Friday, November 30, 2018
Thursday, November 29, 2018
Wednesday, November 28, 2018
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.
The post Wide-Angle Versatility appeared first on Outdoor Photographer.
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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.
The post Pano Power appeared first on Outdoor Photographer.
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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
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Tuesday, November 13, 2018
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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
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