Sunday, June 30, 2019
Saturday, June 29, 2019
Friday, June 28, 2019
Thursday, June 27, 2019
As you could expect of most landscape photographers living in the Pacific Northwest of the United States, my choices of scenery at the time were predominantly focused on waterfalls, forests and creeks. I’ve seen more verdant, mossy trees than I ever could have imagined growing up in New York City. And, like most people, I developed a habit of sorts and would frequent the same locations over and over with my camera. It’s not that they were easy to get to or anything like that. Rather, these familiar locations offered such a variety of photo opportunities that I never found myself complaining that, “I’ve shot that place a thousand times already.”
Don’t get me wrong. I’ve certainly muttered that complaint to myself many times, and I’d be willing to bet that there are more than a handful of you out there who would also raise your hands and attest to the same. It’s especially true if you live somewhere that isn’t exactly “target rich” for photography. Still, I call rubbish to that because I genuinely believe that there is always something to photograph, regardless of whether you’ve visited the site a thousand times before. The key is to approach these familiar locations with a different mindset. In my case, I chose to create a “photo study” on the ways that flowing water interacts with its surroundings, whether it’s a giant boulder or a pile of fallen tree trunks. I call this study “The Path of Least Resistance” and have been working on it for almost a decade.
I’ve found that one of the most important elements to a successful photo study is to allow yourself the freedom to approach your subjects with as much variation as you can think of. That could mean revisiting your familiar scene at different times of the day, different seasons and in different weather conditions. These variables alone can yield dramatically diverse results, especially if you have ready access to the scene and practice frequently.
Another wonderful alternative approach is to try changing focal lengths and lens types. Have you always visited a scene with your wide-angle lens? Then try limiting yourself to a telephoto lens next time. Or, consider only using a fisheye lens or a novelty lens, like those made by Lensbaby. Even if you don’t already own one of these lenses, it’d be worth renting one for the creative opportunities that they can bring.
Ultimately, the choice between shooting a scene for the thousandth time or not shooting it shouldn’t even be a decision for a photographer. Any opportunity to get out with your camera is a good one and allowing yourself the creative depth that a photo study inspires can be the ideal way to break through a funk and see your own backyard in a whole new way.
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“While on assignment in Denali National Park, I came across this juvenile grizzly who felt the need to remind me of the rules of the road,” says Jonathan Irish. “From that point forward, I was sure to have my headlights on and always remembered to stop for buses. I appreciated the reminder and was happy to oblige—this is their national park, after all.”
Fujifilm X-T1, FUJINON XF100-400mm f/4.5-5.6 R LM OIS WR. Exposure: 1/500 sec., ƒ/6.9, ISO 1000.
See more of Jonathan Irish’s work at jonathanirish.com.
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Wednesday, June 26, 2019
Congratulations to Kim Hang Dessoliers for winning the recent Spring In Our National Parks, Monuments, Forests And Public Lands Assignment with the image, “Carrizo Plain Monument.” View the winning image and a selection of submissions in the image gallery below. And check out our current photography assignment here and enter your best shots!
[See image gallery at www.outdoorphotographer.com]The post Spring In Our National Parks, Monuments, Forests And Public Lands Winner Kim Hang Dessoliers appeared first on Outdoor Photographer.
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Tuesday, June 25, 2019
Last Autumn, my good buddy, Brian, and I took the afternoon to journey to a place called the Mossy Grotto in Oregon. It would be my first time visiting that area and Brian’s third. I had a good idea of what the destination looked like, all lush and verdant with lots of moss. I also knew that the hike to it was mostly uphill before a steep and rocky descent back down. The hike to the Mossy Grotto had me sucking lots of wind, fully realizing just how much I needed to work on improving my lung capacity.
It wasn’t a difficult or technical hike per se. It just required a lot of stops to catch my breath. It didn’t dawn on me until I got to the grotto—which was a bit of a disappointment, if I’m be honest—that I didn’t pull my camera out once during the hike in, and that bummed me out. I didn’t even reach for my iPhone, which is also out of character. So, I made a small resolution to have my camera in hand on the exit hike… once I successfully climbed back up the scree and dirt wall to the Indian Pots.
Brian forged ahead of me once we returned to the summit of the trail. It was much easier because everything was literally downhill from here. I told him that I’d be a bit slower, choosing to photograph the trail, which is something I rarely do. I admit that I had very little desire to shoot the trail on the way up because all of my energy was spent on getting one foot in front of the other while trying to get oxygen into my lungs. The way down gave me an opportunity to fully appreciate how splendid this place is. I typically shy away from trying to make sense of such a chaotic place with branches and leaves strewn all over the place but not this time.
I loved trying to find creative compositions from switchbacks and meandering paths that went in between gigantic tree trunks. Instead of trying to find the perfect spot, I let myself enjoy all the imperfections and randomness of nature. This was a really important lesson for me and it’s one that I hope you remind yourself of the next time you’re on a journey of your own.
The post Document The Journey appeared first on Outdoor Photographer.
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Monday, June 24, 2019
Very often, direct light from the sun presents numerous problems with which photographers must deal. This is especially true when a wildlife subject is backlit, sidelit or photographed when the sun is high in the sky. The angle, cool blue color, contrast, quality or lack thereof can’t be changed, but it can be augmented. To know how to get the most out of a given condition contributes to the success of an image. This may mandate the use of a reflector or diffuser. Of all the options to help augment natural light, the tool to which I most often turn is flash.
I find flash to be extremely useful when photographing animals. It’s hard enough to deal with an animal’s personality and obstinance in regard to where it decides to wander, stand or display behavior. This often results in the animal positioning itself in a location where the light is contrasty or not very appealing. Through the use of flash, contrasty light can be tamed and turn a difficult lighting situation into a very usable one. The are limitations as to how much a flash attachment can help. The size of the subject, its distance from the flash, the strength of the sun and overall contrast ratio all dictate how much impact the flash may have. Whether your animal photography brings you to a wildlife rescue or the wild, fill flash can enhance the final result.
The amount of fill is dictated by contrast ratios. The greater the contrast, the greater the need for a strong strobe. There are attachments one can add to the flash to modify its intensity. The two I most often use are MagMod and Better Beamer. Both incorporate the use of a Fresnel lens that sits in front of the flash head. The Fresnel magnifies the light output, which in turn throws a narrow beam of light a greater distance. I use the MagMod modifier quite often when I run my safaris to Tanzania. Depending on the ambient light and if I’m close enough to the animal, I use flash as my main light. I dial in a small minus compensation on the camera body and a slight plus compensation on the flash. The purpose is to slightly underexpose the ambient light and have the flash provide the main light. The result is a saturated background with a properly exposed and more evenly lit animal.
For example, let’s say the ambient light gives me a reading of ƒ/8 at 1/125th but the light on the animal is contrasty. I dial in a minus one-stop compensation on the camera body so the ambient light is underexposed but the animal will be properly exposed by the flash. The contrast is reduced because the light from the flash fills in the shadows on the subject which in turn, tames the highlights. Additionally, by darkening the background one stop, the animal becomes more prominent.
Automatic fill flash is very sophisticated yet easy to use. Dialing in a specific amount of fill on the back provides a given ratio of illumination between the ambient light and the fill. If thin clouds dominate the sky and the natural light is soft, I find that minus 1 2/3 stops of flash fill works well. When I encounter full sun, I opt for just a small amount of compensation—somewhere in the neighborhood of -1/3. In very contrasty light, I dial in none at all or even go plus. Different lighting situations require different amounts. Run some tests varying the amount of fill to see what appeals to you. Check the LCD on the back of your camera and make the necessary adjustments.
Animals that are backlit can produce dramatic silhouettes at sunrise and sunset, but there are times when it would be nice to see detail in the subject. When backlight is the only source, an overexposed background is the price you’ll pay if you want to reveal detail in the subject. Fill flash can remedy this and add detail to the subject to help balance the contrast.
The goal of fill flash is to make the end result look natural. Too much added illumination gives the image an artificial look, while too little gives the impression nothing was augmented. Ideally, the look should go undetected. The contrast between the light and dark areas should be lessened, not appear evident.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
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Sunday, June 23, 2019
Saturday, June 22, 2019
Friday, June 21, 2019
For as long as I can remember, my go-to focal length range has been in the ultra-wide realm. I always wanted to cram as much of a scene into my composition as possible, which typically meant that I was hovering between 12-16mm, depending on which lens I owned at the time. There was something powerful when it came to fitting a gigantic waterfall and the landscapes in front of and behind it all within my frame. Additionally, I was always quite averse to including any human elements in my frame. I’d go out of my way to avoid having people in my photos because I felt that they often were distractions from whatever my natural focal point was.
It wasn’t until a friend of mine asked me how tall a waterfall in one of my photos actually was that I began to think about the importance of scale in nature photography. At the time, I just looked at him blankly, completely stupefied by the seemingly simplistic question. How tall was the waterfall? “It was as tall as it looked in the photo,” was my answer. In hindsight, that question serves as an excellent reason why you should consider scale when composing your next landscape shot.
As viewers of photos, one of the things our minds are attempting to resolve is relative scale. Sometimes this process is active, and other times it is more subconscious. But, when we view a photo, we’re constantly trying to determine the size of the primary focal point, as well as its depth with respect to the rest of the composition. By including an element that provides a sense of scale, you are helping your viewers gather that information, and conveying size in a way that is relatable.
For example, take this photo of a waterfall in Oregon. On its own, it is difficult to gather how tall it actually is, right?
Now, look at this photo of the exact same waterfall, albeit with a different treatment. In this example, I asked my friend to stand at the base of it with the specific goal of introducing a sense of scale for the viewer.
In most cases, a person is an excellent subject to include when factoring scale, which is ironic considering how averse to them I used to be. When we see a person in a frame, our minds can generally figure out their average height, which we can then use to extrapolate the size and depth of the surrounding scene.
Additionally, using scale in nature photography isn’t something that is limited to ultra-wide focal lengths. In fact, it can be even more effective at longer focal lengths by introducing lens compression. In the example below, I had my lens set to 200mm while I was waiting for a giant wave to crash against the rocky shore that had several photographers standing on it. Again, because there were several people in the frame creating a sense of scale, you get a much better idea of just how large the wave was. It’d be far less effective if there were no people standing there.
So, next time you’re out on a landscape shoot, remember to ask yourself whether there is something, or someone, that you can include to offer your viewers a better sense of scale.
See more of Brian Matiash’s work at matiash.com.
The post Why Using Scale In Nature Photography Is So Important appeared first on Outdoor Photographer.
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Congratulations to Gerry Groeber for winning the recent Wildflowers and Super Blooms photography assignment with the image, “Brittlebush Bloom.” View the winning image and a selection of submissions in the image gallery below. And check out our current photography assignment here and enter your best shots!
[See image gallery at www.outdoorphotographer.com]The post Wildflowers And Super Blooms Assignment Gallery appeared first on Outdoor Photographer.
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For as long as I can remember, my go-to focal length range has been in the ultra-wide realm. I always wanted to cram as much of a scene into my composition as possible, which typically meant that I was hovering between 12-16mm, depending on which lens I owned at the time. There was something powerful when it came to fitting a gigantic waterfall and the landscapes in front of and behind it all within my frame. Additionally, I was always quite averse to including any human elements in my frame. I’d go out of my way to avoid having people in my photos because I felt that they often were distractions from whatever my natural focal point was.
It wasn’t until a friend of mine asked me how tall a waterfall in one of my photos actually was that I began to think about the importance of scale in nature photography. At the time, I just looked at him blankly, completely stupefied by the seemingly simplistic question. How tall was the waterfall? “It was as tall as it looked in the photo,” was my answer. In hindsight, that question serves as an excellent reason why you should consider scale when composing your next landscape shot.
As viewers of photos, one of the things our minds are attempting to resolve is relative scale. Sometimes this process is active, and other times it is more subconscious. But, when we view a photo, we’re constantly trying to determine the size of the primary focal point, as well as its depth with respect to the rest of the composition. By including an element that provides a sense of scale, you are helping your viewers gather that information, and conveying size in a way that is relatable.
For example, take this photo of a waterfall in Oregon. On its own, it is difficult to gather how tall it actually is, right?
Now, look at this photo of the exact same waterfall, albeit with a different treatment. In this example, I asked my friend to stand at the base of it with the specific goal of introducing a sense of scale for the viewer.
In most cases, a person is an excellent subject to include when factoring scale, which is ironic considering how averse to them I used to be. When we see a person in a frame, our minds can generally figure out their average height, which we can then use to extrapolate the size and depth of the surrounding scene.
Additionally, using scale in nature photography isn’t something that is limited to ultra-wide focal lengths. In fact, it can be even more effective at longer focal lengths by introducing lens compression. In the example below, I had my lens set to 200mm while I was waiting for a giant wave to crash against the rocky shore that had several photographers standing on it. Again, because there were several people in the frame creating a sense of scale, you get a much better idea of just how large the wave was. It’d be far less effective if there were no people standing there.
So, next time you’re out on a landscape shoot, remember to ask yourself whether there is something, or someone, that you can include to offer your viewers a better sense of scale.
See more of Brian Matiash’s work at matiash.com.
The post Why Using Scale In Nature Photography Is So Important appeared first on Outdoor Photographer.
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Thursday, June 20, 2019
In this episode of the reCOMPOSE podcast, Juan and Andy discuss all kinds of specialty lenses. From reversed lenses, to magnifying filters, tilt/shift lenses, Lensbaby and more. If you have a unique need, there is a lens out there for you.
The post reCOMPOSE Podcast 057: Specialty Lenses appeared first on Outdoor Photographer.
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Wednesday, June 19, 2019
Tuesday, June 18, 2019
Monday, June 17, 2019
As a reader of Outdoor Photographer, you’re probably aware of the basic rules for being a welcome guest in wild places and ethical wildlife photography practices, but a story reported by KGW8 in Oregon prompted us to share this friendly reminder.
Please don’t feed the bears! Or other wildlife.
Most people that do so are coming from a place of kindness and think they’re helping, but as this story reminds us, it’s actually detrimental and potentially very dangerous for both the wildlife and humans. The end result is typically that the wild animal will have to be euthanized.
As KGW8 reports, biologists spotted a black bear near human populations, “eating trail mix, sunflower seeds, cracked corn and other foods left by a person or group of people.” When fed, wild animals become “habituated” to humans, meaning they lose the instinctive fear and begin to frequent areas with humans in hopes of fresh handouts.
The story at KGW8 reports that, “Some people were reportedly even taking selfies with the bear.”
Local sheriffs attempted to relocate the bear but it returned. Wildlife biologists eventually determine that the bear had to be put down, as it showed no fear of humans, posing a potential danger to people.
Read the story and watch a television news segment here:
Please don’t leave food behind when enjoying the outdoors and keep a safe distance from wildlife.
Read our 10 Tips For Safety In Our National Parks for best practices involving wildlife, hydration and more. Tip 9 includes recommended distances to keep between you and different types of wildlife.
The post Please Don’t Feed Bears—Or Other Wildlife appeared first on Outdoor Photographer.
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I want everyone who reads this week’s tip to literally take your photography to a lower level! Am I going nuts? No—I want you to keep your tripod legs compressed and drop to your knees. Better yet, lay flat on your stomach. Yes, it’s time to “get down” and experiment with low-angle photography. Bring yourself and your camera low to the ground so you’re on the same level of smaller subjects. You’ll be amazed at how intimate the connection becomes. Psychologically, you provide it equal status.
Think about what the expression, “to look down on something” means. It infers you’re superior, which in turns reduces its stature. When you photograph a low-to-the-ground subject from a standing position, it implies superiority, whereas when you get down to its level, it suggests equality.
By “getting down,” you add a new dimension to your photography. A unique perspective and view is achieved when you photograph low subjects at their eye level. Photographers often modify compositions by moving their camera a few feet to the right or left, but few change position in regard to elevation. A camera position not common to most images nets intriguing and unique results.
Once you assume this new-found position from which you’ll photograph, there are considerations to be addressed. Depth of field, as well as how you handle the background, is very important. The choice of lens contributes to the success of the picture based on its angle of view.
If you don’t own a tripod that has legs that can be sprawled to ground level, it may be an issue, but look into the option of purchasing a “short center post” (more on that later). Staying dry, clean and comfortable are other considerations.
Depth of field is an important factor when you “get down” as it dictates how much of the background will be in focus. Apertures of ƒ/5.6 and lower result in shallow depth of field. As you continue to close down the lens to ƒ/22, much more of the background comes into focus. A shallow zone of focus allows the subject to stand out against an out-of-focus wash of color.
Pictures made at ƒ/11, ƒ/16 and smaller progressively sharpen the background and it competes for attention with the subject. Unless there’s a reason to bring the background into focus, it’s better to make the image with a wider aperture. Additionally, the distance of the background from the subject has a lot to do with how much it will stand out. If the subject and background are in close proximity, it’s impossible to create an out-of-focus wash of color to offset the subject.
Lens choice is important as it changes the perspective of the shot. A 28mm lens will net a completely different look than a photo made with a 100mm lens. Much more of the background will appear in the shot made with the 28mm lens because of its wider angle of view. I prefer a narrow angle of view when I make ground level shots, so I often use my 80-400mm. The chosen focal length depends on how close I can get to the subject. An added benefit is the longer the lens, the more it helps provide a background that’s out of focus.
Tripods that allow you to shoot with the legs fully sprawled out are an asset. Some models allow you to mount a head on the bottom of one of the legs, some have attachments that allow you to mount the camera to the bottom of the center post and others feature legs that fully splay out across the ground. I prefer the latter and use a very short center column so my rig can literally be just a few inches off the ground. Find one that best suits your comfort.
Unless you need to stop down the lens, odds are high you’ll be able to handhold the camera in most circumstances since you’ll be using wide apertures. Always make sure you use a fast-enough shutter speed to arrest the motion of your subject.
It’s essential you stay comfortable as this is critical to good image making. Depending on the environment, when you get low to the ground, it may mean you get wet, muddy or distressed. Knee pads work well to soften the texture of hard rock. Large two-ply garbage bags provide a nice barrier between you and soggy ground. A small collapsible chair is great when you work a subject for a long period of time. So “get down” so you can ELEVATE your photography to new heights!
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
The post Get Down With Low-Angle Photography appeared first on Outdoor Photographer.
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Sunday, June 16, 2019
Saturday, June 15, 2019
Friday, June 14, 2019
Our July 2019 issue of Outdoor Photographer celebrates the beauty of our national parks. Feature stories in this issue include the 5 best parks to visit this summer, rafting Grand Canyon for a new photo perspective, and 10 highlights from an epic year-long adventure Jonathan Irish took to photograph every national park.
On the cover is a stunning image taken by Irish in Redwood National Park, California. Here’s the story behind the shot.
“I had been wanting to photograph the giant California redwoods for a really long time, so a National Geographic assignment taking me to all of the national parks during the centennial of the National Park Service was a dream come true.
“This was a perfect spring morning among these majestic and beautiful trees. I spent over four hours this day walking along the trail, trying not to get neck soreness from constantly gazing upwards. I was overcome by just how tall the trees are, and I remember thinking that having a person in my images would help show the incredible scale. However, I was alone, and I hadn’t seen another soul the entire morning. So I did what all photographers do—I improvised.
“I set my camera on a tripod, framed the scene I envisioned, set the proper exposure, turned on the interval timer to take a photo once every two seconds, and commenced to walk on the log. Yes, this is essentially a selfie. The camera ended up taking maybe 70 or 80 photos as I blindly struck different postures, listening for the sound of the camera click to change my pose. I am sure I looked rather silly up there, but who cares. This ended up being one of my favorite clicks from the assignment.”
–Jonathan Irish
The July 2019 issue is available now in a variety of digital formats including Apple News+ and will be on newsstands beginning Tuesday, June 25.
Outdoor Photographer Plus and VIP members get full access to all of the content on outdoorphotographer.com, plus print and digital editions of the magazine, as well as other great benefits. Learn more about our membership options.
The post Cover Shot, July 2019 appeared first on Outdoor Photographer.
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Thursday, June 13, 2019
Wednesday, June 12, 2019
The post Telephoto Wildlife Technique appeared first on Outdoor Photographer.
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Tuesday, June 11, 2019
Congratulations to Gene Putney for winning the recent Spring Mammals, Amphibians, Reptiles & More Assignment with the image, “Patiently Waiting.” View the gallery below to see the winning image and some additional contenders. And check out our current photography assignment here and enter your best shots!
[See image gallery at www.outdoorphotographer.com]The post Spring Mammals, Amphibians, Reptiles & More Assignment Gallery appeared first on Outdoor Photographer.
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Monday, June 10, 2019
Regardless of the destination to where you travel, each has its own distinct characteristics. Whether your journey takes you to an iconic location to make scenics, a wildlife mecca like the Serengeti in Tanzania or a place richly immersed in culture to make portraits of the locals, translating the location’s attributes should be high on your list. Go in with a mindset to do this and you’ll come back with better travel photos.
Take In The Scene
Be it a grand western scenic or the rain forest of the Amazon, feel what the area radiates. Walk around with your camera at your side and simply absorb all you see with just your eyes. Use your other senses to take in the sounds and smells of where you go. Each incoming impulse will help you better understand what you face photographically. Start off by making no pictures. With every new step you take, look forward, backward, left and right and immerse yourself in what’s going on. The world around you encompasses 360 degrees. If all you take in is your forward view of 120 degrees, you’re potentially missing 240 degrees worth of images. In addition, look up and down at your feet. It’s in these closer worlds that iconic gems may exist. Don’t overlook them.
Working With Light
When you make scenics, watch the way light strikes every subject. Look for side light to reveal texture, shape and form. Get up early and stay out late as sunrise and sunset are the best times to photograph landscapes and seascapes. Include clouds if they reveal drama. Include a strong foreground to add depth to the scene. Be sure to obtain as much depth of field as possible. Stop your lens down to ƒ/22 and use the hyperfocal distance. This will maximize the lens’s potential to get foreground to infinity in focus.
Photographing People
When you make travel photos of people, be observant of their interaction with you and note how they respond when eye contact is made. Smiles make for a cordial welcoming, so don’t be shy. Look for subjects in colorful attire and don’t overlook making a wide shot to include the person’s environment to establish a sense of place. Shade or bright overcast light works great as the light is even and colors become more saturated. With this in mind, you can make photos for the entire day. If you have to photograph people in the sun during midday hours, use flash as a source of fill or even as a main light to obtain dramatic results. If you do work in the sun, make it a priority to create images at sunrise and sunset. Definitely include the environment during these time frames.
Photographing Wildlife
In regard to wildlife, watch an animal’s eyes and ears for signs it may perform, run from you, interact or ignore you. Look to see if other animals are around, especially the young. Photos of young animals playing are high on wildlife photographers’ lists. Again, get out at sunrise and sunset. As morning hours go on, I concentrate on smaller subjects and use flash as my main light or as a source of fill. For subjects that are farther away, I use a MagMod flash extender to throw light on distant subjects. Early and late front light works great on wildlife subjects, but sidelight and backlight can provide dramatic results. Don’t be afraid to experiment.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
The post Capture The Flavor In Your Travel Photos appeared first on Outdoor Photographer.
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Sunday, June 9, 2019
Saturday, June 8, 2019
Friday, June 7, 2019
The post Wildlife Photo Impact appeared first on Outdoor Photographer.
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The post Wildlife Photo Impact appeared first on Outdoor Photographer.
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Recently, we put a call out to photographers to enter their best shots in our A Fresh Perspective For Earth Day photography assignment.
Congratulations to Denis Dessoliers for winning the assignment with the image, “Spring Windy Day.” View the gallery below to see the winning image and some additional contenders. And check out our current photography assignment here and enter your best shots!
[See image gallery at www.outdoorphotographer.com]The post A Fresh Perspective For Earth Day Photography Assignment Gallery appeared first on Outdoor Photographer.
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Thursday, June 6, 2019
Wednesday, June 5, 2019
Tuesday, June 4, 2019
As inspiring as astrophotography can be, we are always surprised as to find out that most people think it is beyond their capabilities or their equipment. We are here to tell you it is not, astrophotography is relatively easy and you can do it with the gear you most likely already have. In this episode of the reCOMPOSE podcast, Juan and Andy go over the gear and techniques to help you make your own images of the stars.
The post reCOMPOSE Podcast 056: Astrophotography appeared first on Outdoor Photographer.
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Monday, June 3, 2019
Please review the previous two week’s Tip of the Week to learn how to incorporate backlight into your indoor and outdoor nature photography shots in addition to a few tips on how to utilize it to make better people images.
Concerns When You Incorporate Backlight
The two most important concerns when you make backlit subjects are flare and exposure. To deal with flare, be sure to shade your lens to prevent the sun from striking your front element. In the nature studio set up I have in my basement, I channel light away from my lens using sheets of cardboard on the side of my flash. In the field, I block the sun’s light from hitting the front element using whatever I have at my immediate disposal. A lens shade helps, but when you’re close to 180 degrees from the sun, it has little effect.
Since the majority of my shooting is done with my camera on a tripod, I walk around to the front of the rig and hold my hand above the lens. I move it until I create a shadow over the front element. Some people use a hat, newspaper or other means. Regardless of the tool, the key is to prevent light from entering the lens.
When wide-angle lenses are used, it becomes even more tricky. It’s a fine line between shading the lens and not getting the item that’s shading it in the image. Unfortunately, I found this out the hard way and discovered my palm in the corner of the sky of some very nice images. If it’s possible, have a friend look through the viewfinder while you’re shading the lens to see if any gremlins appear, and be sure to check the LCD to verify you didn’t create an “Oops.”
Flare can also be reduced by using as few filters as possible. Each extra glass surface you attach to your lens, you increase the chance of light bouncing around its insides. Additionally, keep the front element of your lens as clean as possible to help reduce the risk.
The higher the sun is from the horizon, the greater the chance of flare because there’s less atmospheric haze and pollution to block the sun. This makes the light more intense, adding potential flare problems. With this in mind, the higher in the sky the sun is located, the more intently I look for an intriguing subject to partially obscure its presence.
If I have only a section of the sun falling into my lens, the chance of flare is reduced. Trees, buildings, a sailboat’s mast, mountain peaks, etc., all work well to accomplish this.
A serendipitous side effect can be the addition of a sunstar. Let just a small portion of the sun become visible and stop your lens down to ƒ/22. Depending on the lens that’s attached to your camera, different shaped sunstars can add drama to the photograph.
In regard to exposure, the best recommendation I can make is to use spot metering and take a reading off the most critical area of the backlit subject. Verify the end result on your LCD. Until you feel comfortable learning how to read backlight, I suggest you bracket to ensure you get the exposure you desire.
As with any new technique, go out and experiment. Quite often, a mistake can open up a whole new world of photography. With backlighting, there’s a lot of forgiveness in what constitutes a perfect exposure. With this in mind, go out and have some fun. You’ll more than likely come home with winners.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
The post Create Dramatic Light With Backlight, Part 3 appeared first on Outdoor Photographer.
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Sunday, June 2, 2019
Saturday, June 1, 2019
Panasonic today introduced the third model in its LUMIX S full-frame mirrorless series. The Panasonic LUMIX S1H, which will be available this fall, is targeted at filmmakers, with an emphasis on video capture. Panasonic states that the LUMIX S1H is the “world’s first” camera capable of recording in 6K resolution at 24p (3:2 aspect ratio), 5.9K at 30p (16:9) and 10-bit 4K at 60p.
In addition to multiple formats suitable for professional cinema, the camera also offers 14+ stops of dynamic range, comparable to the range of Panasonic’s Cinema VariCam. The LUMIX S1H output is compatible with V-Log footage from VariCam and the LUMIX GH5/GH5S Micro Four Thirds system cameras, giving filmmakers several camera options that can be used seamlessly together on a project with consistent color management.
The Panasonic LUMIX S1H joins the LUMIX S1 and LUMIX S1R in the LUMIX S lineup. Panasonic positions the LUMIX S1R as “ideal for high-resolution stills,” and the LUMIX S1 as a hybrid model with balanced still and video capabilities. Pricing info is not yet announced.
Along with the new camera, Panasonic is introducing two teleconverters for use with the LUMIX S system, the 1.4x Teleconverter DMW-STC14 and 2x Teleconverter DMW-STC20. These are compatible with the LUMIX S PRO 70-200mm F4 O.I.S. zoom. Availability is expected in July; like the LUMIX S1H, pricing for these teleconverters has not yet been announced.
For additional details on both the LUMIX S1H and teleconverters, see the official press releases below.
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Panasonic Announces the New LUMIX S1H Full-Frame Mirrorless Camera With Cinema-Quality Video and the World’s First 6K/24p*1 Recording Capability
Newark, NJ (May 31, 2019) – Panasonic Corporation is proud to announce the newest addition to the LUMIX S series, the LUMIX S1H, a new Digital Single Lens Mirrorless camera equipped with a full-frame image sensor. As the world’s first camera capable of video recording at 6K/24p *1(3:2 aspect ratio), 5.9K/30p (16:9 aspect ratio), and 10-bit 60p 4K/C4K.*2 *3, it combines the video quality of a professional camera and the high mobility of a mirrorless camera. The LUMIX S1H will be released to world markets in fall 2019.
The main features of the new LUMIX S1H are as follows:
- High resolution up to 6K for multiple formats.
Maximizing the use of the pixels in the full-frame image sensor, the LUMIX S1H, as a digital camera, has achieved 6K/24p (3:2 aspect ratio) or 5.9K/30p (16:9 aspect ratio) video recording for the first time in the world.*1It is also the world’s first full-frame digital interchangeable lens system camera*1to enable 10-bit 60p 4K/C4K *2*3video recording. It accommodates a variety of recording formats like 4:3 Anamorphic mode, to meet professional needs. Its high-resolution data can also be used to create 4K videos with higher image quality or to crop images in 4K.
- Rich gradation and a wide color space virtually equal to those of cinema cameras.
The LUMIX S1H features V-Log/V-Gamut with a wide dynamic range of 14+ stops, which are virtually the same as those of the Panasonic Cinema VariCam, allowing it to precisely capture everything from dark to bright areas. So much so, that the color and even the texture of human skin are faithfully reproduced. Designed under consistent color management, the S1H’s recorded footage is compatible with V-Log footage recorded by VariCam or the LUMIX GH5/GH5S.
- High product reliability that allows unlimited video recording.*7
In every S1H recording mode, video can be recorded non-stop under the certified operating temperature so the user can concentrate on shooting.
Since the 1990s, Panasonic has been a leader in the development of video recording technologies for digital cinema, and has produced a host of innovative technologies for impressive cinematic imagery, such as 24p video recording, slow motion video using a variable frame rate, and the wide dynamic range and color space of V-Log/V-Gamut. By working with film creators for more than 25 years, Panasonic has successfully designed a number of cinema cameras that exhibit stunningly high video performance. The LUMIX GH1 made its debut in 2009 as the world’s first Digital Single Lens Mirrorless camera capable of full-HD AVCHD video recording. *4The LUMIX GH4 was launched in 2014 as the world’s first Digital Single Lens Mirrorless camera*5capable of 4K video recording. Next, the LUMIX GH5 was released in 2017 with the world’s first 4K/60p, 4:2:2 10-bit 4K/30p recording capability.*6The LUMIX GH5 is highly acclaimed by film creators for its high performance, excellent mobility, and superb versatility in film production. And now, in 2019, the LUMIX S1H joins as Panasonic’s newest cinema camera.
Panasonic now offers three innovative models in the LUMIX S Series of full-frame Digital Single Lens Mirrorless cameras – the S1R, the S1, and the new S1H. The LUMIX S1R is ideal for capturing high-resolution images, while the LUMIX S1 is an advanced hybrid camera for high-quality photos and videos, and the LUMIX S1H is designed especially for film production. With this lineup, Panasonic is committed to meet the demands of every imaging professional by challenging the constant evolution of the photo/video culture in today’s new digital era.
The LUMIX S1H prototype will be exhibited at the 2019 Cine Gear Expo.*8
*1As a digital interchangeable lens system camera, as of May 31, 2019 (U.S.). Panasonic research.
*2As a full-frame digital interchangeable lens system camera, as of May 31 May, 2019 (U.S.). Panasonic research. In Super 35mm-equivalent size.
*3Corresponding to 4K (4096×2160) as defined by Digital Cinema Initiatives (DCI).
*4As of March 25, 2009, as a digital interchangeable lens system camera. Panasonic research.
*5As of March 25, 2014, as a Digital Single Lens Mirrorless camera. Panasonic research.
*6As of January 25, 2017, as a digital interchangeable lens system camera. Panasonic research.
*7Recording time varies depending on the battery capacity and memory card capacity. When the camera’s temperature rises above the specified operation temperature, the camera may automatically stop video recording to protect it from heat damage.
*8Cine Gear Expo 2019 is the premier annual event for professionals engaged in the technology, entertainment and media industry to be held at Paramount Studios in Los Angles, U.S., through May 30 to June 2.
･Design and specifications are subject to change without notice.
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Panasonic Announces New Teleconverters for LUMIX S Series Telephoto Zoom Lenses 1.4x Teleconverter DMW-STC14 and 2x Teleconverter DMW-STC20
Newark, NJ (May 31, 2019) – Panasonic today announced new teleconverters for the LUMIX S Series telephoto zoom lenses – a 1.4x Teleconverter DMW-STC14 and a 2x Teleconverter DMW-STC20– available in July . The latest teleconverters can be attached to the LUMIX S PRO 70-200mm F4 O.I.S. (S-R70200)*1, turning the lens into a super telephoto lens with extended zoom range of maximum 400mm with high-speed and high-precision AF. The rugged and dust/splash-resistant*2design withstands use under harsh conditions, even in -10 degrees Centigrade for high mobility.
Both teleconverters DMW-STC14 and DMW-STC20 will also be compatible with the new 70-200mm / F2.8 S Series lens, to be introduced later in 2019.
Specifications:
DMW-STC14
Lens Composition 7 lenses including 2 UHR (Ultra High Refractive Index Lens) lenses in 4 groups
DMW-STC20
Lens Composition 8 lenses including 2 UHR (Ultra High Refractive Index Lens) lenses in 4 groups
*1 The firmware needs to be updated to its latest version.
*2 Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.
・Design and specifications are subject to change without notice.
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The post Cinema-Focused Panasonic LUMIX S1H Announced, Plus Teleconverters appeared first on Outdoor Photographer.
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