Photography – Focus and Motion Blur

Best & Fast Fake ID Service | OISBesides the use of light, another way to produce contrasts between different areas of your photo is the focusIf not, you have to choose a very high shutter speed (e. g. 1/200 second) which requires good lighting of your scene or a camera with a high light sensitivity Best & Fast Fake ID Service.But you have to be careful: Although most cameras enable you to select a high light sensitivity (e. g. ISO 400 and higher), this does not mean that they are capable of taking decent photos at these settings

If you decide to deliberately include motion blur in your photo, you can again combine a relatively slow shutter speed with a low light sensitivity. To have driving cars or running people appear blurry, a shutter speed of 1/5 second should suffice. If you are using zoom at 1/10 second or slower shutter speeds, I recommend to use a tripod or some object in the vicinity of the scene to rest your camera on. If your camera uses OIS (Optical Image Stabilization), you might not necessarily need a tripod at these shutter speed settings.. The problem that usually occurs with cheaper cameras is a pretty high amount of grain in photos taken at poor lighting. If you use a low ISO value (the abbreviation refers to the International Organization for Standardization) with a high shutter speed, your photos taken on cloudy days will appear very dark — taking pictures at twilight or indoors will hardly be possible this way. For these difficult lighting situations you will either have to put up with the relatively high amount of grain that comes with a high light sensitivity value, or choose a lower shutter speed and accept the resulting motion blur.. The more significant the differences in distance are, the greater the contrasts in sharpness will be. The object(s) in focus tend to appear very intense and detailed compared to a blurry background. Your actual motif becomes much clearer to the viewer because the key elements of your picture appear clearly distinguished from those that belong to the background or surroundings. Depending on what you want to draw the viewer’s attention to, you can choose very different focuses for the same scenery. I would recommend to play around with different settings — even if you believe you know what elements of your picture you want to make stand out.. If you set the focus of your camera on the central object of your scene, everything that is closer to the camera or further away from it appears blurry and unfocused in the photo

You can record the same motion in different ways. You can either keep your camera still to emphasize the movement of the objects in your scenery, or you can follow one of the moving objects in the scene to let it stand out clearly visible and have the surroundings appear blurred. Especially in the latter case OIS can be very helpful since it smoothens the movement of the camera, balancing most of the shaky nuances of it.

Choosing the right lighting and creating contrasts in your picture is a great way to add the effect of great depth to it. That is why I would like to share with you a number of different ways to control the lighting of your photo and add the right amount of contrasts to it.

For instance you could want to show your viewer the impressive contrast between an area of a street that lies in the shadows and another part of it that reflects the bright sunlight. In this case you can shoot (indirectly) against the sun to capture the most intense reflections of sunlight on the street possible. You can also try to underexpose your picture to have the sunlit parts of the street appear in distinct colors and make the shadows look exceptionally dark. If you rather want to point out the overwhelming brightness of the sunlit parts of the street, I would recommend you to overexpose the photo. The brighter parts will then look highly luminescent, but might not appear distinct anymore, whereas the overshadowed areas will look relatively natural.

Whenever I take photos of motifs with extreme contrasts, I try three different versions: one that allows the darker parts to appear natural, one that displays the brighter parts naturally, and one that represents a compromise of both effects. Having tried these different ways, I might choose to focus on one version and do several shots with this exposure setting. In order to decide which version to focus on, I ask myself: What part of the image seems most important to me? This is usually the area I want to be exposed properly. Instead of a particular area you can also choose the effect of excessive brightness (or darkness) as your actual motif and base your exposure setting on that decision. If you are not focusing on displaying an extreme lighting situation, a slight underexposure helps to add strong contrasts and more vivid colors to your photo.

If you shoot directly against the light (e. g. if the sun is visible in your picture), the resulting extreme contrasts will likely tend to divide your image into very bright areas of light falling in directly and extremely dark areas that represent the mostly unlit sides of the objects on your photo. This can be impressive, but does not allow you to capture many details and colors.

If you shoot partly against the light, you can profit from the resulting reflections and highlights that add more contrasts and interesting light effects to your photo without destroying all the details and colors — think of the reflection of the sun on the water during a sunset. This type of reflection is only possible if you are shooting against the light — in this case, even directly against the main source of light (the sun). But since the light of the sun is usually much brighter than it is during a sunset, I recommend shooting partly against the light rather than doing it directly

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