If You"ve Found it Hard To Find Wide Angle Converter , This is The Place For You!
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 Zeikos ZE 3458F Pro Wide Angle Lens fits 52 58mm lens  US $23.00
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 IMPACT 37mm 38x Super Wide Converter w Macro US $5.50
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 Opteka High Definition Lens Great Condition US $45.00
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 52mm Wide Angle Lens for Panasonic DMC FZ100 DMC FZ45 US $24.99
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 52mm Wide Angle Lens for Olympus C 3030 C 3000 C 4000 US $49.99
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 72mm PHD Digital WIide Angle Lens w Macro for Sony DSC R1 US $79.99
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 49 58MM 49 TO 58 STEP UP RING FILTER ADAPTER FREE GIFT US $3.66
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 2 x Tele photo zoom lens adapter tube for Canon S5 IS US $29.39
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More Opportunities for Good Photographic Composition – Adding Motion to Still Photography
Composition of good photography is all about the ability to visualize the shot as a painter would a canvas. What elements can the artist or cameraman add to create the well composed image?
One of these facets is motion. It is possible to enhance photographic composition with strong visual references implying impressions of movement through the photograph. The viewer is drawn into the picture with a number of devices available to the photographer.
A distant point of interest in a street scene, for example, attracts the eye of the beholder when converging lines appear to intersect with the object of interest. Where the pavement on each side of the street adjoins the roadway, where the windows and roof lines of the adjacent buildings appear to line up, where a line of traffic heads towards the distant object: all these facets create the appearance of lines that converge on the object and induce the eye to follow into the shot achieving a sensory appreciation of movement.
Building a composition allows the artist or photographer the opportunity to add in ingredients that define the shot. Connecting these components with a visual line or in a visual progression of elements leads the viewer into the shot. These apparent lines of sight need not be necessarily vertical or horizontal. In fact a diagonal achieves dynamism that is often lacking in a photograph that concentrates on horizontal or vertical elements.
Picture waterfowl alighting on a lake: the birds tend to ski in on their webbed feet, wings spread wide for braking to a soft water landing. The process creates a lot of water action offering a number of shot options: the bird creates a wake as it glides in before settling into the water. A longer shot picks up the initial splash of the water from the landing and links subsequent water disturbances.The line between the first contact with the water and the settling bird creates the sense of motion.
The second picture option is to portray the bird in close-up with wings spread wide as it touches the water. The splash from contact with the water will radiate away from the forward momentum of the bird. Capturing the bird and spray from the water splashes not only aides the sense of motion but will sometimes present rainbow colours of the spectrum refracted in the water droplets adding another dimension to the photo.
Clean backgrounds allow the viewer to centre on the primary object of interest. If the object appears to be passing through the picture then the sense of motion is enhanced when the background is clean and an item in the foreground (in focus) creates the imaginary line between the foreground object and the point of interest, again drawing the viewer in to the photo.
Focus on a street scene and position an approaching vehicle so that it is coming forward at an angle of around thirty degrees. By using an open bend in the street, the approaching vehicle achieves a sense of arriving from another direction and the roadway beyond fills the photo behind the subject. Other vehicles, walking people, buildings adjacent to the curb-side add interest to the composition. Using a wide angle lens, the impression of curvature and appreciation of motion both help to augment the image.
Similar shots can be composed to convey motion in sporting situations with racers pouring down a hill where the slope of trajectory down the hill and the angle of approach can aid the appearance of motion. By panning with the approaching racers and achieving a focus point just where the racers begin to transition past the photographer and before the racers deviate off the approach vector, another aspect is added to the photographic composition. The background will begin to blur adding to the sense of motion. In lap situations where participants cover the terrain a number of times the shooter has the opportunity to work through different locations and composition options to optimise photographs.
So, in summary, there are a variety of opportunities to add movement to still photographs. Where possible, plan shots in advance, using time before arrival of the subject to assess approach vectors, elements to add into the image and practise the rapid alignment of camera to the right position to acquire the desired subject before it disappears out of picture.
One of the great pleasures I enjoy is assessing and analysing my photos after a shoot. If I’ve got plenty of quality images to choose from, I’m more likely to find some really great pics so take lots of photographs and cull the less attractive later. Another tip is to buy extra storage: digital storage is cheap. Save even the not so attractive images for extracting segments for later use in other compositions such as montages. Above all, practise, practise, practise and don’t forget to have fun.
Additional Resources:
Some sources that you might like to check out for techniques, tips, tricks, and more can be found in photography books and magazines at my website portal www.photographyglobal.com where you can follow links to the best deals and discounts that that the web has to offer.
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About the Author
I've walked this earth for the last 57 years and started taking pics as a kid on a "Box Brownie" before migrating to a Kodak Instamatic 110. I moved up to 35mm with a Minolta 7 Series II in 1976 and eventually made it to SLR via the Canon T70 and some decent Tamron Telephoto and wide angle lenses in 1983. I recently moved into digital photography and just love the instant immediacy and myriad options that the new technology brings.
I specialize in landscape photography. Living in New Zealand (Godzone), I am blessed with many spectacular photo opportunities. These days my camera is almost always close at hand and I have been rewarded with some awesome results.
I have twice been the recipient of the Editor's Choice Bronze Award from the International Library of Photography and have been involved for the last 10 years in my church video team where my responsibilities include cameraman, director, team manager.
A foray onto the Internet a couple of years ago led to the establishment of my first photography website (since sold) and I have a string of similar projects in train including a photography store-front - web portal,