Wildlife Stock Photos

Online collection of photos is popularly known as a stock photo website. The stock photo websites house a great collection of images on various subjects such as humans, technology, automobile, wellness, and gadgets etc. One of the categories we find on these websites is wildlife stock of images. This category is a broad category under which the subcategories may include images of birds, animals, insects, landscapes, jungles, trees and other wildlife related images.

They are available widely on the Internet. All you need is to search for the term ‘wildlife stock photos’ and you are done. The search engine may display hundreds of stock photo websites that offer wildlife snaps.

While some photo stock websites may offer royalty free wildlife photos to be used free of cost, others may charge for them. On some websites, a small photo could be available for free but then a high-resolution photo could cost you a penny. A premium account on such photo stock sites allows the user to download some number of photos a day with limited quota say five photos a day or 100 photos a month. However, it depends on the account type, and it differs from site to site.

The photos of wildlife may have different sizes and types. For instance, a website may offer .jpeg or .png image or for the designers, it may also offer wildlife vector illustrations so that they can use the photos in different ways. Vector images come with no restriction as stretching images does not lose the pixels and so the quality. This does not happen with popular .jpeg images.

The photos available on genuine photo stock sites are of good quality. They have been taken by professional photographers. The best part of such websites is you can get photos as small as a postcard or as big as a hoarding size using vector. The photos always come with preview so that you can look at the details before using it or making a purchase.

You can use wildlife photos on your blogs, websites, banners, products or anywhere you want. Enjoy quality photos and make your content lovelier than ever.

Aspects of Color Theory

Lightness, also called value (Munsell) or tone, is defined as a colors placement on a brightness scale ranging from black to white. The Munsell color space, for example, divides the lightness axis, called value, into ten equidistant steps. Lightness, on the other hand, stems from the HSL (Hue, Saturation, Lightness) and Lab color spaces where it is used similarly to Munsell value only in percent. The HSV (Hue, Saturation, Value) color space speaks not of lightness but of value and uses the word value differently than Munsell does. In HSV value ranges from black to not white, but to the fully saturated color. Paints can be made lighter or darker by adding white or black, but that also reduces saturation. “Tone” is an obsolete term that stems from darkroom photography to denote the lightness of a specific area of the print. Yet “tone” is still used in art where light and dark are built up with charcoal or similar drawing medium

In digital photography lightness can be calculated simply as (r+g+b)/3. However, that does not take into account that green is brighter than red and blue darker than red. In the IUV color space the relative brightness of the color channels is taken into consideration, like this: i=(76*r+150*g+29*b)/256; It approximately says that green is twice as bright as red and red is 2½ times brighter than blue.

In painting the term “tone” denotes an intermediate between gray and pure color. “Tint” denotes a mixture of pure color with white and “shade” denotes a mixture of pure color with black. In the real world tint and tone are not a simple as the theory implies, because though they do not have color in themselves, when white or black are mixed with a color, the color changes hue. In other words, black in mixtures behaves like a blueish color. For example if you mix yellow and black you don’t just get a darker yellow, but you get a darker and greenish yellow. Similarly will an addition of white make a color appear colder.

In software you can digitally create tints and tones by converting from the RGB color space to IUV or Lab color space and raise the L (lightness) channel as described above. This will not alter the hue of the color as when you mix pigments with black or white.

Apply the Golden Ratio

So what exactly is the golden ratio? In simple terms, it is a mathematical constant that appears repeatedly in nature and artwork. Yup – believe it or not, math is really important when creating quality art. To construct a golden rectangle, choose a number that will be the length of the rectangle’s short side. For the sake of this illustration, let’s say 500 pixels. Multiply that by 1.618. The result, 809 pixels, is the length of the long side of your rectangle. Therefore, a rectangle that is 500 pixels by 809 pixels is a golden rectangle. It obeys the golden ratio.

If numbers aren’t your favorite thing in the world, you can always use the rule of thirds and a grid to utilize the golden rule. The rule of thirds governs the placement of points of interest in your image. Basically divide your image into three equal sections horizontally and vertically so that you have a grid over your image. This should create total of nine boxes with the lines intersecting at four points. According to the rule of thirds, the points at which the lines intersect are the ideal places for points of interest.

Using either of these formulas will help you in creating interest in your images. Our eyes have a tendency to follow leading lines or look at an image a certain way. By utilizing these formulas, you’ll notice that your subject will often end up being placed somewhat off center – to the left or the right and often higher and lower in the frame as well. That’s not to say a centered image can’t be visually pleasing, but following these guides can help you create a much more exciting image.

So if you understand how the rule of thirds and golden ratio work, you will easily be able to create strong images that captivate your viewer. Our eyes tend to like to look at images in certain ways and by following these guidelines you’ll help lead the viewers eye around your image absorbing the details you want them to see and creating a strong visual impact for your viewer.

Stephanie lives in Central IL, is married to her best friend, Ryan, and enjoys the company of her crazy pups, Kit & Lucy. She is the owner of Green Tree Media Photography and is passionate about photography.

Digital Photography Techniques

Some basic ideas will help you be a successful digital photographer. Often, beginners are advised to use a technique called “compose in thirds”. To do this, you must imagine four lines, two horizontal and two vertical, like placing a tic-tac-toe board across the image. The idea is to line your main subject with one of the intersections and not place them in the center. For other photos, placing the focus in the center of the imaginary grid results in a perfect photo.

Another technique used in digital photography is to keep your camera steady. Otherwise, you will end up with a blurry image. Holding the camera correctly is the simplest way to prevent shakes which is holding it with both hands. Although this might seem obvious, many new photographers fail to realize that this is what is needed to increase stability. A tripod or monopod can also be useful tools. Another way of preventing blurriness is to match the shutter speed to the lens’ focal strength. For example, a 100 mm lens should be matched with a minimum shutter speed of 1/1000th of a second.

The Sunny 16 rule is an important one for shooting outdoors. It aids the photographer in predicting the camera’s meter in bright conditions. For a camera with ISO 100, an f/16 aperture and 1/100 shutter speed must be used. According to the rule, for a camera with ISO 125, set the aperture to f/16 and the shutter speed to 1/125. The lower part of the fraction in the shutter speed will match the ISO of the camera with f/16 always used as the aperture. The Sunny 16 rule is an especially important technique for those using cameras without an LCD display.

When you are ready to take your digital photography skills to the next level, a polarizing filter for the camera lens will be a good investment. It reduces reflections on the lens that can come from metal, glass or water and also enhances the colors of the sky. The filter also protects your camera, particularly if you like to take photographs outside.

Landscapes are a popular type of subject for photographers and can be improved if you try to create a sense of depth. To use this technique, you will need a wide-angle lens that is made for taking panoramic shots. Also, using a small aperture of f/16 will help to add sharpness to the background and foreground.

To increase the light for indoor shots, increase the camera’s ISO to between 800 and 1600 and use its widest aperture setting. This allows the light to reach the sensor easier so that the background will be blurred. For outdoor photos, don’t use the flash at all.

For taking action shots, the panning technique is an essential one, especially for beginners. Adjusting the shutter speed lower than two steps will help you more effectively capture a moving subject. That means for 1/250, adjust to 1/60. You can also use a tripod or monopod to stabilize your shot and create a better output.

Long Exposure Photography

Use (ND) neutral density filter

Neutral Density filters are normally available in different stops. The type you choose really depends on how long the exposure needs to be and also on the brightness of the day.

Focus first

It will become nearly impossible to autofocus especially if you are using ND filter that is very dense. Sometimes, it may even be impossible to focus it manually. The reason for this is that ND filter will only allow a certain amount of light to pass through it although your autofocus definitely requires more light for it to function. The same is also true for your eyes. This means that you will first have to remove the ND filter, compose and then manually focus the shot and then finally replace the filter back and shoot. It is not advisable to use autofocus for the step because your camera will attempt to refocus the shots after replacing the filter.

Make use of NDCalc.

With this simple app (available for both Android and iPhone), it is possible to get the right exposure even with the ND filter attached. In order to use this tool, you need to use your camera’s meter to take a reading (without ND filter). After that, inform the app of the exposure time that your camera came got, as well as the type of ND filter that you are using. It will tell you the duration that exposure ought to be.

Take the best photo during the magic hour

The magic hours are times just before sunset and just after sunrise. Even with daytime exposure, it would still be a lot better to take shots during the magic hours. This will give you better contrast against the cloud, something that will make the movements there to be more dramatic.

Have your goals in mind

The weather will not matter at all if you aim to capture the misty look of the water. However, if you intend to capture cloud movement, you need to be more careful in your choice of weather. You require a day that is partly cloudy with decent winds. If a day is fully overcast, forget about getting that beautiful streak appearance as it will be too cloudy. On the other hand, a windless day is likely to offer you only scant sky movement.

Ways a Waterproof Sports Camera Can Help You

It’s time to click some good pictures

The first and foremost way in which a waterproof camera will be of help to you is by allowing you catch exciting and unique underwater moments with ease which a normal camera will not only allow you to do. Such cameras have a great flash light and handle strong pressure easily, allowing you to click pictures when under the sea. Being quite lightweight and compact in nature, waterproof sports cameras can be conveniently carried to any place without taking up too much space in a bag or purse.

They can withstand the weight

Some high-end and superior-quality waterproof cameras claim to withstand almost 100 kgs which is equivalent to the weight of a man standing on the camera! It is this feature that makes such cameras referred to as ‘rugged’ cameras.

They are shockproof

Waterproof cameras are shockproof in nature and can withstand drops easily. Most cameras can withstand a drop from a height of 1.5 metres with other better quality cameras being able to reach up to 3 metres without getting damaged. A solid case ensures that the camera does not get any scratches when it falls.

Don’t worry about the temperature

Such cameras can easily withstand freezing temperatures that are as low as -10 degrees Celsius and is a great option for skiers. They can click pictures while skiing or while indulging in other snow-related activities.

GoPro Dive Housing For Camera

Go Hands Free And Still Get Great Photos

Fumbling with your camera underwater can be a bit of a hazard, and can lead you to dropping it, or not paying enough attention in a tense moment. The GoPro dive housing for your camera makes the solution simple, with headlight clips, or wrist tethers to suit your every need. These features make it one of the most versatile housing units in the world!

Almost Any Water Depth

The GoPro dive housing is rated for a maximum depth of one-hundred and 97 feet underwater. This means that you can use it on just about any diving expedition, and be sure that your camera is safe and snug. Diving, snorkeling, or even shooting an underwater film, this dive housing for your camera does it all.

Versatility For Different Cameras

This unit can house any HD Hero Camera, and keep it safe and secure. It is also compatible with a plethora of accessories to make your shots as perfect and easy as possible. Versatility makes this housing the best on the market today.

Popularity With Others

Divers are not the only ones who rely on this unit for their needs, the GoPro dive housing is the top rated camera housing for athletes, film directors, and everyday users as well. How could you go wrong with a product that is lauded by everyone who uses it?

Movie Settings for the Canon Eos 1300D or Rebel T6 DSLR

About is file size and frame rate. These things are quite important because they will decide the quality of the videos that you shoot. This camera is pretty good – it’ll shoot 1080p which is full HD and it will also shoot 720p which is standard HD – both of which are perfectly acceptable for social media platforms. In order to make those changes we go again into Video Tab 2 and find Movie Recording Size. If we press on that option then we get four choices. Depending on whether you’ve chosen NTSC or PAL, you maximum rates will be either 60fps or 50fps.

When you’re shooting stills with the Canon 1300D you have lots of choices. They’re all on the Mode Dial and they go from entirely manual to semi-automatic and then to entirely automatic options In most of these Modes the camera is trying to get the best exposure for the stills that you’re shooting within the given parameters that you have presented to it. With movies it’s different. You have two options – you can either shoot Automatic or you can shoot Manual. With Automatic in the movie setting the camera will try to get the best possible exposure for you and in many cases it works very well, so I would suggest that initially at least you shoot in Automatic just to get a feel for how the camera works and you don’t have to worry then about the exposure because the camera will do the best it can for you. However, if you want to go into Manual there are different ways of changing the various parameters for Manual that are different to the way that you would do that for stills. In the Menu, Movie Exposure is in Video Tab 1 and you get the two options, Auto or Manual. If you choose to go into Manual then you have much more control over the settings that you can have. You will see that you have options for setting the Shutter Speed for setting the Aperture and for setting the ISO. For the Shutter Speed, rotate Main Dial. By depressing the AV button here and rotating that Main Dial you can change the Aperture. The ISO is changed by pressing the flash button and rotating the Main Dial.

The Canon 1300D does not have an external microphone socket. It just has an internal microphone, so sound can be a bit limited with this camera. But if you go into Menus and on Shooting Tab 2, the second one down is Sound Recording and you can set that to one of three options. You can have either Auto, Manual or Disabled. I would argue against disabling it entirely because sometimes it’s useful to have sound, even if you don’t intend to use it in the final cut. Auto is not bad but it will try to pick up as much sound as possible and you may not want that – you may not want the ambient sound. Manual is not too bad provided you’re reasonably close to the source of sound. There is a decibel bar going across the bottom and, as with most cameras, the objective is to try to peak on about 12. In terms of its recording in itself it’s actually pretty good, so I wouldn’t be adverse to using the internal microphone, you just have to be a little bit careful.

The next couple of options that we are going to look at are in Video Tab 3 and it may seem that they’re less important than other options, but they do affect the way that your video looks and so they are worth checking out. If we go to Video Tab 3 then at the bottom is the Picture Style option. These are the same options that you get with stills and you can choose to have Vivid or Sepia or many other options and some of them are set so that they bring out the best qualities for portrait and landscape. With video it tends to be better to try and shoot video as flat as possible and so the best option to start with is neutral and so you should always set that to neutral for video until you make the decision that you want to change the Picture Style and shoot something differently. The one just above that in Video Tab 3 is Custom White Balance. It’s very important for shooting videos because if you start moving around and shooting things in different light then the one stable element – the one constant – will be the white balance.

Quality Memory


Much like professional photographers know the importance of a great camera and an even better lens, they should also know the importance of choosing a high-quality memory card. Purchasing professional equipment is an investment in a photographer’s business. Regardless of price, the best products available should be used in order to provide the utmost in quality and service to clients. Here are some of the things that photographers should consider when selecting memory cards:

  • Size and Capacity: All capacities are different. Consider your typical file size and how many images you shoot per job. Then choose a card that can handle three or more jobs at a time, to be safe. The capacity is typically relative to the size, which can be misleading when only looking at the card’s physical appearance. They are also sometimes similarly named. For example, there’s miniSD, microSD, SD, SDHC, SDXC, etc. That brings us into our next category, speed.
  • Transfer and Read Speeds: The read and transfer speed varies by product. There are usually icons on the packaging to help define the speeds, but those also vary by product and can be confusing. All you really need to know is that it’s important to have high transfer and read speeds, for ease of use and rapid accessibility. Purchasing a card with inferior transfer and read speeds will cause you to lose time when it comes to loading and moving images.
  • Speed Class: Speed class is something that is very important to be aware of and, again, that varies by product and size. There are four different speed classes and two ultra high speed classes available. Depending on the desired file type and size, image quality, and whether or not you’re shooting HD video, speed class is something that can make or break an important photography or videography job. From fastest to slowest, the speed classes are 10, 6, 4, and 2 for regular memory cards. For devices that support UHD, there are two classes of ultra high speed memory available for professional use. This article from howtogeek.com further explains these specs.


Being a professional photographer is expensive, we know. When you’re just starting out, it may be tempting to purchase the most affordable equipment available – but this will only hinder your business. Professional grade, high-quality cameras, lenses, light sources, batteries (and the list goes on) are crucial to operating a successful photography business, right down to the type of memory card you use in your camera. Understanding what to look for is just as important as understanding what to avoid:

  • Low-quality memory cards may have hidden acronyms or specs that affect the card’s performance. Most buyers are unaware of these attributes.
  • Less renowned manufacturers may put inferior memory cards on the market, causing their products to have a higher failure rate.
  • Memory cards have limitations, and purchasing a low-quality product will make you more susceptible to risks like block erasure, memory wear, read disturb, x-ray effects, etc.

In summary, don’t sell your camera or your photography business short by trying to avoid making the investment in high-quality memory. The right memory cards are designed to save you time, provide optimal service, and make you money. A professional photographer should never skimp on the equipment they need to run a successful business.

Use Filters for Black and White Film Photography

Filters allow some wavelengths of light to pass through them, while blocking others from reaching the film, and so they alter specific grey tone values. As a rule of thumb, a coloured filter will allow light of its own colour to pass making its grey tone equivalent lighter, while contrasting colours are blocked resulting in their grey tone equivalent becoming darker. To put it another way, filters generally allow the user to make one set of colours darker, while complimentary colours become lighter.

The scene or subject being photographed often determines the choice of colour filter used, but yellow and orange are by far the most valuable tools for day-to-day photography.

The single most useful and versatile colour filter for black and white film photography is “yellow”. Yellow suppresses its opposite colour of blue, so will slightly darken skies and bring out the clouds. It also helps penetrate haze and fog. Simultaneously, it slightly lightens related colours (those next to it in the colour spectrum): greens, yellows, oranges and lighter reds. This gives improved differentiation between dissimilar colours, resulting in a more natural look to flesh, and improved contrast in foliage (which is usually many shades of green).

The classic use of yellow filters is landscape photography, but its wider application is any shot with sky, vegetation, or people in the frame. This covers many situations and makes the yellow filter almost compulsory for black and white film photography. If you don’t have a yellow filter, go any buy one now!

Perhaps the second most useful filter is orange. If you’ve been following the explanation so far, you might have guessed than an orange filter does much the same as a yellow filter, but to a greater degree. Blue skies will be recorded in darker tones, with bold contrast between the sky and clouds. An orange filter will also better penetrate haze and fog. In portrait photography, an orange filter gives skin a healthy, smooth look by reducing the appearance of freckles and blemishes. Orange is also good for architecture because it can increase contrast between different materials and enhance texture (bricks are orange so they appear lighter).

An orange filter tends to add a little more excitement. It’s an excellent choice when a more dramatic effect is required. Buy one.

A red filter, as you’ve probably guessed, takes things even further, but to something of an extreme: it’s not for everyone or every day use. A red filter will turn a blue sky almost black and make clouds really stand out. It’s dramatic, and will increase visibility in haze and fog. Beyond that, it’s uses are somewhat specialised, in particular, to increase tonal contrast between flowers and foliage in plant photography (although I can’t understand why anyone would want to shoot flowers in black and white). Orange has the same additional application, for a lesser effect.

Green filters are less useful. They give a boost to grass and trees, but also lighten the sky, which can be countered productive. A green filter is mainly used for photographing plants as it helps separate the green foliage from the brightly coloured flowers.

Blue filters tend to darken most colours (except blue, which it lightens) and so increase the contrast in an image, which can used be to emphasise mist and haze. Personally, I wouldn’t bother with green or blue filters, and would probably give red a miss too.

There is one more incredibly useful filter, which is even more valuable in colour photography: a polarizing filter. There are two types, but the one to buy is a circular filter. Without getting into a boring explanation about the different types of polarizing filters, I’ll just say circulars can usually be turned while fitted to a lens, so that the effect they have is seen in the viewfinder, and adjustable. The filter is used to manage reflections, or suppress glare. It’s possible to make these either appear or disappear; depending on the effect you want. Because reflections and skylight tend to be made-up of partially polarized light, a polarizing filter can be used to change the balance of the light in the photograph. What’s great about it is – what you see is what you get – and what you get depends upon what angle you twiddle it to.

There are other types of filter, mainly concerned with light level reduction, or special effects, but they’re not essential for everyday photography. There are also filters that are extremely common, but don’t do very much: skylight and UV filters. These tend to be employed as lens protectors, and that’s fine, but if you use a good quality lens, then they don’t accomplish much, and could even diminish the performance of a great lens. You’d be better off buying a yellow or orange filter.

The final word on filters has to be about exposure compensation, or “filter factors”. Filters usually have the overall effect of reducing the amount of light transmitted. Filters are therefore normally marked with a filter factor (such as 1.5x, 2x, 3x etc.). A factor of 2x, for example, means that the unfiltered exposure value should multiply by a factor of 2. In other words, the lens aperture has to be opened by one stop (twice as much light). A factor of 4x would be two stops extra, and so on. You only need worry about this if taking a light reading with a hand-held meter. A TTL metering camera, or one that has the “electric eye” around the lens (and is covered by the filter), will automatically meter correctly.