activebarcode excel 2010 Isolate Your Subject in Software

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Isolate Your Subject
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Most amateur photographers don t compose their photos The photographer puts one person in the center of the viewfinder and snaps a picture Usually, there is scads of space surrounding the person that adds nothing to the picture, just as in the photo on the right in Figure 3-10 The tips here don t apply only to portraits Pictures of an individual make for an easy way to describe these techniques, but they are equally effective when applied
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3: Shoot
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to pets, cityscapes, still lifes, action shots, even landscapes where posing your subject is easily done So when you read subject here, substitute whatever is the most important object in your photograph
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Figure 3-10 A candid photo always works better than the old throw- em-up-against-the-wall technique
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AS A MATTER OF FACT Don t rush a photo session Take some time to talk to your subject Get him or her laughing if you can, even if you want a serious pose Many people don t like how they appear in photographs The main reason is that they re tense about being photographed, and this shows in their faces, if not in the outright scowl that appears at the first sight of a camera If you can get your subject to relax and assure them that no one s going to see a photograph that makes them look bad, you ll both have an easier time of it, and your photo will be a lot better If possible, take candid photos There s no rule about whether a portrait should be candid or posed Both work But a truly candid pose will capture the person with their guard down Compare the same person in the two photos in Figure 3-10
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Of course, that extra space around your subject can be cropped out in your digital darkroom, but that means that you re using only about a third of those umpteen megapixels you paid for Your portrait will lack detail where it s most important in the person s face Do everything you can to improve a picture before you get to the darkroom Instead of using your computer to do cropping, use your feet: Move in as close as you can to your subject Try to get close enough to eliminate any surroundings that don t contribute to whatever you want to communicate with your photo
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Shoot a Portrait
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Here s the simplest way to leave no doubt what a picture s about: Move in as close as possible to the subject s face The face is the most important part of a portrait Show as much detail of the face as possible Close in more than you think you should Don t worry if you don t show all of the top of the head or the chin Shoot for the face
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AS A MATTER OF FACT Many people use the LCD screen to compose their shots It draws down a lot of power from the batteries But there are times when it can be handy For instance, if you want a worm s-eye view, looking through the viewfinder is difficult without embedding a bunch of dirt and grass in your hair and face The LCD lets you frame your shot from a more hospitable position Some cameras have camera bodies that swivel independently of the lens, letting you take pictures more comfortably and, if you ve a mind to, surreptitiously If you hope to become a paparazzi, swiveling camera bodies and LCD screens will let you hold the camera at arm s length, above the heads of the crowd, and still let you aim it at a passing movie star
Use Depth of Field
Use depth of field to focus attention on your main subject Depth of field is the space in front of the camera that s most in focus How deep the depth of field depends on the size of the lens s aperture, which is like the eye s iris, a circular opening that can be open as wide as the lens itself or closed down to a pinpoint opening At the smallest opening an f-stop of 11 or 22 typically everything from a few feet in front of the lens to the distant horizon is in focus With the aperture wide open, depth of field is limited to a few feet or inches for nearby subjects Set your camera s exposure mode to aperture, usually indicated with an A on a dial This allows you to set the aperture to its widest setting f/2 or f/14 and prevents the camera s light meter from changing the aperture Instead, the light meter will control only the camera s shutter speed The shutter is a curtain sort of like an eyelid between the lens and the rectangle of pixels at the back of the camera The light meter will hold the shutter open only long enough so that, combined with the aperture s setting that you pick, the right amount of light strikes the pixels to create a correct exposure In the photo on the left in Figure 3-11 the depth of field is deep enough that the house 20 yards behind the flower is still in focus In the photo on the right, the depth of field barely extends beyond the flower itself
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