Dreamy ethereal photoshoots
Published 10.01.2020 в Analyse forex euro franc suisse
Ethereal Dream Photography. likes · 1 talking about this. The talented,one of a kind, Stacy M. makes it her goal to capture anything out of your. I love the soft, pastelly hues and the dreamy quality of these photos. Would anyone be able to run me through how to achieve this? Browse 56, professional ethereal stock photos, images & pictures available royalty-free. Ethereal woman dancing in dreamy forest stock image. 0.0021 BTC TO EUR
This is smart and simple idea, and there is no need to spend money for expensive software or photography gear. First thing, find yourself a common sandwich bag, a plastic bags that you carry sandwiches around in. This is important, on the closed side of the bag, use your hands to tear a hole and don't use scissors, since you'll want the edges to be rough, uneven, and slightly random.
Take the open end of the bag and slide it over your camera lens, you shouldn't cover up the middle portion of the frame, we'll need a clear section to see the subject through. Make sure it can be seen in your viewfinder. And voila! I would love to experiment with other equipment and cameras as it is likely that better results may be achieved with better kit. I take much of my photography in the middle of the day, a time that many photographers find the light to be harsh, but I like to let as much sunlight in as possible.
Where the position of my subject will allow, I will always shoot into the light. I will have the aperture as wide open as my lens will allow without blowing out the whites completely. Burnt-tip Orchids on the Dorset Downs The burnt tip orchids above were growing on a slope, so I positioned myself under them and looked up, shooting through the foliage to produce the soft bokeh in the foreground.
I shoot in live view and never use the autofocus for portraits of flowers as part of the experience is the manual manipulation of what I can see through the viewfinder. Greater Stitchwort along a Woodland Ride Shooting through foliage and into the sun also creates beautiful abstract botanical bokeh. I find using manual focus helps compose an image that maximises this effect. Firstly, pick out your subject from the tangle of the undergrowth and focus in on it.
Then, sometimes shifting the angle of the lens or your position slightly, the bokeh in the image comes to life. As I use a macro, I tend to be about a yard or two from my subject whilst shooting in this way. If it looks as though the whites in the image are going to blow out then waiting for the light to change, a cloud to pass by or adjusting my position slightly so I am shooting through different foliage can help to prevent this. Greater stitchwort The image of greater stitchwort above was taken though grasses, which provide the soft bokeh at the front of the image.
Shooting into the dappled light coming through the trees is what created the boken in this background. When taking images like this, I often rest the camera on the ground and pivot it up slightly. Opium Poppies in a local field The softness in the poppy image above was created by shooting though a fallen petal that I had found on the ground. I often employ this technique to soften an image and the improvised natural filter also has the same tones that are in the subject. Images from a meadow A final note on shooting in nature, is to always leave the site as you found it.
All my images are taken from footpaths. Many wild flowers are now in decline and some suffer negatively from the impacts of trampling and crushing. The headlands, margins and hedgerows are also where you are likely to find many interesting subjects. Marbled White Butterfly in a conservation headland. The marbled white butterfly above is a common sight in the field margins here in Dorset, and shooting through a haze of ox eye daisies gave me the soft bokeh in the image above.
With the small blue below, the very shallow depth of field separated the subject from the tangle of vegetation. Small blue butterfly Post processing I have always been drawn to muted and cooler tones, and my work over the years reflects this. In part I think this is because I have visual stress and dyslexia and find it hard to look at bright colours, especially yellows and oranges. But I also think this colour pallet better expesses how my emotions are calmed and thoughts uncluttered when in communion with the subjects of my photography.
I usually tone down the vibracy the yellows and oranges in any image and bring out the blues, greys and violets.
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