Monday, December 31, 2018
There are many rules and guidelines that relate to art. They correspond to composition, light, depth of field, color harmony, sharpness and so much more. They’re written and applied for good reason. The rule of thirds should be applied to create a successful composition. Mid-day light doesn’t work that well for a grand scenic, so it should be avoided. Always freeze motion when you capture action, etc. There are many rules that govern us and if they’re broken, a penalty has to be paid. The beauty of art is that rules can constantly be challenged to test their credibility. So throw caution to the wind, dust off your Break the Rules sneakers, be a rebel and make the mutiny bountiful. Test the waters to find an exception where breaking the rule nets you a fantastic image.
In regard to photography, “rules” and “guidelines” are used interchangeably. If you’re a very regimented person, this is a relief. A guideline infers a suggested path while a rule connotes a dictated path. So exhale, let down your guard and run through the trees while whistling a tune and think of a guideline to which you adhere and see if you can create a successful photo where you deliberately defy its inference.
You Need A Long Lens For Wildlife: Photographing wildlife is my passion. My 80-400mm lens is my workhorse as it offers versatility, it’s tack sharp and not too heavy. But sometimes it’s a bit too long! "A bit to long," you gasp? Yes, there are times when I want to show the animal in its environment and I don’t always reach for the long prime or my workhorse. For small subjects and headshots, long lenses are essential to get in close, but for the environmental portrait, larger subjects or images where the entire sky is on fire and you want to include it in the frame, reach for the shorter lens. The image of the elephants above was made with my 70-200mm at 70mm, ƒ/9.
If You Want To Be Professional, You Have To Use Manual Exposure: Manual exposure certainly has its place, but 95 percent of my captures are made using aperture priority. If I’m photographing a white bird that flies in front of a blue sky, then dark foliage, then a deep shadow background and then bright green foliage, I use manual because I want to keep the exposure on the bird constant. Exposure compensation isn't practical in this scenario. But for the large percentage of other captures, aperture priority, combined with exposure compensation, works well. I pose this thought. If person A professes manual is the ONLY way to go and person B uses a different exposure mode BUT each of their histograms are identical, what makes one mode better than the other? The bottom line is, don’t get caught up in feeling “put down” because you’re supposed to use one over the other. If what you use works, then it’s CORRECT for you.
Scenics Have to Be Horizontal: Rather than adhere to a rule or guideline, let the scene dictate the orientation of your camera. Conventionally, scenics are synonymous with a horizontal format but when exhausting all possibilities, test its vertical validity. It often necessitates a change in focal length to expand or contract what the camera sees, so experiment. Rotate the camera and zoom in or zoom out. You’ll often be pleasantly surprised that a vertical works just as well, if not better, than the horizontal.
ALWAYS Show the Eyes: Years ago, one of my Tips of the Week referenced one of my favorite expressions: The Eyes Are The Gateway To The Soul. In it, I wrote about the importance of expression in the eyes. If they don’t express emotion, the connection with the viewer is weak. While this holds true, I thought about that particular Tip when I clicked the shutter of the accompanying image of the lion cub. It’s the closed eyes that emphatically tell the story of contentment in this image. I broke one of my own guidelines. Make the Mutiny Bountiful!
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
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Sunday, December 30, 2018
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The word portrait conjures up visions of a face of an animal, a frame-filling full body shot or another up close and personal recording of the species. Typically, the goal is to reveal character aspects, an adorable expression or to show off the regal features of a majestic coat or colorful feathers. Ideally, the background will be out of focus so the subject stands out with no distractions. A long lens and wide-open aperture are often used to accomplish this effect.
I absolutely make it a goal to make the above kinds of photos, but if I solely concentrate on them, there’s an entire category of photos I deprive myself of capturing. I wind up limiting my portfolio for the sake of adding a single type of image to my files. From an economic standpoint, this isn't wise. If you’re lucky enough to go on a safari to the Serengeti, a frame-filling image of a zebra would be high on your list. They have character, the lines on their faces are intriguing and close up patterns of their hide can make great abstract photos. But what do those shots tell the viewer about where the zebra lives, what their habitat is like, what it may consume for sustenance and what other species live in its surroundings?
The simple answer to the above questions can be found in making environmental portraits. Obviously, as the words describe, the idea is to depict the subject in its surroundings so it becomes more of a scenic with the inclusion of the animal. Use a semi-wide or short telephoto to show the subject in its domain. The focus becomes more of a storytelling photograph. By standing back or switching to a wider lens, you include more terrain in the scene and portray much more information about the animal than a close-up portrait can reveal. There is another huge benefit to using a semi-wide or short telephoto. In that you won’t be infringing upon the animal’s proximity, it will feel more at ease and act more naturally. This can lead to capturing intriguing behavior that may otherwise not be displayed.
The strategy I use that results in better environmental portraits is to find a great scene in which the animal resides and wait for it to walk or fly into a strategic location. In essence, I make the scenic a priority and hope the subject goes where I will it. Study the light that hits the land and take into consideration how the light will fall on the animal when it becomes part of the scene. Early and late light works well as does backlight if it creates a silhouette or glow around the subject. Patience often comes into play as does frustration if the animal doesn’t cooperate. But when everything comes together, you’ll thank yourself for your persistence. Don’t overcomplicate the scene—keep it simple so the animal, although smaller in the frame, becomes an integral component. Even though it will be small, the goal is to get the viewer’s eye to immediately see it when viewing the image.
Wide angles inherently provide more depth of field, so it’s not always critical to use a small aperture. This is a plus if the subject is in motion. You don’t want to create a beautiful image and have it ruined because the animal’s locomotion turned it into a blur. Selective focus can work, but I find deeper depth of field provides better results. Experiment and try both versions and decide which works better when you edit down your files. Give the environmental portrait some attention the next time you’re in the field. Hopefully, it will lead to a sale or two for you.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
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Sunday, December 23, 2018
Saturday, December 22, 2018
Designed for use with full-frame DSLRs and available in Canon and Nikon mounts, the Tamron 17-35mm F/2.8-4 Di OSD is a versatile wide-angle zoom, and with an estimated street price of just $599, it's also an excellent value.
In this video, Terry Sullivan, editor of our sister publication Digital Photo Pro, goes hands-on with the lens and describes its features and benefits.
Learn more about this new lens and see additional photos taken by professional photographers in "Wide Angle Versatility."
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Friday, December 21, 2018
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Tuesday, December 18, 2018
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The post Beyond The Basic Portrait appeared first on Outdoor Photographer.
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Sunday, December 16, 2018
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Monday, December 10, 2018
There are a number of conventional words that are associated with how a photo should be composed. Given their definitions, a few seem quite rigid. The thought of how a photo should be composed shouldn’t make one feel uncomfortable. Let’s take a look at how they stack up based on a hierarchy of their rigor.
Rules: A set of explicit or understood regulations or principles governing a particular activity.
Pitfalls: A hidden or unsuspected danger or difficulty.
Criterion: A rule or principle for evaluating or testing.
Fundamental: A basic principle, rule, law or the like, that serves as the groundwork of a system.
Guidelines: A general rule, principle or piece of advice.
As the list progresses, the definitions become less daunting. It’s with this in mind, I prefer the word guideline when I teach composition. I shy away from the word rule. It infers it has to be followed in a specific way, which is way too stringent.
Composition shouldn’t be “governed.” There are too many circumstances that prove it’s OK to deviate from the norm. Rather than get caught up in a debate over words, I share with you examples where the “rule” fits and also where the rule is broken yet the composition is successful—hence the word “guideline.” To prevent a dispute, let’s continue based on the title of this week’s tip: Compose Yourself—double meanings are always great!
Balance - A successful composition should have equally weighted subjects on all sides: In the image of the group of trees on the left side, there are no offsetting trees and not a single tree, animal or other primary subject lives on the right. The hill, along with the shadow of the trees, is enough to offset the weight on the left. If I adhered to the above rule, I wouldn’t have been allowed to make this photo. I’m glad I did.
Leave Room For Implied Movement - The same holds true for the direction in which the subject looks: Avoid placing a subject too close to the edge of a photo when its motion or gaze has it butted up to the side given the direction in which the motion or gaze carries the subject. In the two photos of the merlins in flowers, the one above has the beak right up to the edge of the frame. The area behind the bird is wasted and the bird’s placement is awkward. In the one at the top of the page, there's much less tension as the merlin glances across its body to the other side of the photo.
Mergers - Never let one subject overlap another: I often avoid pressing the shutter when I know that one animal may protrude from behind or fall in front of another. When I edit, 98 percent of these compositions meet their demise via the delete button. But there are situations that work 2 percent of the time. I tend to edit quickly but not so fast that I don’t overlook an anomaly where everything falls into place. I do refrain from pressing the shutter when I know there will be a merger, but there are times when I proceed and hope. After all, one never knows when it pays to break a rule. When it works, it feels good.
Leading Line - A leading line should lead the viewer’s eye into the image. They're often placed along the bottom or sides of a photo and should start near the edge. The line should bring the eye to a secondary part of the composition so the viewer can continue to course his or her way through the rest of the composition. In the image of the snow and office building, the leading line follows this rule and certainly works. Also, note the balance of tree trunks on either side of the photo.
Always Shoot Landscapes 90 Degrees To The Sun - When you point your camera toward the sun, the light is contrasty and shadow detail is lost. Many landscape photographers shy away from this type of light and tell you to always shoot 90 degrees to the sun. It creates texture and a polarizer has its maximum effect so the blue in the sky is enhanced. While these two facts are spot-on true, what if you never experiment? Be a rebel and make some high contrast images. Make photos of subjects where blocked up shadows have no bearing on the outcome of the photo. Look for silhouettes, colorful sunrises or sunsets, or patterns that reflect light.
Rule Of Thirds: The rule of thirds was initiated by the Renaissance masters. It migrated into photography because it works. While there are times when placing a subject dead center can create a successful piece, it’s important to first learn how to apply the rule of thirds so you learn when the rule can be broken and how to successfully break it. The rule of thirds states you place the primary subject in one of the power points. A power point falls at the intersection of lines if you were to place an imaginary Tic Tac Toe board over the viewfinder. The image of the zebra at sunrise follows the rule of thirds and breaks it by putting the acacia in the center. It’s nice to have the best of both worlds.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
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Sunday, December 9, 2018
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In the very first issue of Outdoor Photographer, published in June 1985, readers were introduced to George Lepp’s “Tech Tips” column. In that issue, Lepp advised readers on topics including how to store color film in their vehicles on longer road trips (use a Styrofoam icebox, sans ice); inexpensive alternatives to bellows and extension tubes for macro techniques; how to photograph through aquarium glass without capturing your own reflection; tricks for keeping your film camera free of lint when changing rolls; and best practices for cleaning lenses.
Throughout the 33-plus years since, Lepp has been a constant presence in the magazine, staying ahead of the changes in photographic technology and demystifying challenging subjects for our readers.
One thing that has not changed is Lepp’s dedication to helping others solve problems and make better images. So we’re thrilled that NANPA will present Lepp with its Lifetime Achievement Award at the Nature Photography Summit in February 2019, a well-deserved recognition of his decades of service to our community. In our upcoming January/Februray 2019 issue, we feature an interview with Lepp about his career in photography on the occasion of this recognition.
Today, NANPA formally announced the award, along with a brief interview of its own. Read the NANPA announcement and interview here.
Our warmest congratulations to George for his steadfast friendship and leadership not only for us at Outdoor Photographer, but for the entire nature photography community.
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Monday, December 3, 2018
A RAW file doesn't lie. All colors are captured and embedded in the image. While they can be tweaked regarding hue, saturation and luminance, it is what it is. The exposure is written in ones and zeroes. While highlights, mid-tones and shadows can be adjusted, if whites are void of detail or if shadows are blocked up, there’s no recovery. The composition is fixed. While it can be cropped to reduce clutter, if you cut off part of an animal’s tail or nose, the parts are gone. The aperture that was used to create the inherent depth of field is unalterable. While focus stacking is in vogue, each given building block of the stack is fixed. If you didn’t create the depth of field you want, you’re locked in. Finally, your “focus is fixed.” I inserted words in quotes as I want to address both the literal and figurative aspects of their meaning. Literally, if you missed the focus, the image is a throwaway. It’s soft and can’t be enlarged. Figuratively, I bring attention to the creative aspect so you can capture better images, garner ones that go beyond the icons and get you to think outside the box. Hence the subject of this week’s tip: Seeing Is Believing.
Previsualization
With every press of the shutter, I envision how I intend to post-process a RAW file so I see the end result as I hear the shutter release. Ansel Adams introduced this concept of previsualization into photography. He carefully analyzed every scene and made the exposure relative to how he’d develop his large format negative. In essence, he controlled the contrast. I can only imagine the fun he’d have with digital photography!
Previsualization is where the photographer sees the final outcome prior to capture. Ansel Adams devoted the beginning of one of his books to previsualization. His words: “Visualization is the single most important factor in photography.” The figurative aspect of “fixed focus” I cite here is don’t overlook pressing the shutter knowing what can be done in the digital darkroom.
Subject Connection
Subject connection with you as the photographer and subsequently between the viewer of the photo and the subject is critical. The same way you feel a disconnect when you converse with someone and they don’t make eye contact, the same psychological phenomena exists when a subject doesn’t ally itself with you. Be patient and wait for the moment it gazes straight into the camera. Work with the animal by following it and click the shutter when it glances your way. If nothing works, it wasn’t meant to be. The figurative aspect of “fixed focus” I cite here is be sure to wait for a key moment when the eyes of your subject are expressive and relate to the viewer.
Get Low
The expression, “don’t look down on me,” infers everyone is equal and should be bestowed equal status. So, what does this have to do with this week’s photo tip, you ask? Think about how many photos of small animals you’ve made where you’re fully upright and they are 5 to 6 feet below you. Literally, you’re looking down on them. Regarding the outcome of the photo, you automatically reduce the subject’s importance. The viewer, therefore, sees it as less significant. Get down on its level and go eye to eye. The connection is stronger and the animal takes on significance. Getting down on the same level as an animal has another huge benefit. In that the background will be significantly farther away, it may become an out of focus wash of color. This in turn allows the subject to stand out more which in turn raises its status.
The figurative aspect of “fixed focus” I cite here is treat every subject as if it’s the last one on the planet. Bequeath that importance to them.
Minimize
I love simplicity. I’m often heard saying, “It’s NOT what you include, it’s what you exclude.” If there are distracting elements, crop them out or move from where you stand before pressing the shutter. If bright or dark spots attract the eye and pull the viewer from the subject, shoot from a different angle. The simpler the photo, the easier it is for the viewer to comprehend why you made the image. Minimize your composition and simplify what you present. Sometimes the light will dictate what to incorporate. Sometimes the environment will. Sometimes it’s the subject itself. Whatever the condition, learn to exclude what’s extraneous. The figurative aspect of “fixed focus” I cite here is when the situation arises dictated by light, surroundings and subject matter, reduce, downplay and lessen what’s not important.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
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Sunday, December 2, 2018
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If you’re a photographer who travels a lot, choosing the right lenses to bring with you means answering a few questions. What type of shoot will you be on? What subjects will you be photographing? What environments will you be working in? Above all, you want to have reliable, high-quality lenses that are portable, lightweight and durable, and that cover the focal lengths needed to capture the story.
For wide-angle versatility, Tamron’s 17-35mm F/2.8-4 Di OSD (Model A037), designed specifically for full-frame DSLR cameras, should be an essential part of your camera bag. It’s compact and exceptionally lightweight, so it goes wherever you go. It’s also available at a great price, which is remarkable for a lens of this quality. Most of all, its design includes the latest in lens technology and coatings to minimize optical flaws and distortion.
Defining Wide-Angle Photography
What makes this wide-angle zoom stand out from the pack? To understand this, it’s instructive to know what defines a wide-angle lens.
When we look out at a scene—without using a camera—we can generally see a certain amount of the scene without turning our heads left or right. In photography, a lens that has this particular angle of view is considered a "normal" or standard lens. Wide-angle lenses capture a broader angle of view, allowing you to include more in the frame than you'd usually see with the naked eye.
For cameras with full-frame sensors, a wide-angle lens is generally considered any lens that has a wider angle of view than 50mm. A zoom lens like the Tamron 17-35mm F/2.8-4 Di OSD gives you lots of versatility, and that can expand your creative potential. It's ideal for landscapes, scenics, architecture and even action shots when you want to reveal context as part of your narrative.
When used on a full-frame DSLR, there’s no cropping when shooting stills or video. In other words, using the 17mm wide-angle end of the zoom means it’s always that wide, just like you’d find on an old film SLR. That translates into capturing all the action when shooting sports, even at the edges of the frame. It also means that every detail in shooting a street scene or each member of a group portrait gets in the picture. However, because it's designed for full-frame, you can also use the Tamron 17-35mm F/2.8-4 Di OSD with an APS-sensor camera, on which it will provide a 35mm equivalent focal length range of approximately 25.5mm-52.5mm.
Adding to the lens’s zoom range versatility, another factor that makes the Tamron 17-35mm F/2.8-4 Di OSD ideal for so many shooting situations is its rugged, durable construction that will perform in almost any environment. And because the front element is coated with a protective fluorine compound that has excellent water- and oil-repellant qualities, it’s a snap to wipe clean. The coating also makes it less vulnerable to the damaging effects of dirt, dust, moisture or oily fingerprints.
Two Methods For Creating Powerful Wide-Angle Images
If you’re looking to maximize how you use a wide-angle lenses like the Tamron 17-35mm F/2.8-4 Di OSD, here are two methods to consider.
Focus On Narrative: The generous field of view of wide-angle lenses are fantastic for creating a narrative, providing a sense of place and helping you craft how you tell a story. How so? Because the lens lets you put your subjects in context. And you can place the subject within the frame in very dynamic ways. With the Tamron 17-35mm F/2.8-4 Di OSD's minimum object distance of just 11 inches, you can create compositions with strong foreground elements to lead the viewer into the image.
This lens is also exceptionally useful for filmmakers. For example, when it comes to establishing a scene, nothing does it better than a wide shot where everything is in focus. And for street photography and documentary-style shots, the 35mm focal length is arguably the most popular.
Emphasize Formal Elements: Use the Tamron 17-35mm F/2.8-4 Di OSD's wide-angle perspective to enhance visual elements, such as emphasizing abstract forms and spatial relationships. Look for patterns and shapes for unique compositions that reveal familiar objects in exciting new ways.
To learn more about the Tamron 17-35mm F/2.8-4 Di OSD, visit Tamron’s website at tamron-usa.com/product/lenses/a037.
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Tuesday, November 27, 2018
Monday, November 26, 2018
The panoramic format has become very popular. Let’s take a look at some reasons why a photographer would want or need to make a panoramic image.
You confront a sprawling scene and every aspect intrigues you. The problem is the upper and lower portions lack the dynamic qualities of the central part. Pano to the rescue.
You left your wide-angle lens in your car and it’s two miles back in the parking lot. The light that illuminates the entire mountain range evolved into something special and all you have is your medium telephoto and superzoom. Pano to the rescue.
You left your wide-angle lens in the photo closet thinking you were going to exclusively make wildlife images. You encounter a long ribbon waterfall, but your widest focal length doesn’t allow you to make the full vertical capture. Pano to the rescue.
You need to print a huge file of a 2x3 aspect ratio. You were commissioned to make a 60x90-inch print to appear in the rotunda of the new office building. You realize you grabbed the wrong camera. You took the crop sensor body instead of the 50-megapixel full-frame body you intended to pack. Pano to the rescue.
You need to make a super long and skinny print to hang as a banner over an archway to commemorate a wedding, the return of a veteran from overseas, a retirement party, etc. Pano to the rescue.
As you can see, the panoramic format can come in very handy. Therefore, knowing how to create a well thought out file is imperative. Let’s dive into the how-to aspects so the next time you encounter one of the above scenarios, you’re ready to rock and roll.
Make a Garbage Shot: Whenever I create a series of images to stitch, create an HDR photo or know I’ll perform definitive post-processing techniques, I shoot an out-of-focus garbage shot before I start the series of images and directly after I finish. The garbage shot is my signal to not delete a deliberate over or underexposed file or a file that has a funky composition because it’s the end piece of a pano.
Filters: The only filter I use is a clear or UV, and I avoid shooting straight into the sun as it increases the possibility of producing flare. Although I often use a polarizer when I make landscapes and sometimes use a graduated filter for color or neutral density, I remove both when I make a pano. A graduated filter can be used as long as the vertical subjects in the image don’t have a lot of variation. I never use a polarizer if I include any sky. A polarizer has its greatest effect when aimed 90 degrees to the sun. As you deviate from this point, the effect is lessened. If a large expanse of the sky is included, it will create sky blending nightmares and you’ll wind up with a huge variation of sky-blue density that looks extremely unnatural. This being said, I did use a polarizer to make the vertical pano of the waterfall. It removed the glare and reflection of the sky on the wet rocks and moss.
Vertical vs. Horizontal Capture: It’s not uncommon to use a horizontal format to capture individual files that comprise the end result, but the standard practice is to hold the camera vertically. Vertical captures take in more head and foot room from which to crop and they provide less distortion. Conversely, if the end result is a long vertical, as in the image of the waterfall, use a horizontal format to stitch the pieces together.
Shoot in Manual Exposure: Depending on the ratio of highlights to shadows of each section that constitutes the final image, as you pan from left to right or top to bottom, the likelihood of exposure variations is high. This is especially true if there are deep shadows and silhouettes along with bright highlights that live in the scene. Meter the portion with the brightest highlights that need to maintain detail in manual mode and use this as your base exposure for the entire series. If needed, make a bracketed series of each section.
Level the Camera and Tripod: I sometimes handhold the series, but I much prefer to use a tripod. If forced to handhold the camera, it’s imperative the software can handle off-axis variations. Before mounting the camera to the tripod, be sure the legs are leveled. Many tripods have bubble levels near the top. Get the bubble to float in the middle of the circle on the level. Once the tripod is leveled, level the camera. Newer cameras have built-in levels. On my Nikon, I activate the Virtual Horizon feature.
White Balance: I normally use Auto, but I know a lot of other photographers use a preset such as cloudy or daylight or set the color temperature manually. This ensures all files have the same color balance. If Auto does produce a slight variation, in that I always shoot in RAW, I calibrate each section in post-processing.
Be Wind Weary: You travel a thousand miles to make images of fall color. You see a perfect setup for a pano and the wind begins to blow. Wait for lulls so the blending of adjacent images is consistent. If you intend to go for a wind-blown effect, be sure the wind blows for every capture.
Don’t Use A Super Wide: Short telephotos and medium wides tend to be your best choice. They eliminate the potential of wide-angle distortion.
Avoid Scenes Where Objects Are Moving: The software that’s available today performs admirably but may have issues with overlapping pieces where subject A exists if it doesn’t exist in the adjacent section. This being said, experiment. In the image of the snow geese, I got lucky and everything stitched perfectly. If it doesn’t, use the clone stamp to get rid of anomalies that look out of place.
Be Consistent: Use the same aperture to capture all pieces of the pano. Be sure the focus point is set to a spot where depth of field remains the same in all the files. Use a cable release—if one piece of the pano is soft, the image is ruined.
Overlap: Overlap adjacent images by at least 30 percent. Some photographers go as much as 50 percent. Anything less than 30 is playing with fire regarding accurate matches of adjacent files.
Avoid Strong Foregrounds: Foreground objects become distorted when incorporated into a panorama. It’s best to avoid them.
There are numerous benefits to making panoramas. Stitching multiple pictures together produces large files. The resulting photo can be enlarged to huge print sizes. Detail will be maintained throughout the image. If you use a DX body and need to create large files, capture sections as if you plan to make a panorama. The final photo will have more pixels than if you captured the scene with a full-frame sensor. Another benefit is that some subjects simply cry out to be captured with an aspect ratio suitable for a panorama. Anytime you view a scene that doesn’t conform to conventional aspect ratios, make a series of images and stitch them together. Pano to the rescue.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
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Sunday, November 25, 2018
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Don’t you absolutely love it when a friend “compliments” your photos by saying you must have a great camera! My favorite retort is, “Yes, I taught it everything it knows.” While it’s true that a better camera provides the possibility to capture a better image, it can’t change the angle of light, whether or not an animal shows up, what the background will be, the weather, etc. It can provide more pixels from which to crop, it can give you more frames per second, it can have a large buffer, it can lock focus faster and truer along with other capabilities, but it doesn’t do these things unless there’s someone driving it. Some drive better than others. There can only be one winner of the Daytona 500. The fastest car doesn’t guarantee that driver will win the race. The driver with the most skill, who has a good car and a good crew determines who wins. And the best camera doesn’t determine every click of the shutter nets a worthy image.
To become a good race car driver takes years of practice, determination and dedication. The same goes for an Olympic skier, a pro in the NFL, a golfer who gets on the pro tour, a top swimmer on the high school team—you get the idea. To get to the head of the class takes work. It is no different for a photographer. Do you want to make it to the NFL of photography? You gotta work for it! Do you want to attain Olympic-like photography skills? You gotta work for it. Let’s explore the ways in which you can improve your skills so people compliment YOU and not your camera!
Read Your Manual
I started with this aspect due to the associated “pain” it causes. You go out and spend thousands of dollars to get the best but you take advantage of only 50 percent of the camera’s capability because you never learned everything it can do. All too often I show a photographer something their camera can do and I hear, “I didn’t know it could do that.” “Did you read the manual?” is my comeback, and I can see pain in their eyes. So take the plunge and read the manual. It will help you get on the pro tour and you’ll actually feel good about it—trust me!
Learn To Read The Light
My photo tour company tagline is, “It’s All About The Light.” Light is the key ingredient that makes or breaks a photo. An ordinary subject in great light can net a great photo, yet an amazing subject in flat, gray and dull light nets a flat, gray image. The word photography sums it up. It’s composed of two parts: “photo” equals “light” and “graphy” equals “to write.” When you make a picture, you write with light. The better the light, the better the image. Sunrise and sunset provide the most beauty and potential drama. Learn what subjects work with soft light. Watch how moving clouds spotlight a given subject. Wait for the light to hit it and then make the photo. Light can be subtle—the more you learn how to read it, the more winners you can create.
The Movie Set
When I lead a tour and talk about light, I make a connection to a movie set. The lighting director needs to show up, and when his presence is bestowed, great images can be made. In addition to this person, the actor needs to appear. This can sometimes be frustrating. I can recall times when the light has been exquisite but no animals show up. Can a scenic be made in its place? How about a macro? Take advantage of what you’re given. Third, the set director needs to perform his job. Another tagline I often profess is, “The Background Is Equally as Important as the Subject.” There have been times where the light has been magnificent, the actor makes his or her appearance, but the background is awful. No matter how many times you press the shutter, the background will still be ugly. Wait for the subject to move to an area that’s cleaner and try to crop out as much as possible. While not perfect, make the best of the situation. True euphoria happens when all three movie people perform their job. To have amazing light with a fantastic subject in a great environment is what we constantly pursue. Those who pursue them more often and with greater vigor return with more winners.
Apply the above and don’t leave it up to luck. While luck does play into it, those who are most prepared benefit the most. Those who don’t take the time to learn to read light, don’t read the manual, don’t care about the background, etc., will get left behind. Be proactive and know that it was you who made the photo while the camera enabled you to take the photo! Let your camera provide the avenue for your eye!
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
The post Cameras Take The Picture, Photographers Make The Picture appeared first on Outdoor Photographer.
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Sunday, November 18, 2018
Saturday, November 17, 2018
Friday, November 16, 2018
In this episode of the reCOMPOSE podcast, Andy and Juan interview photographer Richard Bernabe. Richard's passion for adventure has been the driving force behind his life’s quest to capture the moods and character of the world’s most amazing places, from Africa to the Amazon to the Arctic and countless places in between. Richard has also just released a new book on wildlife photography titled Wildlife Photography: An Expert Guide. Take a listen to learn more about Richard and his photography.
The post reCOMPOSE Podcast 043: Interview with Richard Bernabe appeared first on Outdoor Photographer.
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Thursday, November 15, 2018
Wednesday, November 14, 2018
Tuesday, November 13, 2018
Monday, November 12, 2018
Sunday, November 11, 2018
Saturday, November 10, 2018
Friday, November 9, 2018
Thursday, November 8, 2018
Wednesday, November 7, 2018
Tuesday, November 6, 2018
Monday, November 5, 2018
Have you ever had a teacher who motivated you to perform better in school? If so, I’m sure your grades that year were among your best. As a former classroom teacher of 27 years, my teaching philosophy was centered around first motivating every student in my class and then sharing with them the facts the curriculum demanded. It almost didn’t matter what the subject was as long as the student was motivated to learn. My philosophy remains the same when I run a nature safari/photo tour or when I write my Tip of the Week. And Inspiring motivation is as simple as ABC: Arouse, Boost and Catalyst. Contemplate the words below and immerse yourself in your cognition—hopefully, you’ll want to pick up your camera and apply what’s suggested in this week’s tip.
Arouse: In the dictionary, the word arouse can be found close to the word arise. If you want to capture spectacular grand scenics, it’s imperative you arise from your bed when it’s dark so you can arrive at your destination at dawn—what unfolds before your eyes will get you aroused. Dawn light is soft, and if you’re lucky, you’ll be treated to a grand alpenglow or, even better, an iconic sunrise. The sun paints high thin clouds in hues of yellow, orange, pink, magenta and red. Juxtaposed with a majestic landscape and you have the makings of an award winner. Will it always happen? Absolutely not, but are you willing to gamble and miss the opportunity? Weather determines how colorful the sky will be. When you’re bestowed with a great sky, be sure to “Exhaust All Possibilities.” Make verticals, horizontals and don’t forget about a panorama. Balance your composition with equally weighted subject matter in all sections of the image. Don’t overlook sunset light as it can be equally as dramatic as sunrise. If the contrast between the sky and foreground is too high, be sure to bracket and blend the layers or run the pictures through your favorite HDR software.
Boost: Each time you’re rewarded with fantastic conditions in the field, let it boost your spirit. Allow this to become contagious to motivate you to go out again and again and again. Each time a viewer looks at your images and says "Wow," let it boost your ego—again, may it become contagious. Need to de-stress, clear the head and get back to enjoying life? Head out to your favorite scenic location with your camera, tripod and polarizer and snap away—this will certainly boost your spirits! Once again, let this become contagious. Conditions that provide a boost are skies that reveal mood and drama. Storm light fits the description, as does a colorful sunrise or sunset. When you encounter great color that separates a favorite wildlife subject from the background, it provides a lift. Let all these conditions be your motivator to continue your pursuit to capture great photos. As I stated above, are you willing to gamble missing that once-in-a-lifetime sky or amazing interaction with your favorite wildlife subjects?
Catalyst: Now that you’ve absorbed "arouse" and "boost," take them both to heart and let them be your catalyst to go into the field as often as possible. Make that shot that arouses you and boosts your spirits, and have it be a catalyst to continue your pursuit to make another. Get one and go back for more. My favorite flavor ice cream is caramel vanilla, and I purchase it often. I found what I like and I go back for more. Do the same with your photography. As a matter of fact, after each field session, grab a scoop or two of your favorite flavor. Let the capture that boosted your spirit be a catalyst to go on a quest to a different location or find a different species to make a photo of the same caliber as the one that inspired you initially. If wildlife is the goal, raise your ISO to obtain a faster shutter speed to freeze the action. Invest in a fast telephoto lens—that will absolutely act as a catalyst to keep you in the field. Be cognizant of the background and set your camera to high-speed motor drive.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
The post Motivation: As Simple as ABC appeared first on Outdoor Photographer.
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Sunday, November 4, 2018
Saturday, November 3, 2018
Friday, November 2, 2018
In this special episode of the reCOMPOSE podcast, Andy and Juan continue their Lightroom series with episode #3, discussing masking in Lightroom. One of the most often repeated comments we hear from people who don't have much experience with Lightroom is that LR does not offer the "Layers" most people are accustomed to using in Photoshop. Well keep in mind that the reason to use layers in photoshop is to work around the fact that Photoshop is a destructive editor by default, where as Lightroom is a non-destructive editor, so the need for layers is greatly diminished. Additionally Lightroom has its own version of layers and that is what the masking feature is all about. Take a listen to this episode and learn about the great masking features in Lightroom.
The post reCOMPOSE Podcast 042: Lightroom Series #3, Masking appeared first on Outdoor Photographer.
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Thursday, November 1, 2018
Wednesday, October 31, 2018
Tuesday, October 30, 2018
Monday, October 29, 2018
Have you ever been haunted by the wind when you need to make a long exposure but elements in your composition move in the breeze? You wait and wait, but the breeze doesn’t subside. You try a faster shutter speed, but it’s still not fast enough to stop the motion for the effect you desire. You think about returning on another day, but your schedule doesn’t allow it. Fret not—there’s a solution. First, make the image using a long exposure to obtain the effect you crave. And here’s the beauty—next, raise your ISO, open your aperture, remove the neutral-density filter and make the photo using a shutter speed that’s fast enough to freeze the motion. When you post-process the photos, use a layer mask and blend the parts of the frozen movement into the image with the slow shutter speed. Here's how.
Step 1: Open both images in Camera RAW or Lightroom and make the desired adjustments to the RAW files. Be sure to SYNCHRONIZE the settings by applying identical adjustments.
Step 2: With the “slow shutter speed” and “faster shutter speed” files opened, separate the two into their own windows.
Step 3: With the MOVE tool selected, hold down the shift key and drag the file of the slow shutter speed image over the file of the fast one. Holding down the shift key while you move the image will automatically align the images so all the pixels match.
Step 4: The fast shutter speed file is now hidden under the slower speed layer and two layers appear in the layers palette. Add a layer mask to the top layer by clicking on the ADD LAYER MASK icon at the bottom of the layers palette.
Step 5: With the Layer Mask highlighted, click on the brush tool and be sure the foreground color at the bottom of the tool palette on the left side of the Photoshop workspace is set to black. Look at the top of the Photoshop workspace in the OPTIONS BAR and be sure the Blend Mode is set to normal, set the Hardness to 0% and set the Opacity to 50%. It’s better to work with a soft edge brush at 50% and build up the effect than try to accomplish it with just one swipe of the brush.
Step 6: Use the brush to “Paint Out” the motion of the moving leaves on the photo itself. With each stroke of the brush, more and more of the “faster layer” will be revealed. Continue painting until all the sharp leaves have “replaced” the ones that show movement. The layer mask with reveal where you applied the brush strokes.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
The post Blending Multiple Exposures In Photoshop appeared first on Outdoor Photographer.
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Sunday, October 28, 2018
Saturday, October 27, 2018
Friday, October 26, 2018
Thursday, October 25, 2018
Wednesday, October 24, 2018
Tuesday, October 23, 2018
Monday, October 22, 2018
Congratulations to Jeff Sullivan for winning the recent Monochrome Magic Assignment with the image, “Windy Death Valley Dunes.”
Shot in California’s Death Valley National Park, Sullivan describes capturing the image: “There was a lot of sand blowing on the sand dunes on this windy day, but using a 70-200mm lens I was able to capture the motion without sandblasting my camera gear! I’m looking forward to my multiple landscape and night photography trips to Death Valley this fall!”
Exposure: 1/250th sec., f/16, ISO 200. Adjusted in Adobe Lightroom and converted to black and white in On1 Silver Efex.
See more of Jeff Sullivan’s photography at www.jeffsullivanphotography.com.
The post Monochrome Magic Assignment Winner Jeff Sullivan appeared first on Outdoor Photographer.
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Landscape photography encompasses many aspects. Under the overarching umbrella of the term are seascapes, desert vistas, majestic mountain masterpieces, autumn treescapes, iconic red rock formations and other outdoor scenics. All conjure up ideas of grand vistas photographed with a wide-angle lens and span as far as the eye can see. Many are made from what have become indented tripod holes due to their popularity and the photographer’s motivation to “get that shot.” Even though the iconic scenes are copied again and again, the landscape photographer hopes that when it’s their turn, something dramatic will unfold. The chance drama will occur is low, so 98 percent of the images from these elbow-to-elbow seminal positions look the same.
I encourage you to go to the classic locations, and I hope the 2-percent chance of drama occurs while you’re there, but don’t settle for a few shutter clicks of the grand vista and saunter away. What lives close to your feet, just above your head or a few yards from where you stand may net an even nicer photo, and there’s a huge chance it’s scarcely been photographed in the past. I refer to the small-scale scenic. It’s the scenic that requires the photographer to search more determinedly. It forces the photographer to look past the obvious and think outside the box. It’s the photo that needs to be made with a longer lens to capture the narrow angle of view. I constantly profess, “exhaust all possibilities.” Capturing small-scale scenics is one way to do this.
Small-scale scenics can be made much more readily compared to the grand landscape because they don’t require blood red cumulus, pastel pink cirrus or ominous angry mammatus clouds. Most grand vistas benefit from those conditions, but in that the small-scale scenic takes in no sky and encompasses a small area, quintessential skies are irrelevant. The small-scale scenic can benefit from full sun if it provides shadows that complement the shape of a main or secondary element. Try to incorporate the shadow into the composition to make the image more dynamic and to provide a three-dimensional look.
I refer to total blue sky mornings and evenings with no clouds as severe clear. It’s great to have warm light at sunrise or sunset, but if there are no clouds to add interest to the image, the scene becomes ordinary. On severe clear days, look for the small-scale scenic in addition to making a few of the iconic grand vistas. If the sun creates too much contrast, add a flash to your hot-shoe to fill in deep shadows, which will soften the contrast. The beauty is the scale of what you photograph is small enough for your flash to have a profound effect. This certainly isn't the case for a sprawling vista. Additionally, if you’re dealt flat light for the shot you thought you’d make, overcast light can be a godsend for the small-scale landscape given the even wraparound light.
Embrace what you see before your eyes and open them wide to take in all possibilities. Look for colors that pop, shapes that harmonize with other parts of the composition and patterns that have interest and course your eye through the potential photo. Look for patterns that harmonize. Welcome the abstract and think past the fact that a rock is a rock. Move in close to look for lines, colors and texture. To where do roots lead? Perhaps something dynamic just a few inches away. How can the combination of these two items work in a composition?
Miniature worlds of objects abound. Find them and strive to turn them into small-scale-scenic masterpieces.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
The post Small-Scale Scenics appeared first on Outdoor Photographer.
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Sunday, October 21, 2018
Saturday, October 20, 2018
Photo By Denis Dessoliers
Today’s Photo Of The Day is “Matterhorn in Corona Del Mar” by Denis Dessoliers. Location: Newport Beach, California.
Photo of the Day is chosen from various OP galleries, including Assignments, Galleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.
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Photo By Tom Arnhold
Today’s Photo Of The Day is “Prairie Fire Out Of Control” by Tom Arnhold. Location: Western Kansas.
Arnhold says the image was, “Taken while firefighters were on their way to battle a Prairie fire. I was on my way to see my mom in Hays, Kansas.”
Photo of the Day is chosen from various OP galleries, including Assignments, Galleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.
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Photo By David Shield
Today’s Photo Of The Day is “Cathedral Reflection Pool” by David Shield. Location: Sedona, Arizona.
“The Southwest is a great area for photographing during summer months,” says Shield. “Storms at the height of the season, typically in July and August, often produce dramatic skies and opportunities for creative compositions not found during long dry spells.”
See more of David Shield’s photography at www.davidshieldphotography.com.
Photo of the Day is chosen from various OP galleries, including Assignments, Galleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.
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