Ideal Place to Find Art Photography

In its beginnings, photography closely resembled other types of fine art. It required a process that was recognized as difficult by anyone who tried it and many photographers found it to be unpredictable. It wasn’t until the photo was taken and the film developed that the person knew what the result would be. Having gained acceptance as a genuine art form, art photography is displayed in galleries with a dedicated following of art photography enthusiasts around the world. Many conventional galleries are acknowledging the popularity of photography by including it in their exhibits of traditional art to give people more of what they are interested in.

The art gallery exhibits photographs deemed to be the best pieces of work during a fairly short, or long time span. As with any traditional art gallery, one that showcases photography will often have exhibits that are based on a specific theme. This could include various subjects such as landscapes, cityscapes, or people, or types of photography such as vintage.

One of the reasons that many people feel that art photography has grown so popular is because of the realistic subjects that it portrays. Unlike the abstracts that are such a large part of traditional art, art photography brings realism into any room where it is displayed. Photographs also differ from paintings in the way they are displayed. While paintings are typically framed, photos are not. They are simply placed on cardstock so that they do not have a frame style to add to the overall theme of the photo.

Although there will always be those people who refuse to accept photography as one of the fine arts, there are many others who appreciate the dedication of photographers to present realistic representations of so many of the things we are familiar with in life. As technology continues to improve, we can only hope that the quality continues to improve as well.

Smart Phone Photography

What a surprise! The photography possible with this machine is far better than any camera owned previously. It takes shot after shot of incredible photos whose detail can be enlarged and studied. Like the camera before it of course it takes videos as well.

This is a far cry from the first camera that my brother gave me when I was around 8 years of age. It was quite small but the photos I took have survived and are a record of the family history from those early years. Film had to be inserted and then the photos developed through the local chemist. It meant saving my pocket-money to redeem them.

From that time to this photography has been one of my hobbies and the quantity of shots from just about everywhere travelled or experiences enjoyed are filling albums and taking up storage space around the home. That is unnecessary with the new technology. The computer stores anything needing to be kept while some photos are printed immediately either through my printer or the local shop.

The difference in convenience and cost is astronomical and the pleasure of taking photos has increased enormously thanks to the new smart phone.

Strange Course

We must always start from the origin of what you want to understand and then try to necessarily start from the archetypes of all things. What is an archetype? Basically, it’s the idea of something. It still has a meaning, not yet, but it has the idea of how to that particular thing. All we know of this universe we live in is recorded in our mind in the form of an idea how to be everything and these primordial ideas we have just called archetypes (a definition that is found abundantly on the Internet and on any dictionary). To explain their meaning and to understand why is there all this talk with photography I can give an example. We can use the food. What are the ideas of edible food, qualitatively good and palatable? To put it directly, we see what are the archetypes regarding food photography.

Well, first of all, I must be very saturated. Any other non-vivid colour would correspond to the exact opposite of what constitutes an idea of palatable food. Then it must have a lot of glitter on the surface, because this means that the food was freshly cooked and then, in addition to having the right degree of humidity, especially fresh. And finally the last archetype concerning the palatable food: is very good light to pass through the mid-tones. What does it mean? It means that if the light passes through the mid-tones (light has a spectrum, a range of frequencies, the mids are simply the frequencies that are in the middle), the food is soft, it is still young. But what exactly determines that it is a qualitatively good food to eat? And ‘where the light passes through the mids that the colours become even more saturated. As the light cannot make it cross the colours are switched off or become much less saturated. If you want proof, take a slice of butter and look at it through the light of a bulb. Or a hand, a part of your body. The saturated colour of our archetypes is the life, is all that is natural is healthy.

Anyone who faces food photography or photo-retouching of food unless it takes into account these simple archetypes does a poor job. You might even talk of meanings in photography because in this case, we would not have exceeded even the basics that are accessed by the inexperienced.

There is another aspect to consider. A photograph is processed using the RGB colour space that has the quality to contain many more variations for each colour of the CMYK colour space instead is used for printing. In practice, it means that the RGB picture can contain very highly saturated colours even fluorescent colours. Be careful because once you convert photos to print, fluorescent colours disappear and then the food to our eyes, instead of switching on freshness archetypes, we turn on the stale food archetypes.

Infinitely complex or evolved?- Digital photography

I would like at this point to clarify the difference between complex and evolved. In the chapter on I introduced the archetypes but even if I went in that direction I would complicate my story.

I would immediately arrive to discover that photography is geometry, a geometry that embodies archetypal meanings, symbolic, conceptual and especially emotional, but I risk to get into complicated for me as I already wrote it. But what I want to realize with these items, it is a constructive talk, always in that direction, but always constructive and without complications within the theme doing photography.

As an example of complication or evolution can be used in the advent of digital photography. Do you think the fact that the art of photography has gone digital is a complication or an evolution? The same comparison you could also do to the human race when you look at the West compared to African countries.

The photographic art actually always respects the same rules, a photographer artist never based his art on the knowledge of the computer or camera, but his art he uses the moment they look into the camera viewfinder and shoot! This is its art, namely being able to take at the moment, in the position and perfect brightness. So the evolution of photography in the digital is not an evolution in photography, but a complication because all the photographers have had to learn new technologies. If anything, one can speak of an evolution of the cameras. Nor does the fact that today’s cameras can take thousands of times instead of one is an evolution because the real artist photographer knows when to shoot and do it once. All other digital shots, they go down the drain.

The art has remained so since she was born, are the techniques, it is technology that has evolved. As evidence of this, I resurrected an old problem that had been at the beginning of the digital age.

For any analogue photographer was a humiliating moment the digital switchover. Once, before the digital, development occurred through chemicals and various processes on an exposed film from the light, that was, in the sense if they could not change a single part in the colours created by the original light. It was completely altered with the products. Today the same photographers who initially developed the colors or black and white in the darkroom, some of them not all, claimed that the computer does not use it and do not even want to learn to use it because at this point the people in front of a beautiful photography would have said that was also photo-retouched. Today I think we are all adapted to computer use, it can not do without if only for the size of the files, but at the beginning of the digital era as well. That is their fear that it could be diminished the photographer’s art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. That is their fear that it could be diminished the photographer’s art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. That is their fear that it could be diminished the photographer’s art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong.

E ‘can still perform a development of the photo without changing the numerical values of the same, that is, without performing editing. E ‘possible with a Photoshop technique to perform a second development changing what has been achieved in the first. This is not photo-retouching because they are not altered the colour information contained in the three channels. A real shame because maintaining this confusion, that is not addressing this complication at the time, has only contributed to downgrade the category. This method I learned from the man who is internationally regarded as the father of colour correction, Dan Margulis. Dan Margulis has always used Photoshop and knows every secret…

Of consciousness and colours Geometry

But what it does that have to do the technology (and science) with human consciousness and (therefore spirituality)? What has to do primarily a photography course with human consciousness? When we hear that word, they were taught to think of religion to Catholicism if we are Italian, which means being bigots and even a little ‘annoying, because if we are, we are also moralists in the sense that we preach well but we scratch about very bad and there have inculcated that speak of consciousness is a big waste of time as well as much of a hassle. It is not marketing, it’s not something you eat, is not money, and above all is not science, and therefore, what is the use?

I disapprove totally.

As I mentioned earlier, we live with no one teaches us that between religion, or spirituality (I prefer the latter term because with religion we enter more specifically and complicated) and science there is a deep bond. Deepening these arguments one can not see a relationship difficult to ignore. I began to introduce the archetypes, talking about food, but I’ve only talked about archetypes thousandth class. The basic archetypes are little more than twenty, beginning with those who speak the sacred geometry of our universe. Leonardo certainly knew them as the Golden Spiral, the Vitruvian Man, he drew them precisely describing our geometry. A unique geometry throughout the universe. The number Phi, the Vitruvian Man, the Golden Spiral, the Mandala, the Fibonacci sequence, the Mandelbrot set and consequently the fractals, the Julia sets that show us how the Golden Spiral can draw all things in the world we know, everything coincides and describes only one geometry, our. Among all these archetypes, which basically are few, there is the first that could be precisely the idea of ​​geometric existence (because geometrical described by geometric archetypes) of our consciousness. After Consciousness is energy, modern scientists say it also, and it is energy occupies a space that must necessarily have a geometry. I say that could be the description of what in essence is consciousness because no one has ever tried this, but I would get with simple observations. Only Dr Malanga to my knowledge, scientist and chemist and physicist genius, I met many years ago during a conference on the Super Spin, went on to explain consciousness through the archetypes. I will not pretend to do the same thing now I mean, I would not have either the skills. It ‘a process that may be able to make a longer because of very complicated time. So instead of wallow in an attempt to show that the face of consciousness than simply Matches between archetypes, I step back and I look again all over again trying not to stare any complexity.

You could also consider the quantum physics that states that only by taking into account the existence of the observer consciousness, you can explain certain laboratory experiments. But in addition to being very complicated, I find it rather boring and I do not have a laboratory capable of using photons for today.

Instead, we offer our observation skills that not even centuries of Inquisition and other wars of all kinds have been able to take off. Our common sense and Treccani says common sense (or bonsènso; most com. COMMON SENSE) sm [expression cast fr. bon sens]. – natural Capacity, instinctive, judging uprightly, especially in view of practical needs. Now tell me if our common sense, it should not be an option for anyone, it is not really our conscience?

The word consciousness, according to Jung, accurately defines what remains as a result of having had a positive and constructive experience. Any experience long as it is positive. There are many dictionaries from which I extract this meaning, but Jung, who knew something about the human psyche, defined the word conscience in this way. Technically it is what allows us to be different from others because everyone does their own experiences. What makes us different from the others that are in the first analysis, the consciousness born of the experiences we have with our parents when we are born, then the experience of the school, then for the experiences at work, with friends, with colleagues etc. etc. Where education is knowledge, and experiences are the conscience.

It ‘a little’ how to join the Spirituality and Science. We are made of these two components, why this nonsense of enemy makes in our history?

Yes, if we think about it, we are more aware of the areas where we have developed more experience, we are not where we have not developed, but it is also what others recognize us without this happening with a logical reasoning. We are a bit ‘as the works of art, if we are beautiful works we are nice people, if we are not it means that we have gained little conscience in our lives. It can also be inborn, of course, he inherited from the life of grandparents, great-grandparents and transferred to us as a form of memories and energy within us when we are born, but already born with two parents who know what love is, and grow with them, creates in us a certain (very specific and character) generous consciousness.

It ‘s a bit like photosynthesis, if you are born when you come nourished by light, grow up healthy and strong if you get nourished by you will be able to play the same love, and you will have a strong vitality, normal, but not so much in common our society. The consciousness is the thing that distinguishes a work of art by an artisan work done as it should. What on earth will the work of art that stands out from everything else done as it should? It contains aware of the meanings that arouse in us emotions can make us feel an experience observing the work itself. The work itself will watch and we look at it through the emotions that she always did well for us. In practice an artwork contains the author’s message, contains the meanings aware that the author himself wanted to impress in his work.

We all have a conscience, but we are losing the idea that consciousness is for us the most important thing in our lives. And it is true that every person, every animal, everything has its own consciousness. Although it may be little awareness of an object, as it expresses its use and that’s it, but it is always consciousness. Have you ever used a tool of another for the first time without knowing its true and proper use? beginning do not understand it, then when you see it used by the owner who has understood rather well the meaning, we understand well the meaning us. Seeing it used properly, it makes you recognize something about the object that only with our eyes do not see, of course, his conscious meaning. That is so simple and that’s all.

A particular person who has made it his unique technique a real art, he always said: it is foolish not to teach because the person who comes to us the same, that we can not even if unable to explain it. What did he mean by that, he meant that those who acknowledge that manages to get close to his art learn it, those who do not have it he cannot even if he explains. It ‘very important to observe this in us when we approach to photography, in its development and in the eventual editing. One has to understand well what we are led to be able to do a job with passion, love and perhaps with a “conscience.” If we can find our passion when we work we reload, rather than if we do something we do not like, we consume.

One thing that no one wants to learn, for example, in photography or in the photo processing is the use of colour spaces, ie the use of the colour geometry. But there is, it is a complication which required digital photography and does photography with a passion we have to understand what it is.

Getting Certified As a Professional Photographer

Well for one thing – you’ll be able to add three little letters after your name… Stephanie Gagnon, CPP – has a nice ring to it doesn’t it? With the growing number of photographers all over the country it can help to set you apart. Only about 3% of photographers in the USA are certified – that’s a very small number! And that’s not because the test is impossible to pass – it’s because there are so many new photographers with little to no education in the field. To be able to increase that percentage and be one of those who can say that they understand photography and passed their CPP examination and print submission would be a great achievement! It also shows other photographers (especially those who’ve been in the industry for a long while) that you value this craft and that you are committed to growing and improving.

What does it mean for your clients? Well let’s be honest. Not many of your clients are going to know what CPP means. And because they don’t know what it means – the might not know why to value that. But you can share that you’re certified on your site and blog. You can post a blog post and let them know what it means, what you had to do to acquire those three letters.

So what do you have to do. Well there’s a $200 fee to take the CPP examination. This fee gives you the opportunity to take the test as many times as needed within 2 years to pass it. The test is 100 questions and you have to score at least a 70% to pass. The questions cover everything from lighting to lenses, shooting scenarios, composition, design – all the things a professional photographer should know and use to create their clients beautiful, timeless, one of a kind images! once you pass the exam, you then have to submit 15 prints for review. 6 of these images are compulsory, meaning they are specifically set up as to what they want you to shoot and demonstrate in them. The other nine need to accurately reflect what you shoot for your clients.

Once you pass both of these, you will be declared a certified photographer! But it doesn’t end there! You will have to re-certify every 3 years by paying a $100 fee and fulfilling 15 education requirements throughout the course of those three years to maintain your title of certification. Why do they do this? To ensure that those who are certified are continuing to educate themselves and grow as individuals and artists!

If you would like to look into more information on certification – the PPA is a great source to find everything you might want to know about getting certified and the process. You can find their information here: http://www.ppa.com/cpp/ I hope you’ve found this really insightful and that you’ll consider continuing your photographic education.

Essential Photography Tips for Beginners

  • Make mistakes: “Every expert was once a beginner” remember this one line before starting. When you are new there is nothing to lose, make as many mistakes as you can, but don’t get frustrated with your mistakes, learn from them and develop your skills further.
  • Get as close as you can, to your subject, try to fill the gap around your subject by approaching as close as you can to him, this will fill the frame of your picture with the subject only, you will see the difference between the pictures clicked from a close distance than when you clicked the same subject from a far distance. You will see the fine detailing of your subject.
  • Click as much as you can: We all know that “practice makes a man perfect” this can be said rightly for all the new photographers reading this article, if you are a new photographer, click as many pictures as you can, of the same or of different subjects to find your masterpiece with different angles. This will help you in mastering technical skills of photography.
  • Use the light: If you learned how to take advantage of a light source and utilise the source of light whether it’s a natural source like the sun or an artificial source of light like a lamp or something, you can make an ordinary picture look extraordinary.
  • Using flash: If you are a new photographer, you might think that you only need a flash when it’s too dark or when you are clicking pictures indoor, but this is not true. You might have come across a very common problem of uneven shadow patterns, those have spoiled your shots, when you were taking pictures in the bright sunlight, to resolve this issue you need to on the flash of your camera and put extra light on your subject, this will help you in getting rid of those shadows.
  • Invest in books: Read about the experts in the field of photography, as you can learn more about the techniques used by them and get inspired by their great work. Merely having an expensive camera and accessory won’t guarantee you great pictures; if you have the right technique you can even click extraordinary pictures with the help of a simple Smartphone

Taking and Editing Baby Pictures

Tips for Taking Baby Pictures

First, let’s talk about several ways in which you can take better photos of your baby.

  • Choose a Great Pose

By placing the baby in a cute or interesting pose, you can take a much better shot. Try to capture the baby in a natural and comfortable pose, such has when she’s sleeping or laughing. Also, always make the baby’s face the main point of interest of your composition. The face holds all her character and emotions so it makes your picture much more powerful.

  • Make Use of Props

Props are an exciting and creative way to take innovative and unique pictures. By placing the baby in a basket or by dressing it up in a fun costume, you can add freshness and interest to a picture. When it comes to props, you can try to think outside the box and come up with something that is both suitable for the situation and never seen before.

  • Pay Attention to Light

Lighting is everything in photography. The word “photography” itself means “writing with light”. When taking baby pictures, soft light is very pleasing to the eye and appropriate in terms of composition. Babies are gentle and fragile, so the light should reflect that. Sharp contrast and strong shadows may work elsewhere, but for baby photos, the softer the light the better.

  • Location, Location, Location

Depending on the time of year and on the purpose, baby photos can be taken both indoors and outdoors. Indoors are better for making the most of your props and being creative with the pose. However, the outdoors offer variety in terms of the background and make the shot more aesthetically pleasing.

  • Include the Parents in the Shot

When including the parents, it is important to really show the parent-child connection. Again, the pose is here very important. Try to emphasize the contrast of size between the baby and the parent, or try to place them in a nurturing and protective pose.

Tips for Editing Baby Pictures

After you have come up with many great baby photo ideas and finished the shooting, it is now necessary to edit the pictures with Movavi to make the best of them.

  • Removing the Background

If, for some reason, you are unhappy with the background, you can easily remove it using a photo editor. A good editor is the photographer’s best friend – it offers endless possibilities. After you have removed the unwanted background, you can replace it with something more appealing or suitable.

  • Captions and Filters

Professional Tips for Taking and Editing Baby Pictures -2Filters can add depth and interest to a photo. By selecting a filter that adds softness, you can emphasize the subject – the baby. What’s more, when you add caption to image, you can easily tell the story behind the picture. Your captions it can be something as short as a single word or a complete sentence.

  • Retouch the Photos

Retouching is another important step in editing. By correcting the white balance and colors, you can make the photo even more striking. There is no need to spend hours retouching pictures – photo editing software usually comes with some built-in presets. So, if there is little time for editing, just select the best preset for the picture you are working on.

  • Cropping the Photo

When taking and editing a photo, we should try to keep to the rule of thirds. The rule tells us where we should place the subject to make the composition better. By following this rule, we make sure our subject shines. Cropping the photo in post-production to adhere to this rule is sometimes necessary, but do try not to crop too much.

  • Effects

Editing software often also comes with some effects that can be added to a photo. Effects can be used to bring attention to the subject, and they can also add some flair to the photo. However, choose the effects carefully and always follow the rule – less is more. Too many effects can affect the composition badly.

Night Photography Tips

  • Slow down the shutter speed. This allows more light in but anything slower than 1/60 second and you will need a tripod to avoid camera shake. This technique is good for taking photos of landscapes or city traffic. However it may not be that useful if you are photographing people who are constantly moving. If you are photographing moving people, keep the shutter speed above 1/60 and use flash instead.
  • Lower the F Stop value, this will allow you to shoot in low light without a flash. Keep in mind low F Stop values make it more difficult to focus on your subject. Once again if you have a flash with you, you don’t need to use low F stop values.
  • Bump up your ISO. If you have a high quality camera eg Canon 5D Mark 3, these new cameras have great low light performance. Even at a high ISO, there is not as much digital noise as you’d expect. I usually bump up my ISO around 1000-1600 if needed. Keep in mind, if you bump up your ISO too much your image will be very noisy and grainy which is not very desirable.
  • Use Flash! Gotta love the flash. I tend to use a diffuser with the flash eg Gary Fong Lightsphere and I never point the flash at the subject. I always have the flash pointing on the ceiling or bouncing it off a wall or something. Pointing the flash away from your subject is also another good technique, it gives you just enough soft light to photograph your subject without blinding them. My recommendation is the Canon Speedlite 600 Ex-Rt. I have 2 of these units, they are pretty amazing, compact and portable. Great for wedding gigs and studio work. Using flash will give you so much more flexibility when shooting at night. You don’t have to go extremes on your camera settings when you are using flash.
  • Use off camera Flash. Having your flash off the camera will generally give better lighting and gives you more flexibility in controlling your lighting. If you have umbrellas, softboxes or reflectors these light modifiers will give you even better lighting. Have a play around and see what you come up with.

 

Photography for Low Light Conditions

With new technologically advanced cameras making rounds in the market, photography has become as easy as a click of the shutter. However, photographers who are passionate and take this art form seriously need to know the magic of light and shadow. Because, cameras work in the light, it’s always been a challenge to take good photos during the night-time.

Night time offers brilliant photographic moments. The sky, the stars, planets and the nature come together as a delightful photographic moment. However, the poor light conditions make the photographs look grainy and odd colored. With advanced hardware for cameras, it has become quite easy for the photographers to click quality photos even in the dark!

Here are some photography tips to help you shoot in the dark.

  • ISO: When shooting in low light or dark conditions, using a higher ISO somewhere around 800 to 6400 is a good idea.
  • Use larger lenses: Large aperture lenses work quite well in dark conditions. Large lenses with 35mm f/1.8 or 50mm f/1.8 features can be very effective in low light conditions. However, one has to remember, while using these lenses the ISO level needs to be low. Somewhere around 400-1600 is sufficient. This also keeps the focus on the subject hence, blurring the background and surroundings. This creates an amazing effect for photos.
  • Successive Drive: Taking photographs is a row in the dark can get you that one perfect photo you’ve been waiting for. You have to enable the drive mode available in the menu.
  • Use Tripod: Ideal for outdoor and indoor shoots that involves stationary subjects, tripods are the perfect aperture to shoot at night. This helps you to avoid blurry photos. Try and avoid using it for moving subjects.
  • Use Flash: Needless of saying, without flash, you cannot shoot at night or low light conditions. Flash is a must for night-time photographs. Flash illuminates the subject of photograph and makes the photo bright. For outdoor shoots, use external flash. While shooting indoors, focus the flash to the ceiling to reflect the light on the subject therefore, illuminating it with a soft light.
  • Grab the moment: There is no point in hurrying when it comes to photography. Wait for the right moment to get the best click. It’s advised to let the subject settle down for sometime before you shoot it. This ensures you have the best quality click.
  • Source of Light: Even during the night-time or in low light conditions, it’s important the subject faces the major source of light. The light needs to fall on the subject evenly. You can also use reflectors to reflect the light on the subject’s face.

Image Manipulation

To begin with, the simplest manipulation technique that one could use is shadow making. Shadow making is simply adding or removing a shadow from an object. Although at a glance this may seem an easy task, just adding a shadow to the object in front of you. Don’t be fooled, there is actually a science behind adding and removing shadows and the effect that is created. Without a shadow, there is no visual clue as to the scale and position of the object. The shadow also serves to anchor the object to its surface. Thus creating an impact on how we perceive the image.

By changing the length, direction and depth of the image, we can control how the brain interprets the image. For example adding a short narrow shadow would suggest that is midday, or leaving a space between the object and the shadow to create a levitating effect. Shadows also dictate the lighting in an image. Adding a shadow to facial features also create very important effects. The shadows on a face or an object are important as they give more information about the form and three-dimensional construction. If a face is illuminated by a hard-point source of light, the shadows will be clear. These shadows help to describe the structure and contours of the face more clearly than diffuse light. The direction of light is key to placing the shadow. Everything that faces the light source is bright and everything facing against the light is dark. When applying these laws to facial features you have to be careful, as a cast shadow is usually more elongated then the object itself, so to get the degree of realism that you want placing the right sized and shaped shadow is key.

All in all shadows can be used to serve many purposes, from dictating the height, depth and location of an object in an image to the lighting, brightness and level of contrast that the shadow provides. So what seemed easy at first actually turns out to be a slightly more complicated technique then one might think.