The 2008 Land Between The Lakes Photo Competition is open to all photographers, of any age, who have submitted a complete registration form and entrance fee. If under 18, a signed permission form from his or her parent or legal guardian must be included. Members of the contest committee, contest judges and their immediate families including children, siblings and spouses are excluded.
What To Enter
All Photographs must have been taken in or of the Land Between The Lakes.
Photographs will be judged in the following 6 categories:
1. Mammals - Portraits and Behavior
2. Birds - Portraits and Behavior
3. Small World – Tight Close Up and Macro
4. Connecting People and Nature - People enjoying the LBL
5. Habitat - Landscapes and plant life from wild areas
6. Digitally Enhanced *
*Double exposures, digitally stitched photos and images containing any manipulated or added content should be entered only in category # 6.
You must declare on your entry form if your photograph is of an animal in captivity, such as Woodlands Nature Center, Elk & Bison Prairie or The Homeplace.
No pets or domestic animals will be accepted, with the exception of animals at the Woodlands Nature Center, Elk & Bison Prairie, The Homeplace or animals participating with people in outdoor recreation (for example, hunting dogs or riders on horseback). Please do not harass wildlife in an attempt to photograph it.
Manipulation of images, either film or digital, should be limited to conventional darkroom techniques or basic sharpening, cropping and removal of dust spots. Images should contain only the subject matter as originally seen through the viewfinder (except for the Digitally Enhanced category).
An entrant must hold all rights to a photograph. Photos previously published or pending publication or that violate or infringe upon another person’s copyright, are not eligible. Please do not infringe on the rights of property owners in an attempt to photograph animals.
For more information;-
http://www.lblphotocontest.org/details.htm
Wednesday, September 3, 2008
Tuesday, September 2, 2008
Ambience Photography Contest 2008
Ambience Productions is dedicated to promoting creative talent on a global scale. Through our website and contests we showcase some of this talent and introduce the world to new and emerging artists, photographers and writers.
The Ambience Photography Contest 2008 is open to amateur and professional photographers of all ages, from all parts of the world. It is an online, global contest. All categories of photography are welcome; including post processing and computer enhanced images. Let your imagination run wild and those creative juices flow. Send us your best pics and we'll place them before our panel of judges.
Who knows? You just might be the winner of the 2008 Ambience Photography Contest!
Great prize money is on offer for our winners. Winning entries will be showcased on our site along with the entrant's bio. To commemorate your win, you will also receive a downloadable certificate which can be printed out and displayed on your wall for all to see.
For more information:-
http://www.ambienceproductions.com.au/photocontest.htm
The Ambience Photography Contest 2008 is open to amateur and professional photographers of all ages, from all parts of the world. It is an online, global contest. All categories of photography are welcome; including post processing and computer enhanced images. Let your imagination run wild and those creative juices flow. Send us your best pics and we'll place them before our panel of judges.
Who knows? You just might be the winner of the 2008 Ambience Photography Contest!
Great prize money is on offer for our winners. Winning entries will be showcased on our site along with the entrant's bio. To commemorate your win, you will also receive a downloadable certificate which can be printed out and displayed on your wall for all to see.
For more information:-
http://www.ambienceproductions.com.au/photocontest.htm
Nikon Photo Contest International 2008-2009
The Nikon Photo Contest International has been held by Nikon Corporation since 1969 to provide an opportunity for photographers around the world to communicate and to enrich photographic culture for professionals and amateurs alike.
"At the heart of the image" is not only the brand statement of Nikon Imaging Company, but it is also the theme for the 32nd contest, in which entries are invited in two categories. The first category is free subject and the second is entitled "My Planet," and entries to each category are accepted as prints sent by conventional mail or as JPEG images sent via the Internet. With this theme and these categories, we look forward to receiving expressive images from around the world that are true to people's emotions.
For more details kindly visit:
http://imaging.nikon.com/products/imaging/activity/npci/npci2008-2009/imgdata.htm
"At the heart of the image" is not only the brand statement of Nikon Imaging Company, but it is also the theme for the 32nd contest, in which entries are invited in two categories. The first category is free subject and the second is entitled "My Planet," and entries to each category are accepted as prints sent by conventional mail or as JPEG images sent via the Internet. With this theme and these categories, we look forward to receiving expressive images from around the world that are true to people's emotions.
For more details kindly visit:
http://imaging.nikon.com/products/imaging/activity/npci/npci2008-2009/imgdata.htm
Monday, August 18, 2008
Retouching And Improving Your Photographs - Photoshop Makes It Possible
Digital imaging and more specifically Adobe Photoshop as well as other image editing software have revolutionized photography. The advances in digital image manipulation now allow for unlimited possibilities in the area of improving photographs through retouching and restoration.
What types of improvements are possible by retouching photographs with Photoshop?
Blemishes
Embarrassing skin blemishes like acne or scars can easily be removed using the retouching tools available in Adobe Photoshop. You can learn these Photoshop techniques in minutes.
Damage to Prints
The benefits of digital imaging for restoring old damaged or worn out photographs are one of the best reasons to learn Photoshop. Once an old photograph is scanned it can be retouched to remove tears in the paper or water marks. You can also restore colors that have faded over time. Once you have retouched your image and it is like new again it will last forward because digital images do not deteriorate over time like prints.
Closed Eyes
This is one of the most common problems with group photographs. You finally got the entire family together for a family photograph including Aunt Martha only to find that she closed her eyes. Closed eyes are not a problem for a skilled user of Photoshop. You can easily open her eyes and no one will ever know.
Removing unwanted Subjects
Not only can you remove blemishes in Adobe Photoshop but another common use of Photoshop’s retouching capabilities involves removing unwanted people or objects. Old boyfriends can be forever removed from photographs quickly and easily if you know what you are doing.
Retouching photographs has never been easier than it is today. Photoshop and other photographic editing software applications have made it a breeze to open closes eyes, remove blemishes and scars, change colors, restore old damaged photographs and remove unwanted objects.
What types of improvements are possible by retouching photographs with Photoshop?
Blemishes
Embarrassing skin blemishes like acne or scars can easily be removed using the retouching tools available in Adobe Photoshop. You can learn these Photoshop techniques in minutes.
Damage to Prints
The benefits of digital imaging for restoring old damaged or worn out photographs are one of the best reasons to learn Photoshop. Once an old photograph is scanned it can be retouched to remove tears in the paper or water marks. You can also restore colors that have faded over time. Once you have retouched your image and it is like new again it will last forward because digital images do not deteriorate over time like prints.
Closed Eyes
This is one of the most common problems with group photographs. You finally got the entire family together for a family photograph including Aunt Martha only to find that she closed her eyes. Closed eyes are not a problem for a skilled user of Photoshop. You can easily open her eyes and no one will ever know.
Removing unwanted Subjects
Not only can you remove blemishes in Adobe Photoshop but another common use of Photoshop’s retouching capabilities involves removing unwanted people or objects. Old boyfriends can be forever removed from photographs quickly and easily if you know what you are doing.
Retouching photographs has never been easier than it is today. Photoshop and other photographic editing software applications have made it a breeze to open closes eyes, remove blemishes and scars, change colors, restore old damaged photographs and remove unwanted objects.
How to Shoot Wildlife Photography
Professional Tips and Techniques
Wildlife subjects can be divided into two categories: wild and under human control. Pursuing both can produce wonderful images. Of course, there's nothing more exciting than capturing a spectacular image of a wild animal in its natural environment, but many times it's not possible to travel to exotic locations or spend days or weeks tracking an animal. What's more, many animals are extremely dangerous. Learn tips on getting great wildlife photos in the following article by professional photographer Jim Zuckerman.
How to Shoot Wildlife Photography: Close-up vs. Environmental
It's not necessarily desirable to always get full-frame head shots of wildlife - you can always take head shots in a zoo. Including the environment along with an animal gives a sense of place, and if the location happens to be spectacular then it becomes an integral part of the composition. Still, the subject should be significant enough in the frame to make a statement.
How to Shoot Wildlife Photography From a Vehicle
In many cases, a vehicle can gain a closer approach to a wild animal than a person can on foot. For example, most wildlife in national parks have grown accustomed to vehicles, and they know there's no threat.
Shooting from a vehicle can be done using a stable platform that attaches firmly to the driver's door when the window is rolled down. (These door mounts are available through various sources.) You can also use a burlap or fabric pouch filled with uncooked rice, beans or coarse sand. This actually is my preferred choice for shooting from a vehicle. I travel with it empty, but when I arrive at the shooting destination I'll fill it.
Finding Wildlife Subjects to Photograph
There are many options for locating wildlife - even if you live in the city. One technique is to try the Internet. For example:
One of my favorite macro subjects is frogs, and specifically poison dart frogs. These are brightly colored frogs that are poisonous in the wild but are not dangerous when they are kept in captivity (because their diet is altered). I especially wanted blue frogs because they are so unique. I did a search on the Internet and found several breeders of these frogs in the U.S., and one of them happened to be only 10 minutes from my home. I called him and made arrangements to photograph many of his creatures in exchange for photos.
How to Shoot Wildlife Photography the Right Way: Keep Things Steady
In addition to doing your wildlife photography in the best light, I strongly suggest using a tripod whenever possible. When photographing with a tripod is not possible, use a bean bag or some other stable support.
Image stabilization lenses, if you can afford them, go a long way to helping wildlife photographers get sharp pictures in low light. They minimize camera movement when you hand hold them, which in turn gives you more flexibility in your shooting. However, I would still recommend a tripod when it's feasible.
Virtually all the images on my Web site, with perhaps five exceptions, were shot using a tripod.
Wildlife subjects can be divided into two categories: wild and under human control. Pursuing both can produce wonderful images. Of course, there's nothing more exciting than capturing a spectacular image of a wild animal in its natural environment, but many times it's not possible to travel to exotic locations or spend days or weeks tracking an animal. What's more, many animals are extremely dangerous. Learn tips on getting great wildlife photos in the following article by professional photographer Jim Zuckerman.
How to Shoot Wildlife Photography: Close-up vs. Environmental
It's not necessarily desirable to always get full-frame head shots of wildlife - you can always take head shots in a zoo. Including the environment along with an animal gives a sense of place, and if the location happens to be spectacular then it becomes an integral part of the composition. Still, the subject should be significant enough in the frame to make a statement.
How to Shoot Wildlife Photography From a Vehicle
In many cases, a vehicle can gain a closer approach to a wild animal than a person can on foot. For example, most wildlife in national parks have grown accustomed to vehicles, and they know there's no threat.
Shooting from a vehicle can be done using a stable platform that attaches firmly to the driver's door when the window is rolled down. (These door mounts are available through various sources.) You can also use a burlap or fabric pouch filled with uncooked rice, beans or coarse sand. This actually is my preferred choice for shooting from a vehicle. I travel with it empty, but when I arrive at the shooting destination I'll fill it.
Finding Wildlife Subjects to Photograph
There are many options for locating wildlife - even if you live in the city. One technique is to try the Internet. For example:
One of my favorite macro subjects is frogs, and specifically poison dart frogs. These are brightly colored frogs that are poisonous in the wild but are not dangerous when they are kept in captivity (because their diet is altered). I especially wanted blue frogs because they are so unique. I did a search on the Internet and found several breeders of these frogs in the U.S., and one of them happened to be only 10 minutes from my home. I called him and made arrangements to photograph many of his creatures in exchange for photos.
How to Shoot Wildlife Photography the Right Way: Keep Things Steady
In addition to doing your wildlife photography in the best light, I strongly suggest using a tripod whenever possible. When photographing with a tripod is not possible, use a bean bag or some other stable support.
Image stabilization lenses, if you can afford them, go a long way to helping wildlife photographers get sharp pictures in low light. They minimize camera movement when you hand hold them, which in turn gives you more flexibility in your shooting. However, I would still recommend a tripod when it's feasible.
Virtually all the images on my Web site, with perhaps five exceptions, were shot using a tripod.
Tuesday, November 13, 2007
Digital Or Film.
Having lost count of the number of people who have asked me: have you gone digital? I am always left wondering why its such a much-asked question. The camera is only a tool in which a photographer creates an image. His personal ability to create a unique image remains the same.
For many forms of photography, digital has long held obvious advantages, but for landscapes the resolution necessary to make larger prints just wasnt available. But things have changed and digital cameras are fast becoming the tools that most pros use.
Modern digital cameras are perfectly capably of matching the 35 mm film - the format which most landscape photographers begin with. But can they really match the large format film cameras? This is probably the greatest question that all photographers face.
Instant LCD feedback is digitals greatest gift and this enables the photographer to check exposure and composition of their image in the blink of an eye. While this is a big advantage, the hours spent in front of the computer processing the raw images have to be a hindrance. A landscape photographers time is best spent behind a camera not in front of a computer.
The pros and cons of digital photography will remain an issue for some time. At the end of the day a digital camera wont make a photographers images better. The same values we apply in our photography should remain regardless of which camera we use.
Good photography remains as elusive and as enticing as it ever was; going digital doesnt change this or make getting good images any easier. It brings technical advantages, and plenty of them, but the majority of photographic techniques never change. Good landscape images come from the photographers personal ability, not the ability of a camera. The camera helps, but the creative eye remains the same.
As a landscape photographer I am still hesitant to embrace digital photography and all the qualities that digital has brought to other professionals in different photography fields.
There are a few simple reasons that I still use a film camera:
The authenticity of my images could be questioned if I used a digital camera. It is often assumed that great digital images have been manipulated.
Too much time is spent in front of a computer.
Slide film produce stronger colours than a digital camera.
There are many advantages for changing to digital but Im going to stick with film; for the time-being that is. With time film cameras will be a thing of the past and all our images will be exchanged for the pixels. But, be wary - believing our work will be superior would be falling into a great trap. For me size matters, the larger I can print an image the better.
For many forms of photography, digital has long held obvious advantages, but for landscapes the resolution necessary to make larger prints just wasnt available. But things have changed and digital cameras are fast becoming the tools that most pros use.
Modern digital cameras are perfectly capably of matching the 35 mm film - the format which most landscape photographers begin with. But can they really match the large format film cameras? This is probably the greatest question that all photographers face.
Instant LCD feedback is digitals greatest gift and this enables the photographer to check exposure and composition of their image in the blink of an eye. While this is a big advantage, the hours spent in front of the computer processing the raw images have to be a hindrance. A landscape photographers time is best spent behind a camera not in front of a computer.
The pros and cons of digital photography will remain an issue for some time. At the end of the day a digital camera wont make a photographers images better. The same values we apply in our photography should remain regardless of which camera we use.
Good photography remains as elusive and as enticing as it ever was; going digital doesnt change this or make getting good images any easier. It brings technical advantages, and plenty of them, but the majority of photographic techniques never change. Good landscape images come from the photographers personal ability, not the ability of a camera. The camera helps, but the creative eye remains the same.
As a landscape photographer I am still hesitant to embrace digital photography and all the qualities that digital has brought to other professionals in different photography fields.
There are a few simple reasons that I still use a film camera:
The authenticity of my images could be questioned if I used a digital camera. It is often assumed that great digital images have been manipulated.
Too much time is spent in front of a computer.
Slide film produce stronger colours than a digital camera.
There are many advantages for changing to digital but Im going to stick with film; for the time-being that is. With time film cameras will be a thing of the past and all our images will be exchanged for the pixels. But, be wary - believing our work will be superior would be falling into a great trap. For me size matters, the larger I can print an image the better.
Friday, July 6, 2007
Group f/64 was a group of photographers espousing a common philosophy. The group was created in 1932. The original membership consisted of:
Ansel Adams
Imogen Cunningham
Willard Van Dyke
John Paul Edwards
Consuelo Kanaga
Alma Lavenson
Preston Holder
Sonia Noskowiak
Henry Swift
Edward Weston
The term f/64 refers to the smallest aperture setting on a large format camera, which secures maximum depth of field, rendering a photograph evenly sharp from foreground to background. Such a small aperture implies a long exposure and the selection of relatively slow moving or motionless subject matter, such as landscapes and still life over action and reportage photography.
This corresponds to the ideal of straight photography which the group espoused in response to the pictorialist methods that were in fashion at the time.
Group f/64 published the following manifesto:
The name of this Group is derived from a diaphragm number of the photographic lens. It signifies to a large extent the qualities of clearness and definition of the photographic image which is an important element in the work of members of this Group.
The chief object of the Group is to present in frequent shows what it considers the best contemporary photography of the West; in addition to the showing of the work of its members, it will include prints from other photographers who evidence tendencies in their work similar to that of the Group.
Group f/64 is not pretending to cover the entire spectrum of photography or to indicate through its selection of members any deprecating opinion of the photographers who are not included in its shows. There are great number of serious workers in photography whose style and technique does not relate to the metier of the Group.
Group f/64 limits its members and invitational names to those workers who are striving to define photography as an art form by simple and direct presentation through purely photographic methods. The Group will show no work at any time that does not conform to its standards of pure photography. Pure photography is defined as possessing no qualities of technique, composition or idea, derivative of any other art form. The production of the "Pictorialist," on the other hand, indicates a devotion to principles of art which are directly related to painting and the graphic arts.
The members of Group f/64 believe that photography, as an art form, must develop along lines defined by the actualities and limitations of the photographic medium, and must always remain independent of ideological conventions of art and aesthetics that are reminiscent of a period and culture antedating the growth of the medium itself.
The Group will appreciate information regarding any serious work in photography that has escaped its attention, and is favorable towards establishing itself as a Forum of Modern Photography.
Ansel Adams
Imogen Cunningham
Willard Van Dyke
John Paul Edwards
Consuelo Kanaga
Alma Lavenson
Preston Holder
Sonia Noskowiak
Henry Swift
Edward Weston
The term f/64 refers to the smallest aperture setting on a large format camera, which secures maximum depth of field, rendering a photograph evenly sharp from foreground to background. Such a small aperture implies a long exposure and the selection of relatively slow moving or motionless subject matter, such as landscapes and still life over action and reportage photography.
This corresponds to the ideal of straight photography which the group espoused in response to the pictorialist methods that were in fashion at the time.
Group f/64 published the following manifesto:
The name of this Group is derived from a diaphragm number of the photographic lens. It signifies to a large extent the qualities of clearness and definition of the photographic image which is an important element in the work of members of this Group.
The chief object of the Group is to present in frequent shows what it considers the best contemporary photography of the West; in addition to the showing of the work of its members, it will include prints from other photographers who evidence tendencies in their work similar to that of the Group.
Group f/64 is not pretending to cover the entire spectrum of photography or to indicate through its selection of members any deprecating opinion of the photographers who are not included in its shows. There are great number of serious workers in photography whose style and technique does not relate to the metier of the Group.
Group f/64 limits its members and invitational names to those workers who are striving to define photography as an art form by simple and direct presentation through purely photographic methods. The Group will show no work at any time that does not conform to its standards of pure photography. Pure photography is defined as possessing no qualities of technique, composition or idea, derivative of any other art form. The production of the "Pictorialist," on the other hand, indicates a devotion to principles of art which are directly related to painting and the graphic arts.
The members of Group f/64 believe that photography, as an art form, must develop along lines defined by the actualities and limitations of the photographic medium, and must always remain independent of ideological conventions of art and aesthetics that are reminiscent of a period and culture antedating the growth of the medium itself.
The Group will appreciate information regarding any serious work in photography that has escaped its attention, and is favorable towards establishing itself as a Forum of Modern Photography.
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