Wild Dog Ghost -Mashatu Game Reserve, Botswana

This may be the shortest essay yet, as this months image is one that “just occurred” through a bit of playful experimentation- even if the sighting was pure bliss.

I was hosting a photo workshop at Mashatu through my company C4 Images and Safaris and we had just spent the last hours of the day photographing a pack of African wild dogs in glorious sunlight. The scene was perfect, with the dogs awake, alert and at times very curious, walking to within a few feet of our vehicle- perhaps attracted to the sound of the clicking shutters, as all of us composed and photographed away.

After the sun had set, we watched the dog’s disappear into the mopane bush setting off on a fast trot. We drove off, content and happy and ready for a sundowner. It was here where we were chatting excitedly away about how stunning these dogs were to photograph when we noticed behind us, in an open plain some movement.

It was about 30 minutes after sun set, so the dusk was quite full, yet through it we saw 16 wild dogs trotting silently not 10 meters from us. They totally ignored us and trotted alertly past as we stood, stunned by the silence and the proximity of these charismatic creatures. I picked up my camera, aimed the lens and fired one frame. Being so dark, I knew the exposure would be long, so I just panned with the movement of the dog as it ran along.

This is the result. Probably not to everyone’s taste, but it brought back to me the same feeling as when I was there and the feeling of elation in seeing them so close and on foot. These ghosts of the dusk hour, shadowing through the bush portray to me a beautiful sense of movement and also reflect their conservation status, as they are critically endangered. To me it seemed a fitting metaphor.

It goes to show what playing around with a camera can produce- never a dull moment when you are prepared to push the boundaries and add another element to a scene.

Exposure information
Nikon D300 - 200-400mm
Exposure – f 4 Shutter Speed: 2 seconds
Exp. Comp. 0
ISO - 800
Flash - none
Exposure mode– Aperture priority, Metering Mode– Matrix
File type– NEF (RAW)
Focal length: 400mm
Handheld
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Improve Your Photography - Part 10, Aperture and Shutter Speed

For any control over the camera, one has to know how aperture and shutter speed combine to
create an exposure.
An aperture is defined as: The device that controls the amount of light entering a camera.
It controls the amount of light entering the camera through a circular diaphragm designed
blade.
The aperture opens in a circular manner. The wider the aperture, the more light it allows
through. And vice versa for when it is closed down.

Shutter speed: A shutter blade that allows light to enter the camera for a determined time.

Exposure:
Exposure is the resultant image that a camera produces once the shutter release is pressed. It
is the resultant image that comes from a combination of the shutter speed of the shutter and
how much light the aperture let through the diaphragm.
Aperture and shutter speed are the two controls a camera uses to make an exposure on the
film when you "take a picture". Shutter speed is the speed with which the camera's shutter opens when the picture is taken. It is the "click" you here when you push the button.

You probably have seen a dark picture or light pictures; these are illustrations of incorrect
exposures. With Compact cameras, these properties are most of the time beyond your control,
as the camera is working in “auto” mode. The more control you have over an image, the less
incorrect exposures you will have. We are lucky that cameras produce good results 95% of
the time- allowing us to enjoy our photography without worrying too much.
However, creative control comes with you controlling the camera, so your camera will have
to move off the “auto mode” and start working in Aperture” and “Shutter” Priority modes on
your camera.
These modes give you control over what aperture to use and how you can control the
resultant image, allowing extensive creative control.

Added to this equation is Depth of Field (DOP).

Aperture also controls Depth of field. The smaller the hole in the diaphragm; the greater the
DOP. The larger the hole in the Diaphragm; the narrower the DOP. We will cover this later,
for now lets look at shutter speed.

Things to consider when choosing a shutter speed:
There are some basic rules that we need to know:

• Most individuals cannot hold a camera steady (without blur in the photo) for anything
slower than 1/60 of a second.
• Subjects need to be extremely still/steady in order to not show motion/blur in the
image less than 1/60 sec
• Fast moving subjects tend to need shutter speeds of 1/250 of a second or faster into
order to freeze motion or prevent blur.
• The faster the subject, the faster the shutter speed needed
• Low levels of light limit one to a slow shutter speed
• High levels of light may limit one to fast shutter speed
• Thus for low light- one needs support to get a steady shot (or flash)
• For High light levels, can hand hold and good for action shots
ISO
Iso is the digital cameras sensitivity to light. As with film, and asa, iso is determined by an
increase in numbers. As each number doubles, so does the sensitivity of the sensor.
Ie: iso goes up as 100, 200, 400, 800, 1600 etc
With each increase, the sensitivity of the sensor increases.
If all other factors were to remain constant and iso had to increase, then the shutter speed
would have to also increase. For each increase in iso, the shutter speed would halve. This is
due to the sensor being twice as sensitive to light (it needs half the amount of light to make an
image) and thus the shutter speed halves.
One problem with iso is that as it increases, so does images quality decrease. Thus it is almost
not worth taking photographs at iso’s above 800, unless you are going for a specific effect.

Conclusion
Shutter speed, aperture and iso go hand in hand in determining how your creativity. You need
to know how they affect one another and how you can use them to your advantage.

For more information on Photography courses and how to improve your photography see here.

All text copyright C4 Images and Safaris

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Improve Your Photography - Part 9, People

2. People

People are probably the most photographed subjects around. Photos are always taken at
gatherings of friends and families. Thus it makes sense that you need to photograph it
properly.

A few ‘ rules’ when taking portraits of people:
1. Fill the frame
2. Make sure your subject’s eyes are open. A tip is to take two photos, the second
right after the first, so that you capture the open eyes, or else a more relaxed
expression.
3. Turn the shoulder towards the camera. Have you ever thought why models
always have their shoulders towards the camera? It’s because it creates a leading
line and opens up the image, instantly bringing in depth into the image. Ok you
don’t have to pout…
4. Raise the chin. This is not a given, but it also a trick from the modelling industry. A
raised, lifted, or chin pushed slightly forward make the person look a bit more alert and it makes them open their eyes more. It is important to not overdo this
technique, as a high raised chin does not look nice at all.
5. Choose your background. Portraits are the one time when you can choose your
setting, so make sure you have the best spot available. A dark background with even
colours is always a nice start. Look out for bright spots in the background that may
be a distraction in the picture.
6. Make your subject laugh or smile. Any relaxed person is going to be easier to
photograph. A few test shots with the camera will also help them relax whilst you
talk to them, show them a picture on the LCD and get ready for a better shot. One of
the most famous portraits of all time, of Sir Winston Churchill, was taken in a light
moment. The photographer, Karsh, stopped Mr Curchill and asked for a photograph,
Winston reluctantly obliged. Karsh set up the shot and then grabbed the cigar out of
Winston’s hand. As he did so, he took an image. As soon as Winston realised that it
was a joke, he broke out into a broad smile, and Karsh grabbed the next shot. Only
two images taken and both were to become legendary.
7. Get to the level of the subject. If you take a picture of a child from adult level, you
will get a picture of a child from adult level, and not a very flattering one. Get down
to the level of the subject and take the photo at their eye level. This increases the
intimacy of the image

Portraits in the environment

This is where you can use a wide angled lens to photograph people. Use the mantra, ‘get
close, go wide’. Meaning get close to your subject and use a wide angled lens. This technique
shows the environment where the along with the person. It can often show a picture of a
person in their work environment. Another benefit is that you can combine this technique
with other composition techniques to increase the overall impact of the image

Candid Photography
Similar to environmental photography, candid images are those that capture scenes or
happenings when people are unaware.
It is the type of people photography that focuses on spontaneity to make the image rather
than a proper set up of camera equipment. This is the typical “fly on the wall” type of
photography and is extremely enjoyable when nice images are captured. Children are easy
candids, as they often play in the own little worlds. They are good to practice on.
Its important to note that in many countries today it is illegal to photograph people who you
don’t know in public places. This law is in effect in many first world countries and relatively
strictly enforced.

Action and sport
Sport and action are always the most difficult photos to get. Use the sport mode in your
camera to make sure you get the fastest shutter speed. Also use the burst mode to get as
many frames per second to capture the action. A good technique to learn is to pan with your
subject, as it is moving. If the subject is running from left to right, then keep a steady pan in
the same direction. Even if someone is on a trampoline, pan up and down to catch freeze the
motion of the person jumping. When there is action, always remember to keep your eye on
the viewfinder so as to be ready for the shot you want.

For more information on Photography courses and how to improve your photography see here.

All text copyright C4 Images and Safaris

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A Landscape of Insect - Tswalu Kalahari Reserve

Two years ago, I met good friend Duncan MacFadyen for a birthday drink one Thursday evening. For a present, I gave him a fine art print of an image I had taken at Tswalu reserve, a stunning reserve in the Kalahari of which Duncan manages all the conservation research for. In the excitement of the moment, we decided there and then that we would work together to produce a book- him doing the text and I the photography. It was seemingly innocent talk, but waking up the following morning, we both had that nagging feeling that we had started something that would not go away. That evening was to be the spark for “A Landscape of Insects”.
Over the course of these last two years, Duncan and I have worked through numerous proposals; ideas and processes of how produce this mass of work. We are both new to this game and it all meant a lot of meetings and e-mails flying back and forth planning new ideas and solutions.

Both of us being “bush people”, the real part was when the fieldwork was to begin. To both of us, this meant the project had really begun and we were on our way to actually, physically producing something. During this process, we have been able to visit and work on some spectacular reserves across South Africa. These properties cover varying habitats, meaning we are seeing and photographing a great diversity of insect life. I was relatively new to the “insect world”, but with the help of Duncan and Ruth Müller from the Transvaal Museum, I have learnt to distinguish a Graphipterus from a Graphiurus and no longer squeal at handling a ground beetle! It’s been a great experience and one that has taught me a lot of the natural history of insects, as well as photographing them.

Photographically, it has been a great challenge for me. Macro work is traditionally a technical realm of photography. My aim though, was to make it an artistic realm- One that a reader could relate to and see the insect within its environment; not just on a black background. Zendré kept repeating to me: “Context, I want to see context.” Naturally, I listened…

So a few rules were established.
We would always photograph in natural light. No set up studios. (Except for some real close ups done with specialised equipment)
Insects were photographed in situ, in the outdoor environment, where they naturally occur and the insects would be doing something. We didn’t want any insect stuck onto a plant- all our insects were to be alive in their own environment.
This proved tougher than expected. One thing we learnt very quickly, is that insects fly- and fly very fast! Needless to say though, we persevered and have managed to get some excellent results- of which all will be in the book when it launches in December.

I was still adamant to break new boundaries though- test the limits of equipment and try new angles. I consulted with various photographers in the industry and decided to try a fish eye lens in the insect world. A fish eye lens is an extreme wide-angle lens that has an angle of view of 180°. It requires extreme care when working with it to not get ones own feet in the shot!

Our latest field trip was to Tswalu and the reserve was in full summer bloom. Every blade of grass was green, the devils thorn flowers were out in bloom and very importantly, insects were everywhere.

It took me a short while to locate this blister beetle feeding in a patch of tribulus flowers. Getting down low on my stomach and 5cm from the beetle, the fish eye lens opened up a new world to me. In the foreground was a beautiful flower, whilst it still captured one of the icons of he Kalahari: A camel thorn tree with a sociable weavers nest. The image came together instantly and I got up covered in thorns and red Kalahari dust.

As I down loaded, I immediately knew the new lens had done what I wanted. This image, to me, captures the essence of what we are trying to achieve with our book. It shows an insect going about its daily business in a landscape that we all know, and many of us love to visit. But the beauty extends beyond the tree and the nest (and the lions), it too extends to the beautiful spotted blister beetle feeding happily away amongst some yellow flowers. That is exactly what we will be showcasing in our book.

Exposure information
Nikon D300 - 10.5mm fish eye lens
Exposure – f 18 Shutter Speed: 1/250sec
Exp. Comp. -0.3. EV
ISO - 200
Flash - SB900 -0.7 TTL BL FP
Exposure mode– Aperture priority, Metering Mode– Matrix
File type– NEF (RAW)
Focal length: 10.5mm

This article first appeared on Shemimages.com

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Improve Your Photography - Part 8, Colours, Shapes and Patterns

Introduction

With the knowledge gained from recognising the different types of light and the basics of
composition, the next level is to start applying these skills in the great outdoors. We are
blessed with a climate that begs to be photographed and I always believe it a sin not to take
advantage of the great weather that we have. This section is dedicated to showing you how to
take better images of everyday scenes. Pictures that we like to take while on holiday, portraits
of your children, and other examples are covered to help you enjoy your photography more.

The section is broken up into three headings:

1. Colour, shapes and patterns
2. People, portraits, candids and action
3. Travel, holiday and landscapes

1. Colour, shapes and patterns

Our eyes see a multitude of colours and shapes every day. The secret is to be able to
recognize the ones that compliment each other and then frame them in an image. Below are a
few types of ways to create balance in an image. The more you recognize such shapes
patterns and colours, the more your mind will be stimulated; It’s an ongoing learning process.
To be able to train your eye is an essential part of improving your eye for colour, shape and
patterns.

Balance by colour- Eyes are attracted to colour. A small area of bright colour can balance a
much larger area of duller colour. Typically, your three primary colours of red, green and
blue compliment each other and one another.

Balance by value – the contrast between light and dark often makes for a nice balance

Balance by shape – complicated shapes are much more interesting to the eye and it lingers
on it compared to simple shapes.

Balance by texture – a variegated dark and light pattern is much more interesting than a
smooth pattern

Balance by position – a large item closer to the center of an image can be balanced by a
smaller item closer to the edge. In western art a heavier subject is placed on the left and
balanced by a smaller item on the right due to the fact that we read from left to right.

Balance by eye direction – heavier elements can direct your eye towards a smaller item

Patterns

Patterns occur naturally, we just need to look to find them. Again it is a matter of training
your eye. Flowers on a bush can make for very simple patters in a natural setting, whilst
people can be placed behind one another to make a pattern for an image.

Patterns are typically seen as:
• Repeat of the same form or shape. Triangles and circles are often repeated in nature
• The repetition of lines
• Repetition of a structure
• People behind one another
• Stacks of objects piled up together
• A row of buildings
• A stand of trees

Patterns can also be isolated and reflected as an abstract. Most abstracts are derived from
close ups of repetitive forms.
For more information on Photography courses and how to improve your photography see here.

All text copyright C4 Images and Safaris

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Improve Your Photography - Part 7, Composition

Composition basics

Now that you know how light works, now you can apply basic compositional techniques to
work with light. We are adding more elements to photography to give it more structure and
also give it more impact. It is important to note that you can add certain compositional basics
to together in an image to give it more impact.

Rule of thirds

Used by Artists for hundreds of years, the ‘Rule of Thirds’ rule are imaginary lines drawn
dividing the image into thirds both horizontally and vertically. You place important elements
of your composition where these lines intersect. As well as using the intersections you can
arrange areas into bands occupying a third, or place things along the imaginary lines. Good
places to put points of interest are; third of the way up, third of the way in from the left etc.
You will note that if you divide an image into three, the ratio will be 0.33 this is one of the
Fibonacci numbers as well as the fact that the second third, 0.66 is also very close to the
golden number. So the rule of third is also linked to the divine numbers.
Using the Rule of Thirds helps produce nicely balanced, easy on the eye pictures. Also, as you have
to position things relative to the edges of the frame it helps get rid of ' tiny subject surrounded by
vast empty space' syndrome.
One last thing about the Rule of Thirds- Once you have got the hang of the Rule of Thirds you
will very quickly want to break it! This is fine. These 'rules' are best used as guidelines and if you
can create a better image by bending or ignoring rules then shoot away.

Drop the “Cross hairs” Syndrome

Many new photographers use what I call the “Cross hairs” syndrome when photographing.
They think they are looking at their subject through the sight of a rifle and try their best to bisect
the subject right through the middle of the frame! This is one sure way to ruin an image. Place your
subject to the left, right, top or bottom, to get a better feel to your composition. (Portraits may be an
exception and are discussed further along)

Leading lines

An image can be a nice looking picture, but without using an object in the foreground to give
depth, it will remain just that; a nice image. Great images tell stories and a leading line is a way to
tell a story with a photo. Diagonal lines leading towards your subject (especially if it is small) are
an excellent way to draw a viewer into the image. (The rule of thirds comes into effect here as
well!)

Even horizons

The heading says it all. A good image has even horizons. Skew horizons can make what may have
been a great image look decidedly ordinary.

Subject placement (Subject looking out of frame etc)

If taking portraits or head and shoulder photos of animals, it is a good idea to frame the
subject to the one side of the frame with them looking out of the image into the empty space.
Another example is for a driving motorcar. Place the car in the frame so that the car is driving into
open space. This gives the image balance.

Balancing foreground and background

As with leading lines, foreground interest is very important to balance out an image. By
placing a subject in the foreground of a landscape image, you help draw the viewer into the image
and give it depth.

Landscape and portrait mode

Photographers often forget that you can turn the camera sideways and photograph in another
format. The horizontal format is called landscape and the vertical format is called Portrait mode. As
the names indicate, Portrait mode is best used for portraits. I find this mode great to emphasize
scale and leading lines into pictures.

Changing angle

By changing your angle at which you look at a subject, you can create a completely different
point of view. This is a powerful way of altering your composition and can affect the image
greatly. By simply walking closer, kneeling down or moving side wards you can alter the
background, the angle and shape you view your subject. I use this compositional tool greatly when
approaching a new subject.

Frame filling/Impact

You have heard it before and you will hear it again- Fill the frame. This gives the image
impact and keeps the viewers attention. Other compositional basics also pertain to this section, i.e.
leading lines and foreground interest. A picture may have a small subject, but by using foreground
interest, you are using the whole frame and thereby filling it. For action, sport and portraits, a
subject that fills the frame makes a very high impact image.

For more information on Photography courses and how to improve your photography see here.

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Improve Your Photography - Part 6, Composition

Definition- The combining of distinct part or elements to form a whole; the manner
in which such parts are combined or related.

Composition is a very individual choice and has been the subject of debate for many
hundreds of years. When photography was first as in its infancy, it looked to the history of
the arts for inspiration in composition. There they found the rules that had been used for
many years before photography. Using these classic rules, photography developed its own
style and technique, but the basis rules of composition remain and are still widely used today

With regards composition, one of the great street photographers, Henri Cartier-Bresson,
wrote in his book:

“A photographer can bring coincidence of line simply by moving his head a fraction of a
millimeter. He can modify perspectives by a slight bending of the knees. By placing the
camera closer to or farther from the subject, he draws a detail…
and you’ll observe that, if the shutter was released at the decisive moment you have
instinctively fixed a geometric pattern without which the photograph would have been both
formless and lifeless.”
Henri Cartier-Bresson, 1908-2004. The Decisive Moment- 1952

The Fibonacci sequence and the Golden numbers
Leonardo of Pisa (Fibonacci) is considered the “greatest European mathematician of the
middle ages. He was responsible for many mathematical contributions. However, his greatest
contribution came from working out a puzzle about rabbits.
It was:
How Many Pairs of Rabbits Are Created by One Pair in One Year
A certain man had one pair of rabbits together in a certain enclosed place, and one wishes to know
how many are created from the pair in one year when it is the nature of them in a single month to
bear another pair, and in the second month those born to bear also.

He then went on to solve and explained the solution:

Because the above written pair in the first month bore, you will double it; there will be two pairs in one month.
One of these, namely the first, bears in the second month, and thus there are in the second month 3 pairs;
of these in one month two are pregnant and in the third month 2 pairs of rabbits are born, and thus there
are 5 pairs in the month; ...there will be 144 pairs in this [the tenth] month; to these are added again the 89 pairs
that are born in the eleventh month; there will be 233 pairs in this month. To these are still added the 144 pairs
that are born in the last month; there will be 377 pairs, and this many pairs are produced from the abovewritten
pair in the mentioned place at the end of the one year. You can indeed see in the margin how we operated, namely
that we added the first number to the second, namely the 1 to the 2, and the second to the third, and the third to the
fourth and the fourth to the fifth, and thus one after another until we added the tenth to the eleventh, namely
the 144 to the 233, and we had the above written sum of rabbits, namely 377, and thus you can in order find it
for an unending number of months.

From this we get the number sequence of:

0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, 987…

Basics of Fibonacci sequence: Add the last two numbers to get the next.

The Golden Number
There is a ratio in nature that repeats itself. This number is referred to as the golden number,
golden mean or divine number.
It is a number runs to infinity and is called PHI- 1.618…
The inverse number is phi - 0.618…
At least since the Renaissance, many artists and architects have proportioned their works to
approximate the golden ratio; especially in the form of the golden rectangle, in which the ratio
of the longer side to the shorter is the golden ratio, believing this proportion to be aesthetically
pleasing. Mathematicians have studied the golden ratio because of its unique and interesting
properties.

The golden number repeats itself in nature over and over again. IN the curl of a sheep’s horns, the
human body, flowers, petals, trees, almost all nature has the proportions of the golden mean in their
make up.
The relationship between the golden number and the Fibonacci sequence is that if you divide the
each number by its neighbour, you get to the result of PHI, or the golden number:
Fibonacci sequence: …13, 21, 34, 55, 89, 144, 233, 377…
144 / 89 = 1.6179775…
89 / 144 = 0.6180556…
So it is seen that the Fibonacci sequence has a strong link to the golden mean. Along with the
golden number, we also see the Fibonacci numbers repeated in nature very often. These are not an
absolute, but the numbers are often repeated on flower petals, antlers on deer, leaves from a whorl
etc
Our eyes, from the day we are born, see the Fibonacci sequence and the golden mean in every day
subjects. These compositions are ingrained in our minds and we thus accept them as pleasing to the
eye. They form natural compositions and are our ingrained reference when we look at a picture,
look at art or take a picture.
"There is a close association in mathematics between beauty and truth"

For more information on Photography courses and how to improve your photography see here.

All text copyright C4 Images and Safaris

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Improve Your Photography - Part 5, Light

Introduction
We live in a diverse and continually changing environment. By using photography, we are able to capture these changing moments in time and record them as images. However, it is the manner in which we capture the images that determines the reaction to the final image.
We can define photography as “painting with light”. I prefer a different expression, “capturing
light”. Photography is a mixture of science and art. We use our minds to frame a picture, and that is the art part of photography; capturing the image on film/digital sensor, is the science part. By being able to see light, we are able to concentrate on composition, and once we master
composition, we head into more creative realms. It is these principles that I want to teach in these notes: To view and capture a scene; with emphasis on light, angles and composition.

Original definition: The method of recording the image of an object through the action of light,
on light sensitive material

The actual phonetics are derived from Greek words:
photos = Light
grahphein = to draw

This term was first used in the 1830’s when the first photographs were produced. Today, due to the different types photography that has evolved, the definition has evolved into many different forms.

Light in photography- colour and quality of light

On earth there is one major source of light, the Sun. As the sun rises each day, it moves from being on the horizon, to right above us and then down onto the horizon again. This rising and setting affects the quality and colour of the light that reaches us. At dawn and dusk the oblique angle of light produces very warm colours of red and gold. This is due to the blue and green colours of sunlight being filtered out by the band of atmospheric dust that lies just above the Earths surface. (You could say that pollution has helped create warmer colours for photographers in the cities) Red and yellow rays are thus predominant during early mornings and late afternoons.
During midday hours, the sun shines directly down onto the Earths surface. There is little
atmospheric dust to filter out the suns rays and hence the colour of the light is more normal. Of
course, there are exceptions to the rule. Overcast days produce good, soft light in the middle of the day allowing for good photography throughout the day!

Of more importance though, is that it will show you how everyday subjects can change in their
appearance due to one factor- Light.

Due to the Earths movement around the sun, we experience seasons. During summer months, the sun rises and sets at a very perpendicular angle. This causes the light to be of good quality, but becomes very strong and harsh early on in the day. During the winter months, the sun rises at a more oblique angle to the earth and shines light at a low angle for longer periods. The quality of the light lasts longer in winter as it does in summer. The quality and colour of light are the foremost indicators of how you are going to go about your photography. They set the stage for you, your camera and the images that you create. Of high importance, is that by looking at Light, It will show you how everyday subjects can change in their appearance due to that one factor.

Types of light- Front lighting, Side lighting, Back-lighting

The angle at which light strikes a subject can have a dramatic effect on what we see. Front lighting is described when you see a subject with the light shining from the front. (You are
between the sun and the subject) Front lighting shows very little shadow and thus very little
depth; images are very representative and two-dimensional. This is the way we were all
taught to take a picture. “Look into the sun when you are having your picture taken” was the
cry I always used to hear from my mom!

Side lighting is when the sun is shining at right angles to the subject. It shows great detail and
texture in the subject as well as bringing out a third dimension in the image.

Back lighting is when the light is shining from behind the subject. (The subject is between you and the sun) Almost always a silhouette, backlighting is very effective for subjects with a
recognisable shape. Subjects with fur or hair often have a ring or halo of light around them,
creating stunning effects. This is probably the most difficult of the three lighting techniques
to master, but can be the most rewarding!

Mood and atmosphere

Other climatic factors can contribute to create mood and atmosphere. Cloudy, overcast skies
can create a feeling of doom. Likewise, dust in golden light can create a very peaceful and
ethereal scene. These elements can be very powerful in adding emotion, mood and
atmosphere into an image.

Diffused light

Cloudy skies are often a blessing in disguise for capturing images. You can photograph
during the midday hours, shadows are reduced and colour saturation is very nice. Clouds act
as a big filter and diffuse light so that it falls very evenly. This type of light is very good for
taking portrait shots of all sorts of creatures.
For more information on Photography courses and how to improve your photography see here.

All text copyright C4 Images and Safaris

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