Trick Photography and Special Effects

Trick Photography And Special Effects

Have you ever looked at professional trick photos and wondered why you are not able to get the same fantastic results from your photography? Well believe it or not, there are just a few easy tricks that you have to master in order to start taking photographs that will show the SAME level of amazing quality that professional photographers show! You actually do not need professional, expensive equipment to get that same amazing feel that great trick photos do; all that it takes is Knowledge. You will also learn how to improve your regular photography as well; your overall photographic knowledge will increase as a result of what you've learned! Normally it takes years to move from amateur to professional photographer, but with the skills that you will learn, you don't have to stay stuck in the amateur stage; you can move the professional stage very quickly! Read more...

Trick Photography And Special Effects Summary


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My Trick Photography And Special Effects Review

Highly Recommended

It is pricier than all the other books out there, but it is produced by a true expert and includes a bundle of useful tools.

This ebook served its purpose to the maximum level. I am glad that I purchased it. If you are interested in this field, this is a must have.

Combining Shutter Speed And Aperture

As said before, the correct exposure is achieved by choosing the right combination of shutter speed and aperture. This is done by establishing the light level with either a hand held light meter or one built into the camera. These devices measure the amount of available light and give a reading which is a combination of shutter speed and aperture. On a hand held meter a dial shows what aperture to use if you want to use a different shutter speed than that indicated. Let's assume the given combination of shutter speed and aperture to achieve correct exposure is 1 125th shutter speed and Aperture F8 The same amount of light will fall on the film if the shutter speed were halved to 1 60th and the aperture were stopped down The effect of changing shutter speed The faster the shutter speed, the more you will be able to FREEZE the action and get sharp results of fast moving subjects. With slower shutter speeds you will have to hold the camera steadier to get sharp results.

Carlos Villoch

DESCRIPTION I took this photo in El Hierro. the most remote area of the Canary Islands. I was taking some black-and-white photos early in the morning inside a large crack in the reef. My partner was serving as my model when I saw this la Tie grouper in the corner of my viewfinder coming toward the camera, I quickly changed the settings and strobe position to capture its colors. The grouper seemed to be curious about his awn image reflected on the dome port and got so close that it was difficult to focus on him. At some point, the fish, the crack in the reef and the diver aligned in harmony. creating the composi tion I was looking for. GEAR Nikon D80 Ikelite housing Tokina 10 17mm lens two Ikelite SB125 strobes ISO 400 F-STOP f 11 SHUTTER SPEED 1 13 sec. PRIZE Dive trip for two to Captain Don's Habitat in Bonaire

July 2008

Successful motion-blur imaging is ail about maintaining a sharpfocuson the central subject ' j while letting the background melt into a mosaic of fluid color, Capturing these images requires timing a slow shutter speed with a delayed flash, all while panningthe camera at the same speed as the subject The panning is the easy part, especially with a graceful subject like this green sea turtle off Si padan Island, Malaysia, butyou'li need to experiment withex tended shutter speeds-I find 1 15 to one second works best The trickiest part istimingthe strobes. A conventional flash always triggers at the beginning of the shutter activation, but for th is type of image, you need the strobes to shooters have an advantage as all pro series Nikon cameras si nee the N90 film camera will perform this seamlessly with any strobe. Canon shooters will need a Heinrichs Weikamp adapter to sync with external TTL flash units. For the record, I got this shot with a Canon QS 5D camera in a Subal housing and...

Breakthrough Technology At A Budget Price

Half and half shots which fool centre spot autofocus. Responsive command and sub command dials allow fast shutter speed and aperture selection, spot, centre weighted and matrix metering are easily selected and the camera also has an auto bracket feature. Extremely useful are independent exposure compensator controls for adjusting either background or flash power from the camera. Thoughtfully Nikon have even incorporated a

Naia the ultimate Live Aboard

The incoming current at North Save-a-Tack sends you through a huge natural archway like a gateway to an ancient city. With judicious use of a compass and a lot of luck you can swim across the current and end up at Kansas, a huge coral-head with the top completely covered with wafting fields of Sinularia leather corals. There's a piece of railway track sticking out of the reef from an old marker if you need a support for slow shutter speed shots. On the sides of the coral head there are sea fans, soft corals, sea whips - the usual

By Will Postlethwaite

Are and what they look like, now think about how you want to construct the frame around your subjects. If they are commensal on something with complimentary colours then fill the backdrop with their host. If they live somewhere rather dull or messy then shoot so as to get clear water behind them and stop the aperture down or increase your shutter speed to black out the background. You can also blur out the background by openning up the aperture and narrowing your depth of field but beware of negative space.

Zoom blurring underwater

Zoom blurring is a simple technique that is produced by zooming a lens while the camera's shutter is open. The resulting abstract image is blurred with lines radiating from the centre of the photograph, produced as the zooming alters the size of the subject in the frame. The second consequence of long exposures is with the use of flash. A flash is beneficial because it adds a sharp portion to the blurred image. A potential problem is that the trails produced by zooming will be a different colour to the sharp section illuminated by the flash. This is because the trails will be produced by ambient (blue) light and the result may or may not be pleasing. I would recommend using front curtain flash when zooming from wide to tight, remembering to set exposure manually rather than with aperture priority (as this will default to a faster shutter speed, typically 1 60th on Nikon cameras). Shooting in this way will produce a clear wide angle view of a subject with trails radiating out from it.

The Essential Underwater Photography Manual

Blurb somewhat breathlessly insists) illustrating the various points made. One of the more memorable of these is the 'full bucket' analogy, which is the Tacketts' way of providing a simple visual approach to the rights and wrongs of exposure I must admit that I found this a rather entertaining way to remember the basics of aperture, shutter speed and ISO.


The Ikelite SLR-DC housing takes full advantage of the digital SLR camera's innovative features. The housing is injection molded of clear, lightweight polycarbonate for strength, visual access to the camera, LCD screens and camera controls. The housing provides controls for most camera functions. Most Ikelite SLR-DC housings include conversion circuitry that provide TTL compatibility with the latest Ikelite DS Substrobes. Many housings also include a Flash Compensation Module which provides over and underexposure compensation in the TTL mode and easily allow you to switch to Manual Exposure Mode which provides eight power settings. All exposure compensation is done on the back of the housing. There is no need to access complicated camera menus.

D70 D100f100

The feel of the body is definitely robust enough for most users. The LCD screen is clear and its brightness can be adjusted to your preference. The function buttons and menu layout I found very easy to use and this augured well for a pressure action situation at 32m The camera switches in an incredible 0.2s and, with no shutter lag, produces an LCD image within a second. The download time to your CF card depends but, with a good quality card, a RAW image is written in under 3 s and it can do this at a rate of 4 fps. This is pretty breathtaking stuff and coupled with the incredible 1 500th flash sync shutter speed, and an improved, fast response auto-focus, I was really keen to get the camera under water. with the depth of the image produced stunning, wide, complete images of the reef with amazing colour, sharpness and depth of field. When the sun was added to the equation the l 500th flash sync speed really came into its own. By selecting the correct flash power and aperture and then...

Snapper School

Aimed at the diver who is just taking their first pictures underwater or someone who feels they could do with a little help, you'll learn simple techniques like how to use manual white balance and the benefits of wide angle lenses to more elaborate ideas like using exposure compensation. We'll have equipment on board so you can try out the latest kit without any commitment to buy. This is underwater photography for all, no exotic equipment and no terrifying price tags. You'll work with down to earth guides like Paul 'Duxy' Duxfield. The Ikelite SLR-DC housing takes full advantage of the digital SLR camera's innovative features. The housing is injection molded of clear, lightweight polycarbonate for strength, visual access to the camera, LCD screens and camera controls. The housing provides controls for most camera functions. Most Ikelite SLR-DC housings include conversion circuitry that provide TTL compatibility with the latest Ikelite DS Substrobes. Many housings also include a Flash...

Get your digits out

And the reason for this elation I was taking still pictures, seeing the results instantly on a small screen and, if I didn't like them, I could erase them - also instantly. I could then change the aperture, shutter speed or composition and take the shot again until I was pleased with it.

Deb Fugitt

Of macro are simple use a small aperture to get the maximum depth of field, use the fastest flash synchronisation shutter speed to remove ambient light, and illuminate the picture with TTL flash . If we plug this formula into our cameras and focus on the subject we will get good macro results. The problem is that this is what everyone has done before and we will hardly be stretching the envelope photographically. So following Sherlock's logic I decided to ignore these three tenets of macro photography - to shoot macro with manual flash, with slower shutter speeds and to open up the aperture on my lens. The aim of this article is to tell you how I got on and pass on the tips I learned during the process

By Peter Rowlands

The top end of these entry level cameras allows you to change the camera settings manually (aperture and shutter speed) but in the ones I have used it can be quite fiddly to achieve this so, initially, I would recommend you use the camera's automatic settings and only revert to manual if you are not happy with the shots you are getting.

Light Cutting

To create good separation with lots of shadows and mood we once again rely on strobe dominated shots. Balanced light pictures don't usually work when you want to separate your subject. No point trying to isolate your strobe only to have the shadow areas filled in by the ambient light. With that in mind, the same high f stop (f 22 and above if your camera supports) and fast shutter speed (1 125 or faster) applies. Accurately aiming your strobe takes a little experience. Due to the taping up of your strobe, high f stop and fast shutter speed, a poorly positioned strobe would leave your subject totally in the shadows. So take your time to get it right. Remember, those pictures you see in magazines didn't happen within 1 frame, taking more than 10 frames for 1 good shot is not uncommon.

With Steve Norvich

Scuba Blue Colour

Wide angle photography on the other hand, most often has a fair amount of blue water in the frame and will not reflect back strobe light to the lens. This can potentially wreck havoc when using TTL, especially matrix balanced TTL as the foreground will then be overexposed or burned out. Some people still useTTL when shooting wide angle and attempt to compensate for the blue water by under exposing by 1, 2 or more f-stops or somewhere in between. This will sometimes work, other times not. If this is your preference, bracket with exposure compensation proportionate to the amount of blue water in the image. What I do is determine the background exposure by spot metering on the blue water I wish to be exposed properly. This is usually away from the sun, normally at a 45-60 degree angle. It is essential to know where the spot meter is located for a given camera. For example, the Nikonos V, the spot meter is located in the lower center while most in most SLR cameras the spot meter is in the...

Right in the eye

Since switching to digital I have not found the loss of TTL at all distressing. In fact with fine adjusting strobes and instant feedback I have found that the manual control allows perfect exposure of situations, like a white frogfish on black sand, where TTL would struggle. Indeed the talk of inability to deal with contrast I almost find the opposite being true Even sunbursts are not a problem if your camera has an electronic shutter like the D70 and all compacts. Just crank up the shutter speed and all is well. The D70 syncs to 1 500th but playing with the hotshoe contacts, or by using an Ikelite eV controller as I do, the limit is only the flash duration.


Be boosted to 300 or 400, even with the shutter speed at 1 30 I still needed the lens to be near fully open. So, when does the fun part start kicking in again Later in the week I again tried the filter with the shoals of snapper that congregate at Ras Muhammad at that time of the year. The results were maybe not quite as good. Seems fish tend to move about a bit, unlike wrecks. With the longish shutter speed the slight movement of the fish made obtaining a sharp image much more tricky.

By Maria Munn

Next ask a few more involved questions such as what is the battery life like Can the built-in flash be used with the camera's housing or does a shadow occur if there is a large port on the housing Is possible to fit external lenses onto the front of the housing For those passionate about wreck photography, a wide-angle lens on the front of the housing is a must to photograph large subjects. However, for those who are crazy about nudibranchs and macro photography, this might not be so important and may decide on a strobe as their first compact camera accessory to really bring out the colours of their subject. Would you like to get really creative with your underwater photography and have full manual control over your settings to change both the aperture and shutter speed of your camera to achieve darker backgrounds with your photographs Or if you are shooting with a strobe, being able to adjust the aperture settings on a compact is absolutely essential to control the lighting of your...

By Alexander Mustard

When gripping the SubalND2 my fingers automatically fall onto the shutter and aperture knob, while my thumb controls the shutter speed dial. The only additional control I would like to see is one for the programmable Function button control that is below the depth of field preview. This control can be programmed to implement various changes to the camera at the touch of a button (although all such changes are available through the more cumbersome menus). I doubt any housing manufacturers will support this button because of its awkward position. The main controls all fall immediately to hand. While holding the right handle, my middle finger falls on the shutter, ring finger on the aperture knob and thumb on the shutter speed (or AE-lock). Furthermore, while holding the left handle my thumb falls neatly onto the all important image review button. All the other buttons are most easily operated with the left hand, while keeping the right hand on the handle.


The new ' Get Creative With Your Compact Camera Course' focuses on how to make the most of a digital compact camera which has control of Aperture Priority as well as Shutter Speed. The day is spent trying out different effects with both Macro and Wide-Angle Lenses as well as the opportunity to try out underwater flashguns. All of the demo equipment

By Steve Warren

Like any good legend, a few mysteries surround the Calypsophot. Perceived wisdom is that the camera had a top shutter speed of 1 1000th of a second. But it may be that some later models only had a top speed of 1 500th. It's thought the higher speed proved superflous and added to the cost. La Spirotechnique are usually credited with manufacturing the camera, but SOS have also been mentioned as possible makers with some models allegedly being marked 'Made in Italy'. Another minor difference between models is the name plate. reducing the shutter speed to 1 500th and changing the livery. The then very new technology of through the lens The Nikonos 1 went on sale that same year. Calypsophots continued to be sold for a further two years. Speculation is that later Calypsophots were assembled from spare parts or that Nik 1 components may have been used, possibly accounting for the rumour of a lower top shutter speed on some models. In '68 the Nik 11 replaced the 1 with minor changes...

New products

Deliveries should be available by the end of the year and there will be controls for shutter release, front control dial, on off, exposure compensation, flash sync, display light, mode dial, M S C, manual focus, zoom, lens release, AF lock, meter switch, focus area selector, delete,flash power compensation, menu and enter OK. Power switch, Shutter release (mechanical), Main command dial, Sub-command dial, Shooting mode dial, Flash sync mode button, Exposure compensation button, LCD illuminator button, LCD panel window, Function dial, Multiselector buttons, Flash exposure compensation button, Format button, Bracketing button, AE AF lock button,

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