), or helicopter, taking a steady photograph is not an easy feat. In order to combat the constant movement, you will need to use a fast shutter speed, and large apertures. Also, avoid resting your camera on any part of the plane – believe it or not, you are actually shaking less than the plane is. In order to find the perfect aperture, you will have to play around with your settings a bit, but a larger aperture is usually better.

2. Purple Haze: while it might not always be purple, allow your pilot to dictate the best weather to you – pilots always know when it’s best to fly. Set your camera to the highest contrast, and apply a red filter in order to shoot a great black and white photograph. Remember, you can always Photoshop your shot after the fact.

3. Focus: since the plane is already shaking, and you are already shaking, you might want to consider the “automatic” focus button. If you are going to use manual focus, you will want to put your digital camera on “infinity stop.”

4. Elements: when you are shooting aerial photographs, your camera will be outside of the airplane window. This means that a longer lens will become tattered, so it is best to use a shorter lens – or, tape your lens onto your camera to ensure that it will not come off. Also, be very careful with your camera – it can easily go flying out of the window, which is actually illegal. Make sure that your neck strap is securely fastened, and that any other components are attached to your camera snugly.

These four basic steps should get you started towards a career in aerial photography. Simply find a pilot (they are all around), and head up into the sky to start shooting. Aerial photography is a bit of an adrenaline rush, so have fun with it. Remember to be sure that your camera is secured, and that all your components are secured as well – things can get a little windy up there!

Attempting to photograph glass can be more than frustrating. Often, photographers who have never worked with glass before try to shoot a perfect picture and come up with a seemingly empty space. Glass is tricky because it really cannot be seen unless you know how to set up your shot. Here are some things that will make shoot glass a bit easier – but still, this type of photography is going to take lots of practice.

· Natural Light: it is nearly impossible to photograph glass when the sun is blazing. Why? Well, your glass subject is likely to “disappear” when the sun is shining directly upon it. Therefore, you want to shoot glass when the sky is overcast, and the clouds can give a certain definition and depth to your glass object.

· Exposure: make sure that you underexpose your glass photograph. Over exposure will wipe out the glass completely, and regular exposure will not have enough definition. When shooting glass, underexposed is the way to go.

· Be Selective: although a stained glass window may strike you as shot worthy, you will probably have better luck shooting a small portion of the window rather than the entire thing. If you want to capture detail, frame your photo to include some interesting aspects of a window, and don’t attempt to photograph any area that is too large.

· Equipment: a flash is only needed, when photographing glass, if you want to show the edge of the window. Otherwise, use a flash when the sun is extremely bright, but do not use a flash regularly. Also, a tripod is almost a necessity when shooting a great glass photograph. Sometimes your hand may not be perfectly steady, so a tripod is a worth while investment.

As with most types of photography, you will want to take your time and practice shooting glass. When you become a pro at glass photography, you can use almost any glass backdrop to create really interesting photos, or you can simply shoot stained glass windows for their artistic element. Shooting glass can be fun, but don’t get frustrated – practice makes perfect.

"Eighteen zillion megapixels!" We have all seen the hype that gets foisted on the public by advertisers. "Bigger is better" is still sometimes the prevailing attitude among many, and it couldn't be farther from the truth.

What do you want to use your camera for? This is the single most important question you need to ask yourself. The bells and whistles that come later with your camera package don't mean anything at this juncture.

There are several different uses for digital photos, from snapshots of your family and friends, landscapes, portraits, or close up micro pictures.

Now, don't panic, there are several very good cameras that work as "all-rounders", but it is a good idea to have a goal in mind before you go shopping. The camera store attendees can help you pick out a camera kit that suits your need if you have a clear cut goal, much more easily than if you walk in with a bunch of vague questions.

If you are interested in high end photography, you will want to look at the cameras that have the ability to take different lenses, such as a digital SLR (single lens reflex). The ability to switch out lenses is extremely important when pursuing that perfect photo, different shots require different magnifications and filters.

The launch of the digital SLR has been responsible for the new romance of the public with picture-taking, by using a moderately priced camera with a few lenses, a person with a good eye for a shot can produce some printable images, and with a moderate investment, create the sellable.

Since the first time man scratched a drawing on a cave wall, the ultimate subject for many artists is that of the nude human form.

With the advent of photography, especially digital photography, the human form has been explored in ways that were just simply not possible before. By manipulating light and shadow, a complex picture can be created by the simplest of setups.

Since the subject of the art is going to be the figure, a plain background is often the best. This will show the body as a whole object, uncluttered by visual items that are not necessary to convey the focus of the shot. Scrims (colored cloths) or plain sheet paper may be employed to serve in this function, whether draped or laid out flat.

The lighting is of paramount importance, at least one heavy light source is required, and a fill light to soften the edges and keep the deep shadows from overwriting the figure. This can be done easily with natural sunlight ,and one reflective surface or strobe.

Using a step ladder can bring a new dimension to the figure, by holding the camera above the model, new shadows are cast in relief, and a different dynamic sets in, making the shot a little more on the edge.

Posing the model can be difficult at first, you will need to adjust the light balance on your camera to take in different skin tones and cast light from the flash and reflectors. It is a really good idea to take a number of test photos, and check them for clarity and lighting prior to doing the whole shoot series.

With some test shots done, it should be no problem to adjust the model and lights as necessary to create a one of a kind artistic nude, that anyone would be proud to have on their wall...even if it is a cave wall.

Taking that perfect picture in a studio is one thing, with the controlled lighting and focus already in place, but getting the shot in the field is totally different.

Dynamic photos often come from a spur of the moment pic, and you have to be ready to capture that moment when it happens. This does require some different equipment than you would use in the studio.

Camera Lens: A good all-round use lens is a must have for a photographer, capable of handling a shot from a distance of 2 feet or so and also being able to focus on the horizon. One of the favorite lenses used for this sort of "snap-shot" is a 28-80mm variable focus lens, it has the capability of getting down and dirty with a tight close up, or catching something in the distance with a minimum of focal travel.

Light Source: Daylight is a wonderful thing, there is nothing that man can produce artificially to compete with the sun, but it does have it's drawbacks. You can't position it, for one...and making your subject stay in place while the earth rotates may be a bit of stress. This problem is easily solved by using strobe lights and reflective screens, this way, you have the natural daylight coming from up above, and fill light provided by a chrome reflector and a solid flash.

Monopod: The tripod is great, when you have time to set it up. While you are fussing around with gears and knobs, though, you may have missed your shot! A monopod is a fantastic way to stabilize the camera during the shoot, and takes no set up time. Many new hiking staffs come with camera attachments on the top, serving a double duty.

These three things can make an on-site shoot a total breeze, and help you produce some fantastic and dynamic photos.

Yes, we have evolved from the old instamatic into the digital age with a quick blast, relatively inexpensive cameras now are capable of taking very fine shots, for reproduction or for web use.

The principles of taking portraits still remain the same, however. It is possible to get a "now and again" good shot with a basic setup, but to consistently produce one good portrait shot after another takes some skill, and some equipment.

The Studio. Not all professional portrait photographers have a set studio, in fact, many make a niche in the market by doing location shoots. It is true that a lot of people feel more comfortable in their own surroundings than in a strange environment, and may open up more to the camera. The biggest problem with this? You have to be ready to deal with odd lighting situations on the spur of the moment.

Having a studio set-up eliminates all of this, since you have preset depth of field, available backrounds, and consistent lighting.

A home studio doesn't have to break the bank, you can build a convenient area to photograph your subjects in with a minimal amount of cost by doing some online shopping, and a bit of creativity.

Since the object is just the face/bust of the person, a large backround really isn't needed, just a 48" square can be enough to set off the perfect shot. Lighting can be done with common fluorescents if necessary, as long as you make sure to mix the bulbs with both "cool" and "warm" types.

For a small studio, you really just need a blank wall that you can affix your backround to, and set up lights in front of. By taking a number of test shots, you can adjust your camera to get the correct lighting and color tone.

If you have decided to become a food photographer, that is a step in the right direction. Most amateur photographers are unsure of the type of photography that they wish to practice, and though “food photography” may seem to narrow down the selections, there are various types of food photography to consider. Here is a list of some food photography industries that might tempt your artistic senses.

· Packaging Food Photography: this type of food photography requires an extremely analytical brain, and often leaves little room for artistic vision. Food photographers are often stuck working with many people during a given shoot, and various rules are often in place that cannot be bent. Often, a packing food photographer is given a layout and they are expected to duplicate it without straying from the plan. Many photographers simply do not want to work as a packaging photographer due to the tedious tasks and lack of creative input.

· Advertising Food Photography: this type of food photography often allows a bit more artistic vision than packaging photography, but it is still somewhat restrictive. If you choose to be an advertising food photographer, you will be dealing with an art director, and sometimes a designer – both with specific (and often conflicting) visions. It is your job to take both ideas, combine them into one, and produce a stellar photograph. This is not an easy job, but it can be fun.

· Editorial Food Photography: this type of food photography is the most popular, and it also provides the most room for creativity. Your job as an editorial food photographer will be simple – you just need to make the food appealing. The key to snapping a great editorial photo is lighting. If you can master lighting techniques, your food item will pop without much trouble.

Within each of these categories another sub-category often exists, but when you apply for photography jobs you may want to start at the least favorite (Packing Photography), and work your way up to the fun editorial stuff. Anyone that can deal with all of the rules and people involved in packaging photography can certainly create an appealing photograph when it comes to editorial photography. No matter how tedious the task of a food photographer may seem, remember – most people would love to have your job.

Children can be adorable, but if you are trying to photograph a child they can also be very difficult. Not only do children refuse to listen, but they are also lighting fast, which can make any photographer really work for a perfect photo. Although it may seem impossible, there are a few ways to capture children that will ensure a great photo every time.

One of the best things about children is that most of them don’t pose. If you decide to photograph children, allow a fun spot to be the set of your shoot. Bring a child to a playground, or to a public zoo in order to catch the certain spark that only a child can possess. Once the subject is at play, they will likely forget that you are even around – this is your goal. At this point, you can easily observe the child and watch them in their natural habitat. Children do the funniest things when they think nobody is watching them, so pay attention.

You will also want to set your digital camera to the “sports” option. Since children are so fast, you will want to keep your finger on the “trigger” at all times (make sure you camera is charged before you head to the shoot). Another trick to avoid any annoying shadows is to shoot the child with the sun to your back. In order to gain optimal sunlight, an overcast day or an early morning is the best time to photograph children. Sometimes, the sun can really hinder a photograph.

Using a long lens (70mm – 200mm), or playing with a soft filter can also make a child’s photograph appear particularly special. Photographing children doesn’t have to be frustrating. In fact, children can be a great joy to photograph. Remember to take your time, pick an ideal place, and keep your finger on that shutter button – oh yeah, and you might want to wear sneakers, you are certain to get a workout from this job!

Some photographers simply aren’t interested in photographing faces. If you are drawn to gorgeous landscapes, and breathtaking views you may just be a landscape photographer. Landscape photography is really more of an art than food photography, or wedding photography, since this type of photograph is not really in high demand. Therefore, your landscape photography must be perfect. Even though it may seem like a simple task to shoot a mountain range, or a lovely ocean, there are many things that you need to take into consideration before you embark on a landscape photography journey.

First, know your elements. The light that surrounds any landscape can create an illusion, but not the good sort of illusion that will make your photograph interesting. If you decide to shoot a landscape when the sun is bright and shining, your photograph will not come out as planned. Instead shoot at either dawn or dusk to capture a truly stunning photograph. Also, you will want to think about the weather before you set up a shot. Sometimes mountains are best shot during a snowfall, and an ocean is at its meanest when a storm is brewing. Don’t be afraid to head out into the elements in order to get that perfect shot. The last element to consider when you attempt to shoot a landscape photo is water. Water can mirror a beautiful image, and it can also cause an interesting contrast during a storm, or on a sunny day. Use the elements to your advantage, and you will create some memorable landscape photographs.

Second, think about your place in the world. Since you can shift a mountain, or move a stream, you will have to be the one object that moves while shooting any scene. Go ahead and place yourself above the landscape, or below – move around your scene in order to explore the best options. You will also want to invest in a tripod, since a cold or sweaty hand is not always steady. A tripod will ensure that every landscape photograph you shoot is perfect. Remember to shoot the entire picture by moving your tripod up and down, and shooting at both northern and southern angles. Landscapes have the power to capture an imagination and allow the viewer to find themselves escaping reality simply by gazing at a photograph. If you decide to become a landscape photographer, you will want to find things that simply take your breath away. There are lots of places upon the earth to explore, so get out there and bring your camera – and tripod – with you.

Believe it or not, there is a lot of money to be made by photographing food. Have you ever wondered why those magazine burgers look so tempting, but they hardly compare to the burger you actually purchase inside of a fast food restaurant? Well, the secret is a great food photographer, and here are some of the best food photography tricks.

· Props: imagine a play without any props, wouldn’t it be rather boring? Well, photographing food without the proper additions can be just as tiresome. Any food that you photograph should make a viewer’s stomach rumble with anticipation. If this effect does not take place, it is likely the fault of a prop. Props should compliment the food item, not take away from it; this means that a prop should be the right color, size, and shape in order to make your photograph interesting. Play with props until the make sense, and make your mouth water.

· Camera: Not only is your job as a food photographer to make the item look appealing, you job also entails shooting a particular food from the proper angle. When it comes down to it, you will want to take a three dimensional shot, so check with the layout artist or art director first. If you have no desired direction, go ahead and shoot the item from ten to forty-five degrees in order to get the best shot possible. The idea when shooting food is to give the appearance of height – that’s why those burgers look so tall and stacked – whether or not the food is actually tall is beside the point.

· Pay Attention: you should always know who the client is when you decide to shoot food. If you are meant to focus on one object within a set up, go ahead and clearly focus upon that one object. If you want the food photograph to have a different feel to it, do not choose to focus directly upon the item for sale. Really, you should be directed as to how the photograph should look, and who the client is. Remember to pay attention and try to please everyone without compromising your shot.

These are just some of the basic things involved when shooting food. Food may seem like a simple subject, – it doesn’t move, it can’t talk back – but making something such as a carrot seem appealing is really an art. More likely than not, you will be working with a whole “food crew,” so try to state your opinion, set up your best shot, and have confidence in yourself.

When it comes to any art, whether it is writing, painting, or photography, you must have a working portfolio in your possession at all times. Every potential customer that you meet with will want to see the work that you have done before, so it is crucial that your portfolio truly reflect your abilities. It is almost sad when an excellent photographer cannot put together a neat and reflective portfolio. Here are some tips for making your portfolio stand out amongst hundreds of others.

The first question that most aspiring photographers want to know is, “how do I present my portfolio?” Well, while there can be no right or wrong answer to this question, you may want to consider current trends. For example, laminated photography was very popular during the 1980s, but now photographers have gone the way of mounting photographs on board paper. If you are being interviewed by a number of potential clients, you will want to be up to date. Imagine how dated your portfolio will seem if every other photographer in your area has gone “mounted” while you are still stuck in laminate land. Chances are, you won’t be a client’s first choice. Of course, this means that you will constantly have to update your portfolio (every two years or so), but that is all part of the business. Another tip that you will want to consider is that you should always know your client. Think about the type of person you will be showing your portfolio to, and this should help you decide your overall format.

The other question that many photographers wonder about is, “how should I carry my portfolio?” Well, your portfolio should reflect you. So, it is not wise to carry a folder full of lose samples (unless you want to appear unorganized). Instead, invest in a high quality – yes, that means “expensive” – case that really stands out, but will keep your photographs nice and tidy. Remember, when you are in business for yourself sometimes expensive things are worth the price when they get you a job. Build your portfolio to reflect your work, and always keep your photography current. Most importantly, never leave home with your portfolio book – you never know when you might need it.

So, you’ve decided that you have an innate knack for photographing people, places, and objects – now what? Although no photographer began their career in the same manner, simply looking into some photography associations and keeping up on the latest photography news will likely help you get your career on track. With that in mind, here are some sources that you may find helpful throughout your career.

· The APA: if you want to discover the world of advertising photography, you will want to start with the Advertising Photographers of America (APA) association. This group helps aspiring photographers to gain a proper education, learn the advertising trade, and the site will help you to connect with other amateur advertising photographers (www.apanational.com).

· ASMP: the American Society of Media Photographers is the place that you want to visit in order to understand photography rights, standards, ethics, and publication practices. Every photographer will want to visit this site -- www.asmp.org -- throughout their career in order to remain within professional guidelines.

· PPA: the Professional Photographers of America helps all photographers showcase their work, organize a community of like-minded professionals, and helps to educate amateur photographers. This group is also a non-profit organization, and they are solely in place to help new photographers succeed. For more information visit www.ppa.com.

· WPJA: if you want to go into the wedding photography field, you must belong to the Wedding Photojournalist Association. This international organization will help wedding photographers meet wedding planners, which will help you to gain many gigs. Additionally, the WPJA also helps to education photographers, and you will be able to connect with other wedding photographers around the world in order to share ideas, tips, and lessons learned. To join and talk with some other prospective wedding photographers visit www.wpja.com.

No matter what profession you are in, it always helps to connect with others in your field. By belonging to a professional association you can learn tips, keep up with the latest news and laws, and create a well informed community of photographer friends. Also, it never hurts to have a professional association badge on your photography portfolio. Check out a few of these sites, and see which ones will work for you – it’s a big world, and it helps to know others in your field.

If you have recently begun to venture into the world of wedding photography, you are about to embark on a hectic, yet lucrative, journey. There are just some things in life that shouldn’t be compromised, and for a bride that thing is her wedding day photographer – you. There are some cardinal rules that a wedding photographer should never break, and one of them is not knowing which poses a wedding party will expect. I have actually experienced a wedding photographer asking the bride what sort of shots she wants – on the day of her wedding. Needless to say, the bride and other potential couples were less than impressed with this last minute, unprepared tactic. If you want to be a wedding photographer, here is a list of poses that you should run through with the bride before the day of her wedding.

· Before The Ceremony: there are some shots that a bride will want to cherish for a lifetime, and the “getting ready” photographs are usually something that every bride will want. This type of pose includes the bride getting dressed; the maids helping her get dressed; the bride and the maid of honor; a child holding the bride’s skirt; bride with parents together and individually; bride and bride’s maids together; bride leaving for church. These shots happen at the home of the bride, and they are literally priceless. Go ahead and throw a few candid shots in this one if you happen to find an opportune moment.

· At the Church (or other venue): Groom with dad; groom with soon to be father-in-law; groom with groomsmen; groom with priest; groom being silly; groom looking out a window ... the list literally goes on and on. Most grooms are more than willing to clown around a bit, so take advantage of this.

· During the Ceremony: these shots are the most important of all, so do not miss any one of these! Shots to consider include mother of the bride walking down the aisle; bride and father getting ready to walk in; groom and best man at alter; bride as she walks (take a few of these); father and bride walking; exchanging of vows; exchanging of rings; “the kiss;” and many shots of everyone walking back down the aisle.

· After the Ceremony: before you head to the reception, your bride and groom will want to be alone for a few moments, so allow them some space. Then, get the entire wedding party together and start snapping away. You should have some great location picked out (park, hall, castle ...) before the wedding day, so plan accordingly. These shots include bride and maids; bride and maid of honor; groomsmen lifting bride; maids snuggling up to groomsmen; bride, husband, and both sets of parents; entire immediately family, and many more. Make sure you go over this list with the bride at the time of booking.

· Reception: The reception can either be posed, or candid depending upon personal choice (let the bride decide). Whatever style you choose, remember to snap the cake cutting; first dance; father/daughter dance; mother/son dance; toasts; speeches; table shots; group shots; bride and groom leaving; car driving away.

All of these shots may seem simple enough, but you need to plan for some specific poses in advance. A photographer should never be caught off guard, so make sure that you and the bride have gone over this list a few times. Remember, this is a special day for both the bride and the groom, and you do not want to be responsible for making any crucial photography mistakes. Take your time, make a pose check sheet, and remember to snap as many shots as you need – it’s better to have more than not enough.

Children are magnificent photographic subjects. They're naturally curious and are often much less shy in front of the camera than adults tend to be. Photographing children in their natural element can be very rewarding, but there is a reason to be cautious if you are photographing children in a public setting or that you do not know. Many parents these days are afraid that photographs of their children will be sold or exploited and can get nervous if a photographer is hanging around without explanation. If you are in a situation where you are alone and wanting to photograph a child (say, at a park) it is best to seek out the child's caregiver, explain why you want to take the photographs and, if possible, get their email address or phone number so you can send them copies.

Children are easy to make comfortable in a photographic setting. Once you've found a place with adequate light, it's best to simply sit with the camera trained on the child and wait for the moment to take a picture. Young children don't usually pose and remain calm in front of a camera, and this can set up some really great shots. Older children may be more inclined to ham it up, but as the session progresses they will forget they are being photographed and go about their business.

The most important element in photography of people is rapport, and it's worth establishing a good relationship with folks before you set about taking pictures of them. This will ensure a comfortable atmosphere and make it possible to get the candid types of shots that win awards.

Founded in 1910, the New York Institute of Photography is the world's largest photography school. Located in New York City, a place that the school calls "the photography capital of the world," it has a constant enrollment of at least 20,000 students and offers a program that combines home study with hands-on learning. The course offers a very strong business element along with the photographic technique, a valuable skill for students to acquire as they set out to sell themselves to the hungry world market.

The courses at this institution offer a distinct advantage over others because they are completely distance learning based and the courses can be completed in twelve to twenty-four months. The school offers three comprehensive learning experiences: a complete course in professional photography, a complete course in digital photography (which also includes training in Adobe Photoshop) and a short course in the fundamentals of digital photography. Students are assisted with comprehensible and well-designed textbooks, teachers-on-tape audio guides, audio analysis by your professor as to your personal photographs, a personal student adviser (who may be accessed whenever you need) and DVDs which describe and demonstrate professional photography techniques so you can see as well as do. For those not wanting to participate in the segments about nude or glamour photography, those are considered optional.

The school allows for any course to be completed in a maximum of three years, and they also offer a three week money back guarantee, with no fee for course withdraw or materials return. The easiest way to request information is via the school's website, and they are also available by phone and fax, Monday through Friday, from nine to six.

Fall is a time when nature really turns up the vibrancy and color. For many who live in temperate areas, they are allowed to witness the beautiful changing colors associated with autumn. Indeed, trees make great subjects; they rarely move, they aren't camera shy, and you can't get arrested for pointing a camera at them. But how do you best photograph it? Sometimes a simple click is not enough. To truly capture the dazzling beauty of nature's metamorphosis, here are a few simple tips.

While the autumn leaves can be photographed all day without complaint (especially since the days are shorter in fall and the light is not as harsh) the typical photography advice of taking picture in early morning or late afternoon will often set you up with some great shadow displays. If you want to achieve the "glowing" effect that leaves have had in famous photographs, aim for mid-day, when the sun is high in the sky and you can catch the leaf just in front of it.

As far as location, it depends on what you wish to achieve. If you want something thick and nature-laden, try going deep into the woods for a lichen-coated afternoon hike. If you'd prefer something with a traditional and 'homey' feel, a visit to a local park or historic neighborhood can really give you what you want. If you want something ethereal or mystical, go to a lake just as dawn is breaking- the fog can create some fantastic photo opportunities.

Portraiture is always great in fall, as well- just make sure everyone dresses warmly!