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Wednesday, March 31, 2021

Photo by Denis Dessoliers

Today’s Photo Of The Day is “Mountain Spring Sunrise” by Denis Dessoliers. Location: Babb, Montana.

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including AssignmentsGalleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Congratulations to Christopher Baker for winning the recent Motivational Moments Assignment with the image, “Coming Up Empty.”

View the winning image and a selection of submissions in the gallery below. And be sure to check out our current photography assignment here and enter your best shots!

[See image gallery at www.outdoorphotographer.com]

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Toroweap Overlook has one of the best views in the solar system. This is an area that I had longed to visit—it’s unlike your usual experience at Grand Canyon. On the more familiar south side of the park, you generally see a vast expanse of canyon terrace landscape, and usually you can’t see the river at all. Toroweap is on the north side of the canyon, where it narrows enough to corral the Colorado River beneath 3,000-foot cliffs and where the larger of the canyon rapids, Lava Falls, lays below.

Photo taken at Toroweap Overlook, Grand Canyon

Toroweap is more difficult to get to than the south side of Grand Canyon. Dropping down out of the southern edge of Utah heading into Arizona, you must take a 61-mile dirt road and arrive at a destination that’s beautifully noncommercial. Be prepared for no water, gas or any comforts. Campsites are low in number and must be reserved. Bring spare tires—yes, more than one recommended. I rescued two ladies who had flats—then I got one myself!

Weather At Toroweap Overlook

The weather on the Colorado Plateau is mostly dry and lacks mountainous terrain to influence local weather patterns. However, this can promote fast-changing weather events—dry and sunny to fast-moving thunderstorms in one short hike. This is especially true during the monsoon season of the late spring and summer months. But, as outdoor photographers are keenly aware, weather can make for the best photo opportunities right alongside the worst photo experiences. Otherwise, hot and dry days are normal. Winter can be particularly brutal with snow, ice and freezing wind.

Photo Experience

I wanted a little different shot of this overlook. What did that mean? I scaled down part of the cliffs where some other photographers refused to try to go. That just made me think that there was a good photograph hiding. It was getting dark, but sunset was the time of day that I needed for this shot. I just hoped that the darkening climb back up wouldn’t make me regret the “portents of doom” from other onlookers. Yeah, it scared the hell out of me, even with great caution.

“Canyon Dreams” is one of the last images of Toroweap looking west that I took that day. I love how the depth of the canyon is showcased as the last rays of the setting sun warm the cliffs to the left. This image shows this grand vista from a little below the cliffs instead of the usual top-of-the-rim shots where most photographs are made. I especially like the looming cliffs on the right side of the image and then the blazing sunlit cliffs on the other. This photo poetically captures and conveys the enormous feel of the entire experience. OP

Best Times

I’d pick spring and summer as the best times for camping, photography and exploring. Be prepared for hot weather but beautiful, cool nights. (It’s also a fantastic place for astrophotography due to exquisite darkness.) I choose this time due to the dynamic weather for photography, but if it’s more hiking and comfort you’re looking for, spring and fall might be the best seasons. Also, the weather difference between the South Rim of Grand Canyon and the North where Toroweap is located can be striking, so watch the weather forecasts and plan ahead to suit your planned activities.

Contact: National Park Service, nps.gov/grca/planyourvisit/tuweep.htm.


See more of Craig Bill’s work at craigbill.com.

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Toroweap Overlook has one of the best views in the solar system. This is an area that I had longed to visit—it’s unlike your usual experience at Grand Canyon. On the more familiar south side of the park, you generally see a vast expanse of canyon terrace landscape, and usually you can’t see the river at all. Toroweap is on the north side of the canyon, where it narrows enough to corral the Colorado River beneath 3,000-foot cliffs and where the larger of the canyon rapids, Lava Falls, lays below.

Photo taken at Toroweap Overlook, Grand Canyon

Toroweap is more difficult to get to than the south side of Grand Canyon. Dropping down out of the southern edge of Utah heading into Arizona, you must take a 61-mile dirt road and arrive at a destination that’s beautifully noncommercial. Be prepared for no water, gas or any comforts. Campsites are low in number and must be reserved. Bring spare tires—yes, more than one recommended. I rescued two ladies who had flats—then I got one myself!

Weather At Toroweap Overlook

The weather on the Colorado Plateau is mostly dry and lacks mountainous terrain to influence local weather patterns. However, this can promote fast-changing weather events—dry and sunny to fast-moving thunderstorms in one short hike. This is especially true during the monsoon season of the late spring and summer months. But, as outdoor photographers are keenly aware, weather can make for the best photo opportunities right alongside the worst photo experiences. Otherwise, hot and dry days are normal. Winter can be particularly brutal with snow, ice and freezing wind.

Photo Experience

I wanted a little different shot of this overlook. What did that mean? I scaled down part of the cliffs where some other photographers refused to try to go. That just made me think that there was a good photograph hiding. It was getting dark, but sunset was the time of day that I needed for this shot. I just hoped that the darkening climb back up wouldn’t make me regret the “portents of doom” from other onlookers. Yeah, it scared the hell out of me, even with great caution.

“Canyon Dreams” is one of the last images of Toroweap looking west that I took that day. I love how the depth of the canyon is showcased as the last rays of the setting sun warm the cliffs to the left. This image shows this grand vista from a little below the cliffs instead of the usual top-of-the-rim shots where most photographs are made. I especially like the looming cliffs on the right side of the image and then the blazing sunlit cliffs on the other. This photo poetically captures and conveys the enormous feel of the entire experience. OP

Best Times

I’d pick spring and summer as the best times for camping, photography and exploring. Be prepared for hot weather but beautiful, cool nights. (It’s also a fantastic place for astrophotography due to exquisite darkness.) I choose this time due to the dynamic weather for photography, but if it’s more hiking and comfort you’re looking for, spring and fall might be the best seasons. Also, the weather difference between the South Rim of Grand Canyon and the North where Toroweap is located can be striking, so watch the weather forecasts and plan ahead to suit your planned activities.

Contact: National Park Service, nps.gov/grca/planyourvisit/tuweep.htm.


See more of Craig Bill’s work at craigbill.com.

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Tuesday, March 30, 2021

Photo By Jody Hildreth

Today’s Photo Of The Day is “Going To The Sunburst Road” by Jody Hildreth. Location: Glacier National Park, Montana.

“It wasn’t looking like a colorful sunset was going to happen this night, so I found a little pull-off spot on the Going To The Sun Road in Glacier National Park to try to photograph a sunburst,” explains Hildreth. “When I climbed up the small stone guard rail I was surprised to find some colorful flowers.”

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including AssignmentsGalleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Monday, March 29, 2021

Photo By Laura Zirino

Today’s Photo Of The Day is “Globemallow and Towers” by Laura Zirino. Location: Castle Valley, Utah.

“Fields of globemallows bloom in spring, surrounded by towering monoliths in Eastern Utah,” describes Zirino. “This is the entrance to Castle Valley, famous for these towers. The far tower in the center, Castleton Tower, is a favorite of climbers.”

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including AssignmentsGalleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Etymology: The study of words.

Photography: The art of taking and processing photographs.

Photo = light

Graphy = to write   

In regard to etymology, photography means to write with light.

Flash allows a photographer to add light where it doesn’t appear naturally. Subjects that appear in shadow can now be illuminated. At dawn and dusk, when the sky is included in the composition, anything that appears in the foreground has less light. The difference may be between 4 to 5 stops. This being the case, the entire foreground reveals less detail. To even out the difference, a bracketed series of exposures can be made and optimized using HDR software. But what if the subject moves during the bracketing? When the subject is wildlife or delicate flowers that move in the slightest breeze, HDR isn’t the best solution. Incorporate the use of flash to solve the problem. Use it to provide supplementary illumination to the subject in the foreground.   

There’s a magic quality to the light right before the sun crests the horizon at sunrise and just after it sinks below at sunset. The color in the sky can be vibrantly electric. In the foreground sits a majestic specimen of your favorite subject. What if you want to show its detail against the gorgeous backdrop? When you make an exposure for the sky, the foreground becomes a dark void. If you expose for the foreground, the beauty in the sky is washed out.

The bottom line is if you need to reveal detail in the foreground and have the sky perfectly exposed, it’s necessary to add artificial light. In that flash units of today are portable and powerful, it’s become the light of choice. The option to blend two separate exposures exists, but it requires post processing.

Additionally, when you achieve the perfect balance of light from the flash with the light in the background, the animal takes on a spot-lit effect that’s impossible to achieve using software.

Balance

To use flash successfully, you need to balance the amount of light emitted from the unit so it looks as natural as can be and complements the natural light. If there’s too much flash, the background goes too dark. If there is too little, the subject in the foreground will not be bright enough. Use the exposure compensation wheel on the back of the flash to dial its output up or down. If there’s too much flash, dial down the exposure compensation on the back of the unit. If there’s too little flash, dial up the exposure compensation on the back of the unit. The amount depends on the effect you desire and the chosen Æ’-stop at which the image is made. The smaller the Æ’-stop, the more you’ll tax the capability of the flash to emit enough light.

Distance

If you’re a scenic photographer, it’s easy to get close to your foreground subject. This allows the flash to emit the perfect balance of light and not tax its output. With wildlife, it’s different. If you approach too close, you’ll either scare the animal away or it may charge and do harm. Thankfully, there’s a flash attachment known as the MagMod that projects the flash much greater distances via the use of a Fresnel lens. It magnifies and emits a smaller beam of light to greater lengths. This allows you to keep a safe working distance and still utilize the flash to improve the image.

In the four images that accompany this week’s tip, I incorporated the use of fill flash. With regards to the two images of lions and the cheetah cub, I used a MagMod to project an extremely short burst of light while I kept a safe working distance. In the scenic made in American Basin in Colorado, I used a wide angle with off-camera flash and aimed it at the most foreground cluster of columbines. 

A Tip of the Week that discusses fill flash with animals wouldn’t be complete without an explanation on safety and how flash may impact the subject. Everything above has been thoroughly researched in regard to the safety of my subjects. All conclusions I’ve read substantiate that the short duration of flash, especially in fill mode, warrants no worry about what it does to potentially harm the wildlife.

For instance, compare the short, small burst of light emitted from the flash to a bolt of lightning. Flash is much, less so all is good. When subjects glance directly into the sun compared to the small amount of light from the flash, there’s no comparison. Ponder the multiple flash setups with hummingbirds around flowers, yet they return to feed over and over. Contemplate the water holes totally illuminated by flash at night, yet the animals continue to drink—and that’s with flash at full power.

What I profess is to just use flash as a source of fill, not a main light. When the flash does fire in the fill mode, the animal doesn’t negatively react. For the purist who wants all light to be natural, that’s a completely different discussion. But in regard to the argument that fill flash harms the animal, I’ve yet to see the impact. For an animal that’s totallu nocturnal, that may be a different story, but I don’t photograph them, so I’m not worried about the way I incorporate flash into my photography.

To learn more about this subject, join me on one of my photo safaris to Tanznaia. Please visit www.russburdenphotography.com to get more information.

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Sunday, March 28, 2021

Photo By Stan Bysshe

Today’s Photo Of The Day is “Breakfast” by Stan Bysshe. Location: Long Island, New York.

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including AssignmentsGalleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Saturday, March 27, 2021

Photo By Max Foster

Today’s Photo Of The Day is “Rainbow Rocks” by Max Foster. Location: Wyoming.

“At only 6 inches above the water surface, I used a wide-angle lens to create an extreme near-far effect,” explains Foster. “The colorful rocks of the lake were the perfect foreground for this midday shot.”

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including AssignmentsGalleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Friday, March 26, 2021

Photo By Douglas Croft

Today’s Photo Of The Day is “Curiosity” by Douglas Croft. Location: Brooks Falls, Katmai National Park, Alaska.

“This brown bear cub ended up in a tree right next to the viewing platform at Brooks Falls,” says Croft. “He was every bit as curious about us as we were about him!”

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including AssignmentsGalleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Thursday, March 25, 2021

Sigma has introduced a sibling to its fp full-frame mirrorless camera that debuted in 2019. The Sigma fp L is identical to the original fp in its incredibly small and light form but features a new 61-megapixel back-illuminated sensor that places it among the highest resolution full-frame mirrorless cameras available. The original fp, which remains in the line, offers 24.6-megapixel resolution.

Image of the Sigma fp L with EVF-11 viewfinder attached

Front view of the Sigma fp L with the optional EVF-11 viewfinder attached.

Another significant upgrade in the Sigma fp L is a new autofocus system. The original fp provides contrast detection AF, while the fp L uses a hybrid system with both contrast and phase detection AF. This should make the new camera’s autofocus faster and more precise, especially in low-light.

The fp L also offers an interesting Crop Zoom function that’s available when shooting both stills and video. Leveraging the camera’s high-resolution sensor, Crop Zoom allows you to get up to 5x magnification by cropping the image in-camera while shooting. The fp L is capable of 4K video capture; when using the Crop Zoom feature in the camera’s video mode, the resulting video is full HD resolution.

Image of the back of the Sigma fp L

The Sigma fp L is physically identical to the original fp with simple controls and a large touchscreen LCD.

The camera’s continuous shooting speed for still images is slower than the fp. The fp L can capture up to 10 fps compared to the fp at 18 fps. Considering that the fp L is nearly 2.5 times the resolution of the fp, the fp L’s continuous shooting speed is respectable and ample for even fast-moving sports and wildlife subjects.

One of the features missing from the fp that photographers have come to expect from mirrorless cameras is an electronic viewfinder, a sacrifice made to keep the camera as compact as possible. Sigma offers the LCD View Finder LVF-11, essentially an optical magnifier that attaches to the camera’s LCD, but it’s large, significantly increasing the size of the camera. Now, along with the fp L, Sigma is also introducing the EVF-11 Electronic Viewfinder, a true EVF that attaches to the camera’s data ports on the side. The 0.5-inch, 3.68-million-dot resolution EVF is tiltable for vertical or horizontal use. It’s available as an optional accessory or bundled with the fp L and is also compatible with the original fp via a firmware update.

Image of the Sigma EVF-11 viewfinder

The optional EVF-11 electronic viewfinder attaches to the camera’s data ports and provides pass-throughs including a 3.5mm stereo mini jack for monitoring sound and USB Type-C to record to an external SSD for video work. The viewfinder can tilt upward 90 degrees for easier viewing on a tripod or when holding the camera below eye level.

The fp L is priced at $2,499 for the body only, or $2,999 for the bundle that includes the EVF-11 Electronic Viewfinder. The EVF-11 is $699. Availability is expected in “mid-April.” For additional details, see the press release below.

###

SIGMA Announces fp L 61-Megapixel Mirrorless Camera & EVF-11 Electronic Viewfinder

Ronkonkoma, NY – March 25, 2021 – Today, SIGMA Corporation introduces the SIGMA fp L, the world’s smallest and lightest 61-megapixel full-frame mirrorless camera.  Built with the same dimensions and rigorous attention to detail as the currently-available SIGMA fp, this new camera offers a high-resolution image sensor, an improved hybrid autofocus system, continuous power capability, and several additional in-camera features that make it an exceptional tool for demanding photographers and video creators.

“The SIGMA fp is one of the most innovative cameras available today, and the new fp L brings even more to the table,” says SIGMA America President Mark Amir-Hamzeh.  “It offers incredibly high resolution in an extremely small body, compatibility with an extensive library of lenses, limitless customizability, and the rock-solid build quality that professionals have come to expect from SIGMA.”

The SIGMA fp L starts at $2,499 in the US (camera body only).  A bundle including the new EVF-11 electronic viewfinder will also be available at launch for $2,999.  The EVF-11 – which provides a crystal-clear view of users’ compositions – will be compatible with both the fp L and fp (with a firmware update), and is priced separately at $699.

The SIGMA fp L and the SIGMA EVF-11 Electronic Viewfinder are expected to be available at SIGMA Authorized Dealers in mid-April 2021.

SIGMA fp L

SIGMA announces the “SIGMA fp L,” the world’s smallest and lightest* single-lens mirrorless camera with an approx. 61MP full-frame image sensor

SIGMA Corporation (CEO: Kazuto Yamaki) is pleased to announce the launch of the “SIGMA fp L,” a new member of the SIGMA fp series of the world’s smallest and lightest* full-frame digital single-lens mirrorless cameras, equipped with a full-frame Bayer sensor with approximately 61 effective megapixels. And thanks to this 61MP image sensor, the SIGMA fp L boasts outstanding resolving power, while remaining true to the SIGMA fp development concepts, namely the “world’s smallest and lightest pocketable full-frame camera,” “seamless STILL / CINE switch,” and “excellent customizability and scalability.”

With an excellent crop zoom that capitalizes on its ample megapixels, it offers users levels of image quality and creative range that are only possible with an ultra-high pixel camera. It also comes with an array of new features and accessories, which will make shooting more user friendly, including hybrid autofocus (AF) that combines contrast- and phase-detection, and USB charging while the camera is on. A new optional external electronic viewfinder EVF-11 will be available with the camera’s introduction.

With the new SIGMA fp L, SIGMA presents you another option in the fp series, which offers a joy of taking pictures with just the features that you truly need—nothing more, nothing less.

*As of March 2021, by SIGMA

1 | SIGMA fp development concepts and its three keys

Breaking down ideas of camera-centric hierarchies and categories, SIGMA makes a point of questioning what the genuine value of a camera is. What is essential to photographers? How can we make a camera that not merely meets the need, but makes your life more fulfilling and fun? By asking these questions, SIGMA has brought the SIGMA fp to life. Endlessly flexible and adaptable, a user-oriented camera for people who know what they want to shoot and what they want to create. Making a camera such as this a reality relies on three key concepts that represent the SIGMA fp series identity.

  • Pocketable Full-Frame
    Small in size, big on quality. Perfect for carrying anywhere.
    The SIGMA fp: world’s smallest and lightest* full-frame mirrorless camera you can take with you anytime, anywhere.
  • Scalable
    From vintage lenses to modern gadgets, up to professional movie setup. Creating your own style has never been so easy.
    Customize your fp just the way you want it, to suit what you want to do.
  • Seamless
    Capturing your best moment. Photo or video? The choice is yours.
    Change shooting modes with just a flip of a switch. Capture the moment whether it’s video or stills, beyond the boundaries of style or genre.

2 | The new fp L makes the fp a family of two

The fp, the series’ concept model, is now joined by the fp L that takes full advantage of high-resolution, giving the world’s smallest and lightest “pocketable full-frame” lineup a boost.

  • fp L – A big canvas for big moments
    Back-illuminated 35mm full size effective approx. 61 megapixels Bayer sensor
    Contrast detection autofocus + Phase detection autofocus
    Supports USB power supply
  • fp – A small camera for a big freedom
    Back-illuminated 35mm full size effective approx. 24.6 megapixels Bayer sensor
    Contrast autofocus
    The original “World’s smallest and lightest full-frame mirrorless”

3 | Key features of the fp L

Four features newly available on the SIGMA fp L

  1. 61 megapixels. The highest resolution presented by SIGMA.

Leveraging our knowhow of image processing technology on Foveon sensors.
Thanks to the ultra-high resolution, SIGMA fp L is able to unleash your imagination and feature a low-pass filter to make a further contribution to the optical performance.

The SIGMA fp L features a Bayer sensor with approximately 61 effective megapixels, higher than any other SIGMA camera before it. In addition to images with fine details, the fp L is capable of creating images that are high-definition and rich in color, thanks to its ultra-high pixel count and SIGMA’s experience in developing cameras with a Foveon sensor, are renowned for both the exceptional resolving power and nuanced color gradients due to the unique nature of the X3 sensor. Furthermore, for its image quality that are in principle free of color artifacts, the Foveon sensor legacy was also behind the decision that the fp L should have a low-pass filter to reduce moiré to minimum levels. The use of a low-pass filter was a choice that made sense for a camera with an ample megapixels such as the SIGMA fp L.

  1. Crop Zoom Higher resolution. Greater freedom. Every shot is your dream shot.

A high pixel count means that images can stand extreme zooming or cropping. This was one aspect of an ultra-high pixel camera that led SIGMA to give the fp L a crop zoom feature that works in both the STILL and CINE modes. Thanks to its ample (approximately 61 effective) megapixels, the fp L can record in full HD quality even at its maximum 5x zoom; because this is accomplished simply by cropping with no digital enhancement, the image quality will not suffer. To use it in a more intuitive way, you can pinch to zoom on the LCD touch screen.

  1. Hybrid Autofocus

Never miss your moment.

In addition to high-precision contrast AF, the SIGMA fp L features fast image plane phase-detection AF. This hybrid AF allows users to enjoy smooth autofocus that is high-precision, fast, and excellent at tracking a moving subject, whether they are shooting stills or video.

  1. Unlimited power supply

    Long hours of worry-free USB-C cable power supply.

    The SIGMA fp L supports USB charging while the camera is on. You can shoot without interruption while charging the camera using a mobile battery, even outdoors or where you have no access to a power outlet. When using it as a webcam, just connect the fp L to a PC via USB and it works as an audio and video input device while getting its power supply from the PC. This means that you can use it for long hours without having to worry about the battery dying on you.

[ Accessories and new features common for the fp series ]

Accessories and new features that will become available* on both the SIGMA fp L and the SIGMA fp

*Scheduled to be available on SIGMA fp via firmware update scheduled at a later date.

External Electronic Viewfinder

An attachment you’ve been waiting for.

An external electronic viewfinder EVF-11 (optional) designed exclusively for use with the SIGMA fp series. With its 0.5 inch, approx. 3.68 M dots OLED panel, this high-resolution, high-luminance viewfinder will make you feel immersed in your photography experience more thoroughly than ever.

Save / Load Settings are easier than ever

Share your work? Share your world.

With the fp L, you can now save a custom camera setting. Saved settings can be kept as QR code image data, so you can load many patterns of settings very quickly. This allows for a new, fun way for users to share custom settings they recommend with one another by exchanging QR codes with other users or sharing them on social media.

*QR Code is a registered trademark of Denso Wave Inc.

Powder Blue & Duotone

New colors. New adventures.

Powder Blue is a color mode with a bright and clear feel, featuring a refreshing blue color, while Duotone turns the colors of an image into a striking two-color gradient. With the addition of these two new modes to SIGMA’s ample choice of color modes originally featured on the fp series, there are now a total of 15 color modes to choose from. It is sure to bring a greater range and freedom to your still and video image creation with the fp series.

[ Key functions and features for different uses ]

What is the situation like? Who is using it? The SIGMA fp L is flexible and adaptable to suit whatever the photographer wants. Here are what make it so.

A still camera for stunning pictures

  • Back-illuminated 35mm full-frame Bayer sensor with approx. 61 effective megapixels that supports image plane phase-detection AF
  • 15 Color Modes to choose from: Two additional modes newly available*
  • Save / Load Settings*
  • Smooth autofocus: Hybrid AF
  • External Electronic Viewfinder EVF-11 (optional)**Scheduled to be available on SIGMA fp via firmware update scheduled at a later date.

Webcam for communication with quality image

  • Turn the SIGMA fp into a webcam with just a USB-C cableThe SIGMA fp series supports the USB video device class. Simply connect your camera to PC via USB and it sends audio and video to the PC, and works as a webcam.
  • Supports USB charging while the camera is on: Works as an audio and video input device while getting power supply from the PC*. Stream video for as long as you want.

*Dependent on the PC’s supply capacity

  • Hybrid AF: Tracks your subject smoothly and keep them in focus even when streaming online
  • Save / Load Settings*: Loads a webcam setting fast using a QR code
  • Change camera settings even when connected: Exposure compensation; shutter speed; ISO sensitivity; Color Mode; white balance
  • 15 Color Modes to choose from*: Create a streaming video look the way you like it

*Scheduled to be available on SIGMA fp via firmware update scheduled at a later date.

Cinema camera as a powerhouse in a shoot

  • Supports 3 RAW file formats
  • Supports camera control with a gimbal
  • Hybrid AF: Supports recording using a gimbal and one-person operation
  • Supports different frame rates*: Supports frame rates commonly used in filmmaking
  • Saving & Loading Settings*: Perfect for sharing camera settings in a multi-camera shoot

*Scheduled to be available on SIGMA fp via firmware update scheduled at a later date.

Director’s viewfinder essential tool for a film director

  • Director’s viewfinder*: Simulates shooting ranges of cinema cameras by major manufacturers
  • Frame guide*: Supports custom frame lines
  • Selection of external viewfinders*: Choice of electronic and optical viewfinders
  • Screenshot*: Capture what’s on your screen in a single image
  • Saving & Loading Settings*: Batch save complicated settings using QR code to store or load them at will

*Scheduled to be available on SIGMA fp via firmware update scheduled at a later date.

###

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Congratulations to Sandra Rust for winning the recent Photographic Portals assignment with the image, “Buck Breath.” See more of Rust’s photography at jolietcommercialphotographer.com.

View the winning image and a selection of submissions in the gallery below. And be sure to check out our current photography assignment here and enter your best shots!

[See image gallery at www.outdoorphotographer.com]

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Photo By Mark Koskulitz

Today’s Photo Of The Day is “Schwabacher Landing” by Mark Koskulitz. Location: Grand Teton National Park, Wyoming.

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including AssignmentsGalleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Wednesday, March 24, 2021

Photo By Peter Sabin

Today’s Photo Of The Day is “Sheep Jam” by Peter Sabin. Location: Glacier National Park, Montana.

“This picture is the result of learning a lesson the hard way,” explains Sabin. “I missed a picture of a Grizzly on a back road in Montana because my camera was in the back seat. Now I keep my camera ready and close at hand while traveling.
“A few months later, I was stopped for a traffic jam on the Going To The Sun Road in Glacier. Most traffic jams in the park are caused by tourists, but this jam was caused by bighorn sheep walking the road in the uphill lane while I was headed down. With my camera ready on the seat beside me, all I had to do was roll down my window and snap the picture of the sheep five feet away.”

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including AssignmentsGalleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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January 10, 2013, was a “monumental” day for the California national monument known as Pinnacles when it formally became this country’s 59th national park. Pinnacles National Monument was established by President Theodore Roosevelt in 1908. The park was created for the vision and preservation of local homesteaders and later was developed by a group of residents living in the area who went by the name “Pinnacle Boys.” What today is Pinnacles National Park has grown physically since that first inception to its present size of about 26,000 acres in the southern portion of the Gabilan Mountains.

View of volcanic rock formations at Pinnacles National Park

Volcanic rocks and pines along the west slope of High Peaks.

The park hosts between 350,000-400,000 visitors per year, many from Europe and Asia. Yet, with its proximity to the San Francisco Bay Area (over 7 million people and 101 cities), the park is accessed by hikers, climbers, bird watchers (especially those seeking the endangered California condors), geology buffs and artists. Pinnacles’ natural wonders—which includes the mammoth rock formation, crags, spires, wildlife, flowers, caves and even a tunnel arch—make it an ideal destination for nature photography.

Unlike most national parks, Pinnacles is distinctly divided into two parts, west and east, with no road linking the two. Michelle Armijo, who worked at the park as an education specialist interpretation ranger for nine years, notes that, “A road would impact both the beauty and terrain of the park.” Armijo, who still spends her time as a volunteer for the park, also said that because of the uniqueness of the San Andreas fault, the talus caves and high peaks are still creeping northwards each year along the Pacific plate, though measured by a mere 30mm to 50mm per year over the past 10 million years.

Geological Formation Of Pinnacles

The talus peaks began forming millions of years ago as the Farallon Plate subducted under the southwestern part of the North American Plate, creating California’s coastal mountain range. This combination of subduction of other plates (most notably the Pacific plate) spawned the infamous San Andreas Fault, which all Californians are constantly reminded of by way of earthquakes. The fault crosses California from the Salton Sea in the south to Cape Mendocino in the north.

Rising mood at Pinnacles National Park

A nearly full moon rises over the High Peaks just before sunset, as seen from the west side of Pinnacles National Park.

According to the park’s guide, “The Pinnacles volcanic field—believed to be 15 miles long and 8,000 feet high—was born 23 million years ago. The volcanoes were not where the Pinnacles are now but 195 miles to the southeast.” That’s present-day Lancaster, in Southern California. These fantastic formations ended up on the Pacific plate and crept north, carrying two-thirds of the Pinnacles volcanic field with them. The other one-third stayed behind and is now known as the Neenach Formation.

In its present state, Pinnacles National Park covers a terrain on the eastern side of the Salinas Valley, accessed off U.S. Route 101 via Soledad (called the “Gateway to the Pinnacles”) and onto California State Route 146. This is known as the west entrance to the park. Visitors coming to the east entrance arrive via State Route 25 south off U.S. Route 101 at Gilroy, referred to as the Pinnacles National Park Highway, and eventually making a right turn into the park onto State Route 146, 28 miles south of Hollister.

The park is connected by a labyrinth of foot trails that lead from one side to the other and up and over the towering High Peaks area, where one can step back in time and enjoy views of the talus spires and crags toward the Pacific Ocean to the west and the Diablo Mountain Range and Santa Clara Valley to the east.

Where To Go: West Or East Pinnacles?

As for photography, choosing to focus on the west or east sides of the park depends solely on what you are interested in capturing, as both sides offer unique and diverse views.

If you are interested in photographing the sheer dominance and beauty of the talus peaks, then the west entrance would lead you to an amazing view where these volcanic peaks seemingly tower straight out of the parking lot. The west is also the sunset side of the park, as the sun would set to the west (behind you) as you capture the view of the High Peaks.

Image of sunset on the High Peaks of Pinnacles National Park

The Pinnacles’ High Peaks consists of a relatively strong, well-consolidated breccia. The layers of breccias are thought to have formed as the result of material slumping off the sides of the volcano near the vents, causing large landslides. Recent faulting, fracturing and erosion have sculpted these rock layers into vertical cliffs and spires sometimes several hundred feet high.

Juniper Canyon Trail also begins on the west side of the park, and in the spring it leads you through a multitude of wildflowers and places you alongside sheer walls of talus and even a tunnel cut through the talus just below the High Peaks Trail.

Also from the west entrance, one can hop onto the Chaparral Trail, which winds alongside the talus peaks but also circumvents them, and closely follows Chaparral Creek, which in the spring is laden with wildflowers. The treasure of this trail is that it leads through the cavernous Balconies Cave via the ancillary Balconies Cave Trail.

Balconies, one of two caves in Pinnacles (with Bear Gulch Cave on the east side being the second—more on this later), closes for a portion of the year when bats are breeding or showing signs of being disturbed. This cave requires some scrambling, so try to stay as light as possible with gear and bring either a flashlight or a headlamp. One may also have to wade in the winter, so be prepared. Balconies Cave offers some incredible photo opportunities and is easier to photograph when the light is soft, as harsh-light days create extreme contrast as light pours through the openings created by the talus boulders.

One should note that the west entrance is controlled by an electronic gate that stops visitors from entering following sunset until 7:30 a.m. the next morning. However, if you are already inside the park, the gate has a sensor and will open to let you out—good to know if you plan on doing some astrophotography. It should also be noted that the park’s main visitors’ center resides on the west side of the park. It is open year-round from 9:30 a.m. to 5 p.m. Rangers and volunteers are available to answer specific questions regarding the park and even answer your photo-related questions.

The east side, unlike the west, has no gate. If you want dawn light, then head for the east side as the sun will be rising to your back as you look up toward the high peaks.

Crescent moon at Pinnacles National Park

A crescent moon hangs over High Peaks.

As far as night photography goes, the park is a gem as light pollution is at a minimum, especially if you are shooting east, north or south. Shooting west, one can pick up the ambient spill of towns in the Salinas Valley. I like trying to photograph with a moon (either almost full or a crescent). It is fun to play with the positioning of the moon between the talus formations. Almost any time of the year works for moon and astrophotography, and there are still many images I have in my mind that I want to try at night.

If photographing wildlife is more your preference, then you will have the opportunity to see deer, bobcats, a few mountain lions (though it is rare to spot them), falcons, birds of prey, mule deer and gray fox.

Now, all this may sound great, but remember there is an entire east side to the park. As mentioned, this is the route most accessible for those coming in from the greater San Francisco Bay Area.

Night photo taken at Pinnacles National Park

Star field over Pinnacles’ east peaks.

There are a series of nine trails of varying difficulty listed, from moderate to strenuous. The Bear Gulch trail will lead through a diversity of ecosystems and through the Bear Gulch Cave, where bats reside. Like Balconies Cave, when high activity of the bats is detected, this cave is also closed, so check before going if cave photography is high on your list. Unlike Balconies cave, Bear Gulch Cave is a more open cave experience with stairs and even waterfalls during the rainy season, so you may want to carry just a small backpack or a belt-pack system. Nearby is Bear Gulch Reservoir, which offers excellent sunrise and sunset opportunities when clouds are present.

Pinnacles National Park Climate & Conditions

The High Peaks are a treat to photograph at any time of year. One can capture them from the meadows below or hike up into them (an elevation gain of approximately 1,500 feet). Though it is listed as “Mediterranean,” Pinnacles’ climate can vary. It does snow at the Pinnacles a few times each winter, especially in the High Peaks (with an elevation of over 2,700 feet), but the snow does not last long as warmer air off the nearby Pacific Ocean 50 miles west melts what does fall rapidly.

Sunset sky at Pinnacles National Park

A sunset sky forms over Pinnacles National Park.

Summers can be extremely hot, so the edges of the day are the better bet. The park receives moderate rainfall, and this influences the park’s plants and trees. Chaparral dominates much of the park’s topography. The woodlands offer a mix of primarily gray pines and blue oaks, which are beautiful to photograph. In the spring, the meadows, especially on the east side of the park, offer a bevy of wildflowers with peak season being March through May, when 80 percent of the park’s plants are in bloom. Manzanita also grows large in areas and is distinguished by its thick warmish-red bark and red berries in the spring. They can make for some very colorful subjects or foregrounds.

I recommend packing a light bag with lenses covering a range of 24mm to the longest telephoto you can comfortably carry. Take your time and bring lots of water. Sunrises and sunsets are awesome, as well as dawn and dusk, when the soft hues mix beautifully with the warm-colored rocks.

Home Of The California Condor

I think I have saved the best for last: Pinnacles’ amazing California Condors. These incredible birds were almost extinct in the wild in 1987, and the remaining condors were taken into captivity at zoos in Los Angeles, San Diego and Oregon. At the time, there were only two dozen of these birds left in the world.

Southern California released the first captive condor back into the wild in 1992, followed by Big Sur’s Ventana Wildlife Society in 1997. In 2003, Pinnacles joined the California Condor Recovery Program and became the state’s official release site for the bird. Presently the condors’ numbers in the wild are nearing 300, according to the U.S. Fish and Wildlife Service. Quite a comeback story.

The park released close to 30 condors over a 15-year period while focusing on educating hunters about the danger of lead ammunition, which results in the poisoning of these birds. Condor wings are tagged with visible numbers and are tracked by at least one radio transmitter. Some of the birds are also given GPS transmitters.

Image of a rare condor at Pinnacles National Park

Condor at High Peaks, Pinnacles National Park.

Photographing these large birds (wingspans can reach 10 feet) is a bit difficult, but I have had success positioning myself in the High Peaks about two hours before sunset as the birds return from a day of foraging. If I am quiet enough, they will soar nearby—it is an incredible experience to hear them fly past, but you must remain still. My wife, Beri, said it was like a spiritual experience, and I would have to agree. Once you get up to photograph, you will immediately see them stay farther away. I recommend arriving about two hours prior to sunset for the best show and light.

California condors tend to ride the updrafts looking for a place to sleep for the night and can reach heights of 15,000 feet. I would recommend at least a 300mm lens or longer if you wish to go tight. My best image came when I was tracking three condors resting on a rock formation in the high peaks. I had a Sony 400mm f/2.8 lens with a 2x converter (effective 800mm), when one of the birds decided to take off from one ledge to the next. It is by far my best image ever of a condor and shows just how colorful these birds are. I was so excited that my Sony a9 tracked the bird and recorded it tack-sharp. I was handholding the lens and shooting virtually straight up.

Planning Your Trip To Pinnacles National Park

Pinnacles offers many diverse photo opportunities, but it’s not an easy park to hike, so think of taking lighter packs—especially if you want to go into the High Peaks area.

I would also plan for at least a four-day visit to truly experience what both sides of the park offer. If staying on the west side, look for hotels in nearby Soledad. On the east side, look for hotels in Hollister. Regardless of the time of year, bring plenty of water and snacks—and enjoy the beauty.


See more of Don Smith’s work at donsmithphotography.com.

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Tuesday, March 23, 2021

Sony today announced three new primes for its full-frame mirrorless system, the FE 50mm F2.5 G, FE 40mm F2.5 G and FE 24mm F2.8 G. The distinguishing characteristic of the lenses is their compact size, making them ideal for use with Sony’s most compact full-frame Alpha camera, the Sony a7C. The lenses are also attractively priced.

Trio of compact Sony prime lenses.

Sony FE 24mm F2.8 G, FE 40mm F2.5 G and FE 50mm F2.5 G.

All three lenses have the same external dimensions at 1.77 inches in length and 2.68 inches diameter and are similar in weight at around 6 ounces. Sony notes the advantage of this for video capture on a gimbal head, as the lenses can be swapped without needing to rebalance.

The FE 24mm F2.8 G has the closest minimum focus distance of 9.5 inches when using autofocus and 7.1 inches when focusing manually. The FE 40mm F2.5 G has a minimum focus distance of 11 inches (AF) and 9.8 inches (manual), and the FE 50mm F2.5 G has a minimum focus distance of 13.8 inches (AF) and 12.2 inches (manual). All three have two linear AF motors and are said to provide excellent autofocus tracking performance and quiet operation.

The lenses will be available in May and priced at $600 each. For more details, see the press release below.

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Sony Electronics Introduces Three New High-Performance G Lenses™ to its Full-Frame E-mount Lens Lineup

New 50mm, 40mm and 24mm Lenses Combine Incredible Image Quality and Intuitive Operability

SAN DIEGO, CA – March 23, 2021 – Sony Electronics Inc. has announced the addition of three new G Lenses™ to its impressive E-mount line-up – the FE 50mm F2.5 G (model SEL50F25G), FE 40mm F2.5 G (model SEL40F25G) and FE 24mm F2.8 G (model SEL24F28G). All three lenses deliver high image quality and beautiful bokeh in a lightweight and compact design, perfect for photographers and videographers needing high image quality combined with easy mobility.

When paired with a Sony full-frame or APS-C camera, all three lenses offer high resolution, intuitive operability, and fast, precise and quiet AF (autofocus) capabilities. The lenses were designed for a wide range of photo and video uses including portraiture, landscape, street photography and more.

“At Sony we are constantly innovating to develop the best tools that allow photographers and video creators to realize their artistic vision,” said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. “With these three dynamic lenses, our customers can capture a wide range of perspectives with the excellent resolution and beautiful bokeh that Sony’s G lenses are known for.”

As a set, the FE 50mm F2.5 G, FE 40mm F2.5 G and FE 24mm F2.8 G deliver an ideal focal length for any shoot, from wide-angle landscapes or establishing shots on the 24mm, to a closer versatile perspective with the 40mm and a normal field of view ideal for portraits and closer shots on the 50mm. With their intuitive operability and superb build quality, this lens set is perfect for a variety of needs for any content creator.

The three lenses are all the same size (2.68 in diameter x 1.77 in), all have the same filter diameter (49mm) and are almost all the same weight (FE 50mm F2.5 G 6.1 oz, FE 40mm F2.5 G 6.1 oz and FE 24mm F2.8 G 5.7 oz), allowing the user to easily switch between all three lenses when using a gimbal without needing to rebalance each time.  Moreover, each lens focuses internally, which means the front element does not move in and out to focus, enabling all three lenses to balance well when using a gimbal. They all feature the same stylish exterior design with focal lengths that are clearly marked to easily switch from lens to lens.

High Resolution in a Compact Design

The FE 50mm F2.5 G, FE 40mm F2.5 G and FE 24mm F2.8 G combine the high image quality of a G Lens with a compact and lightweight form factor. The image quality is achieved by state-of-the-art optics using aspherical elements and ED (Extra-low Dispersion) glass elements[i], delivering high resolution and suppressing color fringing from corner to corner, even from the widest aperture, with a shallow depth of field.

The stunning bokeh of the G lenses is achieved with the optimization of a circular aperture and is delivered at the widest point of each lens (FE 50mm F2.5 G, FE 40mm F2.5 G, and the FE 24mm F2.8 G).

Focus Distances

The FE 50mm F2.5 G has a minimum focus distance of 0.35m (AF) / 0.31m (MF) and maximum magnification of up to 0.18x (AF) / 0.21x (MF), which is ideal for a variety of shooting environments and subjects.

The FE 40mm F2.5 G has a minimum focus distance of 0.28m (AF) / 0.25m (MF) and maximum magnification of up to 0.20x (AF) / 0.23x (MF). Particularly for movie shooting, 40mm is the preferred angle of view as it corresponds to the natural field of vision. For stills, 40mm allows subjects to stand out against backgrounds.

With a wide 24mm angle of view, the FE 24mm F2.8 G has a minimum focus distance of 0.24m (AF) / 0.18m (MF) and maximum magnification of up to 0.13x (AF) / 0.19x (MF), the user can easily shoot close-ups with a blurred background.

High Operability and Reliability

The lenses feature a focus hold button, focus mode switch, aperture ring, and aperture click switch for ideal operability. The focus hold button is customizable from the camera menu and can be assigned based on users’ preferences. The aperture ring provides an intuitive and direct feel, compared to operating the aperture from the camera body. The aperture also provides switchable click stops that can be turned off for movie shooting using the aperture click switch. Furthermore, with Linear Response MF, the focus ring responds precisely and linearly when focusing manually, so control feels immediate and intuitive, directly reflecting the intent of the photographer and allowing delicate focus adjustments.

The aluminum exterior ensures a premium, sophisticated finish and provides increased strength and durability. Conveniently, the diameter of the filter threads on the hood and the lens barrel are equal[ii] (49mm), allowing the same cap and filter to be attached to both the hood and the lens barrel. The lenses are also designed to be dust and moisture resistant[iii] to ensure usability in any outdoor environment.

Fast, Precise and Quiet Autofocus

The FE 50mm F2.5 G, FE 40mm F2.5 G and FE 24mm F2.8 G feature two linear motors to deliver fast, precise AF with excellent tracking performance which is maintained despite instantaneous changes in subject motion – making the lens ideal for tracking moving subjects. The AF is also quiet, so works for both still and movie shooting.

Pricing and Availability

The FE 50mm F2.5 G will be available in May and will be sold for approximately $600.00 USD and $800.00 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

The FE 40mm F2.5 G will be available in May and will be sold for approximately $600.00 USD and $800.00 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

The FE 24mm F2.8 G will be available in May and will be sold for approximately $600.00 USD and $800.00 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

[i] FE 24mm F2.8 G 1 x ED, 3 x aspherical elements

FE 40mm F2.5 G 3 x aspherical elements

FE 50mm F2.5 G 1 x ED, 2 x aspherical elements

[ii] This does not apply to FE 24mm F2.8 G

[iii] Not guaranteed to be 100% dust and moisture proof

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Photo By Ryan Cairl

Today’s Photo Of The Day is “Sometimes You Just Get Lucky” by Ryan Cairl. Location: Arizona.

“Sometimes you just get lucky in photography,” says Cairl. “I made this image at the Toroweap overlook in Grand Canyon National Park. Feeling somewhat deflated with very smoky skies eliminating any hopes for astrophotography, I walked along the overlook marveling at the 3,000-foot cliffs below me and took it all in. I noticed a person in the distance starting to get very close to the edge and look down, so I grabbed my zoom lens and fired off a few shots. To this day, I have no idea who this person was, but they were enjoying the same awesome view I was at this point in time.”

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including AssignmentsGalleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Monday, March 22, 2021

Photo By Gene Putney

Today’s Photo Of The Day is “Feels Good!” by Gene Putney. Location: Rocky Mountain National Park, Colorado.

“On a late June afternoon, I came across some Rocky Mountain cow elk with calves,” explains Putney. “They were bedded down in the treeline resting. I waited for them to hopefully get up to eat before last light for some photo opportunities. They finally accommodated me and when this calf first got up from its afternoon slumber it immediately started to do some stretching exercises. This image is one of my favorites from that afternoon.”

Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including AssignmentsGalleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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While growing up, there was a very popular dance song called “Tighten Up.” A line from it is, “Everything will be outta sight, come on and tighten it up.” These lyrics can make you a better photographer! How, you ask? The answer is actually quite simple. Literally, it’s simple. The word simple comes from the Latin, simplus. Its English translation means “plain, basic, uncomplicated in form or design; without much decoration or ornamentation.”

When it comes to photography, simplicity is my approach. I don’t make it complicated, especially when it relates to composition. The more cluttered the image, the harder it is for the viewer to discern the subject from the chaos. Simply stated, reduce the composition to its basics and the viewer can comprehend why the shutter was pressed. Include too much and the result is discord.

So how does one go about simplifying composition? The lines I quoted from the song answer this question: “Everything will be outta sight, come on and tighten it up.” All clutter witnessed in the viewfinder needs to be placed outta sight. One way to accomplish this is to move closer to the subject. Peripheral disarray will be eliminated. Another is the photographer adjusts his or her shooting angle so ugly distractions can be covered by aesthetically pleasing objects. A third option, if possible, is to move the subject to produce a better angle. A fourth option goes hand in hand with the title of the song. Rather than move yourself or the subject, use the power of your zoom and tighten up the composition. The above sounds simple, so why then are there still so many photos that contain clutter?

When photographers compose an image, they have to decide what the most important elements are that stand before them. The decision should be governed by what constitutes the prime subject seen through the lens. For everything to fall into place, there should be a concrete relationship between the key subject and its background. If there’s little or no harmony, as much of it as possible should be excluded, so zoom in to crop the photo more tightly. Fill as much picture space with the subject as the lens allows. Change to a longer lens if necessary.

To solidly apply the above concepts to help you see background distractions, I implore you to work with your camera on a tripod. It provides a means to study the information in the viewfinder much more precisely and methodically. Take your eye away from the camera, count to 10 and look through the viewfinder again. This time, don’t immediately cast your eye in the direction of the main subject. Intently study the edges, top and bottom of the frame. I guarantee you’ll see some sort of distraction sticking in from one of these areas that you didn’t notice before you looked away. The more often you do this in conjunction with using the capability of your zoom to tighten up, the more quickly you’ll be on the road to creating award-winning pictures.

To learn more about this subject, join me on a photo safari to Tanzania. Visit www.russburdenphotography.com to get more information.

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