Enhancing Texture and Better lighting in Your Photography


There is very much to discover in taking photographs. Not only do we require to master our camera but we should recognize how lighting manifests as a photo. We need to comprehend how light works for the reason that we can utilize this wisdom to create spectacular photos. Beautiful images refers to clarity, power, colour and tone.

A most ideal way to turn out to be expert in photography is to start photographing various surfaces of different things. Different textures will include wood, metal, trees and terracotta. These types of materials can really highlight intensity and an interesting light very rapidly and effortlessly. We can discover a lot through shooting these surfaces of different things. Once we get the right light to draw attention to these textures our photos suddenly have intensity and come to life. You can prove these textures a number of ways. I recommend photographing these attractive textures with well-balanced light spread evenly right through your image. If you are unable to get evenly spread lighting then shadows may work to an advantage.

A very good photo that has fascinating textures are dried plants drapped over a timber exterior. You can wait until the sunlight has gone down in the sky to get some shadow areas underneath the plants. You may discover that your shadow areas becomes part your placement of subjects within the photo. What this will mean is that shadows can work to your advantage.

A pastoral look and feel is a wonderful place to start. Photographing aged wooden fence posts with nails and wires can certainly bring wood as a texture to life. You see what we want is make the wood and the nails look so they look authentic. In other words make it stand out by increasing the depth of the photo. We would like the viewer to think like they can reach out and touch the texture.

In order to create this realism in your picture making you need to construct a little list of things to shoot. The fence line and nails are a terrific starting point. You may also like to photograph contrast in textures such as metal and wood. A metallic band wrapped over a wooden fence post can make for a good picture. A distinction in different textures such as this can be shot in an antique tone and monochrome for extra effect. They can also be shot in a variety of other tones that you can make up yourself in Photoshop or Lightroom.

What is a tone? A tone relates to light and colour. Saturdated colour, deep tones mean that your image may have a lot of black and grey, deep yellow and deep orange to it. Light tones may mean that your shot has lots of shades of pale shades. In rural photography, where we want to shoot breathtaking textures, we often find that saturated tones are a factor.

Deep tones can accentuate the shadow. In order for your shots to look like they have real live texture then we should draw attention to the intensity and light range within your image. You may choose a deep or shady tone to give that nail more rust or that metallic band around the wood more brightness.

When we use more contrast in our pastoral photography we get a better looking surface. This is since the a distinction in the light brings up the detail of the surface of the textured subject. The lighting works to bring out the finer details in the light parts and deepen the shadow in the dark areas.

A key to creating thriving textured surfaces is to keep your composition simple. Genuine textures, such as trees and wood, work best when there is nothing to clutter the shot. Simply shoot the main subject and make sure there are no distracting elements in the backdrop or the forefront. Once you’ve taken this you can work to boost the contrast, perfect the light and intensify the tones. There is nothing more distracting than a messy shot.

 

Old abandoned cars are an example of how you can create wonderful textures in your photography. When my husband and I were traveling to a country town we stumbled across an old abandoned utility. This vehicle was from either the 1940s or the 1950s. It looked like it had been forgotten about for for years and years. As soon as I saw this car I became very enthusiastic. The second I saw it I knew I wanted a monochrome.

I knew that the steel, oxidation and discolored paint would look absolutely fantastic in antique. Once I took a string of photos of the old vehicle I then opened the photo in Lightroom. I boosted the white and highlights, amplified the blacks, and played around with the tone curve. What does this signify? It simply means that I manipulated the tone of the photograph to highlight the fascinating points of the car. I wanted to increase the illuiminent steel against a gentle, natural backdrop. Once you amend the light all of a sudden your different textures come to life.

Depending on how you want your textures to appear, you can use brilliant or filtered light. Soft luminosity is always best because it supplies us more choices in the long run. Bright light can produce highlights and shadows that put emphasis on contrast. This can actually work to your advantage.

Filtered light can work very well for surfaces of different things because it accentuates the detail. it can give your texture a more three dimensional look. If you are photographing an old fence post then the lack of bright will bring out the detail of the wood. You will get to see the designs, outline and shapes of your texture a lot more in gentle light. In harsh bright sunlight you may miss these fine points completely.

 

If you want to capture gorgeous different textures and not be troubled about the tiny features, then a country scene with excellent differences between light and dark may work beautifully. A fence line sitting in overgrown grass can be a wonderful textured image to begin with. Once you angle the camera so that the fence line is running into the distance you not only have superb textures but you have great composition.

There are a lot more things you can do to draw attention to your textures. There is a cell phone application identified as Instagram. It has recently hooked up with Lightroom. This is a marvellous thing! Instagram is an app that generates antique, sepia, black-and-white and the whole other number of tones for your pictures.

Instagram gives you the option of antique tones. In other words if you apply an antique tone over your image it looks like it was captured in 1977. Once Instagram meets Lightroom, you have the alternative of generating a special look and feel over your textured photographs.

Instagram also supplies you the selection of different borders. You can have a stark deep black border to emphasize the deep hues and tones in a photo of dried golden leaves. Or, you can have a soft white border to match the muted tones of a photo of a car park. Or you may have no border whatsoever.

Remember that producing different textures is easy. Once you have photographed it then the fun begins. Make sure that you choose contrasting subjects like dead plants or shiny metal. Take photos of them at the same time. Then try improving the contrast and lighting of the image once you open it up in your prefered editing software program.

I recommend that you let originality and wonder be your guides. Open up your photograph in your favourite editing program and try a variety of different things. Boost the contrast, diminish the yellow, reduce the blue, alter the white balance etc. These are just examples of things that I tried when I was learning how to perfect my different textures in my photos. I got to a point where I understood what I loved and created many different alternatives for myself.

These various options I created gave my pictures a look and feel that I loved. Some were heavily saturated in deep yellows and warm tones. Some were a slight sepia, and some were a very high contrast in the monochrome medium. These lights, colours and looks, applied over rustic things, made my textures look amazing. Rusty fences took on a strong presence. Metallic bands wound securely over wooden fence posts seemed interesting and old. Hanging metal bells looked classic and timeless.

Just think about texture and daylight first. Then your editing comes afterward. Think about the light and how it interacts with your background to highlight physical surfaces. Think about in what way lighting acts and makes things seem different at different times of the day. Photograph various natural and man-made physical surfaces jointly. This will let you to explore contrast within your textures. The examination of light will enable you to photograph out the depth and the detail within the photograph. Then apply some simple editing. This will enable you to alter the tone. Changing the tone gives you the opportunity to generate some extraordinarily imaginative photographs.

This is an experiment in creative  pursuit. This is not about winning awards or being better than anyone else. This is about how this makes you feel. You can impress people later but to begin with learn to examine your light on how it works with the textures in your environment. Once you’ve shot this you can create extraordinary textured photographs. Have fun and happy shooting!

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How To Use A Digital Camera – Wrapping Your Head Around The Basics

There are many great advantages of learning how to use a digital camera, even a point and shoot, or compact digital camera. Simply because you don’t have an slr doesn’t mean you won’t be able enough to take beautiful pictures. The elegance about compact digital cameras is that you can take them any where, fit them in your bag and if you see something worth photographing, you can straightforwardly point and shoot. When you realize a few handy techniques, you can subsequently start getting beautiful photos.

In order to photograph beautiful photos you need to take a few methods into consideration before pressing the shutter. As much as the camera has some  marvelous technology, it can only prove as a rough road map for you, instead of taking the photo for you. It’s you who takes a superb shot due to creative  and technological skills, not the camera.

On the days when you have a few moments to examine what result you are going will get you will be grateful that you didn’t rush and really looked closely at what you are shooting. It is constantly through this assessment and understanding that takes you to the next degree in your photography.

To begin, let’s look at the essential mechanical foundations of your camera. Shutter speed and aperture. Every photo consists of a mixture of shutter speed and f stop. To appreciate this fully think of your shutter speed as the measurement of time the light has to enter the sensor and then be shut out again. The fstop is the quantity of light that the shutter lets inside. Shutter is about shooting at the right moment and aperture is about the amount of light.

When you have a lens aperture that is quite large, you will find you have a quicker shutter speed time. This is so that not too much light floods the sensor and provides you with overly bright photos. (Photos with too much light can ruin your image). Fstop and shutter speed continually work at the same time. Once you feel more confident in your camera and your skills and competencies, you will be able to work out the ideal combination of both.  Once you get the perfect combination you will be able to progress your photography ten fold.

What about the modes on the compact ? There are a a small number of work modes you can use on your digital camera. Most of the time you will most likely shoot in automatic. I suggest to aim to use out the other controls if you can.

“SP” is shutter priority mode. It means that the camera will decide on what it thinks the best shutter speed is for your photo. “AP” means aperture priority. The camera will pick the aperture for you as you decide the shutter speed. You may also find a range of other scene shooting modes such as Portrait, Landscape, Night and Sport.  When you position your camera dial on any of these modes it will mean that the compact  will try to hit upon the best combination of shutter and aperture for these conditions you have chosen.

These diverse settings bring about distinct things to take place within the camera itself. Portrait mode sets the camera to have a blurry background. Landscape sets the digital camera to be able to get sharp focus in the distance. Night Time function sets the camera to have a very long-drawn-out shutter speed and Sports function tells the digital camera to have a very fast shutter speed. Within all of these shooting modes you are unable to manipulate the light sensitivity (called ISO), and at times won’t be able to use the flash. (Based on what digital camera you have.)

Working to get the best image sharpness you can is the ideal way to take pictures.  It’s important to be on familiar terms with what type of subjects needs what kind of focusing. For example, a close up picture of someone’s face needs sharp, close focusing. A mountain range will require sharp focusing all the way in the distance. (This span of focusing is called depth of field.)

To make sure that your shots are in focus at the point you want them to be, you will see a small circle come up in your view finder or the screen. When the picture is in focus the little circle will present. Some digital cameras don’t have a green small dot but may beep quietly when the shot is in focus and it’s time to take the shot.

It’s important not to be careless with the focus. Sometimes it’s hard to keep everything in your head at once which is why digital camera making companies created a useful little mode called “Auto Focus Lock”. This mode allows you hold the focus on your subject while you get the best position, then you can photograph and still keep clear focus.

Otherwise you can point the camera, keep the button down half way (don’t compress it yet) wait for the camera to beep, then take the image. By doing this you will also be holding the focus. This has great advantages because you don’t have to recall to take the auto focus lock off. You can just move on to the next image.

Always keep in mind to observe your light, before taking the shot. Choose which mode you love photographing in and take the photo accordingly. Happy shooting!

Gallery

How To Create Panoramic Photography Faster And Quicker Than Before

This gallery contains 1 photo.

Understanding the way to learning how to do panoramic photography is one of the most exciting and fun things in photography. You can produce thousands of photos that look beautiful on your wall or home office. It’s not only a … Continue reading

Gallery

What Does A Nikon Shooter Think Of The New Canon L Series Lens?

This gallery contains 4 photos.

As a professional photographer I am often asked “what camera should I buy?” My response is always “whatever gets you the results.” It might be an elusive response, and I certainly don’t mean to sit on the fence with it…but … Continue reading

When The Sun Went Behind The Clouds…And The Natural Colour Came Out

A few hours later, in addition to my recent post, I noticed that the sky was pretty overcast and looked like it was about to rain.

Out I went again with my camera:

Photo copyright by Amy Renfrey

F 16
1/60 Shutter Speed
ISO 800
Focal Length 42mm
WB Auto

Photo copyright by Amy Renfrey

F 22
1/50 Shutter Speed
ISO 800
Focal Length 43mm
WB Auto

Photo copyright by Amy Renfrey

F 20
1/50 Shutter Speed
ISO 800
Focal Length 55mm
WB Auto

Photo Copyright by Amy Renfrey

F 20
1/60 Shutter Speed
ISO 800
Focal Length 55mm
WB Auto

Photo copyright by Amy Renfrey

This one above is the same rose, I’ve just played around with taking some red out of it to try and reflect the true colour. It’s much more true to life than the first.

I think I like these ones better than the first ones- the filtered light brought out the colours and softened the light. And the rose IS hot pink….vibrant hot pink, not red.

What do you think?

Now you see what I mean about working with light.

Happy shooting,
Amy

P.S All the photos on this page are copyright to Amy Renfrey.

Flower Photography- What To Do, What Not To Do

Can't Do With Out It

This morning, after a night of heavy rain, the sun shone through the scattered clouds and warmed the cool morning air. As I poured my regulation morning coffee, I shot a glance through my kitchen window and noticed how the sunlight seemed subdued, almost filtered. It was almost as if someone had turned down the intensity of the sun to allow for morning people like me, to get their bearings.

Doing photography for the past 8 years has taught me that subdued sunlight doesn’t happen all the time and is considered a fortunate thing. (It also happens to be Winter morning light too, which is why it looks so beautiful.) So I grabbed my camera and headed out to shoot the rose that’s starting to bloom. The one that I’ve been nurturing everyday so it will bloom for me.

When I lived in cold Melbourne, I never used to pray my roses would bloom. They just did, and abundantly I might add. But here in Queensland? Getting roses to grow is like, well, I don’t know what, but it a major pain in the butt.
It’s the climate change. My roses hated it. If they were people, they’d need a therapist to work out their issues. And they ‘d be peed off with me.

The problem with moving from a cold climate to a subtropical one is that the beautifully delicate, English cottage plants you love so much, wither and die in the intense sun. You are left with nothing but a brown stump where your best rose used to be. Amidst the frustration of this I decided I would not be beaten. Dammit, it I was going to have roses in my garden. So off to Bunnings I went.

(For those of you who do not know what Bunnings is, let me delight you. Bunnings is a gardeners paradise! Just think of anything associated with DIY home reno, gardening, planting, growing, mowing, busting your butt doing something around the house and Bunnings will have something to suit you. And the prices are dirt cheap. Righto, no plugs here, on with the story…)

Bear with me, I am getting to the photography part of all this.

I bought this stuff called “Sea Mungas.” Nope, not straight from the sea, but a brilliant “bring you back to life” fertiliser that seems to resurrect plants who are on their death-bed. Don’t ask me why it’s called “Sea Mungas”, I really don’t know.

“Ok, what the heck” I said pouring this stuff into the base of my beloved dead, brown stump of a rose and waited….

Within 4 weeks I was seeing tiny dark pink shoots spring forth from the dry, brown stick like rose plant. And within 4 weeks of that, look what sprung into life:

Beautiful Rose- Photo Copyright To Amy Renfrey

F/16
1/50 shutter speed
ISO 400
Focal Length 55mm
White Balance Auto

Ok so this is not a gardening blog, so how did I take this photo?

Well the first thing I did was examine the light I had to work with, that’s always the first thing you have to do before anything.

Secondly, I grabbed my camera, and thought about what types of shots I wanted. I aimed for nice clear close-ups without too much colour saturation. I can’t do much about the colour saturation because that’s the camera, and fortunately, not me.

Because the light was subdued, (I hope you were taking note of that), I chose a “middle of the road” ISO. Why? Well, simply because the sun was not blaring down and over exposing everything in sight, so I didn’t need to reduce the light sensitivity much. Also, there was sunlight present, so it would have been silly to whack it up to 1600. That would have potentially overexposed the picture.

Thirdly, I wanted detail and clarity so I stood in the way of the sun and shot the flower within my own shadow so the detail would be there. Plus I know how my camera behaves now, and it loves medium close up filtered shots it just likes it that way. Hey, I don’t argue with it, I just work with it.

Fourth and last point, because I was standing over the rose within 30 centimeters of it, without a tripod (because I was being a bit lazy) I knew that focus would be paramount. For this reason I made sure I had a relatively good shutter speed without diminishing the sharpness that a small aperture brings.

Photography is really about compromise sometimes. You gotta work with what you have got- especially outdoors. You can get the best lenses and camera gear in the world that make you look like you know what you are doing, but if you can’t work with light and be intelligent about it, then you are better off buying a point and shoot.

Sorry if you didn’t want to hear that, but it’s the truth. People hang a lot of expectation on the camera to do the performance for them, without being smart about working with light first. So do yourself a favour and be smart- work with light first, then get the gear.

This photo is copyrighted to Amy Renfrey

F/25
1/100 shutter speed
ISO 400
Focal Length 55mm
White Balance “Sunny”

Oh what the heck, I might as well put this one in too:

Maiden Hair- Picture copyright by Amy Renfrey

F/11
1/60 shutter speed
ISO 1600
Focal Length 55mm
White Balance “Sunny”.

And if anyone can tell me what this plant is, I’d be mighty grateful:

Photo Copyright By Amy Renfrey

F/20
1/60 shutter speed
ISO 1600
Focal Length 55mm
White Balance “Sunny”.

Wearing Clothing to Match for Black and White Shots

Everyone knows the differences between color and black and white photography. What most are not aware of is the way to view the setting in order to determine if a shot will have enough contrast or value to make for a good black and white image.

Let’s use a simple example – the everyday street scene. If you were handed a camera and told to take a compelling image of a street scene you might be drawn to the colors of signs or banners, the general looks of the buildings, and the many people on the street. Now, remove all of the color and convert it (in your mind’s eye) into the monochromatic world of black and white.

While there will be all kinds of midtones and grey hues running throughout the image, it is a good exercise to consider the different challenges to good composition when color isn’t a factor. Most photographers quickly learn that they begin paying much more attention to light and shadow, tonal range, and, brightness and contrast.

Let’s consider how to enhance a black and white photographic session in which people are the main focus, and one of the primary approaches to be used to boost the richness and tonal quality of the black and white image will be complimentary clothing.

How will this work? Generally, when subjects are wearing monochromatic clothing they are going to have a very strong impact upon the tonal values of the photograph. Just consider the first image below. This photograph is extreme and unique. The photographer is holding the camera and pointing it back at himself. The background is brightly illuminated and devoid of shadows or many darker hues and colors. The dark color of the photographer’s jacket serves as a balancing element in the scene.

Don’t think so? Okay, convert this sweater to a pale grey color in your mind and consider the results. It would be a ‘tonally valueless’ image. Now, try something like a light green. It would be darker, but would still not give the weight of the black sweater with its strikingly light zipper running down the middle.

Black and White by Diego Medrano

Picture copyright Diego Medrano

If we reverse the situation and put our subject in pale colors we can see the effects of this as well. Consider the image below…here we have a woman with a fair complexion, dressed in white, and standing against a backdrop of solid black. This color configuration really illuminates the subject and pulls her out of the image. Her clothing and complexion have also allowed the tonal qualities of the image to be balanced out as well. If we could pop open the histogram for this particular photograph it would show the appropriate levels of contrast thanks to the even amounts of dark and light. When I shot this image I was aware of a couple of hotspots in the image but it wasn’t a great concern at the time as the singer wanted me to shoot this way. It can be difficult to avoid some hot spots in general, when shooting white clothing in black and white,plus using the flash. However you can tone this down in photoshop later if you choose to.

Picture copyright Amy Renfrey

In the final image, we have the culmination of the various qualities of black and white photography. We see the pure white and black, the reflective surfaces of the main instruments. While the composition of the shot is based around the single trombone player in the foreground, it is the skin tone of the hands of the musician and the pale hair of the player in the background along with the face of the other musicians that add the sort of mid-tones needed for balance.

Picture copyright Amy Renfrey

If you are planning to conduct a few black and white experimental shots of your own, you will want your subjects to wear complimentary clothing appropriate to the setting. For example, if you know that the setting will have a background prone to darker shades and hues you must dress the subject in pale or white clothing to create the necessary contrast.
Additionally, if you are dressing a portrait subject in a monochromatic palette most photographers would recommend that the darker garments be worn towards the face, like deep red, violet or indigo. This is because a darker top in a black and white image will usually allow the face of the person wearing the garment to “pop” from the image. If the background is dark then this is going to create a lot of drama. If it is too much it is always possible to tone down the effect with a pale shirt or a lighter colored scarf such as pink or green. The point is to balance the contrast and tones for the strongest effect.
Be aware, however, that the complexion of the subject might cause a bit of difficulty with using clothing in the ways mentioned. Although we did see a person with a pale complexion wearing white garments, sometimes a person’s natural coloring is not conducive to the sort of tones needed for black and white balance. These are moments which require a bit of clever composition to make a success. Need an example? Let’s say you want to take a portrait of a pale, blonde person against a dark background. The recommendations above would have you dressing them in a dark top, but this might be too much of a contrast. The solution? Find a mid-tone collar or scarf to position near their face to help reduce the dramatic impact of the transition from dark to light.
Some cameras allow live veiw to be seen in black and white. This function is a handy tool for learning how to train your minds eye to “see” in black and white. If you have not shot black and white portraits before I recommend taking a series of shots of very different colours. For example you may want to try coloured paper such as red, yellow, blue, green, brown and pink. Place these cards in the same image and you will be able to begin to see how colours are interpreted as a black and white photo.
You can also ask a friend or family member to stand against a wall, and, in each photo, wear a different coloured top to help you learn how colours and skin tone work in black and white photography.
Different skin tones will react differently when placed against certain colours in black and white photography, just as they do in full colour photography. By participating in this simple exercise, you will quickly see what works and what doesn’t.

Someone with fair hair and fair skin may appear to have no depth or tone in their face when a pure black garment is worn. In colour, they would appear to look “washed out”. However when a red garment is worn, then you may find a totally different look altogether, even in black and white.

The pictures off this website may not be used in anyway, without my permission. Don’t be mean and rip them off, just ask me first.

Candid Family Photography

Whether you are a professional or novice photographer one of the more challenging activities you will encounter is the taking of candid photographs. Why? When people are aware of a camera they tend to act differently than normal. There are ways to eliminate artificial smiles or rigid poses, however, and this brief discussion will cover some of the best approaches to candid photography at family events or on family occasions.

Let’s first look at the obvious – the camera itself. If you have a camera held up to your face, and one with a flash firing every few seconds, you are ruining your chances for truly candid shots. This means first setting the camera to low-light settings to avoid the need for the flash, and then literally shooting from your hip or chest area. If subjects don’t know that you are hitting the shutter release, because you are not looking through a view finder or staring at the small LCD display, they are more likely to act normally and much more relaxed.

Does this mean you are randomly firing away at anything in front of you? Absolutely not! You can still easily compose your candid family shots before lowering the camera away from your eyes. This, however, requires some thought and a bit of effort.

For example, some of the best candid family photographs people “doing something” in the image. Whether this is children playing a game, two senior citizens speaking animatedly to one another, or a young couple smiling into one another’s faces, it is important that you ensure your shots have some interaction to give them strength.

You may also want to stand in a way that has the subject(s) of the shot framed by elements in the foreground. For example, you can include a portion of the doorway leading into the kitchen in your shot of a group of family members stealing nibbles of the Thanksgiving Turkey or laughing as they do the dishes.

If you hope to get in close for a candid shot you will not be able to do so without also using one of your better long zoom lenses. This is due to obvious reasons – there are no candid shots when the photographer is only a few feet or inches from the people in the scene. This can mean that you will need to stand on the perimeter of a room and shoot into a group of people, but often you can achieve success if you can avoid using the flash.

Lastly, many modern photographers don’t go anywhere without a laptop, and with them they can use the webcam or onboard camera in their computer to take timed photographs.

Some remarkable series of photographs can be achieved by setting the camera overlooking a dinner table or gathering and then cueing it to take images every few minutes. No one will know this is happening and it makes for some wonderful and candid shots.

By Amy Renfrey

Learn Digital Photography

Taking Sensational Colour Photography In Low Light Outdoors

Photograph by Timo Balk, a very talented Melbournian.

Photograph by Timo Balk, a very talented Melbournian.

In New England there is a very distinct time known as the “leaf peeping” season. This is when the foliage is at its peak and the landscape is full of reds, gold, and many brilliant oranges. This is also a time when dramatic skies can make the colors even more intense or remarkable, but this period tends to last only a matter or two or three weeks. By November most of the region is devoid of leaves, and full of the dull grays and browns that will not be replaced with green for almost six months.

What can a photographer do during the gloomiest parts of this season? How can you head outdoors and photograph blunted stalks of corn against the haunted and leafless woods? Actually, many photographers can find moments of intense “sweet light” during such a season, and make images that are both dramatic and quite inspiring.

What is sweet light? It is usually the hours of dusk and dawn when the lack of brilliant sun makes colors bolder and the overall setting much more photogenic. The midday sun tends to wash out color and cast harsh shadows which tend to be an unpleasant photographic environment. The duller weather months, however, are often overcast and mimic the conditions found in the hours of sweet light. This means that a photographer should be looking for spots of color in their duller surroundings because the conditions for capturing them are at optimal levels.

For example, although the frosts may have killed back all of the remaining green foliage, there will still be fields full of pumpkins and winter squashes. Their brilliant orange and mustard yellow colors will really “pop” in the overcast weather. This is also a time to photograph the gorgeous red barns of the region too.

Another subject that can really shine in between the end of autumn and the beginning of winter are the seasonal birds that seem to burst out of the trees and shrubs. For instance, a male cardinal against a backdrop of dark branches and leafless trees is a truly stirring sight.

There are some considerations to be made before heading out into a duller weather setting, however, and they usually include the intentions of the photographer, the environment, and the actual weather at the moment. The planning on the part of the photographer is crucial to success. It is not good to leave the situation entirely up to chance, and knowing where to go on the day in question is the only way to take a successful image. Scouting out those pumpkin patches or knowing where the frost is going to lie heavily on the long grass is vitally important to creating the best dull weather photographs.