Saturday, August 31, 2019
Friday, August 30, 2019
I’ll be the very first person to admit that I go to serious extremes when it comes to omitting people from my landscape compositions. It’s not that I don’t like people (I almost couldn’t type that sentence with a straight face). Rather, I have long found that the inclusion of person, or people, in the frame of a landscape composition takes the viewer away from imagination. Instead of enjoying the splendor of the scene, they’re focused on the person. “Who is that person? Why are they there? Would I (the viewer) have included the person in the photo if I was standing there?” All of these questions that a viewer may ask themselves detracts from enjoying the scene itself. Now, that is a blanket statement and I agree that it doesn’t hold true all the time, but it is a worthwhile point to consider.
I’ve come to the conclusion that there are two reasons why I would consider including a person, or people, in my photo. The first is to simply document the experience of photographing a particular location or natural phenomenon. In some cases, it’d almost be criminal not to photograph the conditions of your shoot because it’d be hard to believe without photographic proof. There have been times when I have been literally swarmed by tourists who have no concept of personal space.
Conversely, I’ll take photos of the classic “firing line” of photographers who organize themselves in an orderly way. Both cases make for intriguing landscape photos.
Other times, I will capture friends or fellow photographers while shooting on location because it does a wonderful job of giving viewers a better sense of the experience. We’ve all seen countless photos of those formidable icebergs on the black sand beaches of Iceland, but I think it’s even more interested to illustrate what it’s like to photograph them by including another photographer. Not only does it provide a sense of scale, if you’re prepared, you can also convey the very real and very dangerous challenges that come with shooting such locations. It’s all in the name of sharing and, I suppose, I’m good with that.
See more of Brian Matiash’s work at matiash.com.
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Nowadays, when you hear the word “layers” in reference to photography, your first thought likely veers to Adobe Photoshop. So much of what I see online about photography technique focuses more on the post-processing side of things rather than in-camera. In this article, though, I’m referring to the layers within your photographic compositions. Learning to see the landscape in layers is one of the best ways to convey depth in how you frame your shots. After all, if you can give your viewer a relational sense of your primary subject with respect to its surroundings, you have a greater chance of getting them to focus on your photo. And that, my friends, is the ultimate goal when you share a photo.
There are several factors to consider when looking for those lovely layers to include. The first, and most obvious, is whether there are any layers to begin with. If you’re standing in the middle of Nebraska, odds are high that you won’t have many layers to find as the area is famously flat and expansive. You’ll have far better luck if you are in a mountainous or hilly area. Additionally, your position with respect to the hills is important. I always look for the highest possible vantage point and tend to shoot down from there.
Next, it helps to have a primary point of focus to serve as a relational jumping off point for the viewer. If the only thing you present are a bunch of hills without a clear subject, it will be much harder for the viewer to get any special connection. They’ll have no sense of depth or distance, which will defeat the purpose entirely. Also, including a primary subject will allow you to convey a sense of scale, which is a powerful composition technique.
Finally, the time of day when you shoot is important. While we all love the quality of light at sunrise and sunset, it goes far beyond aesthetics here. When the sun is high in the sky, the direction of the light is harsh and doesn’t cast much shadow. When the sun hangs lower, the light travels at a much more pleasing angle and it casts long shadows as it breaks over each layer. These shadows are a critical component to defining shape and contour. By combining all of these elements together, you will end up with a seriously pleasing photo for your viewers, I promise.
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Thursday, August 29, 2019
Congratulations to Douglas Croft for winning the recent Spotlit Subjects Assignment with the image, Ahwahnee Meadow. See more of Croft’s photography at www.douglascroftimages.com.
View the winning image and a selection of submissions in the image gallery below. And be sure to check out our current photography assignment here and enter your best shots!
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Canon has introduced two APS-C sensor cameras, the EOS 90D DSLR and the mirrorless EOS M6 Mark II, offering similar key specs. Canon is positioning these cameras as the next generation of its APS-C offerings, suggesting that Canon’s approach to this segment going forward may be a strategy of producing DSLR and mirrorless variants that share performance characteristics with the mirror—or lack thereof—being the primary differentiator.
[See image gallery at www.outdoorphotographer.com] Both cameras share core components including the 32.5-megapixel APS-C sensor, DIGIC 8 image processor and Dual Pixel CMOS AF (available in Live View mode). They’re both capable of shutter speeds up to 1/16,000 sec. using the electronic shutter, and can record 4K video. They also include built-in Wi-Fi and Bluetooth.
[See image gallery at www.outdoorphotographer.com] One area in which the cameras differ is their continuous shooting speeds. The Canon EOS 90D DSLR can shoot at up to 10 fps, an improvement of 3 fps over its predecessor, the EOS 80D. Though the camera is targeted at amateur photographers, that’s enough speed for professional sports or wildlife photography. The mirrorless EOS M6 Mark II is even faster, capable of 14 fps with AF and AE tracking enabled, or 30 fps in RAW Burst Mode.
Both models will be available by the end of September. The Canon EOS 90D will retail for $1,199 for the body only. The Canon EOS M6 Mark II will retail for $849 for the body only. The cameras will also be available in kits that include zoom lenses. For more information, see the press release below.
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TWO CAMERAS, TWO WAYS: CANON U.S.A. ANNOUNCES A PAIR OF HIGH-SPEED ADVANCED AMATEUR ILC CAMERAS, THE EOS 90D AND EOS M6 MARK II
Both Cameras Feature a 32.5 Megapixel APS-C CMOS Sensor, High-Speed Continuous Shooting, Dual Pixel CMOS AF and Uncropped 4K UHD Video Recording Capability
MELVILLE, N.Y., August 28, 2019– It is often said thatinlife, having two options is generally considered a good thing. Today, Canon U.S.A., Inc., a leader in digital imaging solutions, introduced two advanced amateur ILC cameras, the EOS 90D and EOS M6 Mark II. These two models usher in the next generation of Canon APS-C sensor cameras and share many similar characteristics, while also being uniquely different at the same time. Both cameras are designed to fit the needs and preferences of a variety of photographers taking into account their skill level and subject matter.
“As camera technology continues to evolve, we find ourselves in a constant state of innovating and challenging the status quo to meet the various desires of our end-users,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “With the introduction of these cameras, Canon is reaffirming its continued commitment to a broad range of photographers by offering them the digital imaging tools required to meet their needs.”
The EOS 90D and EOS M6 Mark II include many core features that are identical and hold true to Canon’s imaging excellence. These features include:
- 5 Megapixel CMOS(APS-C) Sensor
- DIGIC 8 Image Processor
- 4K UHD up 30p and 1080p FHD up 120p video recording with no crop
- Dual Pixel CMOS AF in Live View with 5,481 manually selectable[i]AF positions
- Electronic shutter with a minimum of up to 1/16000th
- Built-in Wi-Fi[ii]and Bluetooth Technology[iii]
The Performance DLSR Way: The EOS 90D
The EOS 90D DLSR camera is ideal for the advanced-amateur photographer who values the look-and-feel of the DLSR body and benefits such as an optical viewfinder, 3.0-inch vari-angle touch screen LCD, addition of the multi-controller and a shutter button feel of professional EOS cameras. Now capable of shooting up to 10 frames-per-second (fps), a drastic increase from the 7.0 fps with the EOS 80D, users can capture all of the action on the sidelines of a football game or wildlife while on safari. Assisting in a photographers’ ability to capture the action is the 45-point all-cross type AF system, 100 percent viewfinder coverage and now supports up to 27 points in f/8 metering. In addition, the new AE sensor boasts an impressive 220,000 pixels and utilizes EOS iTR AF (face priority) detection. Together, these two features allow for the detection and tracking of faces in various environments and shooting situations while using the viewfinder.
The Compact-and-Lightweight Way: The EOS M6 Mark II
Bringing the controls and functionality of a Canon EOS DSLR into a compact mirrorless camera, the EOS M6 Mark II is destined to wow advanced-amateur photographers. With its enhanced usability, the EOS M6 Mark II is capable of shooting up to 14fps with AF and AE tracking as well as capturing a remarkable 30fps when using RAW Burst Mode with pre-shooting capabilities. The camera also features touch-and-drag AF when using the optional EVF-DC2 electronic viewfinder[iv]. A popular and notable benefit of Canon mirrorless cameras allows photographers to select AF positions with the touch of a finger. The EOS M6 Mark II also includes Canon’s Dual Pixel AF with Eye AF Servo to help ensure images are in sharp focus and a 3.0-inch, touch-panel LCD screen with tilt-option to help ensure a user’s portrait or selfie game is and stays on point.
Pricing and Availability
The Canon EOS 90D is scheduled to be available mid-September 2019 for an estimated retail price of $1199.00 for body only, $1349.00 for EF-S 18-55mm f/3.5-5.6 IS STM kit and $1599.00 for EF-S 18-135mm f/3.5-5.6 IS USM kit*. The EOS M6 Mark II is scheduled to be available late September 2019 in both black and silver for an estimated retail price of $849.99 for body only, $1099.00 for EF-M 15-45mm f3.5-6.3 IS STM and EVF-DC2 kit and $1349.00 for EF-M 18-150mm f3.5-6.3 IS STM and EVF-DC2 kit*. For additional information, please visit, usa.canon.com.
[i]Available AF points may decrease when shooting with AF cropping or in movie mode, or depending on camera settings or lens attached.
[ii]Compatible with iOS® versions 9.3/10.3/11.2-11.4/12.2, Android
smartphone and tablet versions 5.0/5.1/6.0/7.0/7.1/8.0/8.1/9.0. Data charges may apply with the download of the free Canon Camera Connect app. This app helps enable you to upload images to social media services. Please note that image files may contain personally identifiable information that may implicate privacy laws. Canon disclaims and has no responsibility for your use of such images. Canon does not obtain, collect or use such images or any information included in such images through this app.
[iii]Compatible with select smartphone and tablet devices (Android version 5.0 or later and the following iOS® devices: iPhone 4s or later, iPad 3rd gen. or later, iPod Touch 5th gen. or later) equipped with Bluetooth® version 4.1 or later and the Camera Connect App Ver. 2.5.10. This application is not guaranteed to operate on all listed devices, even if minimum requirements are met.
[iv]Electronic viewfinder (EVF) sold separately from EOS M6 Mark II camera body. EVF may be included with select kits.
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Wednesday, August 28, 2019
Tuesday, August 27, 2019
Outdoor Photographer’s “Wild By Nature” columnist Melissa Groo was interviewed today by Boston’s NPR affiliate WBUR 90.9 FM, on the ethics of wildlife photography, prompted by her recent article on the subject for National Geographic.
Congratulations to Melissa! You can listen to the interview and read highlights from the transcript at https://www.wbur.org/hereandnow/2019/08/26/ethical-photography-wildlife-animals.
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Monday, August 26, 2019
We truly are blessed not only to live on a planet that is so diverse and beautiful, but to also have the technology readily available to capture and share it. In a lot of ways, it makes complete sense to be overwhelmed by the enormity of our planet and to be compelled to capture as much of it as possible in a single frame. No one would blame you and I’ll be the first to admit that my go-to lens is an ultrawide one.
Yet, there is as much jaw-dropping beauty in the details of the landscape as there is in the sweeping-wide vistas. I’d also wager that it requires more discipline and concentration to seek out these details and to make sense of them in a photograph. Don’t get me wrong. It’s certainly alluring to capture the world at 14mm with expansive landscapes and skies, however I would like to challenge you to look closely at the details that these expanses are composed of. Look for the ways that all of these elements interact and work with each other.
If you’re in a forest surrounded by gigantic redwood trees, for example, certainly take the time to capture their enormity. There is nothing quite as humbling as standing at the base of a redwood. However, don’t forget to also appreciate the intricacy and detail that can be found when you eliminate everything but the small view in front of you. I love seeing the way other trees, shrubs and leaves interact around these massive trunks. It’s also important to remember to look straight down, as well, to appreciate the way life maneuvers itself right at your feet.
Ultimately, there is so much beauty all around us and one of the most rewarding experiences as a landscape photographer is to tease them out from every direction.
See more of Brian Matiash’s work at matiash.com.
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Without light, a digital file can’t be etched onto your sensor and media card. Simply stated, light is essential to create a photograph. The word photography is composed of two parts: PHOTO = light and GRAPHY = to write. Light is the essential ingredient that provides an avenue for the image to eventually be driven onto your computer.
That being said, light constantly changes and comes in all different qualities. To produce a good photo, a photographer needs good light. During each photo safari, workshop or tour that I run, I always state, “It’s All About The Light.” I profess I’d rather shoot a mundane subject in great light than an awe-inspiring one in flat, gray light. To bring your photography to the next level, learn how to read light and know how to augment it and exploit it to its fullest when bestowed.
My favorite times of day to make photos are sunrise and sunset. The light is warm, the angle is low, it bathes the subject in golden tones and it triggers the beginning of a new day or brings a spectacular close to an already good one. Be it the howl of a coyote or the lyric of a perched meadowlark, the multi-sensory experience of sight and sound during these two times is glorious. Morning imparts a pre-dawn glow that awakens each new day and bathes it in hues of red and orange. The same happens at sunset with the exception that dusk supplies a slightly different color and sharpness. With the sun just above an eastern or western horizon, it hugs all it touches in fiery hues. The visible world is caressed by long shadows, shapes and textures. Both are magical times of the day.
As difficult as 4 a.m. wake up calls can be, what inspires me to crawl out of bed to capture sunrise light is the exhilaration I know I’ll soon experience. My adrenaline starts to pump as I anticipate the magnificence of dawn’s first light. My internal smile becomes external. I feel incredibly alive and thankful to be a photographer.
Upon arriving at my destination, both my excitement and anticipation attain yet a higher level. I double-check all settings to make sure I’m ready to set a minus compensation to avoid blowing out the red channel, I have the proper ISO dialed in, I’m in Aperture Priority as this is the method I prefer, I have plenty of room on my card and my batteries have a sufficient charge. I run through my trigger words to remind me to shoot verticals as well as horizontals, look for details and look at the scene with both telephoto and wide-angle eyes. In essence, I “Exhaust All Possibilities,” another one of my tag lines. As excited as I get, I remind myself to not make hasty errors.
The warm tones and long shadows of sunrise don’t last long. If mistakes are made, there’s no way to recreate what just occurred. The sun rises higher in the sky and as a result, shadows are shorter and the light is cooler. Even returning the next day, the same light won’t be reproduced in that each sunrise is unique unto itself. Variables that influence every sunrise are moisture in the air, thick clouds, thin clouds, pollution, haze, smoke, storms, etc.
Before the sun ascends above the horizon, extremely dramatic skies may await the prepared photographer. Be it a clear sunrise that produces a glowing red horizon or one with high thin clouds that ignite the sky in a blaze of color, dawn is a great time to make photographs. Approximately 15 minutes prior to the scheduled sunrise is when the magic begins to happen.
The exact location where the sun rises, the horizon begins to glow. At peak time, a band of red appears. It gradually flows into a band of orange and then yellow. This tapers off to more of a white, which transitions into light blue. Higher in the sky, the blue grows progressively darker. From very warm to very cool, a dramatic backdrop unfolds. What causes this color transition to occur, especially the warm tones close to the horizon, is that wavelengths from the blue spectrum are absorbed by the air and scattered. This allows the warmer colors of red, orange and yellow to pass through. The blues and violets are filtered out; therefore, the low horizon is caressed in more appealing hues. From wildlife to landscapes to seascapes and more, subjects shot in sweet light make better images.
On mornings when puffy cumulus clouds hover in the eastern sky, dramatic color is likely to occur if the sky below the horizon is clear. Their undersides reflect the warm tones of the rising sun. If you’re lucky, they’ll turn shades of pink, red, orange and yellow. Most foreground material will be in silhouette, so look for subject matter with great shape and form. Winter trees, characteristic rock monoliths, people on hillsides and skylined wildlife all make potentially great subjects.
Base your meter reading on the sky. This will turn the silhouette black. Make a bracketed series of exposures and create an HDR photograph if you want to show detail in the darker areas. Color and drama in the sky are important to make the photograph work. The more saturated it becomes, the stronger the image. I’d rather make my choice as to which version I prefer when viewing it on my monitor as opposed to wishing I had shot a bracketed series on location.
When the peak colors of dawn dissipate, you’ll have a few minutes before the sun crests the horizon. During this time, look for subjects that are illuminated by warm bounce light. At the moment the sun crests the horizon, make some exposures using an aperture of ƒ/22 to create a sunstar effect. Once the sun is fully visible, look for side-lit landscapes. It’s best to have a side-lit landscape subject 90 degrees from the sun because it creates maximum polarization in the sky. This provides a deeper saturation of the blues. Be careful to not over-polarize since you don’t want to wind up with a false look to the intensity of the blue.
Side-lit landscapes reveal more intense shapes, forms and textures. Patterns and design elements are dramatized as warm light rakes across every item it paints. Shadows and highlights produce areas of intrigue attainable only when the sun is at the horizon. It’s the low angle of the sun that produces the textures and warm light effects. In the summer, the sun rises quickly so you have to work fast. Fall and spring allow you additional time. Winter sunrises provide the longest sweet light as the sun tracks the horizon rather than shoots straight up.
Be sure to read next week’s Tip of the Week to gain insight into mid-day and overcast light.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
The post When It Dawned On Me, Part 1: Sunrise appeared first on Outdoor Photographer.
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Sunday, August 25, 2019
Saturday, August 24, 2019
On August 25, 1916, the act that created the National Park Service was signed by President Woodrow Wilson, and this Sunday marks the National Park Service’s 103rd anniversary!
Below you’ll find detailed guides covering just 10 of the 61 U.S. national parks. Learn the best places to visit within the parks, techniques for all seasons, where to find wildlife and more to help you plan your next adventure. Be safe, respectful and prepared to photograph the beauty that this country’s protected lands have to offer.
Beautiful Oddities
Exploring the otherworldly landscapes of Joshua Tree National Park. Read now.
Boom, Baby!
Exploring the explosive beauty of Hawai‘i Volcanoes National Park. Read now.
Destination Yellowstone
Adam Jones on photographing the elements that give America’s first national park its out-of-this-world reputation. Read now.
Katmai National Park For Wildlife
The dramatic landscapes of Katmai National Park in southern Alaska are home to an abundance of wildlife photo opportunities. Read now.
Grand Canyon Hotspots
Tips and suggested locations for epic images of this celebrated natural wonder. Read now.
Olympic National Park
Encompassing three distinct ecosystems and incredible geographic diversity, this jewel of the Pacific Northwest is unlike any other national park. Read now.
Acadia National Park By Land And Sea
Insights for planning your visit to the first national park east of the Mississippi. Read now.
Theodore Roosevelt National Park
This park in North Dakota features a unique landscape of channeled cliffs, gullies, hoodoos, caprocks, wind-swept prairie grasses and dome-shaped hills. Read now.
Winter Wildlife In Grand Teton
For photographing wildlife in winter, it’s hard to beat the abundance of opportunity and majestic surroundings in Jackson Hole. Read now.
Great Smoky Mountains National Park
Morton Overlook is a vantage point in the Great Smoky Mountains National Park that’s arguably one of the best places in the part to catch the sunset. Read now.
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Friday, August 23, 2019
Thursday, August 22, 2019
We’re all friends here, right? And friends are honest with each other. So, when I tell you that my lack of patience is truly legendary, you know that I’m telling you the truth. In some cases, my infinitesimally short attention span has served me well, especially when it comes to not hovering around one spot with my camera for too long.
However, it has also bitten me at times. When it comes to landscape photography, there is no avoiding the need for patience, especially when the weather doesn’t look like it’s going to pan out. It is something that I’ve actively worked on over the years. In the past, if it looked like the weather for a sunrise or sunset would skunk out my shoot, I’d give up or move onto a different location altogether.
In a few instances, this turned out to be a good decision because I was able to salvage the outing. However, in other cases, especially when I had the fortitude to wait things out, I was rewarded with moments of pure drama and brilliance. Had I been impatient and moved around, I’d likely have missed the shot because the quality and availability of light was so fleeting.
Naturally, nothing is guaranteed when it comes to weather, but I’ve come to appreciate—and even get excited about—inclement weather when it arrives for sunrise or sunset. Sure, there’s not much getting around a completely socked-in sky, but it shouldn’t excuse you from being prepared with a strong composition just in case winds shift or a small gap in the clouds appears.
I’d be willing to bet that whenever a photographer describes a photo of theirs as having “dramatic light,” a big component to that composition involved finding that strong frame, throwing the dice and waiting. And, yes, for every strong “dramatic light” shot, there are likely 20 other shots that are flat. The key, though, is to be ready for those few precious moments when the light busts through and dances off the atmosphere. In those tiny seconds, you can either be futzing around from spot to spot—or you could be composed and focused. The difference is patience.
See more of Brian Matiash’s work at matiash.com.
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Wednesday, August 21, 2019
The September 2019 issue of Outdoor Photographer features 10 Fall Color Hotspots—ideal locations around the country to capture the beauty of autumn foliage. Some of these destinations are places you might not expect. Wherever you live, there’s likely an opportunity to photograph spectacular fall color within a few hours drive.
Also in this issue is a unique take on color photography: color infrared. In Beyond Visible Light, Russell Hart explains his technique for using a camera converted to capture infrared wavelengths and the results are inspiring. If you have an older camera gathering dust, consider converting it for infrared; the cost is relatively affordable.
On the cover is a dramatic fall color photograph by Stan Bysshe. Here’s the story behind the shot.
“Huntley Meadows Park in Northern Virginia is managed by Fairfax County and occupies about 2 square miles of woods and wetlands. It is probably one of the best wildlife habitats in the suburban Washington, D.C., area. Just 15 minutes from my home, it is my go-to spot to photograph locally. It’s a rare week that I don’t spend at least one sunrise at the park. In the spring and fall, when migrating birds are passing through the area, I am at Huntley several mornings a week. Usually, I am looking for wildlife subjects, especially birds.
“A year ago, I decided to try and create images of Huntley through all four seasons. I made several trips to scout the best areas to capture some of the fall color in the park. It turned out that sunset was the best time for light on the woods across the marsh, and I waited for the peak color to appear. The day before a planned evening shoot, a very strong storm tore across the area, and in one night almost all the trees were bare. Nonetheless, I decided to see how Huntley had fared from the high wind.
“Walking along the boardwalk through the marsh, it was as if winter had arrived in one day—there was no color. But I spotted a lone maple at the water’s edge that somehow was spared and still had its bright red and orange leaves. I tried many compositions, but the vertical tight image turned out to be my favorite because of the immediate contrast between the dark, colorless bare trees and the red leaves.”
–Stan Bysshe
The September 2019 issue is available now in a variety of digital formats including Apple News+ and will be on newsstands beginning Tuesday, August 27.
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.
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In celebration of the National Park Service’s 103rd anniversary on Sunday, August 25, Apple has announced a special app collection that will help people make the most of their visit to America’s parks by offering trail maps and guides, mountain identification and peak elevation maps, plant and animal identification, and more. To learn more, check out the apps below or visit the App Store.
REI Co-op National Parks Guide – This free app offers trail data and hike descriptions with terrain and satellite maps. You can also use it to plan your next national park trip as it offers information on seasons, camping, lodging, food and drink, and tours. Best of all, no cell signal is needed; all of the data is available offline.
Chimani — National Park Guides – Local experts have researched and written about the national parks’ histories and highlights to help create this comprehensive app. You’ll find maps with detailed trails and info on available facilities, plus activities like hiking, biking and camping. The app also offers alerts and notifications to keep you up-to-date on park-specific news. The offline maps will keep you on track when cell service is spotty, and money-saving discounts are available for dining, lodging and activities.
AllTrails: Hike, Bike & Run – Outdoor enthusiasts can explore over 75,000 hiking and mountain bike trails. The app’s filters allow you to sort based on difficulty and length, and help you find kid-friendly, dog-friendly and wheelchair-accessible trails. Maps are downloadable for offline access.
PeakVisor – Aim your phone’s camera at a mountain and this handy app will tell you its name and elevation. In addition to the identification of a million-plus mountains and hills around the world, the app features 3D maps and hike and photo planning, with no internet connection required.
iNaturalist – This app helps you identify the plants and animals you encounter in nature simply by taking a photo. Upload the image and share your observations with a community of nature lovers.
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Congratulations to Michael Morse for winning the recent Rule Of Thirds Assignment with the image, “Here’s Looking At Ewes.” See more of Michael Morse’s photography at 1-michael-morse.pixels.com.
View the winning image and a selection of submissions in the image gallery below. Check out our current photography assignment here and enter your best shots!
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Tuesday, August 20, 2019
One of the most fruitful exercises that any photographer can take on is that of a photo study. Personal photography studies can be as specific or broad as you’d like. It really is up to the individual and it should be seen more as an opportunity to admire and understand the diversity of whatever the study is about. In the case of this article, I’d like to share a brief study from my time photographing The Palouse in southeastern Washington state. Odds are that you’ve seen photos from this picturesque pastoral location, and there’s good reason for it. The meandering, undulating hills are positively mesmerizing, especially during sunrise and sunset, when the low angle of light quite literally sculpts the landscape.
The time of year that you visit this area will play a significant role in the visual qualities and characteristics that you’re presented. Because these fields are agricultural in nature—with wheat and barley being farmed—you will see quite a variance in color. If you visit during the spring, when the crops are still young, you will see rolling hills of vibrant green. As you approach the summer season, when it’s time to harvest the crops, the hills will have all sorts of brown tones. The best times of day to photography, by far, would be sunrise and sunset, when the light is low and soft.
When reviewing the images that I had taken during my last visit here, it was clear that I preferred my super telephoto lens, the Sony FE 100-400mm f/4.5-5.6 GM, because it allowed me to get very tight on specific clusters of hills. In some cases, the variance in color was so great that a tight crop was needed. If I had shot the same scene with a wider lens, that variance would have been lost in the rest of the scene.
That’s not to say that wide angle lenses wouldn’t yield favorable results. During one of my visits, I noticed a storm developing far in the distance and could see sheets of rain begin to fall. The storm was far enough away that I needed a wider focal length to capture it along with the rolling hills in my foreground. And while I lost out on some of that beautiful compression that longer focal lengths provide, the overall composition really hit home for me.
Also, while the majority of people, including myself, photograph this beautiful location from the elevated vantage point of the Steptoe Butte State Park Heritage Site (a permit or day pass is required), I highly recommend exploring the area at ground level. There are so many little details that simply get lost from an elevated perspective. Just remember to be mindful and respectful of any private property or trespassing signs.
See more of Brian Matiash’s work at matiash.com.
The post Exploring The Palouse appeared first on Outdoor Photographer.
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Monday, August 19, 2019
Happy World Photography Day! To celebrate, we’ve collected 10 of our most popular articles with tips and techniques to help you make your best photographs. These articles include techniques you can use for any type of photography, plus articles that offer specific tips for landscape, wildlife, travel, adventure sports and more.
How To Use Histograms
For precise exposures that best capture a scene’s dynamic range, ignore what the image preview looks like and rely on the histogram. Read now.
How To Use Hyperfocal Focusing
Understand and use hyperfocal focusing to create sharper images and enhanced depth of field. Read now.
Take Better Travel Photos
How to make the most of your next trip and return home with a portfolio of memorable images. Read now.
There’s More Than One Right Answer
Dewitt Jones’s TEDx talk reflects on his career and the mindset of celebration that has guided his work. Read now.
Abstract Landscape Photography Tips
An infinite number of creative abstract landscape photography compositions are out there just waiting to be discovered. Read now.
Using Selective Focus
For unique images that highlight your subject’s details, experiment with shallow depth of field. Read now.
Techniques For Fall Color Photography
No matter where you live or travel this fall season, try these 10 creative techniques to make your best autumn images yet. Read now.
Wildlife Photo Impact
Tips and insights for creating dynamic portraits of wildlife. Read now.
Challenge Accepted: Adventure Sports
How to get started in adventure sports photography. Read now.
Converting To Black & White In Lightroom Classic
Explore the new Profile Browser in Lightroom Classic CC and take a playful approach to black-and-white workflow. Read now.
The post 10 Of Our Most Popular How-To Articles For World Photography Day appeared first on Outdoor Photographer.
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Words of wisdom come from places you least expect to hear them. Not in my wildest dreams did I think I’d be enlightened by a total stranger seated next to me at the airport. His words were something to the effect of, “My initial flight was canceled, my aisle seat was changed to a middle one, the weather delay is messing with my mind and the kid behind me on my first flight kept kicking my seat, but a bad two days of air travel is still better than two days at work when your destination is where you’ve dreamed about going all your life.”
As I reflected upon his words while watching a family of eight kids run havoc around the gate area, the guy’s perceptive quips left a deep impression. I’ve accumulated my fair share of air miles and endured similar circumstances to those shared by my seatmate but never viewed how wonderful it is to zero in on only the positive aspects of the location to where I was headed. This got me thinking—I immediately called to mind all my “bad” photographic days and realized how great it was to still have been outdoors making pictures.
It’s always a pleasure to go away. The definition isn’t limited to a time span. One can go away from their home for just half a day on a short photo excursion. Regardless of the timeline, to have the opportunity to be outdoors on a photo adventure—be it a day trip, weekend or entire vacation—is an adrenaline-pumping experience.
The days of beautiful light, cooperative wildlife and phenomenal conditions always produce euphoria—this goes without saying. But what about the days where the light cooperates but no wildlife shows up? What about the days where the wildlife is out but where they choose to be leaves you unmotivated to press the shutter? What about the days when both the light and wildlife don’t cooperate? What the heck—make lemonade! Feel the wind on your face, shake the morning dew off your boots, inhale the scent of sea air, layer up with a windbreaker and wear a smile on your face. You’re still out in nature, you’re in your environment, and it’s good to be alive.
As with each of you who got this far into this week’s Tip of the Week, my goal is to return from each outing with as many great images as possible. But, if the conditions prevent this outcome, I enjoy the positive aspect of how my photography lead me on the outing in the first place.
So, the next time a day trip, weekend or even an entire week is a photographic bust, appreciate the fact that your love of photography got you outdoors doing something you enjoy so much. More importantly, stay positive regarding your photography.
Keep your “photo eyes” open and learn to open them a bit wider when the conditions aren’t desirable. Don’t get discouraged as your photos will reflect your attitude. Dig a bit deeper into your creativity to come away with a winner. Try a new technique that’s been on the back burner. Zoom the lens, try some pan blurs, break out the flash, slow down the shutter, raise the ISO or combine any of the above. You may have to work a bit harder, but then again, whoever said making a great photo is easy?
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
The post Open-Minded Illumination appeared first on Outdoor Photographer.
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Sunday, August 18, 2019
Saturday, August 17, 2019
Friday, August 16, 2019
Thursday, August 15, 2019
Congratulations to Timothy Joyce for winning the recent Fine-Art Travel Photography Assignment with the image, “Cormorant Fishing,” which was taken in Guilin, China. See more of Joyce’s photography at www.timothyhjoyce.com.
View the winning image and a selection of submissions in the image gallery below. Check out our current photography assignment here and enter your best shots!
[See image gallery at www.outdoorphotographer.com]The post Fine-Art Travel Photography Assignment Winner Timothy Joyce appeared first on Outdoor Photographer.
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Wednesday, August 14, 2019
I completely understand the allure of filling your frame with the expansive beauty of Earth. Rugged mountains and rolling fields make for truly beautiful photos, especially when you apply those tried-and-true compositional techniques like the Rule of Thirds. However, as the Dalai Lama famously said, “Know the rules well, so that you can break them effectively.”
My premise is that it is ok—if not recommended—to abandon the Rule of Thirds or other imposed constraints more than occasionally. Now, there are several ways to interpret such a suggestion. You could pan your camera to the left or right with respect to your subject, but I tend to find such results to be subpar. Alternatively, you can tilt your camera down or up, resulting in either filling the frame with your foreground or with an expansive sky. My preference is almost always to go the latter direction. I love filling the frame with a big sky, even when my foreground is tremendous. Sure, the Grand Canyon is a visual feast of depth and texture, but there is fun and unique thing about relegating it to the bottom tenth of the frame, especially when the sky is filled with gigantic clouds.
Granted, this particular compositional trick requires certain elements in order to be most effective. To start, I’ve found that the foreground elements that you’re relegating to the bottom of the frame should be defined with strong high-contrast edges. Mountain peaks, trees, and the sort tend to work best.
The other requirement is that you need to have an interesting sky, since that will be taking up the bulk of your composition. A star-filled night sky is an obvious choice, as is a sky filled with billowy clouds that are catching the last light of sunset. The goal here is to stretch your understanding of composition by seeing whether you can effectively break the most basic rules and walk away with a strong photo.
See more of Brian Matiash’s work at matiash.com.
The post Learn To Love Big Sky appeared first on Outdoor Photographer.
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Tuesday, August 13, 2019
For super-tele wildlife work, should you choose primes or zooms? In this episode of the reCOMPOSE podcast, host Andy Williams talks with acclaimed wildlife photographer Will Burrard-Lucas and their conclusions may surprise you.
The post reCOMPOSE Podcast 061: Zooms Versus Primes For Wildlife appeared first on Outdoor Photographer.
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Monday, August 12, 2019
Photographs portray three-dimensional objects on a two-dimensional plane. This explains why many photographers scratch their heads and wonder why the scene they photographed that looked as if it was never-ending lacks depth in their images. In a two-dimensional world, unless the illusion of depth is portrayed, the result is an image that looks flat.
There are solutions. Some ways to achieve the illusion of depth are through the use of color, lens choice, strategic composition, framing, light, subject placement and the working aperture. Two or more of these factors should be used in tandem to ensure depth is rendered.
Use your working aperture to help convey depth. As opposed to the example below where you’d photograph the scene using ƒ/22, when you work with small subjects, make a portrait or in instances where the primary subject lives a good distance from the background, use a wide-open aperture. With everything being equal, the wider the aperture, the more the background goes out of focus. Use this creatively to show depth. When the primary subject is tack sharp and the background is out of focus, the background recedes and the sharp foreground element comes forward.
Use light to your advantage to create depth. This can be accomplished in two ways:
- The strategic use of shadows provides depth. Create compositions where the shadows fall behind the primary subject. When the main subject is lit by the sun and the shadow is naturally dark, the lit part implies it’s in the front, which in turn shows depth.
- Quite often, clouds channel where the light falls on a wildlife subject or landscape. Look for these “SPOTLIGHTING” situations. The part that’s lit stands out more prominently against the part that’s in shadow. This, in turn, implies depth. When light like this occurs, I take full advantage. It’s why my business tag line is, “It’s All About The Light.”
Lens choice is key to creating depth. Long lenses compress distances. This makes everything seem as if they are much closer than in reality. The quintessential example of layers upon layers of mountains that recede into the distance comes to mind. The compression of layers makes each look as if they are on top of one another. On the other hand, wide-angle lenses are used to exaggerate perspective and convey depth. Get very close to a foreground element and compose the picture to overemphasize that subject. Use additional foreground pieces to lead the eye throughout the rest of the composition. The magnified size of the foreground pieces will create the illusion of depth as the eye traverses throughout the rest of the composition. The wide-angle effect implies everything else is pushed back, which in turn provides depth. Landscapes work great for this technique. For instance, strong foreground elements, such as boulder fields or mounds of flowers, lead the eye to key subjects in the mid-ground. The mid-ground subjects, in turn, direct the viewer’s eye to distant focal points. These three layers work together to unify the sense of depth.
Color can be used to show depth, especially when you juxtapose subjects that are on opposite sides of the color wheel. If you’re not familiar with the color wheel, I encourage you to study it. Cool tones move back while warm tones come forward. Look for situations where a warm-toned primary subject is offset against a cool-toned background. By combining subjects in this way, the illusion of depth can be easily depicted. For instance, magenta and green are on opposite sides of the color wheel. A magenta-colored flower photographed against a field of green will result in the viewer zeroing in on the warm tones while the cool green hues fade into the background.
Get lost in the depths and use the above examples to turn your two-dimensional images into three-dimensional masterpieces.
Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.
The post Get Lost In The Depths appeared first on Outdoor Photographer.
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Sunday, August 11, 2019
Saturday, August 10, 2019
Friday, August 9, 2019
Several years ago, I took a road trip from Oregon to Nebraska and I challenged myself to capture it photographically using one camera, the Sony a7R II, and one lens, the Zeiss Milvus 35mm f/1.4 (mounted using a Sigma adapter). As a landscape photographer, I admit that I initially did not relish the idea of shooting with a fixed focal length of 35mm. To me, that had always been a rather boring option. I had always been one of those ultra-wide-preferring photographers.
On the second day of the trip, I stopped at a charming destination in Arlee, Montana, called the Garden of One Thousand Buddhas. Admittedly, I wasn’t sure what to expect and didn’t have much of a positive outlook on getting any decent shots, partly because I was still somewhat disenchanted with my fixed focal length. At first, I found myself a bit frustrated with the lack of space that 35mm offered. It felt constricting and stifling. I was used to 12mm to 16mm. That was my happy place. But, the more I explored with it, the more I began falling in love.
If anything, what I began appreciating almost on the fly was how much more deliberate I had to be with regard to what fell within my frame. I was challenging myself by seeing how much extraneousness I could cut from the frame while bringing the eye straight to my focal point. With ultra-wide angle lenses, I often allowed the vastness of the scene to take over without thinking too much about direction. That freedom quickly vanished at 35mm and I was thankful for it.
Of course, I will always have a fondness for a wide focal length. For me, 12mm and landscape scenes go together like peanut butter and jelly. However, I truly am thankful for the lessons I took away from my time with that 35mm. If you find yourself stuck in a creative rut, reach for a focal length outside your comfort zone, give it some time and see what happens.
See more of Brian Matiash’s work at matiash.com.
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