Thursday, February 28, 2019
Wednesday, February 27, 2019
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The post The Bridge To Black & White appeared first on Outdoor Photographer.
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Tuesday, February 26, 2019
Monday, February 25, 2019
As my photography evolved, I went through numerous phases. I knew I wanted to make it my career. I reconciled this meant taking on work so I’d be able to support myself. I started as a wedding and portrait photographer working for both myself and two other studios. Between my full-time teaching job and working every weekend, I was kept busy, but I was also transitioning.
For those of you who frowned when you read I did weddings and portraits, please invert them to smiles. Photographing these events made me who I am today as a photographer. I learned about light. I learned how to use flash to augment natural light. I learned what makes a good and bad background. I learned about the interaction of subjects and subject placement. I learned about backlight and how it makes subjects glow.
Everything I learned about photographing people, I apply to my wildlife subjects regardless of the season. Since winter is a time when many like to hibernate, I share with you all I learned about weddings and portraits and apply those principles to critters in the cold!
Wildlife is a great subject any time of year. Autumn provides warm backgrounds of changing leaves. The problem is, it’s short-lived. With snow as a backdrop, images with equal impact can be made and snow lasts for a long time. Winter is also a great time to make wildlife images as the animals can be more easily seen. Trees are bare so there’s less camouflage. The subjects are also more docile as they need to conserve energy. The availability of food is less and doesn’t provide as much nutrition. With this in mind, be careful to not stress the animals as they need to conserve energy to survive.
The perfect conditions are when you encounter an animal at sunrise or sunset with a freshly fallen snow. Everything has a virgin feel, the snow is pristine and early and late light are spectacular. Additionally, if the animal happens to be side lit as opposed to front lit, the sun’s reflectivity off the snow bestows you with natural fill-in shadow areas.
When you meter the scene, it’s essential to take into account how much white appears in the frame, how much image real estate is occupied by the subject, the color and tone of the subject’s coat or feathers and the intensity of the light. Adjust your exposure accordingly. If a lot of snow fills the composition, bracket on the plus side to prevent your image from being too dark. Make a single shot and take a quick look at the RGB and Luminosity histograms and adjust your exposure to find a happy medium between highlights and shadows.
It’s essential you don’t blow out the snow. Shadows can be opened in post-processing, but nothing can save grossly overexposed highlights. If the capture is made at sunrise and sunset, base the exposure of your highlights on the RED channel as warm tones more easily blow out than cool tones. Avoid “mushy” reds, oranges and yellows. Bring extra batteries as the cold will drain power more quickly.
Dress in layers and by all means, wear gloves and a warm hat to keep you warm and comfortable so you’ll want to stay out and continue to look for more great shots. My fingers are extremely sensitive to the cold, so I purchased heated glove liners. On the medium setting, the batteries provide warmth for four hours. By then, I’m ready to find full body warmth. I do carry an extra set of batteries as a backup.
This winter, don’t be a bear. Get out and make images of subjects you’ve photographed the rest of the year but this time with a backdrop of snow. Yes, it will be cold, but there will be fewer people so when you find something good, you may even be the only one on it for hours. That doesn’t happen in the summer or fall.
If you’re lucky, you may even stumble across something that can be photographed from the warmth of your vehicle. Regardless, when you get back to the comfort of your home, hotel or camper, think about how good that hot toddy will be as you gloat over the fabulous images you just captured.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
The post Chilly Critters And Wintertime Wildlife appeared first on Outdoor Photographer.
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Sunday, February 24, 2019
Saturday, February 23, 2019
Friday, February 22, 2019
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Thursday, February 21, 2019
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Wednesday, February 20, 2019
Tuesday, February 19, 2019
Monday, February 18, 2019
Learning how to eliminate background distractions in a photograph is imperative. As meticulous as one can be in composing a perfect subject, if the background isn’t treated with equal care, the end result won’t be successful. I’m often heard saying, “The background is equally as important as the subject.”
What constitutes a poor background? In-focus elements that compete with the subject immediately comes to mind. But sometimes interfering elements aren’t as evident. A successful background can be obtained if you use a telephoto lens and open the aperture to its widest setting. It’s understood that the subject is far enough away from the background to throw it out of focus.
How the subject is lit can help determine a successful background. If the subject is lit and the background is dark, the viewer’s eye is drawn to the subject. If the subject can be moved, find a background that is plain and simple. Create your own background when working with macro subjects and place it behind the flower, insect, snowflake, etc. Additionally, the amount of subject magnification determines how much of the background is sharply rendered.
In each of the four examples that accompany this week’s tip, a specific technique was used to highlight the subject and/or obscure the background. Be sure to check out part one and part two to learn all 10 ways a background check can be performed.
Use The Sky
A clean or dramatic sky as a backdrop can be an asset. Be it a great sunset, a clear blue sky, an impending storm or one full of puffy white clouds, many a great photo can be made. Shoot against a clear-blue sky to offset the subject. The ominous light from an impending storm is extremely moving. Whenever I encounter these magical moments, my main focus is finding a foreground subject to use as a center of interest. This type of light doesn’t last long, so work quickly. The same goes for the light of a great sunrise or sunset as it reaches its climax. Images made with the sky as a background can be enhanced through the use of filters. For blue skies, I’ll either use a polarizer to enrich the saturation or a graduated neutral-density filter to bring the exposure values of the sky closer to the value of the foreground elements.
Use Of Backlight
Backlight the main subject to separate it from the background. If you create a ring of light around it, a halo effect delineates the subject with a radiant glow. Backlighting can be achieved by the sun or with flash. With small subjects, flash is a more practical way to go because the intensity and direction can be controlled. For large subjects, the sun’s assistance is needed. For either source, flare can be a problem, so the use of a lens shade is recommended. Also, remove filters as they can cause flare. Good subjects to backlight are flowers or insects outlined with moisture drops or tiny hairs. Many flowers are rimmed with cilia-like whiskers that glisten when lit from behind. Whatever reading I get from the ambient light, I slightly add a bit more light. It’s the overexposure that makes the hairs of the flower glow.
Use Depth Of Field
The strategic use of depth of field controls how much is in focus. Wide-open apertures give the least amount of depth of field, while small apertures increase the range of focus. To defocus the background if the subject is near, it’s essential to use wide apertures. The farther away the subject is, smaller ƒ-stops can be utilized to ensure sharpness throughout and still provide a wash of color for the background. An integral feature of many camera bodies that’s underused is the depth of field preview button. Unless you take every picture at your lens’s widest aperture, every picture will turn out differently from how you view it in the viewfinder. If your lens is set to ƒ/11, the way it’s viewed when you make the composition will net an image with much more in focus. The result is an in-focus background. If you learn how to use the depth of field preview button, you’ll be able to see the amount of sharpness in a subject/background relationship. If the subject isn’t sharp, you can determine what f-stop gives you the needed depth of field to keep it in focus while simultaneously blurring the background.
Long Lenses To The Rescue
Long lenses are often used to create separation of the background from the subject. As the focal length increases, the angle of view is decreased. This is used to a photographer’s advantage. Since the angle of view is narrower, less of the background is shown. Potential distractions are eliminated. For instance, a 50mm lens will take in four times the amount of background area as a 200mm lens with the subject the same distance from the photographer. This is why I use longer focal length lenses to do macro work. An added bonus is the working distance to the subject is greater. This way I don’t intimidate what I photograph. If you stay out of an animal’s fight-or-flight zone, it ensures a longer working session.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
The post Mandatory Background Check, Part 3 appeared first on Outdoor Photographer.
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Sunday, February 17, 2019
Saturday, February 16, 2019
Friday, February 15, 2019
Thursday, February 14, 2019
On this episode of the reCOMPOSE podcast Juan and Andy discuss cold weather photography. For many of us winter tends to be a very busy time photographically speaking, but cold weather can present us with some challenges. However, if you are prepared with the right gear and the right techniques cold weather photography can be lots of fun. In this episode of the podcast Juan and Andy share with you some of their favorite pieces of gear and techniques to make the best of cold weather photography.
The post reCOMPOSE Podcast 048: Cold Weather Photography appeared first on Outdoor Photographer.
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Wednesday, February 13, 2019
Tuesday, February 12, 2019
Monday, February 11, 2019
As I reflect upon my past, I can still hear the words of all my elementary school teachers, “Think about every decision you make because what you do today, you have to live with for the rest of your life. These are the years that shape your future, so make sure your background doesn’t come back to haunt you!” Were my teachers all psychic? Did they peer into a crystal ball and know I was destined to be a photographer? Did they somehow foresee my passion for photography? Were they all closet photographers versed with knowledge about how important a background check is? You don’t want your background to ruin what you create. It’s with this in mind, before you make any press of the shutter, perform a background check.
Learning how to eliminate background distractions in a photograph is imperative. As meticulous as one can be in composing a perfect subject, if the background isn’t treated with equal care, the end result won’t be successful. I’m often heard saying, “The background is equally as important as the subject.” Below are three strategies that can be used to control the background in an image. This is a three-part series, so be sure to check last week’s and next week’s tips to learn 10 more ways to perform a background check.
What constitutes a poor background? Overexposed bright distractions or colors that clash with the main subject immediately comes to mind. Yet, sometimes the interfering elements aren’t as obvious. Simplify a background through the strategic use of light, throw it out of focus, place the subject against a plain background, use flash to create a black background or harmonize the subject and background so they complement each other. In each of the three examples that accompany this week’s tip, a specific technique was used to highlight the subject and/or obscure the background. Learn how to pre-visualize what your photos will look like. Use these tips alone or in conjunction with the others in this series.
Use Clean And Neutral Backgrounds
It’s truly a luxury when a subject is set against a clean and neutral background. But the chance of this happening all the time is slim. The truth is, in most cases, the photographer finds the angle that makes the harmony work rather than leaving it to chance. Frequently a small shift in camera position of just a few inches can make the difference between a great shot with a background that works compared to a mediocre one laden with confusion and chaos. Move to the left or right while you view your subject through the camera and look to see if the image improves. Extend or compress the legs of your tripod to get a different vantage point.
Use Flash
Use flash to control backgrounds, especially when you photograph small subjects. In that the light from a flash falls off quickly, the distance it travels is short; therefore, backgrounds can go black. The smaller the aperture, the more quickly the light falls off. Mount a flash to your hot-shoe so the beam from the flash illuminates it. If the subject is too close, the light from the flash will shoot over the top of it. Subjects set against dark backgrounds tend to have an impact. Brightly colored subjects work best. Dark subjects blend in, necessitating the use of an additional flash to place a halo of light around the perimeter. Take the flash off the camera and place it to the side or behind the subject. Multiple lights can be used to create dramatic lighting effects while at the same time maintaining a black background.
Use The Background To Tell A Story
There are times when including the background is advantageous in that it gives the viewer a sense of place about where the photo was taken. If you show the subject in its environment, more of a story is told regarding the time of year and what type of surroundings it inhabits. You need to be careful about how much of the area is shown. Don’t overdo it and make the subject insignificant and in reverse, don’t come in too close to destroy the sense of place. The rule of thirds works well when composing environmental portraits. Place the subject off center in either the upper or lower portion of the viewfinder. Environmental portraits can be difficult to create since both the subject and background must be clean and work together. Be it animal or flower, finding a pristine specimen is hard. Couple it with juxtaposing a clean background and the issue is compounded. Careful looking, perseverance and persistence pay off. I first look for a subject in prime condition and then try to find an angle from which to shoot it where the background complements it. If the pieces of the puzzle don’t fit, I continue my search.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
The post Mandatory Background Check, Part 2 appeared first on Outdoor Photographer.
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Sunday, February 10, 2019
Saturday, February 9, 2019
Friday, February 8, 2019
Thursday, February 7, 2019
The post Winter Wildlife In Grand Teton appeared first on Outdoor Photographer.
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Wednesday, February 6, 2019
Tuesday, February 5, 2019
In this episode Juan and Andy interview the newest member of the Muench Workshops Pro Team Lisa LaPointe. Lisa is a multi-talented woman, she is a naturalist, a boat captain, a photographer and much more. We had the opportunity to interview Lisa while crossing the Drake Passage on this past Decembers Antarctica adventure. We hope you enjoy getting to know Lisa.
The post reCOMPOSE Podcast 047: An interview with Lisa LaPointe appeared first on Outdoor Photographer.
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Monday, February 4, 2019
It’s comforting to know that, for the most part, as one grows older, one grows wiser. It comes with maturity, experience and realization. As a young buck, I thankfully never did anything I regret, but there are things I wouldn’t repeat. Again, nothing bad, but given today’s times, I’d refrain from redoing. After all, when it comes to getting a job, one never knows who will be one’s boss. The potential boss has the right and privilege to perform a background check before reaching a final decision as to whether or not a person should be hired. Therefore, one should never do anything where one has to worry about their background.
As fate would have it, I became a professional photographer. My occupation dictates I perform background checks multiple times a day. Not because I’ve accumulated an office staff of thousands, it’s because I want every photo I make to be successful. Therefore, I have to take control of the background. I perform a background check before each and every press of the shutter. It’s with this in mind, I implore all of you to do the same—perform a background check before you make every photo.
Learning how to eliminate background distractions in a photograph is imperative. As meticulous as one can be in composing a perfect subject, if the background isn’t treated with equal care, the end result won’t be successful. But what constitutes a poor background? The cliched example of a tree or telephone pole growing out of someone’s head immediately comes to mind. Yet, sometimes, the interfering elements aren’t as obvious. You can simplify a background by throwing it out of focus, shooting against an unobtrusive background, creating black backgrounds with the use of flash or harmonizing the background with the subject so they complement each other.
Below are three strategies that can be used to control a background in an image. In each example, a specific technique was used to highlight the subject and/or obscure the background. Use these strategies to help you learn how to previsualize what your photos will look like.
Create Your Own Background
When I go into the field to work on small nature subjects, I bring two 20×30-inch sheets of cardboard. One is dark green on which I’ve stroked patches of green and brown acrylic paint. The purpose is to simulate a natural backdrop for photographing flowers, small animals or insects. I place the background far enough away from the subject in conjunction with a wide-open aperture so it becomes a wash of color. The other sheet of cardboard is sky blue in color. I use it to give the effect that the subject is photographed against the sky.
Shoot In The Fog
Fog has many benefits. Images take on mysterious characteristics unmatched by any other quality of light. This essence of light magically seems to compel a photographer’s mind to slow down and appreciate what’s been bestowed. Subjects recede into a wash of gray. It’s this fact that should be exploited.
The background of gray hides many elements that on a clear day would be considered obtrusive. The closer you get to your subject, the more it dominates the photograph while everything else slowly fades into monochromatic mystery.
Fill The Frame
When possible, fill the frame with your subject. The more the subject dominates, the more background is eliminated, which prevents distractions that take your eye away from the primary element. Filling the frame doesn’t guarantee a clean background, so it’s essential you carefully compose the image. Shoot from a different angle if possible. Study the peripheral areas of the viewfinder. Don’t use filling the frame as an excuse to be sloppy. In actuality, composing the photo requires maximum concentration in that the subject takes up so much of the picture area, it’s easy to overlook what’s at the edges.
This is a three-part series, so be sure to check next week’s tip to learn three more ways to perform a background check. You can use these tips alone or in conjunction with the others in the series.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
The post Mandatory Background Check, Part 1 appeared first on Outdoor Photographer.
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Sunday, February 3, 2019
Saturday, February 2, 2019
Friday, February 1, 2019
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