Bonus Trick Photography

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.
com
License
,opyright 5 6787 .van 'harboneau. All rights reserved. Feel free to pass around these ebooks (either separatel or together as a !hole" as presented here# and freel distribute the$% &f you want to resell them, 9ust email me first: admin@photoextremist.com %owever, whatever you do, you must follow these rules: 8; The e!book4s must be presented their entirety. -o modifications allowed. 6; *on't use any form of spam to promote them. <; They must be contained in electronic format. -o physical copies allowed.
About The Photos Used in this E-Book

All images in this ebook are hyperlinked to their original location on the internet. This means you can click on any photo in this ebook and it will direct you to the original photo on the web! Feel free to comment the photographer's great work and ask them questions if you want to know more about their image.
More Boring Legal Stuff

The author has made every reasonable attempt to achieve accuracy of the content in this ebook, and assumes no responsibility for errors or omissions. The information contained in this document is as!is" and should only be used as you see fit, and at your own risk. Any trademarks, service marks, personal names or product names are the property of their respective owners, and are used only for reference. There is no implied sponsorship, affiliation, certification, approval, or endorsement if we use one of these terms. #ather than put a trademark symbol after every occurrence of a trademarked name, we use names in an editorial fashion only, and to the benefit of the trademark owner, with no intention of infringement of the trademark. $here such designations appear in this book, they have been printed with initial caps. T%&' (#)*+,T &' -)T .-*)#'.* )# '()-')#.* /0 A*)/. '0'T.1' &-,)#()#AT.*, (+/2&'%.# )F Adobe3 (hotoshop3 software. Adobe, the Adobe logo, and Adobe (hotoshop are either registered trademarks or trademarks of Adobe 'ystems &ncorporated in the +nited 'tates and4or other countries. All other trademarks are the property of their respective owners. These e!books contain affiliate links. &f you purchase an item after clicking on a link in this e! book, & receive a small commission.
Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com
hat Are !hese "ini E#$oo%s About&

Tons of stuff. The information will be especially useful for beginners, but some advanced photographers will get a kick out of it as well.
This e!book will be going over the following: ,ore fundamental principles about your camera you 1+'T know before touching it =1ost of these principles are already included in the Trick (hotography and 'pecial .ffects e!book, but & have added some e>tra material here. 0ou need to know this stuff by heart anyway, so it doesn't hurt to go over it if you are new to photography; ,ool products and accessories for your camera, so you can get more creative: Filters, (hotoshop plug!ins, and e>ternal flashes. 'everal ways to make passive income with photographs
2et us first start off with the basic fundamental principles we must master: ,ore (hotography Fundamentals". &f you don't know how to use these without thinking then you should stop taking pictures and learn these things right away! & recommend watching $ &ideo on shutter-speed" aperture" and 'S( in addition to reading the content that lies ahead.
Table of )ontents
)ore Photograph Funda$entals
8. 'hutter speed 6. Aperture $hat makes a good bokeh lens? @etting Tack 'harp (hotos with *eep *epth of Field 2ens *ust 2ens *iffraction <. &') A. $hite /alance
'ntroduction to E*ternal Flash

+sing )ff!,amera Flash +sing .>ternal Flashes &ndoors +sing .>ternal Flashes )utdoors .quipment The Flash 2ight 'tand and *iffusion Bit #F!C76 #eflector
Filters for Lenses and Plug-'ns for Photoshop

Filters +D /locking Filter (olariEing Filter -eutral *ensity Filter &nfrared Filter 'tar Filter 2ens #everser Adapter #ing (hotoshop (lug!&ns Flood by Flaming(ear =free; 2unar,ell by Flaming(ear =free; Fuick1irror by 1ehdi =free; (hotomati> =+se coupon code photoe>" to get 8GH off on any purchase; Alien 'kin .>posure =I66J;
+o! to Make Mone !ith Photograph

'tock (hotography @etting 'tarted %ow much money can you make? 'elling 0our (hotos As Art 'elling Art )nline
1. Shutter speed
The shutter speed is also referred to as the e*posure ti$e, or sometimes 9ust an e*posure. &n all *'2# cameras, there is a piece of cloth or plastic that is between the lens and the camera's sensor. This cloth is called the shutter". $hen you push the button on your camera to take a picture, it opens the shutter for a duration of time and records the light that is being e>posed to your camera's sensor. After that, the shutter shuts back up again to stop the e>posure from taking place and saves the picture to your memory card.
You can set your camera to take different durations of shutter speed. Here are some examples: B or BULB, 30 . !" , !0 , #0 , " , # , $, #%", #%#0, #%#00, #%!"0, #%"00, #%#000, #%&000, #%'000 2et's go over this chart from left to right. )n the very left we see / or /+2/". /+2/ mode is basically a manual setting for shutter speed. &t means that if you hold your finger down on the shutter button for G seconds, the e>posure will be taking place during the G seconds you have your finger on the button. &f you hold it down for G7 seconds, the e>posure will be G7 seconds. After /+2/ mode, moving to the right of the scale, we see <7". This obviously means <7 seconds, and is the usually longest shutter speed available on most *'2# cameras. 0ou can get into longer e>posure times by either using a cable release, a wireless remote, or simply holding the shutter button down for a really long time in /+2/ mode. $hen it comes to going past the camera's ma>imum shutter speed, not all cameras are alike, so you will have to figure out which method works with your specific camera. -e>t, after <7", the shutter speed simply gets faster and faster. As you can see, everything after 8" turns into fractions of a second. 1ost camera's 9ust display a number like 86G" to represent 8486G th of a second", so don't get confused and mistake 86G" for 86G seconds". 2ook at it as a fraction. 'horter shutter speed K darker image 4 freeEe frame 2onger shutter speed K brighter image 4 motion blur 0ou will need to use a tripod in order to get a good result if your shutter speed is longer than 84C7th of a second. Anything longer than 84C7th is too slow in most circumstances.
%ere is a popular long e>posure trick that you have probably seen a doEen times: Traffic. The reason why the moving car lights look like long lines is because this photograph had an e>posure time of 8G seconds. &f the e>posure time was 84677th of a second, the car lights would look like dots and not lines =9ust like they do in real life;.
0ou might be asking %ow come & can't see the actual cars?". The reason why you can't see the actual bodies of the cars is because they are in constant motion and not enough light was shining on them to make a noticeable trail. This technique is called "light painting" and is the same technique used when waving a flashlight in front of a camera. The reason why you can't see the hand waving the light in front of the camera is because they don't have enough light hitting them while they are moving around. &f they were wearing glowing clothing, however, then that would be a different story. The opposite is also true. &f you were holding a candle in front of you but you were completely still, then your body would appear in the photograph. This is why we can see the trees and in the photograph above, because the foreground was stationary and was being lit up by the sky =and also a little bit by the traffic as well;. ,heck out my blog post about various long e>posure effects to get some ideas. Additional Resources on Shutter-speed: http:44en.wikipedia.org4wiki4'hutterLspeed http:44www.digital!photography!school.com4shutter!speed http:44www.smashingmagaEine.com4677M47M46A4AG!beautiful!motion!blur!photos4
%ere's a trick you can put away in your bag of tricks: (ut your camera into 'hutter (riority mode and set the shutter speed anywhere between 84G th of a second to 84<7th of a second and then take a picture of a moving car or bicyclist in motion. 1ake sure to start your pan before you take the picture, so the pan is already taking place before your hit the shutter button. .verything will appear smooth, and if you nailed it 9ust right, the bicyclist will be clear but the background will be blurred. +sing a tripod helps.
2. Aperture
The aperture is how wide the hole in your lens is. &t is very similar to your eyeball's pupil. The bigger the diameter, the more light comes through your lens and onto the sensor. 'o, the bigger the opening K the brighter the image! 'ometimes you will hear people refer to the aperture as the F!'top" number. &t's the same thing.
&ideo
A higher f-nu$ber (like f,-# . a s$aller aperture . less light A lo!er f-nu$ber (like f/%0# . a larger aperture . $ore light There is also a side effect that comes with the aperture, and that is called 1epth of Field. To give an e>ample of what depth of field is, take a look at the two e>amples below. The one on the left has an aperture opening of F88, and the one on the right has an aperture of 6.M.
F88 F6.M As you can see, the depth of field determines how deep or shallow your plane of focus is. +sing smaller F numbers =F8.M etc.; will make the hole =aperture; in your lens wider, thus making your depth of field more shallow. +sing larger F numbers =F8C etc.; will make the aperture smaller, creating a wider depth of field, making everything more sharp and in focus.
'n order to $ake our depth of field as shallo! as possible" do these things2 @o down to the lowest F number your lens allows, like F8.M, 6.M, or <.G, etc. Noom in all the way if you are using a Eoom lens ! A 677mm lens at F6.M will give a blurrier effect than a G7mm lens at F8.M. @et as close to your sub9ect as possible with it still being in focus. ! This will increase the distance between your sub9ect and background, making the background more blurry.
Another thing you want to consider about depth of field is the angle at which your lens is facing your ob9ect.
*epth of field is always in the form of a plane and is parallel to the lens. &n this e>ample, the only area that will be 877H in focus is where the blue arrow is pointing, because that is where the focus plane meets the pyramid.
&n this e>ample, however, the camera lens lines up with the surface of the pyramid, so everything on the surface will be in focus. Beep this concept in mind when you are taking pictures, and you will know what to e>pect before your image is displayed on your preview screen.
*epth of field is very useful for isolating your sub9ect from the background. &t puts much more attention on the main sub9ect rather than the distracting busy background.
677mm lens 4 F6.M 4 84CA7 sec 4 &') A77
)ne other thing that is really cool about using shallow depth of field is that if you are ever in a city at night time, the city lights will come out as big blurry blotchy dots. This effect is commonly referred to as bokeh. Although the generic shallow depth of field effect is technically bokeh as well, it is 9ust not as commonly referred to as bokeh.
3hat $akes a good bokeh lens4 The cheapest solution is currently what & use, and that is a -ikon G7mm F8.M. The same lens is also available for ,anon. There are thousands of different lenses and & simply don't have time to test them. (lus, the better ones can get very e>pensive. 'o for right now, my recommendation to you is a G7mm F8.M. &f you got cash you want to spend, do a @oogle search for good bokeh lens". &'ve heard that these lenses are also very good, but the quality really depends on what brand, structure of lens, etc: G7mm f8.A <Gmm f8.A MGmm f8.6 A O7!677mm f6.M will also work great. 'ome articles about bokeh: ,omparison of bokeh lenses /okeh Tests +nderstanding /okeh and your 2enses /okeh ,haraEteriEations
5etting Tack Sharp Photos !ith 1eep 1epth of Field )kay, we've talked about using small apertures like f8.M to get shots with shallow depth of field, but what about using apertures like F8C to get shots with a deep depth of field? )ne draw!back is that the more you stop down the siEe of the aperture, the longer the shutter speed will have to be in order to compensate for the lack of light entering the lens. +sing apertures like FM and F88 can only be hand! held only if it is sunny outside. &f it is darker or you are using an aperture smaller than FM or maybe F88, you will have to use a tripod in order to keep everything sharp, which is always a good idea anyway. +sing deep depth of field is especially useful for two situations: 2andscape (hotography and 'tudio (hotography. &t's good for landscapes because, in most cases, you want to get as much in focus as possible. &t's also good for studio photography because you usually have a lot of light to work with and don't need to worry too much about motion blur because everything is froEen due to the flash burst. There are two things to keep in mind when using small apertures: lens dust and lens diffraction. $e'll talk about them on the ne>t page.
Lens 1ust -o, that isn't smoke coming out of that chimney, that is either a little spec of dust or a little piece of hair on the lens or sensor. These little guys will start showing up the more you stop down your aperture, so remember to keep your lens and sensor clean. There are two tools that a recommend getting that will help eliminate dust: -umber 8 is the a 2enspen. There is a brush on one side, used to wipe dust away, and a soft smooth granite cleaning side on the other, perfect for removing smudges. &t's very ine>pensive and works great.
Another tool you can use is the @iottos AA8J77 #ocket Air /laster. This is even better than the brush side of the 2enspen because you are not making any contact with the lens or filter, you simply blow away the dust, and then use the 2enspen to remove any remaining smudges. This tool was originally made for cleaning camera sensors, but & honestly do not recommend cleaning camera sensors by yourself because there are 9ust too many things that can go wrong. &f at all possible, go to a camera shop and get it professionally cleaned instead.
Lens 1iffraction 'topping all the way down to F<C isn't necessarily the sharpest spot on the lens. &t will give you the most depth of field but that doesn't mean that it will be crystal clear tack!sharp with details!galore. &n order to test your lens for yourself, put your camera on a tripod and set it to Aperture (riority mode and then take a shot of the same scene with different F!-umbers, such as 6.M, G.C, M, 88, 8C, and <C. Noom in to 877H on your preview 2,* screen and see which shot appears to be the sharpest. &t varies from lens to lens, but & have found that FM and F88 is the sweet!spot most of the time. Another additional technique you can use for getting the sharpest photo possible is to use a wireless remote for your camera in addition to using the mirror lock up" mode or e>posure delay mode". 1id!range and %igh!end *'2# cameras should have this feature, 2ow!end *'2#s unfortunately do not. This was a big determining factor for me when & bought my *<77s. The *<77s came with a mode that lifts up the mirror first, waits a second, and then takes the e>posure after that one second. This helps eliminate all camera vibrations, thus giving you a tack!sharp image.
'. (S)
The &') =also known as 'A'A' or simply 'film speed'; determines how sensitive your sensor is to light. The higher the &') number, the brighter your image will be. The lower the &') number, the darker your image will be. -ow & know you are thinking @reat! &'ll 9ust use the highest &') possible to make my image as bright as & can, then &'ll 9ust stop down my F stop to make up for the difference!" $ell, sadly but surely there is a side effect that comes along with &'), and that is called noise. -oise is basically color grain that destroys the fine detail and color in your photographs. Always try to use the lowest &') number you can, especially when doing long e>posure work. & usually keep my &') in the 877!A77 range, with 877 being the goal. The only situation where you will need to use higher &') numbers is when you are in a dark environment and have no tripod available. $ithout using a high &') number, your camera will try opening up the aperture all the way to let as much light in as it can, and then set the shutter speed for several seconds to let in even more light. /ecause we humans can't hold a camera perfectly in place for several seconds, our image would be very blurry. 'o, in order to get around that, we would have to use higher &') numbers in order to compensate for the long shutter speed. &f we had a tripod however, this would not be an issue. &f you want professional quality photos that were taken in dark environments, you will have to use a tripod and a low &').
To wrap it all up, shutter speed, aperture, and &') all work together. All of them have the same effect =making the photo brighter or darker; but they also all have a special side effect =$otion blur is a side!effect of increasing e>posure time, depth of field is the side!effect of ad9usting aperture, and noise is a side effect of raising the &');. $hen you are photographing different sub9ects in different lighting conditions, you will find yourself changing each variable according to the conditions. For e>ample, if & am deep in the woods photographing a woman, & would want to first start off with Aperture (riority 1ode with a wide aperture like F8.M or F6.M to let in lots of light into my camera, because & know that when it is dark my camera will want to increase the shutter speed length, and & don't want that to happen because my pictures will look all blurry from camera shake. 'o, the first thing & would do is change the mode to Aperture (riority and use f6.M to let in more light. &f the shutter speed ends up being anything faster than 84C7 th of a second, then & know &'m okay. &f it is slower than 84C7th of a second, &'ll need to increase my &') to raise the brightness. This will in turn shorten my shutter!speed, and & will be able to take sharper pictures, even though there will be some e>tra noise added to the image. 0ou will always find yourself ad9usting the aperture, shutter!speed, and &') for each different situation you are in. &f you need more help in this area, P the most fundamental concept you must know how to use when using a camera P @oogle search the term e>posure triangle".
*.
hite $alance
$hite balance is basically color correction right in your camera. &f the light you are photographing has more cold4blue tones, you will want to raise the white balance to a warmer4redder color temperature to even out the tones. 2ook in your camera's manual to figure out how to change the white balance preset and set your own custom white balance. The process for setting the white balance is different for every camera so & cannot e>plain how to do it in this ebook. +se @oogle or your camera's manual instead. )f course, if you don't want to mess around with it, 9ust leave it on Automatic. The photographs on the right were taken on a sunny day. The rocks were only slightly shaded by a tree. These basic white balance presets should be on your *'2# and are probably ordered in the e>act same way: &ncandescent4Tungsten =6G77!<777B; Fluorescent =QA777!G777B; *aylight =QG677; Flash =QGA77B; ,loudy =QCG77!M777B; 'hade =QM777!87777B; ,ustom 4 'aved (reset 4 'et ,olor Temperature
&n order to make a 877H custom white!balance correction, you will need to get an 8MH gray card. These cards are color calibrated for cameras and are meant for the sole purpose of getting an accurate white balance metering. &f you don't have a gray card, 9ust take a closeup picture of a white sheet of paper so it fills the frame using manual focus. 0ou will have to do this each time you move into a new environment with different lighting conditions. ,heck your camera's manual to learn how to take a custom white!balance metering. The process is a little different for each *'2# out there.
+sing ),,#Camera -lash

There are a ton of things you can do with e>ternal flashes. &'m only going to go show a couple of applications =the basics; so you can get an understanding on why using them can make a huge difference in your photos. $hy use an off!camera flash when you could simply use the on!camera pop!up flash that already comes with your *'2#? The reason is simply because on!camera flashes looks horrible in JGH of all circumstances. %ere's why: The on camera flash is a very small light source, meaning that the light will look very harsh on the sub9ect you are photographing =whether it be a person or ob9ect; and will create annoying harsh shadows. The on camera flash is too bright in most circumstances and looks completely unprofessional. The on camera flash points directly at the sub9ect you are photographing, which looks ugly and amateurish. The external flash, however, cranks up the quality a few hundred notches. First of all, the light is not coming directly from the camera, but rather at an angle. This makes things look more natural and enables you to direct the shadows how you want them. 'econd of all, you can point the e>ternal flash to the ceiling or the wall, and the light will bounce off that surface and then hit your sub9ect. This makes it so that the light is very soft and diffused, meaning that the harsh shadows will be completely eliminated, making your sub9ect much more flattering! Third, you can put use large diffusion material over your e>ternal flash, weather it be outside or inside, and it will get rid of the harsh shadows. *oing these things will definitely get your photos looking much more pro. 0ou can use brand new flashes if you want to, but & like the simple ones with old school manual controls =as do many others;. The reason why is that it gives you the control of how much or how little light you want to add to a sub9ect, and really isn't difficult to understand in a short period of time. (ersonally, & find that the using a camera or a flash on automatic mode is more complicated than manual.
Using E*ternal Flashes 'ndoors

+sing an e>ternal flash is 9ust as useful indoors too. +sually the light that is available indoors is simply not bright enough to take a high quality photo. 0ou would have to increase your shutter speed or &'), and that would in turn would cause motion blur or noiseR not good. +sing an e>ternal flash unit will fi> that problem by giving you lots of light, plus a prettier light.
This is a super quick e>ample to demonstrate the power of using flash. &n the first photograph, & was holding the camera in my right hand with the flash in my left. The flash was pointing towards the wall. &n the second photo, & was holding the flash out in front of me 9ust like in the first one, only this time it was directed toward the ceiling. -ormally results would be better because if you were photographing a model or ob9ect, you would be able to be further away from the sub9ect. &n this case however, & was both the model and also the photographer, so the light source had to be pretty close to me. The third photo is obviously horrendous. 2ook how ugly it makes people look! &t's not 9ust me, the light is harsh and direct! 0uck!
This shot could have been taken indoors or outdoors, it doesn't really matter. This photograph was taken with a simple -ikon '/!6A e>ternal flash. The brightness level was set to 848C th power, which isnSt that bright. The flash was placed below the model's face and was shot through an umbrella. .T&F: .>posure 7.77G sec =84677; Aperture f46.M Focal 2ength G7 mm &') 'peed 877
3h E*ternal Flashes Make 6our Photos Look A!eso$e (utside

$hen you use an e>ternal flash outside, you will be able to get both your sub9ect and background e>posed correctly. &n this photograph, there was a bare flash high above the right of the camera =you can tell by looking at the shadows on his inner shirt and neck;. The photographer first ad9usted the settings on his camera to take a photo of the background correctly e>posed, then he simply closed the aperture a few stops to make the background darker. After that, he ad9usted his flash power so that it would illuminate his sub9ect properly. $hy make the background darker than what your meter says? /ecause it looks great! &t makes the model pop and also makes it so the highlights in the clouds are actually visible and not blown out white. This shot $)+2* -)T be possible without an e>ternal flash. &t would look very different and wouldn't look nearly as cool.
8 flash on the right =tripod held;
This time the photographer decided to e>pose for the land and not the sky =as you can see, the sky is blown out white, while the land is pretty much properly e>posed;. After he got the background looking properly e>posed, all he did was throw in a flash somewhat to the right side and ad9usted the power until it looked good. 'ee the little bit of light on the left =his right; side of his forehead? That little bit of light was caused by a reflector that was located to the left =his right; side. All it did was bounce back the light coming from the flash back onto the left =his right; side of his head. /oom! &nstant fill light. The umbrella is used for diffusing the light coming from the flash. &t is much more flattering to use diffusion material =like an umbrella; in front of your flash because it softens and spreads out the light, making it more natural looking and flattering.
2et's go over the e7uip$ent you need for your *'2# to start taking shots like this.
The Flash
The first row of products below this paragraph are the essentials. 0ou get a flash, a hot!shoe adapter for your camera, and a sync cord so you can plug in your flash to the adapter. $ith these three things you will be able to start using your flash right away. Total price? I8OO.MM plus shipping. &f you want to know a little bit more about how all these things work together, read this short blog post before you buy.
Light Stand and 1iffusion 8it

$ith this kit, you get a stand, some diffusion material =a shoot through umbrella;, and a mount, so you can mount your flash on the stand. %aving the stand will eliminate the need for someone else to hold the flash for you. This kit is only I<7.JJ!
9F--:/
This is an optional accessory but it makes things a hundred times easier. &nstead of using the hot!shoe adapter and sync cord to sync your flash up with your camera, you can do it !irelessl with this unit. The #F!C76 comes with a transmitter and a receiver. The transmitter attaches to your camera's hot!shoe mount, and the receiver attaches to the bottom of your e>ternal flash. $henever you push the shutter button, your flash will fire at the e>act time your take the picture, wirelessly! -o more tripping over cords and knocking down your light stand! The wireless signals go through walls and have a very wide range up to 877 meters as well. &t does cost a little bit more than the cord, but & highly recommend it. Another cool thing about the #F!C76 is that it can also be used as a wireless remote for your camera! &t is basically a 6!in!8 product. There are several video demonstrations of the product if you want to get a closer glimpse before you buy it.
9eflector
And finally, you can get a reflector. 0ou can use these things in any situation, not 9ust when working with flash. $hen lights hit the reflector, it does 9ust that: reflects it back onto your sub9ect. &t comes with diffusion material with a metal ring around it so it acts like a solid wall" that you can easily hold. 0ou can use the bare diffusion material between the sun and your sub9ect if you want to remove harsh shadows. 0ou can also 9ust place it in front of any light and it will instantly make the light more flattering. The big circle" of diffusion material also comes with a Eip!up covering. The covering has a reflective gold side, a silver side, and can be turned inside out to reveal a half!white!half!silver side, and a black side. (retty awesome stuff, and a lot of bang for the buck!
&f off!camera flash is something you end up being interested in, check out the 'trobist blog. &t's a blog solely dedicated to off!camera lighting and has a big how!to section for both beginners and advanced 'trobists". 2ots of free information available on that site. There is also an online course called .N Flash (hotography $orkshop by Uoe 1arshall. &t's all in video format and you can get ask questions to both other members and the teachers, so it's well worth the money. &f you were to take the course at a college, it would probably cost much more. (lus, colleges don't come with a no questions asked money back guarantee", so this is a no brainer.
+. $loc%ing -ilter
+D /locking Filters are simply filters that block out +ltraviolet light rays from the sun. They were originally made for film cameras, because film didn't cope to well with +D light. -ow that we have *'2#s though, it doesn't matter as much. The reason why people use these filters nowadays is to simply protect your lens from scratches. +sing a cheap one can have a disadvantage though, take a look at the e>ample below. )n the left, there is no filter on the lens. &n the middle, there is a high quality +D filter, and on the right there is a cheap +D filter. +sing any kind of +D filter will decrease contrast, but & would rather have some decreased contrast than a bunch of scratches on my I8777V lens that won't be re!sell!able in the future! &t really is up to you, everyone has their own preference. & personally used +D filters for a while but then got annoyed with them. -ow & don't use any +D filters on any of my lenses, but & probably will in certain situations in the future when & buy a really e>pensive lens and &'m using it in a desert or beach or something.
There is a creative trick you can do with a +D filter as well, and that is to put some ,A#1.T lip balm on the front of the filter to warp the light hitting the filter. This works with vaseline, hair gel, and nail polish. Anything clear and goopy. This could mess up your filter though. & highly recommend watching this video and reading the comments below it if you want to get more information on this effect.
Polari/ing -ilter
This is the holy!grail of all filters. &f & only had one filter to bring along with me, it would be a good polariEing filter. These babies reduce reflections from surfaces, removes haEe, darken the sky =getting a better dynamic range;, and saturates the image more. There are linear polariEiers and circular polariEers !! get a circular one because these work best with digital cameras. 1ake sure you read this article and watch some videos to get more information on how to use polariEing filters before you go out and buy one.
(fter
Before
0eutral 1ensity -ilter

A neutral density filter =-* Filter; is simply a gray filter that limits the light passing through it. That's all it does. This filter will give you the freedom to change the aperture in order to get shallow depth of field shots in daylight, take long e>posures during in daylight and blur any sub9ect that moves. 0ou can get filters that come in different darkness levels. A filter that is labeled -*A77" will be much darker than a filter that says -*A". Fraction of aperture opening -*6 -*A -*M -*8C -*<6 -*CA -*86M -*6GC -*G86 8 846 84A 84M 848C 84<6 84CA 8486M 846GC 84G86 Filter )ptical *ensity 7.7 7.< 7.C 7.J 8.6 8.G 8.M 6.8 6.A 6.O f!'top #eduction 8 6 < A G C O M J H transmittance 877H G7H 6GH 86.GH C.6GH <.86GH 8.GC<H 7.OM8H 7.<J8H 7.8JGH
& really like the -*8777 filter because it allows you to take really long <7 second e>posures in pure daylight. 0ou can make moving clouds and bodies of water =including waterfalls; appear very ghost!like. (lus, if you photograph a moving sub9ect, the sub9ect will be rendered invisible =an e>ample would be traffic, or a walking person;. The other filters only darken the filter a little bit, which is only useful for minor ad9ustments.
(n,rared -ilter
This %oya #O6 filter allows you to capture near infrared light and will give you the option to make the colors very wild in post!production. This filter works differently with different cameras. 'ometimes it works very well =usually with older cameras;, and other times it doesn't work as well =usually with newer cameras;. & talk about this filter in detail in the Trick (hotography and 'pecial .ffects ebook, but there is also a very informative tutorial on how to use the filter available on my blog as well.
Star -ilter
There are star filters available that turn streetlights =or any kind of non!diffused light, really; into stars4crosses. 0ou can buy the filters with different crossings. AT, CT, and MT are the most well known. The image on the left was taken with a CT. *o a search on AmaEon for cross filter or star filter and you can take a look around and get the one you like. (retty awesome stuff!
2ens 3everser Adapter 3ing

.ver wanted to get really close up on something but didn't want to spend hundreds, if not thousands of dollars for a new macro lens? @et a lens re&erser! &t is a simple adapter ring that screws on the end of your lens so you can put it on backwards on your camera. These things are ine>pensive, easy, fun, and the quality is amaEing. &t is very much worth the money! The only thing different from an actual macro lens is that you will have to physically move your camera in and out in order to focus on your sub9ect because the focus ring doesn't work when the lens is on backwards. &f you want to get even closer, you can get some e>tension tubes to place between your camera and your lens reverser adapter ring. .>tension tubes simply move your lens further away from your camera, which in turn makes everything more 'Eoomed in'. .>tension tubes work when your lens is on forward with no adapter ring as well. +sing a lens reverser is common with the use of a G7mm lens because most G7mm lenses can manually control the aperture to let more light in P This is ideal when working with an adapter ring.
Photoshop Plug#(ns
&f you own a copy of Adobe (hotoshop ,', you can download plug!ins and put them in your Additional (lug!&ns folder. 0ou can assign this folder in (hotoshop by clicking Edit > Preferences > Additional Plug- ns! 0ou'll then see a dialog bo> that looks like this:
'imply create a new folder and make that your Additional (lug!&ns folder, then restart (hotoshop. 0our plug!ins should now appear at the bottom of the drop!down list when you click Filter".
There are a ton of plug!ins available on the internet for you to download. 'imply do a @oogle search or take a look at these websites: 1assive 2ist of Free (hotoshop!compatible (lugins =ratings included; Free (lug!&ns by Flaming(ear Adobe (hotoshop 1arketplace filled with plug!ins
%ere are some cool plug!ins that & use and recommend. The e>ample images are either by me, a flickr member, or are e>amples located on the plug!in website.
Flood b Fla$ingPear (free#

)asily add *ater reflections to any ima+e.
Lunar)ell b Fla$ingPear (free#

,reate a computer generated planet. 0ou get to control cloud formations, water levels, the way the land looks, etc.
;uickMirror b Mehdi (free#

Fuickly and easily mirror images with a click of a button. This is much faster than mirroring images manually.
Photo$ati* (Use coupon code <photoe*= to get ,>? off on an purchase#

This program can be purchased as either stand!alone application =so you won't need (hotoshop at all;, or as a (hotoshop plug!in. &t creates %igh *ynamic #ange =%*#; images so that you can see every little detail in the shadows, mid!tones, and highlights of your image. Dery easy to use. Awesome program4plug!in. 'pectacular results without question.
Alien Skin E*posure (@//A#

This plug!in has hundreds of awesome presets that give your photos a vintage feel. )ver G77 analog techniques and organic looks like cross processing, (olaroid and vintage *aguerreotype. .ach preset is based off of pree>isting old film stocks.
Stoc% Photography
%ave you ever heard of stock photography"? 0ou might have never thought about it before, but stock photography is absolutely everywhere. )n billboards, advertisements, blogs, magaEines, fliers, book covers, etc. @raphic designers need imagery for their designs to help businesses communicate, and artists need them for their (hotoshop creations. A stock agency" is simply a company that owns a website that has tons of photos and illustrations up for sale". These are U(.@, #A$, and .(' files, not physical prints. The photos, illustrations, and footage clips in these stock agencies belong to thousands of photographers and illustrators worldwide, people 9ust like you and me. 'o then, who buys the images? The answer: Anyone who needs it. %ere are some e>amples of how the images get used in case you don't already know: This is a picture that my friend took of me when & was playing video games. After uploading the image to the agency, someone purchased the license to use it in their blog.
$oah, did you 9ust see that? 1y photo was used in a blog article, but there was another stock photograph being used in a banner advertisement right ne>t to mine on the same page! This demonstrates how stock photography is 9ust like air, it's everywhere and easily accessible. &n case you didn't know, 0uri Arcurs is the best selling stock photographer in the world. %e has a massive image library of people and lifestyle shots. 0ou can see his portfolio here.
This is a planet panorama photo & took in my backyard in )ctober, it looks like it was used in an article about spirituality and global warming.
0ou can upload photos of 9ust about anything. %ere is me when & had crooked teeth and braces on. &t was used on the header of a website showcasing a product that helps reduce lag when playing online video games. There's a caption that says let the nerd rage begin!" %ilarious stuff!
After seeing the last photo you might ask $ell 9eeE... & don't want pictures of friends, family, and myself being used in weird ways that & don't like..." don't worry, it is actually illegal to use stock photos for defamatory or pornographic purposes. Also, if you don't want photos of you, your friends or family used in weird ways, don't take photos of yourself doings weird things! 'imple. &n case you are still wondering how stock images can and cannot be used, check out these articles: #estricted +ses for #oyalty Free 'tock (hotos Acceptable +ses for #oyalty Free 'tock (hotos
0ou don't have to take photos of 9ust people =although they will generally sell the best;. &'m a drummer and have a drum set. 'o, naturally, & took some stock photographs of it. This image of one of my cracked cymbals was used in a book about drums.
&f you would like to see more stock images being used, check out this Facebook group.
5etting Started
-ow that you have a basic understanding of how stock photography works, where do you start? There are probably hundreds of stock agencies out there, but you should only submit your images to the top players because they will give you the biggest return. All the other small agencies are pointless submitting images to unless you have a massive library of O,777V images or something. 2et's talk about the good agencies instead: Shutterstock P This is by far the best agency. 0ou will get the most amount of money from them. .fficient submission process. Accepts U(.@ photos, ..(' vectors, and footage. The footage submission process could be improved. 1rea$sti$e P This was the first agency & started submitting photos to. They can be pretty picky but their site is the most visually pleasing :;. Accepts U(.@, #A$ and .(' vector files. Fotolia P These guys seem to put an emphasis on having a worldwide presence. This is < rd best on the list as far as earnings, ne>t to *reamstime. 'ubmitting stock footage isn't worthwhile though because you have to copy and paste all the meta data in without knowing what clip you are applying the meta data too. ,ompletely worthless and inefficient for footage, The footage section of their site shouldn't even be on there. *on't waste your time. ,/B9F ! Ath place in earnings. .fficient. U(.@ and .(' Dectors. BigStockPhoto P Another agency. &nefficient submission process. They accept almost everything you submit. )anStockPhoto P @reat agency! $elcoming, fast submission process, e>tremely efficient, e>cellent customer support, accepts most photos submitted. & really like this agency. )ptional: Pond> P This is by far the best agency for submitting footage clips and audio clips =yes, stock audio e>ists too;. The reason why is that they pay the best and also automatically include the metadata inside of your footage clips. -o other agency does this for footage, and & have no idea why not. .fficient and most practical submission process compared to all other agencies that accept footage clips. U(.@ photos, #A$ photos, and .(' vectors are not accepted.
iStockPhoto P The most e>tremely inefficient site out of all agencies and the most picky. Dery anal submission process. & definitely would -)T recommend this agency to anyone starting out in stock photography. They are very well known, they pay alright, and they have the most buyers, but & honestly don't think it is worth it. 'ubmitting 9ust one photo here takes a long time. &f you are doing stock photography full!time or you are a really amaEing photographer with astronomical images with e>tremely high commercial value that have been e>ecuted perfectly in every way imaginable, you will want to submit photos here, but don't be disappointed if they re9ect J7H of your images after you spent an hour submitting 67 to their site. -ow, that's a lot of sites & listed. All the sites require photographers to submit a set of <!87 of their best stock photographs. After that, they review those images and decide to either approve the photographer or re9ect the photographer for the time being. 0ou can re!apply at a later time with better images. 1ost photographers will get re9ected the first time, especially if you try to get into 'hutterstock, *reamstime, Fotolia, or i'tock(hoto right away without knowing much about how stock photography works. & would start out with ,an'tock(hoto. /ig'tock(hoto, 86<#F, or maybe *reamstime if this is your first try at stock photography. After you get accepted into one agency, make more images, get the hang of how things work, and then slowly apply to get into more agencies as time progresses. Also" one side note: #ou can sign up with an agency with an $exclusive% contract or $nonexclusive%! f you want to su&mit images to multiple agencies" you will need to sign up with a non-exclusive contract! Exclusive contract means you will get a higher commission for each sale &ut are limited to that one agency! #ou may choose to go that route in order to ma'e your life easier" it(s all up to you! The stock agencies have high standards, and they =and their contributors; are loosing a lot of revenue because of it. -o one likes it, but you are going to have to 9ump through hoops and play by their rules in order to get images accepted. &'ll list some guidelines to follow on the ne>t page.
Make sure our shots are taken at 'S( /:: or lo!er% 1ost photos above &') 677 will get re9ected. +se a noise removal tool if you have to, but don't over!do it. Make sure our i$ages are focused properl and are sharp% &f you are photographing a person, put the focus point on their eyeball. *on't use sharpening in (hotoshop unless you have to, and if you do, don't over!do it. #emember that using F88 is generally the sharpest aperture, so use it when you can. &f there is any amount of camera!shake in your photo, it will immediately be re9ected. Co harsh lighting% &f there are sharp shadows, forget it. &f one part of the photo is in shadow and is dark, while the other part is bright, the photo will get re9ected. +se e>ternal flashes and use diffusion material over your lights if you have to light up your sub9ect better. 1rea$sti$e is reall pick on skin ble$ishes and skin i$perfections% & don't think the other agencies are as picky. & have acne and submit photos of myself to agencies frequently, but *reamstime isn't always the most impressed. Make sure our photo is properl e*posed% This is a given. -ot to dark, not too bright. Also, don't over post!process" your images too much. -o e>treme %*#s or added artistic grain or anything. '$ages !ith co$$ercial &alue !ill sell $ore% This is a sub9ective topic, but in general, images with commercial value sell more. $hen you are looking through a magaEine or see a banner ad, take note of how the picture is being used. ,hances are that image got accepted into the agency and sold because it had commercial value. 5et the e-book <+o! to Sell Stock Photos= b Cick Stubbs% &'ve given you the tip of the iceberg of how to get started in stock photography, but this guide will tell you everything you need to know to get started and will also give you a number of strategies you can use to help you create images that sell really well. %ighly recommended for beginners and pros. &t's also filled with e>amples to help you get a feel for knowing how to get an image accepted and how to get it selling well.
+o! $uch $one can ou $ake4

0ou make how much you put into it. 0ou will need to learn how to edit your photos, how to properly keyword them, how to submit them, and how to get your images accepted before you start to earn any money. &t's a skill that needs to be learned. &f you can produce a ton of great images like 0uri Arcurs, you could potentially make a million dollars a year 9ust like he does. &f you a have a much smaller portfolio with images that aren't so hot, you won't make anywhere near one million dollars a year, but you still will make somethingR even &f it is a few bucks. Beep in mind that 0uri Arcurs also has several employees working for him, has high!end professional models, and a has a really awesome studio, so he has a lot of e>penses. -ot all of that million dollars is profit. $hen he is retires though, those people won't be working for him any more so he won't have e>penses, but he will still be collecting royalties from all the photographs he took in his lifetime. 0uri got his hands dirty, went for it, and built a business. -ot a lot of other people can throw themselves out there like that and be a risk!taker. &'m thinking JJH of people. & myself do stock photography but & don't have employees, don't have any kind of models other than myself and some immediate family members, and don't have a studio. & would be making way more money if & had those three things and used them as efficiently as possible, daily. &nstead, & 9ust semi!casually4semi!professionally shoot what is around me, then add those images to my portfolio. 'imple.
Selling 4our Photos As Art

-ow, &'ve only done this a few times, so & am by no means a pro at it, but & do have some tips to share. %ere is my basic little strategy" for selling artwork to average people: 'elect 6A of your best photos =ones that have artistic quality; and print them out on 6A separate M">87" prints. 0ou can upload your photos online to 'mug1ug.com and they will send your images to you printed on high quality paper back in the mail. 0ou can also get images printed at a grocery store like Fred 1eyer, /i!1art, $almart or at a regular photo printing shop. As of the time of this writing, if you ordered 6A M">87" prints from 'mug1ug.com, it would cost you IA7.GC V shipping. -e>t, we need some frames to put the photos in. The cheapest frames you can get is a pack of 86 MW>87W 1,' frames. )rder two packs of 86 so you get 6A in all. This will roughly cost you IAO V shipping. These frames should also be available at $almart if you don't want to order them online.
These are 9ust a few of the prints that & have stored away in bo>es in my closet, ready to sell. The total cost to produce 6A framed prints is a little over I877, so you will only need to sell A or G prints to break even. After you sell at least A or G, the rest is profit. )h and P if you sell one print, order it again and replace it with the same image so you always have the same 6A images. 'ome images will sell over and over again, others not so much.
,ongrats! 0ou have 6A awesome framed photographs, which only costs you about I877 to produce. -ow what? -ow we need to figure out how to sell them. %ere are some ideas: &f you are a middle school, high school, or college art student, sometimes the teacher will notify their students of any art contests happening around the local area. &f this ever happens, enter in some photos. &n general, having a photo that is emotional, unique, or creative will usually get you more points in a contest Xwink winkX. 'ometimes these contests have cash priEes, other times you can get paid if you sell a print. 1ost importantly though, it gives you e>posure. This can and will open up opportunities for you. & was in an art contest a while ago and won first place, and someone who works at a concert hall happened to see my artwork on display and then contacted me via Facebook the same night asking if & would be interested in having my work on display in their building for a month. & think & sold I8G7 worth of prints at the end of the month =& price them at I<7 each, so that means & sold G;. &n another art contest & was in, someone contacted me wanting me to speak at their photo club. Ask staff members who work at your school if you can hang up your artwork in certain generic areas of the school, such as the main office, staff lounge, or student counseling area. &f you get the staff lounge, put the ma9ority of your photos there. 1ake sure to have a sign or print taped up to the wall letting people know your name =and that you are a student at the school;, and where to contact you if they want to buy a picture. 1aking a flier with pull!tabs should work well. 0ou can also leave a note that says you have other photos in different areas around the school or on your website, but make 877H sure that you leave them an email address or phone number so they can contact you! %ere are two that &'ve made in the past, pull!tabs would have been better:
'ell the prints at flee markets or local gatherings". &f you live in a tourist town, your chances of selling stuff will potentially increase. @o to local restaurants and ask if you can hang up your art work there. /rand new restaurants that 9ust have opened might be the best ones available because they get a lot of business when they first open up. After you are done eating there, 9ust ask someone who works there if they would be interested in displaying your artwork. &f you don't want to physically go door!to!door", use the phone book and call all the restaurants instead =this isn't always the best idea... &f you haven't been to the restaurant before, it could turn out to be a bad place for artwork.; ,reate a ,raiglist posting and either sell your artwork or trade it for something else. &f any building4place4organiEation4gallery features local artists, try getting your stuff on display, especially if there is no fee. All you have to do is drive over there once, hang up your stuff for a while, and if it sells, great! &f not, put your stuff on display somewhere else. &f nothing ends up selling, there will surely be an event waiting for you in the future where you can display your artwork. &t doesn't hurt to have some inventory in stock", even if you don't sell anything for a decade. 0ou can hang the artwork around your house in the meantime!
These are 9ust some of the things that & have done in the past =&'ve only actually done the first two ideas back when & was still in high!school and have a bunch of prints left over, so &'ll get around to implementing the other ideas at a later time;. &f you have any e>perience or tips that you would like to share on selling prints, please e!mail me at adminYphotoe>tremist.com. And of course, if you are loo'ing for more tips, 9ust do a @oogle search.
Selling Art (nline

0ou can also sell your artwork online using print!on!demand services. All you have to do is upload your images, keyword them, and hope someone will buy. These places print and frame the artwork for you, so you don't have to do anything e>cept upload the images. 1ost of them also offer your work to be printed on other things too, such as mugs, puEEles, mouse! pads, calenders, etc. 2et us review some of these sites: &mageBind P This site integrates with Flickr. This means you can 9ust import your entire pre!e>isting photo gallery onto this site right away. The titles and keywords get imported as well! Fine Art America P This site apparently has the most traffic compared to all the other sites, however you will need to pay around I<7 to host an unlimited amount of images each year. 0ou only can host like 87!A7 images for free. *eviantA#T P This site is good only if you get a (remium account =I<74year; because you get to set the markup yourself and keep a very large proportion of the royalties. )therwise the profits are 9ust too slim and not worth it. 0ou need many great photos to make any sales. #ed/ubble P 0ou can sell T!'hirts and prints on this site. As of the time of this writing, this is the only site &'ve e>perimented with, but &'ve gotten a few sales from it already so & plan on adding some more stuff. -ot much of a profit margin but their stuff is really high quality, so it costs more produce.
Thanks for reading my ebook! &t's been fun writing it. #emember to check up on (hoto.>tremist.com once in a while! Talk soon, .van

Bonus Trick Photography

Uploaded by

Copyright:

Available Formats

Bonus Trick Photography

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Bonus Trick Photography

Uploaded by

Copyright:

Available Formats

What are some ways discussed to sell prints?

What are some ways discussed to sell prints?

What print-on-demand services are mentioned for selling artwork online?

What print-on-demand services are mentioned for selling artwork online?

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.

About The Photos Used in this E-Book

More Boring Legal Stuff

hat Are !hese "ini E#$oo%s About&

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

'ntroduction to E*ternal Flash

Filters for Lenses and Plug-'ns for Photoshop

+o! to Make Mone !ith Photograph

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

677mm lens 4 F6.M 4 84CA7 sec 4 &') A77

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

+sing ),,#Camera -lash

Using E*ternal Flashes 'ndoors

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

3h E*ternal Flashes Make 6our Photos Look A!eso$e (utside

8 flash on the right =tripod held;

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Light Stand and 1iffusion 8it

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

0eutral 1ensity -ilter

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

2ens 3everser Adapter 3ing

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Flood b Fla$ingPear (free#

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Lunar)ell b Fla$ingPear (free#

;uickMirror b Mehdi (free#

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Photo$ati* (Use coupon code <photoe*= to get ,>? off on an purchase#

Copyright 2010 Evan Sharboneau. All rights reserved. | PhotoExtremist.com

Alien Skin E*posure (@//A#