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As a class we are going to produce a photobook that encompasses what Crickhowell is. To do this we will explore 5 different genres of photography;

·         Fashion

·         Portrait

·         Nature

·         Architecture

·         Street

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Deryn
Jack B
Levi
Tommi
Josh
Ellie
Lois

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Tom C
Lily
Ayub
Tegan
Liv
Emi

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Tom F
Jak M
Harry
Sam P
Sam C
Alex

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Carys
Leah
Jess G
Emilie

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Ben
Ruby
Jess P
Lauren
Jacob
Bethan

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Today you should have taken a range of photographs linked to the topic you have been given.
Upload your 5 favourite photographs to the the column of your topic, you should consider editing these images before posting.
Include your name and if you have a title or caption for your photograph please add this.

To do this:
1) Press the + button at the bottom of your column.
2) Click on the camera icon.
3) Select 'pick a file'.
4) Click the photograph you want to upload.
5) Add title of your choice.
6) Include your name in the description.
7) When finished select 'done'.

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The article below makes it so clear why it's important and interesting to document our surroundings and capture the beauty of a town. He documented Barry and you are all documenting Crickhowell, but through different genres of Photography.

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(Image: Kevin Moore photography)

A photographer has captured these beautiful portraits of the people of Barry as part of a year-long project to document the town.

From a council worker and a fundraising dad to a butcher and the local football team, Kevin Moore set out in September to photograph the people of his home town for a whole year.

The 'A Year in Barry' project has quickly developed and now Kevin spends nearly seven days a week working on it.

Kevin, 53, from Barry, said: "I'm a professional wedding photographer and when I am not shooting weddings I do a lot of street photography. I posted a number of images onto my Facebook page, capturing the people of Barry going about their business which promoted an amazing response."

After being contacted by a local reporter suggesting he should do more Kevin decided to document the people of Barry across one year.

The following portraits tell the story of some of the people of the town.

Vivian Phillips

"This gentleman is Vivian Phillips. He is 86 years old and every week for the past 30 years he has combed the beaches of Barry with his trusty metal detector."

David Cole

"A gentleman involved with Barry Town Football Club for almost 28 years.

"David's first memory of watching a Barry Town game was when they played Queens Park Rangers in an FA Cup tie in November 1961.

"Little did he know that 28 years later he would become involved with the cub. David attended a meeting of Barry Town Supporters Club in 1989 having just left the Army and moving back to Barry.

"They asked for a volunteer to take over as secretary. No-one else stepped forward.

"He did not know anyone at the time but decided to give it a go and was accepted with open arms. This was the start of his 'love affair' with Barry Town."

Wendy Summerell

"A remarkable lady and a teacher of the Royal Academy of Dance.

"Her school, the Wendy Summerell School of Dance, is the longest-established school in Barry.

"Wendy has been teaching dance and ballet in Barry for over 50 years.

"She began dancing at the tender age of four, starting at the Malpas Rooms in Broad Street. Her teacher back then was Mae Ross.

"Wendy has trained with the Royal Academy in London and over the years has taught hundreds of boys and girls.

"Wendy, who is now 78 years of age, still teaches five times a week such is her professionalism and passion for ballet."

Ceri Williams

"Marshalls Butchers is the oldest traditional butchers in Wales, having been established in 1889 - that's 128 years ago to save you doing the maths.

"It still has the old yard at the back of the shop where they used to stable the horses, the original Victorian tiling, and upstairs have kept the old leather-bound ledgers which contain so much history.

"Ceri Williams has worked there since he was 16, starting straight from school.

"Although he had planned a career at sea he only made it as far as Holton Road as he followed his father and older brother into the family business."

Dave Keeble and wife Lynda

"The [Food for Thought deli] business started back in 1983 when Dave Keeble was touring the world with his catering business, providing food for many famous bands and singers - Queen, Abba, and David Bowie to name a few.

"As his passion was food, Dave and his wife Lynda opened up Food for Thought in High Street.

"Lynda along with other staff would run the shop whilst Dave was still away doing concerts, including Live Aid 1985 and Queen's last concert in Knebworth 1986."

Why set the project up?

Kevin said the aim of the project was to help inject some colour to the history of Barry.

He said: "The documentary would promote local business, arts, education, sport, and tourism as well as telling the stories of everyday people that deserve recognition and deserve to be remembered, whether it be through hardship or their contribution to the community and town through their services.

"The essential point behind it all was to photograph people and not buildings.

"When we look back at the archives of Barry they are full of black and white images of buildings and shipping but very few photos of the people who actually contributed to it and made Barry what it was back then.

"The purpose of this project is to change all that so that in 20, 50, or 100 years time you will be able to look back and see people.

"You will be able to put a face and a story to a business, a person, or an event that took place in Barry between September 2017 and September 2018."

When he first began the project Kevin made it clear through the dedicated Facebook page that he would photograph anyone who wanted to be a part of it and he has since received hundreds of messages.

Kevin said: "I am fortunate enough to have met so many interesting and courageous people.

"I've documented a child that by the age of five had gone through multiple heart operations, a father who was terrified of heights yet abseiled from the Transporter Bridge in Newport to raise awareness for Noah's Ark as his four-year old daughter had suffered with a brain tumour, a lady that suffers with breast cancer, has had multiple operations and at one stage been given 12 months to live.

"These are courageous people who deserve their stories being told.

"This project does just that - once it's on social media everyone gets to read about you.

"I covered a story of a council employee of some 30 years but only a few knew that he was a Paralympic gold medallist and world record holder.

"Once his story went onto the Year in Barry page everyone then got to know who he was and the response was like: 'Wow I never knew he was an Olympic athlete'."

Despite the swift success - the A Year in Barry Facebook page has already reached more than 1,300 likes - Kevin said the undertaking wasn't without its difficulties.

"The project is without doubt a massive task. By the end of September 2018 I would have taken thousands of images, all to be placed into the archives of our town. The biggest challenge for me is that of finance,

"I am effectively giving my photography for free but there are costs that need to be met - fuel, food, wear and tear on my vehicle and equipment. As well as the cost to cover the exhibition, I am constantly seeking sponsorship or a contribution to support the project."

Once the project has finished Kevin plans to exhibit at least 100 images in November 2018 at a location in Barry.

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The beautiful results of a Barry photographer's year-long project

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A photographer has captured these beautiful portraits of the people of Barry as part of a year-long project to document the town. From a council worker and a fundraising dad to a butcher and the local football team, Kevin Moore set out in September to photograph the people of his home town for a whole year.

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Here are a few things to consider...

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Lightroom Presets and Photoshop Actions | BeArt Presets:

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The best (and easiest to work with) light possible is natural, diffused lighting.The best times to take pictures are the early morning hours and early evening hours just before dusk. Avoid the bright sunlit hours or you'll need to consider exposure and flashes. Bright sunlight, even directly overhead, can cast shadows either across the face or behind the subject! Cloudy days are ideal for portrait photography. If you need to shoot in direct sunlight, use flash to fill in the shadows and light your subject's face.

Portrait photography benefits from shooting raw even if it means a larger file size. If you plan on printing or enlarging the picture, shoot raw because it allows you to edit the file without compromising the original. JPEG is a compressed format, and you lose valuable image data. While it's easier to work with JPEG, raw best preserves the image which can make all the difference when editing or printing the photo.

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The best (and easiest to work with) light possible is natural, diffused lighting.The best times to take pictures are the early morning hours and early evening hours just before dusk. Avoid the bright sunlit hours or you'll need to consider exposure and flashes.

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Some important tips here...

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Real street photography strives for a story in a single frame. It's about capturing strangers as they go about their daily lives. In order to capture the human condition in its least guarded form, it's often done without the subject's permission. If this sounds like what you aim for, here are five street photography tips-approved by the pros-to elevate your work.

Expensive gear isn't going to help one bit if you don't work on the soul of your images first. This isn't just composition and light. By soul, I mean the story, and the immediately relatable humanity in a given scene.

Steve McCurry is best known for his National Geographic photojournalism and travel photography, but defines himself as a street photographer at heart. Despite his Photoshop controversy this year, it's still hard to refute he's one of the best photographers of humans alive.

Let's look at one of his most elemental behaviors for street photography; the state of mind he calls being present in the moment. Yes, we have a camera in our hands, but our primary concern is experiencing life on the streets, not on taking hundreds of pictures. We have to be aware of the sights, sounds, and smells around us first.

This idea revolutionized my approach. When I first got into street photography 7 years ago, I was consumed by photographing everything in sight. I went out to take as many photos as I could. I felt failure if I didn't return with hundreds. Later, once I learned to be present in the moment, I was taking a fifth of the photos I used to, but coming away with many more publishable images.

McCurry says: "It's not that you have to go out and photograph something. It has to be a natural process, a curiosity to appreciate the world we live in. As time goes on, we start seeing things differently." Once you truly understand this, you will see your street photography improve dramatically.

Example

I'm pretty proud of this image because of the story that's present. Thanks to the man in odd sneakers reading a novel in front of a rack of free 'Beauty' magazines, I was able to juxtapose themes and get viewers thinking deeper. A commentary on the disposable nature of pop culture with more than a dash of human rebellion against social norms thrown in? Sure!

I was walking through Shibuya, Tokyo, and stopped dead in my tracks when I saw the scene. The only problem was it was rush hour and seemingly impossible to get a commuter-free frame. I had to climb on a traffic barrier, lean against a lamp post, and wait patiently to get this shot. Thankfully, he was in no hurry.

This means one body, one lens, and the focusing of all efforts on soul. The real investment isn't financial, but is made in training the mind to see photographic opportunities and to act on them in a split second. However, we should talk about gear briefly.

The right lens for the job is important. Some assume a telephoto lens would enable them to avoid confrontation and pick people off from far away. However, this would be in direct opposition to the concept of being present in the moment. You are not a sniper. You're also not on safari with lions, so jump in and get up close to the action. A wide-angle prime lens is perfect.

35mm is a classic focal length for street photography because it's wide enough to include a subject's surroundings, therefore better for storytelling. I recommend the Sigma 35mm 1.4 Art. I should mention this is on a full frame body. Paired with a cropped sensor body, a 35mm lens will produce a totally different angle of view, more similar to a 50mm lens on a full frame body. It's a good idea to rent a few lenses first.

If you own a full-frame camera body, rent a 35mm and a 50mm lens. If you own a crop sensor body, try a 24mm and a 35mm. Which focal length feels comfortable? For me, 50mm feels too cramped, yet others swear by it. It all comes down to which one works for your creative vision.

Alternatively, analyze your most commonly used focal lengths in Lightroom. You'll find this information under the histogram (top-right) in both library and develop modes. What focal lengths were you using when you took your favorite street photography images? Work out the average and go with the prime lens with the nearest focal length.

Good shots often appear quickly and disappear even quicker. In the quest to be prepared for such opportunities, I've discovered a lot of truth in photojournalist Arthur Wellig's famed mantra. "F/8 and be there" is well-known in the world of professional street photography, but why?

It's a beautifully simple phrase. It gives a blueprint for capturing sharp, clear images. Having cameras set to f/8 when walking during the day provides the best chance of capturing a scene that appears out of nowhere. Ones with a tiny window of opportunity. You don't have time to fiddle with settings. The priority is getting the shot.

F/8 gives a medium depth of field, so detail in the foreground and background. It provides enough depth of field to stop major focusing errors, as everything within a certain range will appear in focus. It also lets enough light through, thereby avoiding slow shutters speeds. Don't stay on f/8 all the time. If a scene presents itself that gives you time, adjust settings according to your creative vision for the shot.

The exposure triangle teaches us there are multiple combinations of settings that will give a correct exposure. Recently, I read an article recommending f/16 and ISO 400 for a sunny day. I disagree and suggest not shooting above f/8 handheld. At f/16, we increase chances of seeing unwanted effects and distortion. It's best to avoid unless on a tripod. A desirable shutter speed for street photography is around 1/200. ISO 100 and f/8 is the preferable way to achieve this. If the term exposure triangle draws a blank, check out this article for tips on how to become familiar with the language of photography.

Finally, the be there part of the phrase means getting in the middle of the action to give yourself the best chance of getting the shot. It links up nicely with the philosophy of being present in the moment - don't you think?

Example

I was on a date in downtown Seoul when I took the above image. In manual mode, I had my camera set to ISO 400 because the light was heading for golden hour territory. I had the aperture set to f/8. I knew if I came across an interesting scene, all I had to do was a quick spin of the wheel for shutter speed (this gets quicker with practice) and fire away. My date thought I was mental because I blurted out 'Oh my god!', sprinted 5 meters and dropped to my knees. She thought I was slightly less mental upon seeing the image.

American street photographer and educator Eric Kim has an incredible knack for getting up and close with his subjects. He went on a street photography workshop run by Magnum Photos-the prolific agency co-founded by Henri Cartier-Bresson-and came back with great advice. Any tip from Magnum via Eric Kim is a tip worth sharing here.

The professionals taught Kim as long as he comes across 3 workable scenes in a day, this is fine as long as he seizes on the opportunity. This means taking as many photos of each situation as possible: in different styles, from different angles, and multiple compositions. When you're back at home in front of Lightroom, you'll know which have been successful. Shoot tons now and discover later.

Our natural impulse might be to take a couple of shots then move on. What happens if the subject sees us? Fight these thoughts and urges. We might want to think about how to blend in so we're not seen, or to act in a way that makes it seem like we're simply doing our job. Dark clothing works well in helping photographers blend and not stand out. If spotted by our subjects, we can smile and put them at ease. Don't act suspiciously and hide the camera. Act like a professional, even if you're not.

Example

Flickr user and street photographer, Damien D'Angelo, worked the scene when he came across two kimono-clad Japanese women in Tokyo. Looking at his photostream, we see he shared 22 shots (perhaps taking even more) of the same scene. He took them in a short space of time and employing multiple compositions. By doing this, he gave himself a strong chance of coming away with at least one strong image. The result was this visually striking work with a strong sense of place.

Street Photography Around the World.

As you progress, it's natural to want to test your skills in different environments around the world. When you do, remember acceptable street photography practices vary from country to country.

It may come as a surprise to learn Japan, as birthplace of Canon and Nikon, has some of the strictest personal privacy laws in the world. In other places, taking photos of women without permission can land you in big trouble. On the flip side, female photographers have incredible opportunities to bond with local women in ways a male could not.

Study up, be aware, and even take advantage of these differences in positive ways. Be respectful of people, their culture, traditions, and the law of the land. Perhaps most importantly when traveling, remember to be present in the moment. Leave the camera at your side, walk, and just experience. Then the best photos come.
Are you a street photographer with striking street images you'd like to share with the world? Join PhotoBlog.com and start sharing them with an instant audience today!

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5 Things About Street Photography Only The Pros Know

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Real street photography strives for a story in a single frame. It's about capturing strangers as they go about their daily lives. In order to capture the human condition in its least guarded form, it's often done without the subject's permission.

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What camera settings will you need for the style of photography you're going to be shooting? Use this quick guide to help you when shooting manual.

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Wildlife photography falls under nature photography too, here are some useful tips for shooting wildlife...

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13. Nocturnal animals

Use off-camera flask to freeze wildlife at night:

1. Off-camera flash works better than pop-up flash; use radio or IR triggers to fire the flashguns.

2. Work in Manual exposure mode: set the 'x-sync' shutter speed (typically around 1/200 sec) and a mid-range aperture, then adjust the ISO for a good exposure.

3. Compose and focus your shots while there's still some daylight.

SHOOTING TIP: Bait your garden to encourage wildlife, and set up your flashguns once you know the routes and routines the animals follow.

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13. Nocturnal animals Use off-camera flask to freeze wildlife at night: 1. Off-camera flash works better than pop-up flash; use radio or IR triggers to fire the flashguns. 2. Work in Manual exposure mode: set the 'x-sync' shutter speed (typically around 1/200 sec) and a mid-range aperture, then adjust the ISO for a good exposure.

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Street photography: Getting the perfect shot

In street photography, there are many factors to consider when you're capturing a scene. When I first started out, oftentimes I would catch my best shots out of pure luck. But looking back I realize it has more to do with timing than luck.

There's a lot of waiting involved in photography. You may be waiting for someone to walk by so they don't enter the frame as you press the shutter button. You may be waiting for that moment of stillness among the chaos or waiting for your unsuspecting subject to look up for that brief second. Observe, wait, capture. You learn to be patient as a photographer. The perfect moment can't be rushed.

While there's no specific formula to getting the "perfect shot", some of the types of shots below should help you when you're out there capturing your city!

1. Look above

When you're exploring a new city you will find yourself looking up quite often. If you see a piece of architecture you admire consider shooting it from this point of view. Whether you're centered underneath or viewing from an angle, it will result in an intriguing photo for sure. It's also one of the easies to capture if you're new to street photography.

This photo was taken while looking above at the Willis Tower (also known as the Sears Tower) in Chicago, IL. My goal was to express the enormity of this incredible and well-known building. I internally considered the perspective, the strong horizontal and vertical lines, and even the gradation of light.

2. Look below

The opposite of above is well, below. This is a point of view not captured nearly as much as above as it takes a little more thought. You have to consider your location. Is there a stairway to the top of a building or a steep hill? Fortunately there are plenty highs and lows in most cities. The next time you're up high, take a look at what you see below and create something new from it.

This photo is from downtown Seattle, Washington.

3. Across the street

One of the best ways capture a building, or in this case marquee signage, is to shoot from across the street. Of course this depends on the type of lens you have too but most of the time it's easiest to catch a spectacle like this in its entirety from a street over. Had I been on the same side of the building, I would not be able to get this shot.

This photo was taken across from the Chicago Theatre to capture the bright, sparkling signage.

4. Angles

I'm always looking for dynamic angles when scouting out signage. I personally find shooting things from a straight on angle to be uninspiring so I purposefully shoot at a diagonal angle like in this shot. This signage from Chicago's Skyjack, the 103rd floor on the Willis (Sears) Tower.

5. Textures

Another things I'm looking out for when wondering a city are unique textures, abundant in urban settings. I loved how the Hard Rock Cafe logo looked painted on this brick wall in Seattle, Washington. I'm sure your city offers its own texture and street art too!

6. Foreground versus background

Don't be afraid to let something get in the way. I purposefully captured these images of Vancouver's Burrard Bridge by standing behind walls to achieve the dark framed edges shown here. In this case, it emphasizes the motion of those passing by on the bridge. It also creates an interesting gradation of darkness. Yes, this could be replicated in Photoshop but you want to capture everything in camera first, right? :) Use foreground and background creatively the next time you've found your focal point.

7. Capture a scene from afar

While I love photography details up close to capture the unnoticed, I also know the importance of stepping and back and letting the whole scene in. A great way to capture San Francisco's Ocean Beach is from the Cliff House. It shows just enough of those on the beach, the shore, the waves, the mountains, and the sky.

8. Reflections

You know window shopping? Well, usually when I'm looking through a window I'm thinking about how I can create some dreamy and abstract photo from it. It's also a sneaky way to achieving the look of a double exposure.

9. Capture motion

What would a city be without motion? This can be a little tricky to capture but it just takes practice! You'll want to play around with the shutter speed on your camera to give just the right amount of camera blur you like. The faster the shutter speed, the more you "freeze" the scene (meaning everything is sharp and in focus, no motion). So the more you slow the shutter speed down, the more of an artistic blur you'll catch in your moving subjects.

10. Lights and shadows

Lighting is one of the single most important elements to consider in photography. (I wrote about this more in a tutorial on the golden hour here, so be sure to check that out)! Whether it's the middle of the day or the sunlight is fading from the streets, there's always bits of light and shadow you can use to create dynamic images.

While waiting to cross on Market Street in San Francisco I looked up and noticed the light shining on the sign and the windows from the building in the background. Be observant (and again, patient) and you will find these moments.

11. Abstraction

Abstracting a scene comes fairly easy to me. I enjoy taking the ordinary and making it extraordinary. I want to force you to take a second look and wonder, what is that? How did she do that?

There are many ways to abstract a scene but one of the most straightforward ways to do so is to play with the focus on your camera when shooting bright city lights at night. This technique is referred to as bokeh photography. This photo is of the BC Place Stadium in Vancouver, BC. There's plenty more of bokeh photography where that came from!

12. Never pass up those alleyways

In San Francisco, there are no shortage of alleyways. While I don't advise walking down them alone especially at night with a camera, I do encourage capturing them from afar. No two alleyways are the same.

13. Framing

Creatively using frames within your street photography can be a great way to emphasize your focal point. The archways from the Burrard bridge framed the couple walking toward me in the image below.

14. Perspective

Strong, directional lines can be powerful in your street photography, giving a sense of perspective or symmetry. Bridges and other architecture in cities offer plenty of lines, shapes, and perspectives. What unique perspectives of buildings in your city have you noticed and can share in your images?

15. Go where the view is

Every city has its spots with the best views to gaze from. I've spent years roaming San Francisco discovering these. One of my favorite places to see the city of San Francisco in one view is from Twin Peaks. At night, you can see the stream of lights on Market street from the Ferry Building, the bay and golden gate bridges.

16. People

And last but not least, people. While those passing by can sometimes get in the way of composing your shot, don't forget they can add an unplanned element of surprise. The thing with strangers walking by is you have to be quick. They aren't there to pose for you so you have to rely on your instincts to frame, focus, and capture these images. I've named this one "urban love". It may not be the best photo I've taken but the feeling, the meaning behind it is what I'm most proud of capturing.

Looking for a little inspiration to get you out there shooting and improving your photography skills?

Check out Fall in Love with Photography, a free 7 day photo challenge to kickstart your photography! Every day for one week you'll receive a new photo challenge right to your inbox. Each challenge features a theme with plenty of tips and ideas to get your creativity flowing. Enter your name and email below to get started!

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Street Photography: The 16 Shots You Need to Capture

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In street photography, there are many factors to consider when you're capturing a scene. When I first started out, oftentimes I would catch my best shots out of pure luck. But looking back I realize it has more to do with timing than luck. There's a lot of waiting involved in photography.

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Some helpful tips to successful architectural photography...

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Our modern day, image-obsessed culture has got us consuming a large quantity of architecture through photographs, as opposed to physical, spatial experiences. The advantages of architectural photography are great; it allows people to obtain a visual understanding of buildings they may never get the opportunity to visit in their lifetime, creating a valuable resource that allows us to expand our architectural vocabulary. However, one must stay critical towards the disadvantages of photography when it comes to architecture. Jeremy Till, author of " Architecture Depends," summarizes this in his chapter "Out Of Time": "The photograph allows us to forget what has come before (the pain of extended labor to achieve the delivery of the fully formed building) and what is to come after (the affront of time as dirt, users, change, and weather move in). It freezes time or, rather, freezes out time. Architectural photography 'lifts the building out of time, out of breath,' and in this provides solace for architects who can dream for a moment that architecture is a stable power existing over and above the tides of time."

The following tips aim to not only improve the visual strength of your architectural photography, but also the stories that they can tell-going beyond the individual images in order to communicate buildings' relationships with their contexts, space and time.

1. Shoot in a variety of weather conditions and times of day

People often tend to seek the most dramatic lighting to shoot architectural wonders, such as sunset hours when shadows are long and colors bright. Although this often results in very atmospheric images, it only really encapsulates the building's atmosphere at one specific point in time. Shooting a series of images during different times of the day, or even in various weather conditions, can help to paint a fuller story of the building's relationship with its environment.

2. Prioritize good lighting

Regardless of when you are shooting photographs, good lighting should always be a priority. Great architectural lighting helps to emphasize a space, a specific structure or atmosphere, and thus plays a big role in shaping one's understanding of what is important in that specific architectural project.

3. Look for a unique angle

Playing with perspective is not only an entertaining thing to do, it can also be very rewarding. Taking time to find a different angle from which to photograph can expose an overlooked form or abstraction of a building's detail that may give rise to another level of beauty and appreciation for its form.

4. Don't be afraid to include people (architecture doesn't exist without them)

Till includes a humorous excerpt in his chapter "Out Of Time" where the picture editor of "The Everyday and Architecture" refuses to accept a cover image with a person in it, but is satisfied when that person is replaced with a bicycle instead. Historically, there has been a trend not to include people in architectural photography, as if we somehow contaminate the pure, designed beauty. Fortunately, a number of high-profile architectural photographers are beginning to buck this trend. Architecture doesn't and wouldn't exist without us-don't shy away from recording our presence.

5. Explore details as much as the whole

Although shooting with a wide-angle lens is usually the smartest thing to do when it comes to architectural photography, buildings contain hundreds of intricate little details that are lost when an entire facade or room is shot in one frame. Exploring details up close could reveal something new about the building's history or construction, for example.

6. Try not to objectify the building

Imagine the shock of visiting a building you've only seen photographed from that one, good angle. Objectifying a building to the point where one only visualizes it from one point of view is one of the greatest disservices of architectural photography. Once again, Till summarizes it perfectly: "It is not so much the overstated urban myth that architects design buildings with a view to specific photographs of them, but more that photography becomes the primary point of reference for architecture." Making an effort to record the complete spatial context of the building is not easy, but not impossible either.

7. Use post-processing tools

Processing images has become quite a standard part of photography, allowing you to tweak your images to perfectly match that atmosphere you want to capture. While images should only be altered with a clear understanding of what kind of changes are acceptable, software such as Photoshop and Lightroom are easy to use with a wide variety of advanced functions such as lens correction. If you're looking for an easy way to create a panoramic photography using a series of images, try Hugin.

8. Invest in appropriate photography equipment

If you're serious about getting started with high-quality architectural photography, investing in the right equipment is going to reap big rewards. A wide angle lens is most commonly used for photographing buildings and interior spaces and including a tripod will open up possibilities to shoot in low-light conditions, among other things. Using a polarizing filter can also help to add contrast and make your images more vivid. If you're looking for something on the next level, a drone with a quality camera installed could be an exciting way to go.

9. Revisit the site multiple times

Returning to the same place again and again will reveal new layers to the architecture that can be used to communicate the development, or perhaps the degeneration, of a building over time. Seeing a perfect photograph of a newly constructed building is of course beautiful and fascinating, but why not follow the architecture beyond that perfect first shot? Perhaps the real interesting aspects of the building are only exposed over time.

10. Research the building beforehand

Reading up on the history and context of an architectural site before visiting is an indispensable resource that will, without a doubt, help you to focus your photography on a relevant story or idea that captures the essence of the building.

Our article on 9 Architectural Photography Tutorials to Help You Get the Right Shot is another great resource for improving your architectural photography, including advice for specific types of shots. Practice, explore and most of all, enjoy!

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10 Tips To Perfect Your Architectural Photography

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Our modern day, image-obsessed culture has got us consuming a large quantity of architecture through photographs, as opposed to physical, spatial experiences. The advantages of architectural photography are great; it allows people to obtain a visual understanding of buildings they may never get the opportunity to visit in their lifetime, creating a valuable resource that allows us to expand our architectural vocabulary.

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When you live in a city, as most Light Stalking readers do, then at some point you're probably going to find yourself taking a photograph of a building. Unfortunately, it is very easy to take very poor photos of architecture. Hopefully, these tips will help you capture something a little better than just a snap.

The static nature of architecture is great for photographers in that it means that we can really plan a shot and minimize potential problems. The level of control the photographer has is unmatched in most other subjects in photography.

photo © 2008 Wolfgang Staudt | (via: Wylio) more info

1) Focal Length - You will probably want the widest angle of view that you can get in many cases. That means shooting with wide angle lenses. Anything under 35mm (on a full frame sensor) will probably do fine depending on how close or far you are from your subject. If you're lucky enough to be in a situation where you can get a great shot of a building from a long distance away, then longer focal length will be fine, but in most city situations you will need to shoot from quite a close distance due to other buildings, cars, people and clutter being in the way. In such cases, you're probably going to want wide angle lenses anywhere from 12mm to 35mm.

2) Stabilize Your Camera - Shooting an inanimate object means that you are not going to face many of the problems that other types of photography has with motion and light. It is quite possible to take your time and get as much light onto your sensor as is required to produce a great shot - it just might take a little longer and require a very stable camera. Get a decent tripod and don't be afraid to use it.

3) Shoot Low ISO - As you're going to have a stable camera, you're not going to have any trouble getting enough light into your camera (ie. you're free to go with longer shutter speeds as a building won't move - hopefully). Minimize noise by shooting at a low ISO.

4) Close the Aperture - Again, you're free to close the aperture when your camera is mounted on a tripod and you have time to leave the shutter open. Shooting at smaller aperture allows you to minimize any lens errors too. Shooting at wider aperture can be good for artistic effects, but usually an architectural photographer will want a greater depth of field which means f8 or above in most architectural situations.

photo © 2009 5) Converging Lines - For the maximum amount of realism in architectural photography, it's best to keep vertical lines vertical (usually by increasing the distance between you and the building you're shooting). Sometimes this simply isn't possible (such as when a fish eye lens is required to capture a whole building) and sometimes it's simply not desirable (such as when you want to exert some artistic license). Do what you need to to achieve the desired look, but simply remember the general convention against converging lines. Steve | (via: Wylio) more info

6) Camera Position - If you position a camera with a wide angle lens close to a building, then the effect can be quite dramatic in emphasizing the size of objects in the foreground compared to objects in the background. The wide angle stretches the perspective. If that is the arrangement you want, then fine. If not, then get further away and use longer focal lengths to bring the objects closer together - an effect that appears less dramatic, but adds a more solid look to a piece of architecture. See the two photographs below to see the difference that only a few meters in camera position can make.

photo © 2008 Paul Hart | (via: Wylio) more info

photo © 2008 Paul Hart | (via: Wylio) more info

7) Stand Up For Your Rights - In this age of terrorism, every goon and his Doberman thinks he can tell you to stop photographing something or other - especially, it seems, buildings. As with so many of his other life choices, he is often wrong. Check the local laws, but in most cases, if you are in a western country and shooting from a public place then you probably have every right to do so. Check this great post from Photojojo about legal rights and photography for more information on that.

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7 Tips for Better Architectural Photography

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When you live in a city, as most Light Stalking readers do, then at some point you're probably going to find yourself taking a photograph of a building. Unfortunately, it is very easy to take very poor photos of architecture. Hopefully, these tips will help you capture something a little better than just a snap.

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Some things to think about...

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Who says fashion photography is all about the clothes? Without the right knowledge of exposure, lighting, composition and posing, even the most impressive clothes can look dull and lifeless when printed in a catalog or showcased online.

Fashion photography is a challenging discipline that combines the normal elements of photography - exposure, composition and lighting - with the life and energy of a model and their clothing.

In this guide, you'll learn how to shoot amazing fashion photos that capture the look and feel of your model and their clothing with ease. From studio shoot to on location photography, read on to learn how to become an expert fashion photographer.

Are you new to photography? Fashion photography requires an understanding of the basics of digital photography like exposure and composition. Before you begin, check out the EasyDSLR Digital Photography Course to master your digital camera.

The basics of fashion photography

If you're familiar with how to operate your digital camera in manual mode, you'll have no trouble adjusting to the basics of fashion photography. Since your subject rarely moves, many photographers find fashion photography refreshingly easy.

Fashion photography takes place in two settings: indoors, in either a studio or an interesting environment, or outdoors. Outdoor shoots are generally mode difficult than indoor shoots, since the weather makes camera adjustment more important.

Contrary to popular belief, you don't need a huge lighting rig to take great looking fashion photographs. If you're a beginner with a limited budget, you can take good looking photos with nothing more than a single light source and two reflectors.

Fashion photography equipment

You don't need a huge kit to shoot fashion photography, but it certainly helps if you have a high quality digital camera. Unless you're going for the raw style that's used in American Apparel advertisements, make sure you have a quality DSLR camera.

Fashion photographs need to be crisp at a high resolution, so your digital camera's megapixel count (which usually isn't particularly important) matter a lot more for fashion photography than it does for street or artistic photography.

Although some fashion photographers swear by film, don't be put off if you've only got a digital camera. Modern DSLRs outperform almost all film cameras for fashion photography, and if you've got the right lenses, almost any DSLR camera will do.

Fashion photography is all about having the right lens for the job. If you're normally a landscape or sports photographer, put away your zoom lens and choose a wide to medium angle telephoto lens that's adjustable to between 15 and 55 millimeters.

Good lenses for fashion photography include 18-55, 17-40 and 16-50 types with a fast aperture. You should also have a 50mm fixed focal length lens with a very fast aperture - preferably between 1.2 and 1.8 - to use for dark, low-light shoots.

As a beginner, you don't need to buy any additional flash equipment. For lighting, stick with a pair of 500 watt halogen lights (preferably with barn doors) and two reflectors to spread light evenly throughout your studio.

Would you like to become an expert fashion photographer? Learn more about the equipment and techniques you'll use as a fashion photographer with our Fashion and Glamour Photography course.

Fashion photography techniques

If you're used to landscape or street photography, you'll find the techniques used in fashion photography remarkably simple. Fashion photography is all about lighting and preparation - the photography technique itself is amazingly simple.

Many fashion photographers keep their lens in automatic focus when shooting in a studio. This is because the distance between your camera and the model is constant throughout the shoot, and automatic focus is more accurate than manual control.

Likewise, once you've set your exposure settings, it's time to shoot. Most of the time, you can stick with the same ISO, shutter speed and aperture settings throughout the photo shoot. Some fashion photographers even let their camera manage exposure!

What's far more important than aperture and focus is lighting. Without the right type of lighting and the perfect intensity, even the best photographer will capture photos that don't look their best.

Learn how to light your studio for a fashion photo shoot using the techniques in our Digital Photography: Introduction to Lighting course. From studios to outdoor photo shoots, you'll learn how to configure lighting for great looking fashion photos.

Outdoor fashion photography

Not all fashion photography takes place in a studio. From catalogs to calendars, a lot of fashion photography is capture outdoors, often in exotic settings like beaches and urban environments.

If you're familiar with landscape photography, you'll adjust quickly to taking fashion photos on location. Outdoor fashion photography is normally more demanding than studio photography since you don't have total control of your light sources.

Do you want to learn how to take beautiful fashion photographers at the beach or in the city? Enroll in our Natural Light Fashion Photography course to learn the skills and techniques used in low-light, daytime and evening outdoor photo shoots.

Editing fashion photos

Rarely are fashion photos published without digital editing. From airbrushing over blemishes and wrinkles to making an overly bright photo feel natural, organic and warm, being able to use Adobe Photoshop is essential for fashion photographers.

Even if you're opposed to airbrushing and photo manipulation, knowing how to use Photoshop will make it far easier for you to optimize your lighting, levels and color to create photos that stand out from the crowd and command attention.

Learn how to use Adobe Photoshop CC to fix color and exposure problems in your photos, crop your photos to improve composition and remove blemishes with our Mastering Adobe Photoshop CC course.

Learn more about fashion photography

Fashion photography is a demanding profession, but it's also a very rewarding one for photographers with the creative talent and work ethic to succeed. From fashion labels to magazines, fashion photographers are in demand with many employers.

Learn more about the equipment you need to take fashion photos that stand out and impress potential clients in our blog post on photography lighting. Discover proven techniques to improve your photos in our blog post on fashion photography tips.

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Fashion Photography 101: How to Take Stylish Photos

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Who says fashion photography is all about the clothes? Without the right knowledge of exposure, lighting, composition and posing, even the most impressive clothes can look dull and lifeless when printed in a catalog or showcased online.

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You have each been given a different genre of Photography to link to our project to document Crickhowell and create photos to make a photo book.

Complete classwork which was to;

Research what your genre is.

Each researching a photographer/artist who works in this style.

Mind mapping possible ideas making clear links to your research.

Each sketching out 5 different ideas for photos.

Writing a list of locations, props and possible models. Explaining how these link to your research and any problems you may encounter and how you could combat these.

Attached is the link to the Padlet page with useful links and videos for each genre.

Present all this in your sketchbook.

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Nation of Shopkeepers - nick dawe - photographer

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Scan the QR code to see this wall on your device.
Create your own qr codes to use in your sketchbooks. This will allow us to digitally see the Artist Research you're looking at, a link to your photographs, Pinterest board, Padlet wall... the list is endless.
This is something the WJEC have said they want to see more of and it's extremely simple to do. Below is a link to a simple QR code generator:
http://www.qr-code-generator.com

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An interesting read with some great tips for taking photographs of people in the street.

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In street photography, there is a sub-genre of street photos called "STREET PORTRAITS".

To be honest, I kind of hate the term "street portraits", because a lot of snobby street photographers say:

Street portraits aren't 'real' street photos.

Just ignore these folks.

Good street portrait photographers to study: Richard Avedon, Bruce Gilden, Diane Arbus, Anders Petersen, and Eric Kim.

1. Finding interesting faces

I love faces. To me, I studied sociology because I wanted to understand humanity.

I think faces are the most interesting things on human beings. Faces tell a story. Faces show emotion, soul, and personality.

If you are interested in human faces and "characters", shooting street portraits are for you.

2. What makes an interesting face?

Just follow your gut. An interesting face to me, isn't necessarily interesting to you.

For me, I love elderly folks. I love wrinkles. To me, it is their life story, shown through their faces.

I generally find the faces of young people boring.

I like faces when people have strong eyes. To me, eyes are the windows to the soul

3. Get close.

For street portraits, when in doubt, get closer.

I shoot street portraits on my Ricoh GR II camera, P (program) mode, iso 800 for color, in Raw, with Eric Kim presets, center point autofocus, and often with flash.

I like to shoot from a lower angle, and try to simplify the background when shooting. Often, the sky is the best simple background.

Or be like Richard Avedon: ask your subject to stand against a simple background. Find a plain white or black wall. Most people are willing to move a little, as long as you tell them that a more simple background will make a buyer photo.

Also pro tip: offer to email your subject their favorite photo. Let them look at the photos on the LCD screen, and help you select their favorite photo.

4. Make a portrait

If you ask someone to shoot a street portrait of them, say:

Excuse me, I love your look. Do you know if I made a portrait of you?

Don't say:

Take a photo of you.

Make a portrait is more intentional, artistic, and less creepy.

Also, be honest. Share why you want to make a portrait of them. Is it their tattoo? Their clothing? Their eyes? Their attitude or look?

Don't bullshit.

Conclusion

For street portraits, when in doubt, just ask for permission.

A good assignment from STREET NOTES: try to get 5 people to say yes when shooting a street portrait, and try to get 5 people to say no.

For an entire day keep asking strangers for permission. The more you get rejected, the more confidence you will build.

Or an easier way to build your confidence: attend an ERIC KIM WORKSHOP.

Be strong,
Eric

If you're new to street photography, start here:

Street Photography Inspiration

Beginner Street Photography Articles

Get started in street photography:

Definitions in Street Photography

How to Shoot Street Photography

Street Photography Equipment
See all equipment articles >
How to Conquer Your Fears in Street Photography
See all articles to conquer your fears >
Intermediate Street Photography Articles

Take your street photography to the next level:

Advanced Street Photography Articles

Find deeper meaning in your street photography:

Street Photography Tips & Technique

Learn how to shoot on the streets:
See all street photography tips and techniques >
Street Photography Guides

In-depth guides on street photography:

Street Photography Equipment

The best equipment for street photography:
See all equipment articles >
Street Photography Editing and Workflow

How to Start a Street Photography Project

Learn From the Masters of Street Photography

"He without a past has no future."

If you want a distilled version, read the free ebook: "100 Lessons From the Masters of Street Photography."

Free Downloads
See all free downloads >
Free Street Photography Ebooks

Distilled information on street photography:
For more resources on photography, Start Here >

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In street photography, there is a sub-genre of street photos called "STREET PORTRAITS". To be honest, I kind of hate the term "street portraits", because a lot of snobby street photographers say: Street portraits aren't 'real' street photos. Just ignore these folks. Good street portrait photographers to study: Richard Avedon, Bruce Gilden, Diane Arbus, Anders...

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Beauty in everything day life. Use this project to open your eyes to the things in Crickhowell you see every day and take for granted!
Some really strong chiaroscuro street photography, look for strong shadows and increase the contrast for a really strong dramatic effect.

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A throw away, forgettable moment that we walk past everyday.

A scene that means very little and unlikely to be remembered. This is where street photography thrives.

It's not about finding a news worthy image but looking into the details of human society. Exploring the environment around us and how we live in it.

The biggest advantage of street photography is it's so accessible. Camera phones, mirrorless cameras and DSLRs paired up with social media means we can take a glimpse into societies from around the world.

Just type in #streetphotography on Twitter and you'll see how popular the genre has become.

South Wales is no exception. Thom Madhavan from Penarth and Swansea-based Matthew Roberts are two photographers who highlight the growing popularity of the genre.

Thom, 31, says: "I have become fascinated by capturing the little scenes that play out around us every day; usually to be forgotten."

Thom has been shooting street photography for two years.

He said: "I got started after being inspired by the work of Matt Stuart and Fan Ho.

"It's an often frustrating form of photography as you rely on others to make your scenes, but when a set of disparate elements combine in an unusual way, with some interesting light, and you frame them and click the shutter just at the right time, it is immensely rewarding."

Swansea photographer Matthew Roberts also captures images on the streets.

He says: "Street and documentary are by far my favourite approaches to photography.

"I started out shooting cliche landscapes but even the most amazing sunsets can get mundane very quickly, it just wasn't a challenge anymore.

"With street photography the challenge is to create an image out of nothing, and the beauty of it is that you can never run out of subjects.

"The juxtaposition of colours and geometry feature heavily in my work, but I also try and express the emotions and narrative of the street whenever possible."

If you're interested in seeing more street photography, check out these links:

www.mattstuart.com - Images from London street photographer Matt Stuart

www.fanhophotography.com - Hong Kong photographer Fan Ho has been taking images since the '50s

www.steet-photographers.com - Images from street photographers around the world

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Two street photographers try to capture the moments we walk past

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A throw away, forgettable moment that we walk past everyday. A scene that means very little and unlikely to be remembered. This is where street photography thrives. It's not about finding a news worthy image but looking into the details of human society. Exploring the environment around us and how we live in it.

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Bethan Palfrey

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Ruby Carleton

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Ruby Carleton

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Bethan Palfrey

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Bethan Palfrey

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Jessica G #2

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