Shutter speed is one of the most important camera settings in digital photography. Only those who know how it affects the image can consciously use it as a creative tool.

Basically, of course, you have to deal with technical backgrounds in order to be able to take nice pictures. However, if you want to have more influence on your photos than just choosing the subject, you should definitely understand the meaning of different camera settings. An elementary setting, the effect of which every ambitious photographer must know, is the shutter speed.

What role does shutter speed play in exposure?

The shutter speed thus regulates how long light falls on the sensor. But what does that mean for the photographer? If he manually sets the shutter speed of his camera when taking a photo, he has a direct influence on the exposure of the photo. The shorter the exposure time, the less light falls on the sensor.  The choice of time ensures whether an image is exposed dark or bright. If you set an exposure time that is too short or too long when taking pictures, you will receive an under-or overexposed picture as a receipt.

For musically minded individuals, guitars are over just a way to play songs like Oh My God Tabs & Chords – they’re an object of pride meant to be displayed prominently in their interior. “Good pictures are really important”, Alexander tells us. “Especially in online auctions as you can’t view the guitar face to face before you buy it.”

1. Limit reflections

A glossy finish and chrome elements could also be easy on the eyes, but when you’re trying to capture a guitar on camera, they will pose a true challenge. Both natural light and artificial light are accustomed to positioning the guitar in a very thanks to avoiding any reasonable reflection that will distort the image.

Natural light is best – just ensure it’s not too sunny and bright. And while your camera’s flash option could appear straightforward thanks to getting some extra light into your photo, avoid it in the least time, as you’re likely to finish up within the picture yourself.

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2. Setting & scratches

Always put yourself within the shoes of the customer when photographing your guitar and consider what you’d want to determine. Chances are high that, you’d desire a clear shot of the guitar with an uncluttered background. Alexander shares this opinion: “It’s best to photograph your guitar in a very neutral way, in order that the environment doesn’t distract from the guitar, and its features, damages, and dents may be properly identified. It’s important that the client actually knows what he’s getting.”

To make sure the setting isn’t too distracting, you’ll be able to use what you have already got – a wooden floor and white wall can often be enough. Using sheets or cloths, however, usually won’t achieve the most effective result, as there are often visible folds and shadows. If you wish to require it to the following level and are willing to take a position, a white book backdrop could be a good and comparatively inexpensive option.

3. Sequence

Finally, the order during which you publish the images of your guitar is something that will impact your sales results. Per Alexander, the subsequent picture sequence should be mandatory. “Start with a full shot of the front, a full shot of the rear, then the body front, body back, neck front, neck back, headstock front and back with serial. Then photograph closeups of special characteristics like pickups, tuners, and switches, still as blemishes or damages.” Pick a canopy photo that shows the complete guitar upfront, and you’re prepared.

When it involves quantity, Alexander assures us there are seldom too many pictures. “Make as many photographs as possible. Start with wide shots during which the full guitar is visible fully and so march on on the small print to showcase the guitar’s features.” In response to the question of which features are especially critical to the spotlight, Alexander says “All of them. Soundhole with the label (for acoustics), bridge, pickups, tuners, headstocks, serial numbers–you name it.”

Photography is everywhere.

We are allowed to carry powerful cameras literally in our pockets, at any time, anywhere, with the increase of mobile devices. It’s hard to recall the time when taking a photograph was limited to special occasions, because equipment, films, and development were so expensive. Our parents took pictures yet, but fewer far and away, and only on special occasions: pictures of holiday sights, birthday celebrations, landmarks, special moments. Now, we take pictures of ordinary things, funny things, shopping lists, clouds, everyday occurrences, because, with the benefit and cheapness of photography, our motives have changed.

The grand vistas, the momentous occasions, the triumphs, and memorable achievements, we still immortalize the special moments in our lives. And these moments have also drifted into the virtual spaces we inhabit, like many other things.

Leo Sang’s Deus Ex: HR

Games like Genshin Impact are spaces of experience the maximum amount as entertainment. As it finds ample opportunity for snapshots in these virtual spaces, it shouldn’t surprise us that the photographic gaze, that eye for composition and purely visual aesthetic. In fact, it’s surprising that in-game photography – for purely aesthetical reasons as opposition documenting victories or snapping a pic of a formidable vista to be used as a desktop wallpaper – continues to be as unexplored a rustic because it still seems to be.

Those who have begun to travel to these gaming spaces to look for pictures are a few game photographers. With Duncan Harris of deadendthrills as the best-known and most generally publicized of those pioneers. Like movie stills, his work is increasingly professionally utilized by game companies to push their products, and the land games journalist compares his ultra-stylish, high-gloss pictures of games tweaked to seem their easiest to still photography in movie production. Recently, Harris was even given an advanced build of Dishonored, Arkane’s upcoming steampunk-thriller, to fuel anticipation and supply an advanced glimpse into the game’s stunning visual world.

James Pollock’s Skyrim

Harris’s professional game photography is breathtaking in its title, but he’s not the sole photographer with a keen eye for “videogame tourism” and therefore the convergence of virtual spaces and photography. Collecting his in-game photography on his blog Virtual Geographic is James Pollock, a graphic design student in Bath, England. He says he was originally inspired by deadendthrills, but ultimately opted for a totally different approach: rather than emulating Harris’s high-end, tweaked-up high-gloss technique, he took a comparably low-tech route and began to require pictures of his TV-set along with his iPod, using Instagram and Hipstamatic for added effect – a creative workaround to most consoles’ restricted – or non-existent – screenshot-capabilities.

Evoking memories of Anselm Adams and also the classics of nature photography are his black and white pictures of Skyrim’s majestic nature and Red Dead Redemption’s deserts while showing that photorealistic graphics aren’t prerequisites for impressive pictures by his Polaroid-framed images of the blocky worlds of Minecraft and set Radio Future.

ALSO READ: Video Game Photography: A New Genre in Still Image Art?

James Pollock’s lot Radio Future

Pollock sees no difference to “real life photography” while related projects by Robert Overweg, Kent Sheely, and John Paul Bichard are grounded within the context of experimental media art.

Iain Andrews’ Rage

Three-dimensional playing grounds are wholly man-made and constructed like urban spaces and architecture, game environments, especially those in open-world games with freely explorable. It’s not surprising that what may be a favorite theme of in-game photographers is architecture, especially an architecture unbound by reality’s constraints. The photographs of Australian gamer Iain Andrews, collected on Steam Postcards, think about the small print of those environments, the rear alleys, corners, and decor of those virtual spaces made for navigating through them.

Josh Taylor’s Mass Effect

There’s also another opportunity to juxtapose reality and games, but photographing the unreal, sprawling architectures of gaming’s SF and Fantasy worlds could be a challenge: Sao Paulo-based photographer and graphic designer Leonardo Sang’s “virtual reality photography” project use games as a platform for what he calls “everyday photography”, and his pictures of Max Payne 3’s city have their place beside his world photography of his city. By his realization that any open-world game offered the identical opportunity for photography because of the globe, Sang’s interest in in-game photography was piqued by GTA IV’s virtual cellphone camera, another in-game toy in Rockstar Games’ open-world sandbox.

Leonardo Sang’s Max Payne 3

In Leonardo’s case, what led him to in-game-photography was a virtual item, a virtual mobile device with a virtual camera, which seems ironic. As in the real world, it’s these ubiquitous mobile devices that brought photography to everyone’s pocket and to be witnessed on Instagram, Flickr and millions of Tumblr-Blogs began today’s deluge of real everyday photography.

With constantly increasing photorealism and therefore the popularity of open-world games, more and more photographers will search for inspiration and film opportunities in virtual worlds, the art of in-game-photography continues to be in its infancy, but it seems obvious. Games are places still as entertainment; and on balance, as Elliott Erwitt’s quote at the start reminded us: Photography has little to try to do with the items we see, and everything to try to do with the way we see them.

What is computer game photography about? This is often the question that we’ll tackle during this article. But first things first. Photography may be a visual variety during which the artist uses technology to capture light. The resulting piece of art may be a picture that may be printed or digitally stored and shared. Because, during this time and age, it’s also clear that this could be finished digital devices. It’s also clear that digital art, artworks created entirely or by part on computers, are a real and valid type of art and no lesser variety of this practice.

Now we are able to check on the opposite angle of the matter. Video games allow us to immerse ourselves in virtual worlds. Certainly, many games, provide gamers with a narrative to follow, but an increasing number of games allow us to freely enjoy the wonder that game developers have worked on for years. Wouldn’t it’s a waste to not stop your play once in a while and just study these environments that are artworks on their own? Virtual photography might be going down in VR, but this can be currently not a standard practice. Wikipedia currently refers to the present practice as “in-game photography” which isn’t wrong but not the language among the community.

When you’re walking through nature and seeing something that captures your attention, something beautiful you would like to capture and store or share with others, it’s common for people to require a photograph with their smartphone, or camera if they brought one. Some gamers take it a step further in video games and follow an analogous practice within the virtual world. The player appealingly arranges the viewport and captures this visual with all its contents as a still image. It gets saved digitally in a similar fashion and becomes a file that may be stored, edited, or shared, rather like photos taken by cameras.

ALSO READ: Photography For Media And Its Historical Development

The rise of a trend

Over the years, game developers would support this movement because it equally supports their own efforts in marketing the sport to new players and improving community engagement. Game development studios introduced photo-modes into their games, which allowed the game photographers to be even more creative by using camera controls, lighting changes, filters, and more options to govern the possible outcomes of an image.

Hardware and platform companies supported the movement by introducing easy ways of sharing “screenshots,” like shortcuts or on software or perhaps physical buttons on console controllers. The Xbox Series X controller includes a new “Share” button right within the middle, while the Sony PlayStation 5 controller features a new “Create” button, positioned slightly to the left. This can be a completely unique and extremely integrated way of directly sharing the artworks, whether it’s pictures or video clips, directly with the gamer’s audience on the platform and, if they require, their connected social media accounts.

How critical is it to take photos in a different angles and perspectives? Pictures or images can be boring when they are taken at the photographer’s eye level.   Photos taken in different angles grabs the viewers’ attention.

What are the impact of angles in your photographs?

• Changing the angle or the perspective enhances the photographs rather than when you just take it at eye level. It adds a different dimension and effect to the shot. Try taking photos at a lower angle instead of the boring eye level shots. Shooting at a lower angle makes your subject appear bigger. It adds a grand element to the shot.
• Taking photos in a different angle allows the photographer a unique point of view. Like taking under water shots. This grabs people’s attention because it allows them to see what’s under the water. It’s makes the picture more interesting.
• When taking photos, don’t be lazy! Get out and walk around. Do different positions to get a good angle.

What is shutter speed and how can it impact your image? When your shooting in film, the exposure of your image is made up of three main factors that you have direct control over. The ISO, aperture and shutter speed. This article will focus on the functions of the shutter speed. On a camera body, the shutter is the piece that opens and closes really quickly.  This lets a certain amount of light in to your film when shooting your image. In analog cameras, the shutter can be seen when you open your film compartment at the back. The rectangular area is the shutter opening of your camera. As you take your picture the shutter will briefly open to allow a certain amount of light in your camera and on your film. The longer the shutter is open, the more light getting in your camera.

If your shooting in an SLR camera that allows you to look through the view finder and out the lens, then you will have a mirror in front of your camera. This mirror allows you to look into the lens and the view finder. When you take your picture the shutter will flip and open up behind it. In most manual cameras you can find a dial on top of your camera that indicates your shutter speed options. The numbers are all measured in fraction in a second. The numbers will determine how long your shutters are open. The lower the number, the longer your shutter is open. The shutter speed controls motion and the shape of your image.

Adding strobes to your photography kit opens up a world of storytelling possibilities that were not always available with ambient light or even continuous lighting. There are many different models for strobes. When we hear of the word flash, most people picture an image of the classic mounted light in cameras that is used extensively in photography. No doubt this is a fantastic tool. But this article will concentrate on strobes or studio strobes. This instrument tends to be much larger, more powerful and has faster recycling time than the common flash. Recycling time refers to the measure of time between flashes that the unit needs to cycle back up in full power.

There are three main types of strobes:

1. Pack and Head. This holds the energy in a generator and releases to a proprietary cable to a flash head or heads. Pack and head systems tend to offer the most power and the fastest recycling times. They require a bit of time to set up because of the cables required for it to function.
2. Mono lights. It is a combination of a generator and head in a single unit. It requires a single cable to power. And though not as powerful as the pack and head system, mono lights offer a respectable recycling times and faster set-up and breakdown.
3. battery Powered Strobes. This simplifies set up even further by eliminating the need of cable of any kind. This also allows the photographer to shoot on location without the need of powering up the strobes. However they don’t offer the power output and fast recycling times of the mono lights and the pack and head system.

The energy of strobes varies. Using a strobe depends on the photographer’s needs.

When caring for your photography gears you have to take note of important practices you should follow that will help you not just to look after our gears but also it will minimize how much cleaning you actually have to do.

1. When changing lenses. If you have a DSLR or a mirror less camera you would know that one of the advantages of having this kind of camera is that you can change lenses. Changing lenses is fine but can lead to dust and dirt getting inside the camera and stick into the sensor. You will know if your sensor is dirty because when you look into your images in a large screen you will notice little dots or marks in your image. Try to minimize the chances of dust to get inside the camera. Always use the cap to cover lenses.
2. When taking photos in the rain it’s probably best to put your camera away from the water. Damp and wet cameras can be an issue because mold can grow inside the lenses and can cause camera parts to corrode. If you have to take a photo under the rain protect your camera from getting wet by using camera rain covers.
3. When in a harsh environment like the beach always be careful by trying not to get sand in the gear. Note that sand is very abrasive. Sand granules can work themselves into the camera parts and this can be a real issue. Sand can scratch the lenses. This is also even worst for salt water going into the gear.

Here are some good tips that amateur photographers can follow when editing a photo.  This allows them to bring out the best in what they do and how they can sell their images. Make this a habit in following these key things to improve the quality of your photos.

1. Do not compare yourself to others. It’s good to be inspired by other photographers. However, be unique and create your own style.
2. To get the best editing control over your photos it is better to shoot in raw rather than in jpeg. Raw photos allow you to easily adjust your light balance giving you the highest quality images. This makes it easier to adjust photos if it’s under or over exposed. You also get to enjoy nondestructive editing to your photos. Any editing photos you do to your raw photos is not permanent and this allows you to change it over and over again giving it a whole new look anytime.
3. When editing your photos do not over sharpen an image. Many photographers do this and it degrades the quality of your photo. This is noticeable when you print the photos. Always keep your photos reasonable.
4. Remove dust spots in your image. If you would like other people to admire your photos and for critics to give it a thumbs up, remove those dust spots in your photos. Put a little work and effort to it. Make it look clean as possible.

Good photography comprises many aspects like lighting, composition, the subject, and many more. If a beautiful picture is uploaded to a social media site, the common question is “was the image photo shopped? As we enter the digital age, photography has also evolved. Photographers has used many post processing applications to edit and enhance their photos. Photographers use these tools, because in reality when a photographer captures an image with his camera, this may not be perfect at times. They use this tools to improve their images. However popular, some photographers condemn the use of this post-processing software. Still many photographers use them. Learning to use these tools is good as long as you know how to use them properly. A photographer should know his limits and other options when using these tools.

5 Important Post Processing Tips