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.
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Sunday, October 28, 2018
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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.
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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.
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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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Photo By Jason Roberts
Today’s Photo Of The Day is “Golden Light” by Jason Roberts. Location: Inyo National Forest, near Lee Vining, California.
“Twilight transforms a grove of trees into a pattern of golden light,” says Roberts.
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 Kyle Jones
Today’s Photo Of The Day is “Watchman Night” by Kyle Jones. Location: Zion National Park, Utah.
“This is the iconic shot looking toward the Watchman from Zion’s Canyon Junction Bridge,” says Jones. “I timed this shot to get some nice fall color and shot it by the light of a quarter moon to get something a little more unique.”
See more of Kyle Jones’ photography at www.imageskylejones.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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Photo By Milen Mladenov
Today’s Photo Of The Day is “Yellow Impressions” by Milen Mladenov. Location: Montana.
“Yellow leaves in a foggy forest were looking like gold during the foggy dusk,” explains Mladenov.
See more of Milen Mladenov’s photography at resco-photo.blogspot.bg.
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 Alexander Meyer
Today’s Photo Of The Day is “High Above” by Alexander Meyer. Location: Aoraki/Mt. Cook, New Zealand.
“I spent the summertime on a road trip—in the middle of New Zealand’s winter,” says Meyer. “The image was taken out of a small airplane during a scenic flight around Aoraki/Mt. Cook. Probably the best thing I’ve ever done!”
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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Friday, October 19, 2018
Thursday, October 18, 2018
Wednesday, October 17, 2018
Tuesday, October 16, 2018
Monday, October 15, 2018
In a perfect photographic world, with every trip into the field you’d easily encounter the species you want to photograph, it would be cooperative, it would be in an area with an exquisite background, it would make constant eye contact, its young would come out and play, its mate would join in—you get the idea. Of course, the light would also be perfect! For me, it’s all about the light. But since this isn’t how the world works, we sometimes have to take the light we’re given. Day by day, hour by hour and even minute by minute, light can change. It’s with this in mind I share with you the differences in light and the differences it can make in capturing successful images. Additionally, when it’s not perfect, try some of the suggestions below to use the light you’re given to your best advantage.
1. Front Light With Early/Late Sun
All wildlife subjects look fantastic in early and late light. The color is warm, it’s soft, directional and appealing. There’s a golden glow that bathes the animal in shades of orange and yellow, and it lasts for approximately 10 minutes. When you’re blessed with a subject at sunrise and sunset, move to a position where you feel the sun on your back. Another way to look at it is to point your shadow toward the animal. If you use either of these two strategies, the animal will be front lit. Strive to be out at sunrise and sunset if you want to bring your photos to the next level.
2. Front Light, But a Bit After Sunrise and a Bit Before Sunset
As the sun gets higher in the sky, it loses its warmth, but the direction allows you to still make great images. The angle has yet to reach the height where it’s time to put the camera down. Look for subjects offset against an out-of-focus background. Concentrate on smaller animals as they still look appealing because there’s less mass to cause shadows. Again, aim your shadow at the subject and look for a highlight in the eye. Without it, the animal gives the impression it lacks life.
3. Sidelight
Sidelight works well because it means the sun is close to the horizon. As stated above, when it’s at a low angle, the color is warm and engaging. Sidelight does present some challenges, but when everything falls into place, the resulting image has impact. It behooves you to be cognizant of the head angle to make sure light falls on the face, a highlight appears in the eye and the rest of the subject isn’t hidden in shadow. As in the photo of the bull elk, the shadow can add interest because it mimics the shape of the head.
4. Backlight
With animals that have fur or fluffy feathers, I love to use backlight because it creates a glow around its perimeter. This works to your advantage, especially if the background is dark. The glow allows the subject to separate from what would otherwise create a merger of the dark animal against a dark background. Be aware of your exposure to prevent blown out highlights. If the subject is cooperative and there’s 360-degree access, quickly go to the front-lit side of the animal to come back from your shoot with varied options.
5. Mostly Cloudy
Clouds can be advantageous because they allow you to make images during the middle of the day. If the sun was bright and high, you’d see that the light isn’t appealing—it’s way to harsh and contrasty. When clouds are bestowed, bias your exposure toward the right, but don’t spike the highlights. The idea is to open up the shadows as much as possible to add any sparkle that may be hidden given the cloudy conditions.
6. Bright Overcast
Bright overcast is similar to cloudy, but the clouds are thinner. In the best bright overcast condition, soft shadows appear. Again, it expands your photo time throughout the entire day because you don’t have to battle the hard light of noon. Highlights still appear in the subject’s eyes, which is a bonus. My ideal day would be clear mornings and evenings and bright overcast when the sun is high. I could make images the entire day.
7. Shade
When the sun is out and it’s high in the sky, look for animals in the shade. The look it provides falls somewhere in between bright overcast and shade. Trees with dense canopies provide a great source of shade, as does the side of a building. In the photograph of the fox, shade was created by two sources—the shade from the forest and the side of a house. It was photographed in an urban environment. It pays to always have your camera ready, as you never know when a photo opportunity will surface.
8. Flash As a Main Light
There was a time when I really got into photographing insects. It even got to the point where I looked under leaves to find cocoons or a chrysalis and monitored either so I could photograph the moth or butterfly as it emerged. The more I got into it, the more I wanted to use light to my advantage. I wound up creating a mini portrait studio with three flashes and set up a blue background. My main light was mounted in a 12x12 softbox to the right of the insect, a smaller bare flash was placed to the left and I then used another small light to the back and right of the setup to create a rim or accent light. But there were numerous times where it wasn’t practical to carry this setup into the field so I created a mount that attached to my camera onto which I could mount a flash on the right side and another on the left. It was my walk-around mini studio. If you’re into macro bugs, I encourage you to experiment with flash as it allows you to use small f-stops because they provide enough light to make the photo at ƒ/22.
9. Flash Fill
Under cloudy skies, it’s tough to obtain a highlight in the eye. As I mentioned above, a highlight adds life to the subject. To create a natural highlight and to provide a bit more pop to the light, attach a flash but dial it down. Let the ambient light control the exposure. Control the amount of light output from the flash to provide just enough to make the image twinkle. Do this by adjusting the exposure compensation on the back of the flash.
10. Silhouette
I referenced backlight above and mentioned its attributes. To create a silhouette, incorporate the same strategies, but don’t dwell on the fact the sun has to be directly behind the subject. Walk to the left or right of the sun’s path and you’ll be surprised at how far you can deviate and still obtain a silhouette. Be cognizant of the red channel at sunrise and sunset to prevent blowing out the warm tones at these times of the day. If in doubt, err on the side of underexposure.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
The post 10 Ways To Work With The Light You’re Given appeared first on Outdoor Photographer.
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Sunday, October 14, 2018
Saturday, October 13, 2018
Friday, October 12, 2018
Thursday, October 11, 2018
Wednesday, October 10, 2018
Tuesday, October 9, 2018
Monday, October 8, 2018
A quote about which to think regarding your photography: “He who aspires to raise the bar does not walk the path of those taken before.” How about you break away from making the same iconic shot that’s been made millions of times before? Push the envelope and try something new. Don’t walk in the footprints walked before—find a new trail. Have you ever revisited the same photographic location and simply repeated the composition you made in the past? It’s human nature to do this, so don’t feel guilty. But, in order to diversify, break the mold, learn something new or have an “ah ha” moment, cut the safety net to bring your photography to the next level. Something new could be a baby step or a drastic change. Over the years I’ve run workshops and worked with my participants, I’ve shared the following suggestions to get them to cut the safety net. Some are basic, while others take it to the next level. See where you fit in relative to my four suggestions.
Experiment: Zoom lenses are extremely popular. Zooming allows the photographer to easily tweak a composition, avoid extra weight in their camera bag not needing a fixed lens at various increments and save on buying multiple lenses that cover the zoom’s range. But for all of you who own a zoom, I pose this question. How many have made long exposures where you zoom the lens during the exposure? If you haven’t, you’re missing out on creative captures. During a multiple second exposure, zoom the lens from its widest to its most telephoto setting. To vary it up, zoom the lens from its most telephoto to its widest. To vary it up even more, zoom the lens slowly or quickly to create different burst effects. Additionally, zoom the lens for just part of the exposure and for the remaining duration, let the exposure build on a fixed part. Combine any of the above for another effect.
Break Free From Fair-Weather Photography: Many cameras are like bears—they hibernate over the winter. If you live in a climate where you’re lucky enough to receive snow, revel in it. Charge your camera batteries, dress warmly, lace up your boots and get out to photograph right after a fresh snow. If you’re a fair-weather photographer, give it a try. Bring hand warmers, a good hat, gloves that allow you to work the controls of the camera and wear thermals. It’s imperative you stay warm so you’re comfortable in the field. A warm photographer is a content one, which translates to better image making. When you see the results on your computer, you may wind up booking a trip to the far northern latitudes to be immersed in snow!
Try Something New: Treat yourself to that accessory you’ve read about, heard about from a fellow photographer or seen on the internet. It may be a filter, a new lens, a lens accessory or other implement you find intriguing. One accessory I’ve played with is a Lensbaby. Once I’ve taken my standard shots, I break it out to see what optional effects I can obtain. Night photography is getting more and more popular. Head into the darkness with your new, fast wide-angle lens and a flashlight. Use the flashlight to paint light onto your foreground subject. Use high ISO and limit your exposure time to prevent movement in the stars. Fifteen to 30 seconds are good starting points. If you want star trails, leave the shutter open for a few hours.
Use That Flash That Sleeps In Your Camera Bag: You more than likely own a flash, but how often does it get used? Have you ever taken it out in broad daylight to use as a fill light source? Think about a situation where a subject wears a hat that casts a dark shadow over the face. Use flash to add light to the shadowed portion. Think about a side lit or backlit flower that needs light on the dark side. Use flash to provide that light! You love going to the zoo, but the light in the indoor exhibits is awful. Take the flash off your camera, hold it up to the glass and use it as a main light. In order to get the flash off camera, it needs to be fired wirelessly—check your camera and flash manuals to see if it has the capability. If you own an older camera body, it may have a PC port to hardwire the flash to the camera—again, check your camera manual.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
The post Get Out From Under Your Protective Umbrella appeared first on Outdoor Photographer.
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Sunday, October 7, 2018
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Congratulations to Beth Holmes for winning the recent Summer Storms photography assignment with the image, “Stormy Skies and a Rainbow.”
Taken in Wyoming’s Grand Teton National Park, Holmes describes the image: “A summer storm passes over leaving mammatus clouds and a rainbow in its wake.”
See more of Beth Holmes’ photography at www.bethholmesphotography.com, and follow her on Facebook and Instagram.
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The most important aspect that determines if a photograph gains recognition is light. It certainly can be debated that other factors contribute to the quality, but regardless of each factor, without good light, the image will fall short. A gorgeous flower-filled meadow in ugly light makes the viewer crave greater radiance. An iconic mountain peak in flat light leaves the viewer longing for better illumination. Majestic acreage of rolling hills photographed in dull gray overcast is desperate for the warm glow of a sunrise or sunset. The list goes on, proving that the most significant ingredient is light. As my landscape photography evolved, I noticed similarities in my photos in regard to the light. I share with you tips on how to create images that show my favorite light for landscapes. (Disclaimer: It’s a given that the technical aspects are all the same regarding exposure, depth of field, proper focus, etc.)
Early/Late Sidelight: Sidelight reveals texture, gives shape to every subject in the composition and provides dimensionality. The texture, shape and dimensionality are achieved because sidelight creates a shadow and highlight on anything that contains a surface. The benefit of this is the shadows and highlights bring out features that would otherwise go unnoticed if the scene were front lit. It gives the scene depth. The viewer’s eye first goes to the side that is lit because it’s the brightest part in the scene. The eye always goes to the brightest or most saturated warm tone first. The eye then transitions to the shadow side as it wraps around the subject. Sidelight illuminates a landscape at sunrise and sunset because the sun is low on the horizon. This is serendipitous in that the color of light at these times is conducive to great landscape photography. The warm tones combined with the direction of light work well to produce gorgeous photographs. Set your alarm so you can arrive early and postpone dinner so you can stay out late. Your images will thank you.
Storm Light: I love it when I can use the word “moody” to describe a photograph. Mood can be created by fog, rain, snow, a light mist, a spotlight from a shaft of sun, drama in the clouds, impending storms, a cloud filled dramatic sunrise—you get the idea. The more often you can incorporate these types of light and create images that exude mood, the more you’ll differentiate yourself from the vast majority of photographers who make image after image of cloudless, ordinary sunrises or sunsets. Monitor the weather to see the predictions. Download weather apps onto your phone. Concentrate on those that allow you to zoom into small areas on the map so you see the weather in real time. If there’s an impending storm, the potential for dramatic light increases. If fog is predicted, don’t try to escape it. If the sun breaks through and illuminates your subject while fog is still around, the possibility for great images goes up exponentially. Contrast may become extreme if the clouds part, so be cognizant of your meter reading when this occurs. Check for blinking highlights on your histogram. Don’t blow them out. Bracket your exposure to be on the safe side. (See HDR below.)
Backlight: Backlit landscapes are mostly shot early and late in the day when the sun is close to the horizon. Backlight is ideal if you want to emphasize a strong silhouette, rim light a subject with a strong outer glow or enhance the look of fog or mist, as it provides warmth and an ethereal glow, creates shafts of misty light and creates a sun star. In regard to a silhouette, look for shapes that are strong, unique and distinguished. The image will be reduced to these qualities and stripped of most detail. Watch for mergers, as it’s best to offset dark portions against light areas so the silhouette is prominent. The rim light technique works well if there are subjects that have translucence. Autumn-colored trees come to mind, as do thick clouds that have thinner edges. In both cases, be aware of your exposure so you maintain highlight detail and can recover shadow detail in post-processing. Backlit fog or mist is one of my favorite conditions in which to shoot. It goes hand in hand with creating shafts of misty light. Depending on the density of the fog, more or fewer shafts will be created. Additionally, the density of the fog or mist determines how much backlight gets filtered. When you encounter backlit mist, exploit it to its fullest. To create a sun star, stop your lens down to ƒ/22 and let the sun ever so slightly peek out from behind a portion of the subject. Watch carefully for flare spots that can detract from the overall quality of the photo.
HDR: HDR stands for High Dynamic Range. It’s used when it’s necessary to capture a scene that exceeds the camera’s ability to maintain detail from the deepest shadows to the brightest highlights in a single capture. A bracketed series of exposures is made with the idea of blending the best parts of each to come away with a single image that spans a wide contrast range. Software is used to blend the images together. There are a number of software companies that have HDR programs. Due diligence is necessary to see which works best for you. The series of bracketed images is run through the program, which compresses the contrast. I often find that further post-processing tweaks improve the photo. In the photo taken in Zion at sunset, I used a bracketed series of three photos: 2 stops under / on the meter reading / two stops over. After running the three images through my HDR software, I made a few other post-processing enhancements to pop it a bit more. When you decide to incorporate HDR, the number of exposures, along with the exposure range that differentiates them, should be dictated by the contrast range of each scene.
If you can combine any of the above four effects into the same image, that’s a huge bonus. Seek and ye shall find.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
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