You can take symmetrical photos no matter where you are. Symmetry is everywhere, in nature, architecture, etc. Look for vertical, horizontal, radial, and reflective symmetries. Leading lines and patterns are also important components of well-composed symmetrical images.
Join Mark Battista, Painter, and Fine Art Photographer, in this two-part presentation that explores ways to create concepts and images that stretch the imagination. Learn ways to think and shoot “outside the box.”
The second part of the presentation will feature “Exploring Motion and Gesture in Photography.” We will look at ways to capture and express the element of motion in our imagery.
Details Coming Soon
Take an up-close photograph, macro or not. Take a macro photo showing details normally not seen or just a close-up photo of subjects such as portraits of people or animals. You can achieve a creative image in this contest by using macro or zoom lenses.
The interplay between light and dark is among the best ways to establish contrast and create effects and compositions that express your artistic expression. It can be a great way to show subjects and make elements appear three-dimensional or abstract. It does not matter if you photograph silhouettes, people, nature, landscape, architecture, black & white, or color.
Known for the Okavango Delta, Botswana is home to some of the most spectacular and diverse wildlife on the planet. From swimming lions to stunning birdlife, my program will be a visual tour through this spectacular part of Africa that will lead to a climactic and unforgettable series of events.
Still-Life Photography can be done in a small space within your home using objects that are readily accessible. Use the concept of “shooting with intention” to take control of the creative process from selecting props, arranging them in a pleasing composition, and using light effectively to direct the eye through the image and create a center of interest.
Digital Challenge…Now it is your turn. I have critiqued your digital images. Some agree with my assessments...some do not. What follows is my methodology and reasons. How objective are you when self-critiquing your photographs? Can you separate your emotional connection to your image?