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."
The post Shooting Wide-Angle With The Tamron 17-35mm F/2.8-4 Di OSD appeared first on Outdoor Photographer.
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Friday, December 21, 2018
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The post Tamron 28-75mm F/2.8 Di III RXD appeared first on Outdoor Photographer.
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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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