a second look at texture1877 .pdf
Original filename: a second look at texture1877.pdf
This PDF 1.4 document has been generated by / iTextSharp™ 5.4.1 ©2000-2012 1T3XT BVBA (AGPL-version), and has been sent on pdf-archive.com on 12/03/2015 at 14:32, from IP address 192.240.x.x.
The current document download page has been viewed 684 times.
File size: 4 KB (2 pages).
Privacy: public file
Download original PDF file
a second look at texture
The Clawson photographer likes living by the beach and thinks there are many texture
photography opportunities waiting. 3 of the main opportunities at the beach are: rock, driftwood,
Rock: Not all beaches have rock. A handful are miles of smooth sand. Having said that, whenever
a beach does contain rock, the rock often has quite interesting texture. The Clawson
photographer understands some of the finest photo possibilities are displayed with rock that has
been underwater at high tide but still exposed at low tide. This variety of rock is profoundly worn
by wave action. The softer regions of the rock have already been eroded away whilst the harder
rock is left.
The main thing is to find out of the ordinary patterns in the rock texture and accentuate that in the
photographs. The timing for that style of photography can be a pain in the you know what.
Naturally, these photographs have to be taken at low tide. Additionally, the sun should be low on
the horizon as a way to call attention to the rock texture. For that reason, it will be important to
check both the tide tables as well as the sun rising and setting times.
Driftwood: For a photographer, driftwood produces some extraordinary images. The wood is
known for a grain which has been eroded by the wave action. This can offer great texture. In
addition, the wood will likely be wet which can further improve the contrast of the texture.
As with most of texture photography, side light works for driftwood. One of the nice things about
driftwood is it can be repositioned to expose the sidelight.
Wet Sand: As a result of wave action, the sand will have patterns. It is simply dependent on
finding some interesting ones. Typically, the most suitable opportunities can be seen at low tide. If
the sand does not show any exciting designs, just hold back until after the next wave and look
A photographer who catches the sand in a colorful sunset can add brilliant, saturated color to the
sand for even enhanced images.
Whilst at the beach, never make the bad decision a photographer friend of mine made. He set his
camera on a tripod and turned his back to the ocean for a handful of moments. As he turned
back, he learned his camera equipment was washed right into the ocean by an unexpectedly
When looking to capture texture images, the desert is a key setting. Texture can be found in the
plants, animals, and rock of the desert.
Rock is amongst the least difficult to photograph. Rock with bands of alternating color is suitable
as texture photography subject material. The sort of image is ideally shot around the late
afternoon. Having said that, if there are surrounding mountains, you can not shoot too late or the
rock might be cast in shadow after the sun disappears behind the mountains. Subsequently, a
photographer will find the best light usually occurs when the sun sits just above the mountains.
This will give the warmest light and the longest shadows.
Also, it is best to have a contrasting sky. Often, the deepest blues in the sky can be found
opposite the direction of the sun. This is due to Mie scattering which adds white light to the sky
(thus, desaturating the sky). The closer to the sun an area of sky is, the greater the Mie
One final point, make sure you try out a polarizer. A polarizer will help to saturate the color of the
rock and the sky. Yet, the influence of a polarizer varies with regards to the angle of the lens with
respect to the direction of the light. Polarizers are most effective when the lens is perpendicular
with respect to the sunlight. This ought to be taken into consideration when positioning the
camera for a shot.