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[animal photography], Dublin, PDF Kindle EPub, Free, Intnt Archive The Barnet book of photography: a collection of practical articles, Herts. Download eBooks The Art of Photography (PDF, ePub, Mobi) by Bruce Barnbaum Online Full Collection. We are always on the hunt for great information on photography, especially if its free. Here we've put together a list of free eBooks for you to.


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You've seen them appear in some of our earlier posts on freebies. But today we decided to put all the eBooks together (and many more!) in a. [PDF] [DOWNLOAD] F 21st Century Photography Full Ebook By Tom Persinger. Dear friends, "How to Shoot Street Photography" is a new free ebook which will give you all the information how to start shooting street photography.

Today, Lulu officially launched the Lulu EPUB Converter and Ebook Creator Guide — thus helping to simplify the complex process of turning your brilliant work from popular word processing formats, such as a Word document, into sellable EPUBs, the most widely adopted format used by eReaders — absolutely free. The Lulu EPUB Converter is unique in that it not only converts but also automatically fixes many pesky errors including accepted fonts and extra spacing. This is the highest level of automation available anywhere. With our step-by-step eBook Creator Guide , you can be sure your customers are getting the most robust experience reading your work too. Since , Lulu has powered the knowledge-sharing economy by enabling creators in more than countries and territories to publish over 2 million books.

Ereck creator of the comic book spacewalker! Tom, you can use the same manuscript that you used to publish your paperback. Be sure to save a copy of your original manuscript. I publish my musical scores and collections on Lulu. Diane, you uploaded a PDF? Did it keep it as created, or re-format it? The creation guide is for Word or, I assume OpenOffice or similar but my scores are created in Finale.

Spacing is critical. Thank you, Lulu, for making it possible for writers to publish our work for free and sell it to the masses. That is incredible to me.

As I read some of these comments, they appear to be very negative, self-serving, and non-appreciative for all of the hard work taken to put something together like Lulu.

Thank you! Any author who wants an eBook can upload a Word file and convert it over for free. Wayne Smallman. I thought I found my answer in researching the ePub format: How good is your epub converter with books that have sketches, pictures and most importantly equations. These three books are part of a triligy. How do I do this on eBooks? Do I keep them separate or do I put them together? Thank you so much!

This is exactly what I have been waiting for!!! Lulu is a great publishing company to be assocaited with and I really appreciate your making this technology available to your authors free of charge. Thanks again, Lynne Arrol. Although automated epub converters are not awful, they are far from being perfect. Beyond Search. Will it remove these? If you use a wrist-strap, walk with your camera close to your face.

Then when you want to take a photograph, you can just move your camera very subtly to your eye, and click a photo. Because with an LCD screen, we look more like a tourist. Not only that, but it is less obvious who we are taking a photo of. I used to do it a lot, but the problem if you can never frame accurately. Another practical tip: The funny thing is that you can stand really close to someone, and still take candid photos of them not really noticing.

Just look at your subject through your viewfinder or LCD screen— avoid making eye contact. See their reaction. Rather— try to go to the most crowded area of town. That might be in the downtown area. Or perhaps at a mall. Or maybe at the city next-door.

The benefit of shooting in a crowded or touristy area is that you disappear into the crowd. Another assignment you can do is to look as much of a tourist as possible. Wear a bright-yellow fanny-pack. Generally I find more people will ignore you, or not really give you any flak for shooting in the streets.

The concept is that you walk around the streets with your camera glued to your eye, or your eyes glued to your LCD screen. Try to go to a busy area, and stand in the center. Then hold your camera to your eye or LCD screen up, and turn around degrees and slowly take photos all around you.

See how others react to you. This is often how Henri Cartier-Bresson got a lot of his famous shots the bicycle shot comes to mind. He would pre-visualize his composition, setup his framing and camera, then just wait for someone to enter the scene, to complete the image. The more patient you are, the more likely you are to catch a good fish.

But at the same time, there are days you will catch no fish no matter how good of a fisherman you are. Find an interesting scene, background, or wall, and wait there for 30 minutes. Try to wait for the right person to walk by the wall, to create some sort of interesting juxtaposition or scene. Rather, try to capture hand-gestures. By capturing hand-gestures, you will have more dynamic images. Not only that, but your photos will have more emotion.

See how many different hand gestures you can observe and capture. The concept of zone-focusing is this: Then when you go out and shoot, only take photos of people 1. By having a high ISO your shutter-speed will be relatively fast. For example, with a 35mm lens, if you pre-focus to 1. For a week, try out zone-focusing. If you want to add more depth and layers to your candid street photos, focus on the subject furthest away from you in the frame.

When we start off in photography, the beginner technique is to always focus on what is closest to us. But by focusing on what is furthest away from us and having a subject in the foreground , you will have more depth, layers, and intrigue in the frame. For a day, pre-focus your lens to 5 meters, and try to add more elements in your foreground, to add more layers and depth. Whenever you see a street scene that you think might be a good photo, just click.

Just take the photo. Personally, I have hesitated too much in my street photography, and as a result, have missed thousands of potentially good shots. Not only that, but if you see a good scene, take many photos. Make many different versions of a potentially good scene, and the more likely you are to get a good shot. I feel the best thing about candid street photography is the sense of thrill, excitement, and spontaneity that comes around.

There is nothing more classic than black and white street photography. When we look at old street photos of the past, we reminisce on the nostalgic images of Andre Kertesz, Henri Cartier-Bresson, Robert Doisneau, and many others. Of course in the past, when photography first started off, there was only black and white.

When color photography first got introduced to the world, it was used for mostly amateur snapshots. Nowadays times are different. Modern digital cameras boast impressive image quality, with billions of different gamuts of color.

With technology, we are able to post-process our photos however we would like. For me, I love black and white because of the simplicity, minimalism, and the ability to get rid of distractions and clutter.

Furthermore, black and white give us a chance to focus on the essence of a scene. Often color can be a distraction. Black and white or color are just different ways to shoot street photography.

Choose what works better for you. If your heart is drawn to black and white, here are some tips and suggestions I would give you to shooting monochromatic street photography:.

Therefore we need to train our retinas to see the world in monochrome. My suggestion if you want to learn how to see the world in black and white: If you shoot film, just stick to black and white film. You will start to pre-visualize how a photograph will look like in monochrome. Try not to switch in-between black and white and color for this year-long period of training. By default, if you use Lightroom, it will automatically convert your photos back into color.

To get started, you can download my free street photography presets for Lightroom. For me, black and white is the purest form of photography — in terms of minimalism, cutting clutter, and cutting distractions and complexity. Always seek to simplify in monochrome.

Seek to make the scene less complicated. Seek to make simple compositions. A totally white, grey, or black background is a good starting point. Then wait for the right subjects to walk into the frame.

Learn to ignore the colors that people are wearing. Look at the images you want to photograph, and think of what you can take out of the image, rather than what you can add. If we shoot black and white film, we have less control how our ultimate image will look. If we shoot digital and RAW, we have tons of control over how our final monochromatic image will look.

If we shoot black and white JPEG, we have a similar constraint like film. Shoot against the light. Try to get flares in your images. Play with your exposure-compensation in black and white. Learn how that affects how your images ultimately turn out. Of course, if you want to learn how to take better black and white photos, it is always good to study the masters. Here is a list of some photographers I recommend you start off studying:.

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Study their images, and see how they compose their images. Not only that, but look at your favorite images of theirs, and try to deconstruct them. How does the light look? What kinds of emotions or gestures are in the frame? What I love about black and white photography is the emotion it evokes. Monochrome images feel quieter, more still, and are more somber and nostalgic. They reckon the past. The cliche is when you photograph sad things, you photograph in black and white.

Because black and white has a more somber mood. However you can also switch it up — try to photograph happiness in black and white. Also try to photograph despair. Photograph a wide gamut of emotions in your black and white images. This concept of photographing emotions is universal to all forms of photography. Yet black and white is a certain aesthetic which evokes a certain mood to the viewer.

Consider what kind of mood black and white stirs in you — and try to photograph those emotions. And as an assignment, also try to evoke the opposite emotion in black and white, to push yourself outside your comfort zone.

You can use digital or traditional tools to brighten and darken certain parts of your frame. Darken parts of the frame you find distracting. Brighten parts of the frame you find interesting but you want to shine more light on them. Keep this in mind. For example, when you dodge or burn a photo too much — it looks fake.

And if your viewer can tell if a photograph has been excessively dodged or burned, it will be a distraction. Treat dodging and burning, and post-processing in monochrome like adding salt or seasoning to your food. A little seasoning adds a lot of great flavor.

Too much seasoning will ruin the dish. Personally, I find the longer I spend post-processing my monochrome images, the worse they look. I try to limit my post-processing to under a minute. Then I will make small adjustments to the photograph, in terms of exposure, contrast, shadows, highlights. I will often burn parts of the photo I find distracting. Anything more will ruin the image. Try the same yourself. Just use the integrated flash in your camera, or use a small flash.

The benefit of using a flash that it will add intensity and a pop to your images. Great photograph needs good contrast, and dramatic light. For a week, practice by using your flash on everything you photograph.

Photograph flowers, trees, people, and things on the ground with a flash in monochrome. Also when you take a photograph of each subject-matter, shoot in both flash and without flash. Then when you go home, judge both images. See how the flash affects your images, in terms of the aesthetic look, the emotional impact, and the intensity. Then at the end of the day, treat flash as another tool in your street photography toolkit.

My good friend Rinzi Ruiz does this really well — he will find a great shaft of light, be patient, wait for the right person to walk in, and he gets a beautiful, minimalist monochromatic street image.

In terms of technical settings, if you shoot in aperture-priority or program mode, adjust your exposure compensation to -1 or Whenever you go out and shoot, always try to stalk the light. See where you can find nice little slivers of light, and try to adjust your exposure-compensation to minus -1 or Be patient.

Wait for the right person to step into the frame. Try to experiment with different perspectives. Take the elevator to the top of a skyscraper, and shoot down. Or shoot up. Better yet, try to wait until sunset until you shoot — when you get dramatic long shadows in your subject.

Know that at the end of the day, great light will make an ordinary street photograph into a great street photograph. This is just a brief guide and start to shooting black and white street photography. Know that to truly master monochrome, it will take a lifetime. It means training your eye, to learn the light, and to take lots of images.

For most street photographers starting off, I recommend starting off in black and white. Because it allows you to train your eye to the fundamentals, and not to get distracted by color.

Above all, I feel black and white photography is all about capturing soul. Photograph with your heart, and capture the soul of your subject through the images you make. A photograph without emotion is dead. Make your photos immortal with your monochrome. I feel that shooting color street photography is more difficult than shooting in black-and-white.

With color, there is more complexity. Black and white cuts out complexity, by distilling the image into just monochromatic shades of black and white. Color introduces complexity, by adding different colors, shades, and hues which can make or break your photo.

In something as unpredictable in street photography, how can we better make color street photos? Some ideas:. It takes a while to train yourself to see in color. For me, when I started to get interested in color photography after getting bored with black-and-white , I decided to stop black and white all-together, to only focus on color. It was a good choice. Because I feel it is impossible to both improve your color and black and white photography at the same time. For color, learn to see the world in color.

Look for interesting colors that pop out to you. Look for intense shades of red, cool shades of blue, or calming colors of green. Look for interesting juxtapositions of colors — a pop of orange against a green background. A pop of red against a blue background. Look for complementary colors.

Look for scenes that all have a similar shade of color a scene of only warm colors: Or scenes with only cool colors blue, green, purple. One of the best ways to study color is to study painting. Because the painters could create their own colors at their own will, whereas as photographers we are slaves to the scene. Look at how painters use different colors to bring your eyes around the frame. See what colors and shades they use to create different emotions and moods into their images.

When it comes to street photography, you need to be more brutal when it comes to editing your photos choosing your best photos. Because you might have a great photograph that works in black and white , but it might not work in color.

Our eyes are generally drawn to the areas of the greatest contrast in an image. The color red reminds me of blood and death always catches our attention.

For example, if you see just a simple blue background, try to get someone wearing a bright red something to pass by. Start with very basic colors, and nothing too fancy or complex.

Then try to make them the focus of your scene. A flash will add contrast to your scene, the colors will look more bright and vibrant and saturated.

There is nothing more blissful than seeing golden light. But whenever it is near sunset, I try to shoot like a madman. This is when the shadows become very long longer than the height of your subjects , when there is dramatic contrast, and you feel the day coming to an end. So if you want to make better color street photos, try to shoot sunrise or sunset. When I first started to study color photography, I studied the work of the masters and pioneers of color photography, which include some of the following:.

It very rarely happens the opposite way. I suspect because a lot of these photographers started to shoot in color, because it was more difficult, challenging, and complex.

And we all need a challenge to push ourselves in our photography, to grow, evolve, and improve. Both have the pros and cons. If I started shooting street portraits all over again, this is the advice I would give myself:. Avoid all regrets. If you see someone even moderately interesting that you want to photograph, approach them and ask for permission.

It is better to ask and get rejected, than to never ask. As an assignment, go out into the streets with your camera, and try to intentionally get 10 strangers to reject you. Tell them what you find interesting about them, and ask to make their portrait. As human beings, we are naturally suspicious of one another. In prehistoric times, one wrong look could have meant life or death.

For the most part, street photography is tame. What is the best way to make your subject feel more comfortable? Simple — just smile. The concept is that as humans, we mimic the behavior of others. Therefore, if someone smiles at you, you are genetically pre-wired to smile back. A smile will elevate your mood, make you feel more confident, and connected with society.

Most people it seems walk around with a frown on their face by default myself included. But whenever I encounter people, I try to give them a huge smile whenever possible. And that shifts their perception of me. What was initially a suspicious look, turns into an equally-enthusiastic smile.

The benefit of this approach: It sounds more creative, open, and collaborative. Artists paint portraits. I feel the most beautiful part of shooting street portraits is how you can collaborate with your subjects.

You can make them part of the portrait-making session. I learned this assignment from Sara Lando — if you want to learn how to make your subjects feel more comfortable, learn how to be on the other side of the camera. Learn how they make you feel comfortable. Figure out what makes you feel uncomfortable. I love complimenting others— because it is free. And it uplifts, encourages, and makes people happy. People have a good B.

But the key is to tell your subject why you want to photograph them. The reason you approach a subject is because you find something unique or interesting about them. For an entire day, compliment each person you meet. It can be small — compliment them on their earrings, their tattoos, their haircut, their outfit, their smile, their friendliness, or something else. Make it a habit to compliment others. It will uplift them, uplift you, and help you build a stronger bond with them.

Most people are lonely, and lacking human contact.

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Even in big cities— we are constantly surrounded by people, but we feel alienated. Most of us just want someone to talk to, and share our life story with. Yet we make the mistake of thinking that everyone else is always busy, and hates to talk. The truth is, we love to talk, socialize, and be human.

The mistake we also make in street photography is that when we approach a stranger, we want to quickly take their portrait, and move on. Shift your perception. Think that you are adding value to their lives— that you are making their mundane days more interesting.

Think about it— if you approach a stranger to make their portrait, compliment them, and chat with them — you will not only make their day, but you will have a great story for them to tell their friends and family. For example, I was once making a portrait of this amazing woman, and someone called her. I was just walking in the streets, and this strangers approached me to take my photo! There are millions of people out there — by singling out one individual — you are telling them that they are unique, special, and one-of-a-kind.

Also when possible, try to stick around with your subject as long as possible. When shooting street portraits, try to take at least 10 photos. Some of my best photos required me to take nearly photos of them. As a default answer, I will tell them: And when they do, they forget about you. You disappear into the background. And this causes your subject look more natural. Try to capture their mouth moving, their hand gestures, or body language. Try to get photos of them with eye contact and without.

Often when you make photos while people are talking, they are more fluid, vibrant, and dynamic. One of the photographers who have inspired me the most is Richard Avedon. He was famous for photographing his subjects against a simple white backdrop. One of the mistakes a lot of us make in street portraits is that the background is distracting or messy.

You might find someone interesting in the streets, and just quickly snap a photo of them. But you might have a distracting pole sticking out of their head or shoulder, messy trees, or power lines. Do you mind standing in front of this simple white background here on the left? It will make a better photo. Then just wait for your subjects to come to you. I generally find street portraits of just faces a bit boring. For me, my favorite street portraits is when you get an interesting hand-gesture or body-language.

To get your subject to make an interesting hand-gesture, comment on something near their face. You can try the following:.

You can also ask them to just pose for you a certain way, and ask them to mimic you. Some interesting hand gestures:. To build upon this, you can also ask your subject to look in different directions ask them to look up, down, left, and right. And to top it off, you can even try to provoke a funny reaction from them.

For example, ask them to give you a big laugh and start laughing really loud yourself. It takes great courage. You need to step outside of your comfort zone, and put yourself out there. The last piece of advice I have you when it comes to shooting street portraits is to shoot with your heart.

Also know that the skills of approaching strangers and making their portrait will help you in all forms of your life. You will become more confident, more courageous, and hesitate less in personal life, in business, and with your relationships.

Lastly, are you comfortable in your own skin — and being on the other side of the lens? Learn to first be comfortable with who you are, before you decide to go out and photograph others. Shooting in layers is more challenging than single-subjects, and requires more visual gymnastics, and luck.

Below is a brief guide on how to shoot layers in street photography — and why you might want to try it out:.

The reason why you should try to shoot layers in your street photography is because you want to take your work to the next level. I think it is a fun challenge, where you can create images that are more complex and interesting. I personally am drawn to single-subjects in photos.

I like minimalist photos, but being here in Vietnam at the moment— I want to capture more layers to show more of the chaos of the streets.

Some of the best street photographers to study for layers include Constantine Manos and Alex Webb for color.

First of all, you need to find the right setup. Meaning— you need to be in an environment where there is a decent amount of foot traffic— that will allow you to create layers in your street photography.

Find a sidewalk with enough space and depth— so you can practice shooting layers. To make an effective layered street photograph, you want something interesting to be happening in each of these layers. Also by adding negative space around the subjects and objects in your frame, you will add more depth. You want to try to avoid over-lapping figures. In terms of technical settings, I recommend to focus on the subject the furthest away, which will give your photos a deeper illusion of depth.

This setup works well with manual-focusing lenses, especially rangefinders. Or with Fujifilm cameras, or any other camera that has a poor autofocusing system.

For example, in the background you can see a guy smoking a cigarette. Then you want to identify a second anchor another person a bit closer to you in the foreground. This second anchor might be someone checking their phone. Lastly, you want to add someone to the foreground closest to you.

Therefore the subject in the extreme foreground tends to be someone walking into and out of the frame. For the person in the foreground, you want them to be out-of-focus. This gives you an illusion of depth. Newbies tend to always focus on whats closest to them in the frame in the foreground.

But the more advanced you become as a photographer, you spend more time focusing on things in the background furthest away from you. But of course, it is personal preference at the end of the day. Try both, and see what works better for you. This is because you can create more black shadows, dramatic contrast, and the light really brings your images to life. Another thing you can experiment with is shooting with a flash. This works especially well when you are shooting during the day, and the light is harsh and flat.

The flash creates more contrast in your images, and more separation between your subjects especially when you are shooting in the shade. As you get more advanced and experienced with shooting layers, you will try to fill the frame and avoid over-lapping subjects. As a fun assignment, try to fill the frame to the brim without it becoming too chaotic.

Always play that line between having enough people in the frame and not being too busy. Also as a tip, try to focus on filling the edges of the frame. As photographers, we tend to tunnel-vision too much in the center of the frame. If you focus on the edges, you will get cleaner compositions, better framing, and more interest. Well, it is to have a subject or element in the extreme left or right of the frame, which draws the energy of the frame closer together.

Free PDF/ePub eBook: How to Shoot Street Photography

The good thing about this technique is that it removes distractions from the background. Lastly, shooting layers is hard. A lot of capturing the right layers in a street photograph is luck.

So you need to shoot a lot. Alex Webb says street photography is I agree with him, especially when it comes to shooting layers. Overlapping figures: You want to have a little separation between the subjects and elements of your photograph. Extremely bright objects: Avoid white cars, white plastic bags, and other distractions in the background. They tend to draw attention away from the subjects in your frame.

Not shooting close enough: If you want good layers, you need to be pretty close to your subjects in the 1. Anyone can add multiple subjects in a frame and not have them overlapping.

But ultimately you want a photograph with depth of emotion. Try to capture multiple-subjects where you have multiple gestures, body-languages, and emotions.

See if you can create a layered street photograph with some people who are happy, and some who are sad. Try to photograph in one frame— both old and the young. Big and small. Juxtapose different elements in a layered photograph both compositionally and emotionally — and you will make a great street photograph. In this guide, I will try to offer some tips, and deconstruct how to shoot more emotional, memorable, and powerful urban landscapes:.

We think of landscapes as generally pretty sunsets, mountains, and the such. Yet I find it fascinating to photograph the urban environment. The fake environment that humans have created. To me, urban landscapes are more interesting than natural landscapes— because they offer more of a social commentary, critique, or reflection of society.

Many urban landscapes are alienating and unnatural. I think to start off, a great urban landscape needs to have emotion.

This is the only way we can relate to a building, an urban environment, or a scene with some sort of empathy or feeling. For example, look for buildings that are worn down. That have character. That have history. That have peeling paint, bricks falling off the side, or a small detail somewhere that evokes emotion.

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