FULL FRAMING (taking a walk around your view-finder) Scan the top, sides and bottom of your view-finder Your main subject should nearly touch these boundaries. If it doesn't, move closer to the subject.

SUNNY f16- On a bright sunny day, set your aperture on 16 and your shutter speed as close as
possible to your films ISO rating This will produce properly exposed pictures with all films and all film speed ratings.

This is one of the best photographs I've ever seen, I don't know the photographers name if someone does
please email me the name and I'll give a credit.

Subject: North Pole Sunset-Moonrise Together

FULL MOON f11- For proper exposure of a full moon, set your aperture on 11 and your shutter speed as close to your films ISO rating as possible

HALF MOON f8- Use the above rule for shutter speed and use an aperture of 8 for pictures of a half moon.

QUARTER MOON f5.6- Use the above rule for shutter speed and use an aperture of 5.6 for pictures of a quarter moon.

SUNSETS - Meter the area of sky directly above sun and use this setting as the basis for exposure. Using one f-stop less light will produce the effect of a picture taken one half hour later.

PHOTOGRAPHIC GRAY CARD- When the camera meters a mid-tone the scene will he properly exposed.

"RULE" OF THIRDS - Place your center of interest, vertically or horizontally, at the 1/3 and 2/3 points in your viewfinder for a stronger composition.

COMPOSITION - When the word rule is used, substitute un-rule, for there are no rules, only considerations.

CLEANING FILTERS AND LENSES- A well washed 100% cotton T-shirt is softer and more scratch resistant than photographic lens tissue. To clean filters and lenses simply "HUFF" (breathe on the lens until it fogs) and wipe clean.

PROTECTIVE FILTER- Always leave this filter on for lens protection.

FILM- Establish the amount of film that you think you will use, then multiply by a factor of two. When working for a client multiply by a factor of three. (or digital film)

PALM READING- To select an average tone exposure reading, "read" the palm of your hand with your thumb extended. Then, using your thumb up reminder, open up your aperture (smaller number) one stop.

FOCUS- Focus 1/3 of the way into the picture and use f-16 for the greatest depth of field.

FILTERS- When using an 80A blue (outdoor to indoor) filter, open 2 stops when using a hand-held exposure meter.

PHOTOGRAPHING A CAR - A three-quarter front view makes the most effective photograph for selling a car (Paul Douglas, photographer).

PHOTOGRAPHING LANDSCAPES - Assume that a dramatic "photogenic" effect will rarely last more than one hour.

FREE-LANCE RULE OF TWO - If you want a merely adequite return on an untried free-lance photography project, decide what you think you can get away with charging, and then double it. The final expense and aggravation will exceed your original estimate by a factor of two.

FREE-LANCING - Free-lance photographers should expect to put in one un-billable hour for
every billable hour.

SHOOTING FILM - One good shot per roll of film is a good shoot. or a flash card, (this is getting out dated).

TAKING PICTURES INTO THE SUN - When back-lighting is apparent, open the aperture an extra one and a half stops.

SETTING YOUR RATES - Free-Lance artists should determine their hourly rate by dividing their annual income requirements by one thousand (Mike Rider, art director).In other words the avarage amount of billable hours is 1000 hours per year, if you need to make $50,000 a yera you will have to charge $50 per hour.

BETTER EXPOURES - If you are using negative film and can't take several exposures, overexpose the metered value by one stop. You will have a better chance of recording your information. This won't work with digital cameras.

DOUBT - When in doubt open your aperture one stop. When in serious doubt open two stops.

GOOD COMPOSITION - Mentally divide vour view-finder into four areas. Look into each area and eliminate anything that isn't necessary.

HEADS - Look at the top of vour view-finder and ask yourself if heads are included. If you don't ask yourself this, then 50% of the time heads will be partially or totally missing.

FEET - Look at the bottom of your view-finder and ask yourself if feet are included. If you don't ask yourself this, then 50% of the time feet will be missing.

HORIZON LINE - A picture taken at a slight angle to the horizon will look out of balance somewhat like a painting which isn't hung straight on a wall. Look in your view-finder and ask vourseif if the horizon line is parallel to the top and bottom of your view-finder. If you don't do this, the horizon line in your pictures will be tilted 90% of the time.

WILDLIFE - Final image size and sharpness will decrease proportionately as the desirability for the picture increases. To reverse this effect, look through the view-finder and ask yourself how many times you could stack your subject on top of itself, moving from the the bottom of the frame to the top. If the number is greater than four your picture will lack impact. Move closer to your subject or use a stronger lens.

CENTER - There is a natural tendency to place all subjects in the center of the picture, known as the "bulls-eye syndrome." Place the main subject or center of interest anywhere but the center of the picture. The center is a very important place in a picture, however, when the subject is placed in the center it becomes so powerful that nothing else can compete with it (Roger Baker, art teacher, Clark College).

GOOD COMPOSITION - When cropping a print, use four sheets of typing paper, one for each side of the print. Move the paper to eliminate unwanted parts of the picture. The result will be good Composition.

BLUE SKY - A clear north blue sky is a middle tone. An exposure reading using the blue sky as a source will produce a proper daylight exposure.

WATERFALLS - Use an average exposure reading as a base then reduce the exposure by one f-stop for detail in bright sunlit water.

FOCUS - If your subject has eyes, focus on them.

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