Photo Of The Day By Jeremy Leder

Photo By Jeremy Leder

Today’s Photo Of The Day is “Old Icelandic Cabin” by Jeremy Leder. Location: Arnistapi, Iceland.

“Cold winter winds blow fresh snow through the shell of an old isolated cabin on the coast of Iceland,” describes Leder.

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 Assignments, Galleries 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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Photo Of The Day By Andrew C. Strom

Photo By Andrew C. Strom

Today’s Photo Of The Day is “Cracked Earth” by Andrew C. Strom. Location: Little Washoe Lake, Northern Nevada.

“Right next to Washoe Lake in Northern Nevada is Little Washoe Lake,” explains Strom. “In the summer of 2021, through drought and irrigation, all of Little Washoe had completely dried up. While fascinating to explore and walk upon, it was a bit of treacherous terrain as the cracks in the surface went as far down 18 to 24 inches in places and could easily swallow up a careless foot.”

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 Assignments, Galleries 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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Photo Of The Day By Raj Sarda

Today’s Photo Of The Day is “Oryx on the Dune” by Raj Sarda. Location: Near Ondangwa, Namibia.

“Early-morning trek by oryxes over the dunes heading to the river,” describes Sarda. “This lone oryx stopped to pose.”

Nikon D800, 200mm lens. 1/60th sec., f/8.

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 Assignments, Galleries 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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Sony Introduces Second Generation 24-70mm G Master

Sony today announced an update to its 24-70mm G Master lens, the FE 24-70mm F2.8 GM II. Sony describes the new lens as the “world’s smallest and lightest” F2.8 24-70mm zoom, and it is indeed compact and lightweight at 20 percent lighter and 18 percent shorter than the first generation 24-70mm F2.8 G Master.

Sony FE 24-70mm F2.8 GM II

The FE 24-70mm F2.8 GM II incorporates four of Sony’s XD Linear Motors for autofocus performance that can keep pace with fast moving subjects and the 30 fps continuous shooting speeds of the Sony Alpha 1 camera. It also offers improvements when recording video, including reduced focus breathing and focus shift when zooming, and includes a new “zoom smoothness” switch to adjust the zoom ring responsiveness with “Tight” or “Smooth” modes. The lens can focus as close as 8.25 inches at 24mm, extending to 12 inches at 70mm.

Of particular interest to outdoor photographers, the lens also provides an “updated” design for dust and moisture resistance, with rubber gaskets protecting the switches and buttons and a seal at the lens mount.

Availability of the FE 24-70mm F2.8 GM II is expected in June, with a list price of $2,300. For additional details, see the press release below.

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Sony Electronics Introduces New FE 24-70mm F2.8 GM II, the World’s Smallest and Lightest[i] F2.8 Standard Zoom Lens

Newest G Master Series Lens in Sony’s Mirrorless E-mount Lineup with Industry-leading Optical Design, Unique Actuator Technologies, Advanced Autofocus and More

SAN DIEGO, CA – April 27, 2022 – Sony Electronics Inc. announced today the 67^th lens in its mirrorless E-mount lineup – the highly-anticipated,   (model – SEL2470GM2). Sony developed the world’s lightest F2.8 standard zoom lensⁱ using its leading lens technology to deliver stunning resolution and beautiful bokeh known to Sony’s “G Master” series. The FE 24-70mm F2.8 GM II is one of the most versatile lenses in the line-up and was created for photographers, videographers, and hybrid content creators.

“Six years have passed since Sony released the first 24-70 mm F2.8 G Master and in that time, our customers’ needs have changed,” said Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. “We are always listening to our community and have designed the new FE 24-70mm F2.8 GM II around feedback from creators. Knowing the 24-70 mm focal length is extremely popular, it was imperative that we continue improving to bring our most advanced technology to such a critical lens in our customers’ kit. Today, we are thrilled to introduce the world’s smallest and lightest F2.8 standard zoom lens.”

Evolved Image Quality in a Zoom Lens that Rivals Prime Lenses[ii]

The FE 24-70mm F2.8 GM II is great for a compact yet versatile set up and allows users to capture extremely sharp, detailed imagery for both stills and video. The new lens features high resolution across the frame—even with the aperture wide open. A completely redesigned optical path features five aspherical elements, including two high-precision XA (extreme aspherical) elements. The FE 24-70mm F2.8 GM II also includes two ED (extra-low dispersion) plus two Super ED glass elements. Combined with a new floating focus mechanism, the lens effectively controls chromatic aberration, astigmatism, distortion and coma so that outstanding resolution is achieved throughout the image area at all zoom and aperture settings.

Even when shooting in challenging lighting conditions, the FE 24-70mm F2.8 GM II achieves excellent clarity by effectively subduing flare and ghosting. This is thanks to Sony’s original Nano AR Coating II, which produces a uniform anti-reflecting coating on the lens surface. The FE 24-70mm F2.8 GM II produces stunning bokeh throughout the zoom range with beautiful and almost perfectly circular bokeh with its advanced optical design and a newly developed 11-blade aperture unit.

In this new 24-70 mm design, this lens delivers outstanding close-up performance with a minimum focusing distance of 8.25 inches (0.21 meters) at 24 mm and 12 inches (0.30 meters) at 70 mm, and with a maximum magnification of 0.32x.

Fast and Precise Autofocus

The FE 24-70mm F2.8 GM II achieves reliable focus by using four of Sony’s original XD (extreme dynamic) Linear Motors, a floating focus mechanism and advanced lens control – even when shooting a fast-moving subject. In addition, the lens supports up to 30 fps[iii] continuous shooting for stills and 4K 120p video recording with autofocus.

The FE 24-70mm F2.8 GM II enables full AF tracking performance even when shooting stills with the aperture stopped down, making it possible to use deeper depth of field to ensure that moving subjects remain in sharp focus when shooting continuously[iv]. The lens’ AF tracking performance while zooming is approximately two times better than the previous model[v].

Refined Capabilities for Creative Filmmaking

With its constant F2.8 maximum aperture, astounding AF performance, versatile control, and solid reliability, the FE 24-70mm F2.8 GM II is designed for all types of video applications. The FE 24-70mm F2.8 GM II offers extremely quiet AF operation, thanks to the XD Linear Motors and a newly developed aperture unit. Using the latest lens technology, the FE 24-70mm F2.8 GM II reduces focus breathing, focus shift and axial shift when zooming for smooth video footage. This lens also supports the breathing compensation function[vi] provided in compatible Alpha series cameras.

As an added benefit for advanced video creation, the newest lens includes Linear Response MF (manual focus) that ensures high repeatability when focusing manually as the focus ring responds directly and repeatedly to subtle control. It also includes an aperture ring making manual aperture/iris control fast, direct, and easy. The dedicated iris ring enables click-less control to achieve smooth depth of field transitions.

Unrivaled Mobility

Designed to perfectly pair with Sony’s compact Alpha system E-mount cameras, the FE 24-70mm F2.8 GM II is the world’s smallest and lightestⁱ 24-70 mm F2.8 zoom in its class and offers unprecedented shooting flexibility and freedom in a wide range of situations. The FE 24-70mm F2.8 GM II weighs just 24.6 ounces (695 grams), approximately 20% less (7 ounces) than the original 24-70 mm F2.8 G Master. The lens’ length has been reduced by 16 mm, and overall volume has been reduced by approximately 18%.

Reliability and Improved Control

The new FE 24-70mm F2.8 GM II was developed based on feedback from professionals to offer even better control and usability than preceding models. This model includes:

• Zoom smoothness switch to adjust zoom ring torque either Tight or Smooth
• A newly added aperture ring with click ON/OFF switch and iris lock switch
• Two customizable focus hold buttons
• The focus ring that responds directly and linearly to subtle control when focusing manually
• New lens hood design with opening to control circular polarizing filters (dia. 82mm)
• The center of gravity back toward the mount for improved handling and operation

An updated dust and moisture resistant[vii] design provides extra reliability for outdoor use in challenging conditions. The buttons and switches are fitted with rubber gaskets, and a rubber ring seals the lens mount. The front lens element also features a fluorine coating that repels water, oil, and other contaminants, while making it easier to wipe off any contaminants or fingerprints that become attached to the lens surface.

Pricing and Availability

The new FE 24-70mm F2.8 GM II will be available in June for approximately $2,300.00 USD and $3,000.00 CAD and will be sold at a variety of Sony’s authorized dealers throughout North America.

[i] As of April 2022, compared to full-frame 24-70mm F2.8 standard zoom lenses that support autofocus. Sony survey.

[ii] MTF chart comparison

[iii] When paired with the Alpha 1. “Hi+” continuous shooting mode. Effective at 1/125 seconds or higher shutter speed. In AF-C mode at shutter speed of 1/250 seconds or higher. The maximum continuous frame rate will depend on the shooting mode.

[iv] With a compatible camera and the camera’s [Aperture Drive in AF] parameter set to [Focus Priority]. See Sony’s support page on the web for camera compatibility info.

[v] Sony tests. Compared to SEL2470GM.

[vi] Compatibility info at: https://www.sony.net/dics/breathing/ Available in movie mode only. Angle of view and image quality may change slightly when this function is used. Compensation may not be able to cover all situations.

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

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Photo Of The Day By Charles Cormier

Photo By Charles Cormier

Today’s Photo Of The Day is “The Endless Winter” by Charles Cormier. Location: Rye Beach, New Hampshire.

“Here in New England, when the air temperature drops rapidly, we have a phenomenon known as ‘sea smoke,’ explains Cormier. “The ocean appears to steam, which is enhanced by the rising sun. On this morning, as temperatures dipped, a lone surfer paddles out into the frigid Atlantic, hoping to catch the perfect wave.”

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 Assignments, Galleries 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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Isolation Assignment Winner Yvonne Baur

Congratulations to Yvonne Baur for winning the recent Isolation assignment with the image, “The Snow Tree Revisited 2019.”

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 Of The Day By Jeremy Janus

Today’s Photo Of The Day is “Lightning on the Eastern Plains” by Jeremy Janus. Location: Near Denver, Colorado.

 “I was headed home to Denver after chasing some bolts about six hours prior when I saw lightning striking out east,” explains Janus. “I chased this storm about an hour east of Denver before I could capture this 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 Assignments, Galleries 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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Photo Of The Day By Christopher Baker

Photo By Christopher Baker

Today’s Photo Of The Day is “High Key Sunrise” by Christopher Baker. Location: Madison, Alabama.

“A great blue heron enjoying a relaxing morning sunrise,” describes Baker.

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 Assignments, Galleries 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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Tree Photography In Every Season

Although the theme of this week’s tip is trees, it can be applied to many subjects. Press on and apply much of the advice and particulars to whatever you photograph. I begin with a teaser: Why did the tree take a nap? For rest.

The Root Of The Problem

Trees became a poplar subject for me when I got into a photo funk. I got caught up in the doldrums, I wanted to make photos, but nothing excited me. One day, I opened a magazine and a gorgeous photo of a tree was on the page to which I turned. That was my motivator. So much so, the next time I got stuck in a rut and felt stumped, I opened a different magazine to a page and told myself that whatever nature subject I first saw, I would make it a priority to create a portfolio. If the same happens to you, adopt this rut buster and utilize the idea.

Trees are very diverse both as a species and as photography subjects. Entire forests that dwell on hillsides make wonderful images. A single tree that stands alone has unlimited potential. A solitary leaf that dangles from a branch or has already fallen can wind up as a wall hanging over your fireplace. The potential is endless. Each season introduces variations, and dramatic weather provides even more. There are aspects that dictate what trees we photograph. The primary one is deciduous vs. coniferous. For the sake of simplicity, this week’s tip focuses on deciduous.

Tree Photography In Spring

How wood you best capture a tree in spring? Trees in spring offer a wide variety of subject matter. Flowering deciduous provide photographers with subject matter that ranges from macro to forested hillsides. As buds morph into flowers, break out the macro lens to zero in on individual blossoms. Use flash to soften the contrast. In mid-day bright sun, I don’t often make photos. Contrast is elevated, the color is cool in tone and the sun’s angle is poor. But the world of macro can be augmented with flash. Attach a macro lens and use flash as the main light. Use small apertures to get the entire blossom in focus. This benefits a photographer in that light from a flash falls off quickly so backgrounds tend to go dark. This makes for stronger images because background distractions that would otherwise show up are darker.

Tree Photography In Summer

No conifers, so how would you spruce up a deciduous? Think green and think patterns. Green dominates the summer months. This can act as a negative as we don’t tend to view green as an exciting color. With this in mind, reserve the times you photograph summer trees for sunrise and sunset when light adds color to the scenery. The warm glow of rise and set helps bathe the trees in hues that evoke more emotion in the viewer. Look for patterns in trees at a local park, a forest or along a hillside. I live near the western mountains and often photograph aspens. An aspen forest is actually a single organism in that the forest originates from a single tree. Aspens send out root suckers from which new trees sprout. They often create patterns, especially in their trunks of white. Walk through the forest and seek out the patterns to add a different twist to your tree images.

Tree Photography In Fall

What root do you take to make the best autumn image? Backlight is key, especially when autumn-colored leaves take on a semitransparent look. The light radiates through the leaves and provides a glow. The light is dramatic and emits oohs and aahs from viewers of backlit fall-colored foliage. Sidelight at sunrise and sunset should also be sought after when you make tree images in the fall. When side-lit, on a clear day, the sky is often its bluest. This works well if you know color theory. Yellow, orange and red are opposites of the blue spectrum, so when they’re juxtaposed, the warm colors come forward and the cool tones recede. This gives the viewer the impression the leaves have three-dimensionality.

Tree Photography In Winter

How does one log in to obtain the best winter tree image? Silhouettes are the name of the game in winter as are frost or snow-covered tree skeletons that have character, shape and form. Isolate and simplify your composition by singling out trees that have a unique structure. Photograph them against a colorful sunrise or sunset to create the silhouette. If dark clouds are behind the tree, move to your left or right as you don’t want the dark branches to create tone mergers with the dark clouds that often lack vibrant color. Monitor the weather and if the forecast calls for overnight snow followed by a clear morning, visit your favorite tree early in the day and work the backlit silhouette, the early sidelight with the tree against the blue sky and then repeat the backlight to capture the frosty glow of snow on each limb.

As I mentioned in paragraph one, many of the tips and techniques I explained can also be applied to other subjects. Think about how your favorite one can benefit from what I shared. I’m rooting for you to make some great images!

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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Photo Of The Day By Troy Harrison

Photo By Troy Harrison

Today’s Photo Of The Day is “Wild World” by Troy Harrison. Location: Lake Clark National Park, Alaska.

“A little brown bear cub poses in front of the distant mountains that make up the wide range of its home in Lake Clark National Park, Alaska,” describes Harrison.

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 Assignments, Galleries 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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Photo Of The Day By Sharon Philpott

Photo By Sharon Philpott

Today’s Photo Of The Day is “Face Rock Sunset” by Sharon Philpott. Location: Face Rock State Scenic Viewpoint, Oregon.

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 Assignments, Galleries 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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Photo Of The Day By Craig Bill

Photo By Craig Bill

Today’s Photo Of The Day is “Sunquest” by Craig Bill. Location: Arizona.

“This time I wanted to get the sun,” says Bill. “Over the past few trips to this Arizona slot canyon location, I was successful at capturing several great shots of Antelope Canyon. After my first couple shots, I wanted to change up the perspective some. For instance, I have shots that showed the popular rays of light that penetrate the canyon during high sun hours and shots that show only the wall colors with no sky. Both of these types of images are the most familiar of the slot canyons in this area. But I wanted different images this time around. I decided that I wanted to try nighttime shots showing the stars, nighttime shots that were light painted and one that didn’t avoid the bright sun but showcased it. By pointing the camera upwards, I slowly moved back and forth until the sun flare was just right. It is a risky shot because the extremes of exposure values are hard to control. But after a hike searching for the small spots where the sun broke through, I got it— This time I got the sun.”

See more of Bill’s work at CraigBill.com.

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 Assignments, Galleries 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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Photo Of The Day By lindsaydanielsphoto

Photo By lindsaydanielsphoto

Today’s Photo Of The Day is “Wildflowers at Factory Butte” by lindsaydanielsphoto. Location: Wayne County, Utah.

“Elusive wildflowers in the Caineville desert with Factory Butte in the background,” describes the photographer.

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 Assignments, Galleries 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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Photographic Portals Assignment Winner Yvonne Baur

Congratulations to Yvonne Baur for winning the recent Photographic Portals Assignment with the image, “Maku’u Sunrise.”

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 Of The Day By Holly Jansen

Photo By Holly Jansen

Today’s Photo Of The Day is “Big Sur Beach” by Holly Jansen. Location: Big Sur, California.

“This iconic beach is visited by thousands of tourists every year, but it’s the winter solstice that makes it really special,” says Jansen. “The sun is at the perfect angle to shine through the arch and give off a beautiful glow.”

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 Assignments, Galleries 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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Great Outdoors 2021 Photo Contest Finalists

Congratulations to the 26 finalists of our Great Outdoors 2021 photo contest! This year, the contest received hundreds of beautiful images ranging from grand landscapes to intimate wildlife portraits. We’re excited to share with you the official finalist slideshow below. Winners will be announced soon.

If you missed your chance to enter, our The American Landscape 2022 photo contest is now accepting submissions. Enter now through May 17 to take advantage of reduced early entry fees. Or, become an Outdoor Photographer Plus or VIP member today and receive a complimentary contest entry.

[See image gallery at www.outdoorphotographer.com]

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Photo Of The Day By fletcher231

Photo By fletcher231

Today’s Photo Of The Day is “Solitude” by fletcher231. Location: Vermilion Cliffs National Monument, Arizona.

“I captured this unique pastel sunset over a classic shot in the White Pocket area of Vermillion Cliffs,” describes fletcher231.

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 Assignments, Galleries 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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Photo Of The Day By Hi il Lee

Photo By Hi il Lee

Today’s Photo Of The Day is “Windy Sand Dunes” by Hi il Lee. Location: New Mexico.

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 Assignments, Galleries 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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Macro Portraits And Macro Flash

A portrait is a portrait. To simply add the modifier of macro doesn’t change the rules of good composition, light, creativity, depth of field, etc. What does change is the way in which the subject is captured. If you use natural light, time of day and angle of the sun still help determine the success of an image. But you have a tremendous advantage making macro portraits over ones of large mammals or people. With just a few modifications, macro portraits can be made mid-day when most photographers nap, clean equipment, download, edit or explore new locations. You need to modify harsh noon light with a reflector or diffuser. Additionally, sunlight can be overridden via the use of flash and dependent upon power settings, it can be reduced to a source of fill.

To photograph macro portraits, you need equipment that allows you to fill the frame with small subjects. While many lenses claim to have macro capabilities, this is debatable. Some offer the macro capability only at the widest zoom setting, which defeats the purpose of getting close. True macro lenses work wonderfully but are costly. Depending on the subject matter you want to capture, a given focal length will prove more advantageous. For instance, if insects or other skittish animals are your main focus, you need a telephoto macro. You can be farther back and not scare off the subject. Additionally, if you use flash, there will be enough working distance where the flash can evenly light the subject and not have the end of the lens cast a shadow. If you don’t want to lay out big bucks for a macro lens, you can use extension tubes, a bellows or close-up filters. Of the three, I prefer filters for their ease of use. The key is to use the dual-element achromatic type.

I’ve seen many gorgeous macro portraits taken with available light. But as with many other subjects, a lot of factors must fall into place to create a successful natural light photo. The beautiful light has to be where the subject is located, the subject’s appearance has to coincide with the time of the gorgeous light and the setting must be perfect for the direction of light. Rather than leave these factors to fate, wouldn’t it be nice to have the ability to produce consistent results even if it’s heavily overcast? The solution is a rather easy one. Use flash. It can be used as a fill light, main light or in tandem with multiple flashes to produce dramatic and pleasing results.

Flash has many advantages. First off, it provides a large burst of light so a small aperture can be used. This results in more depth of field. This is important in that when you work with macro subjects, critical focus is measured in millimeters. Even the slightest error in focusing results in an out-of-focus subject or a subject that may have a sharp wing instead of a sharp eye. Secondly, a flash helps offset movement if the wind is blowing. The duration of the flash is so fast that motion is frozen whether it’s a flower in a breeze or a walking praying mantis. An additional benefit is it frees you up from using a tripod. This is advantageous as you can move more efficiently. Additionally, the tripod is just another item that may scare away your subject.

My personal favorite setup consists of two flashes. I have a bracket that mounts to the tripod socket on the bottom of my camera. The bracket contains a flash foot on the left and right sides into which I insert medium power flashes. I position the “main” light on the right side of the bracket and the “fill” light on the left. The fill light gets dialed down to emit one to two stops less light from the main flash. This creates modeling and mimics a wraparound effect. When just a single flash is used, distracting shadows often appear.

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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Photo Of The Day By Masako Metz

Photo By Masako Metz

Today’s Photo Of The Day is “Gorse with the Coastline” by Masako Metz. Location: Oregon.

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 Assignments, Galleries 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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Photo Of The Day By garynack

Photo By garynack

Today’s Photo Of The Day is “The Great Godafoss” by garynack. Location: Northern Iceland.

“Northern Iceland has many, many waterfalls, but none as grand as Godafoss,” says garynack. “No wonder its name in Icelandic means ‘The Waterfall of the Gods’!”

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 Assignments, Galleries 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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Photo Of The Day By Harry Lichtman

Photo By Harry Lichtman

Today’s Photo Of The Day is “Cloud Forest” by Harry Lichtman. Location: Rangeley Lakes Region, Maine.

“While the grand vistas are often the prize of the landscape hunter, I find the more subtle intimate nature images more difficult to find but equally gratifying as nailing the big view,” says Lichtman. “These tree tops caught my eye during a fog-filled morning near Rangeley Lake in the western mountains of Maine. Morning fog often evaporates quickly as the sun rises, so I needed to race amongst the trees to find just the right balance, spacing and arrangement of trees for a successful image. So while the view is one of peace and calm, finding this angle was anything but that experience. Once I settled on this view, I could relax a bit and watch as the fog moved among the trees to create varying degrees of opacity. Ultimately one of my favorite intimate shots of the past year.”

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 Assignments, Galleries 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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Photo Of The Day By David Connel

Photo By David Connel

Today’s Photo Of The Day is “Calving Glacier” by David Connel. Location: Glacier Bay National Park and Preserve, Alaska.

“This was one of the easiest and most fun images I have ever taken in a remote location,” explains Connel.  “This was taken in Glacier Bay, Alaska, on a memorable family trip, taken from the deck of our cruise ship.”

1/500 sec., f/11, ISO 160, 250mm.

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 Assignments, Galleries 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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Iconic Locations Assignment Winner James Day

Congratulations to James Day for winning the recent Iconic Locations Assignment with the image, “Cannon Beach.”

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 Of The Day By Bob Faucher

Photo By Bob Faucher

Today’s Photo Of The Day is “Moonlit Second Beach” by Bob Faucher. Location: Olympic National Park, Washington.

“Low clouds and fog surround a lone sea stack at Second Beach on a moonlit evening along the rugged Washington coast,” describes Faucher.

EF 28-70mm at 70mm. 6 sec., f/11, ISO 100.

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 Assignments, Galleries 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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3 Easy Steps To Black & White Photos

I’m a fine art photographer with a passion for digital infrared, and black-and-white images are a significant part of my portfolio. There is a purity and intensity to a well-crafted monochrome image and many software options out there to help convert a color image to black-and-white. In my experience, the best way to convert a color image to monochrome is a method that gives me the most control over how each color is translated. Filters that automate the conversion often don’t allow for fine control or end up creating images that are noisy, grainy or just look “cookie cutter.” I don’t want someone to see my monochrome images and respond, “Oh, you used ‘whatever’ filter.”

Figure 1. My color image before adjustments.

Figure 2. The final black-and-white image after using the method described in this article.

I prefer to convert each image manually, taking into consideration the unique characteristics of the image. The good news is that I’ve found an easy, three-step process that works for both natural color and infrared images. I’m using Photoshop, but this is a method you can use with just about any image processing software that allows you to adjust color channels individually, so you likely won’t need to buy any additional software or filters.

Step One: Balance Your Color Image

Figure 3. Photoshop’s auto-correction tools under the Image menu.

We want to start with a color image that’s been corrected for exposure and color, so begin by making those basic adjustments. If you are not proficient with levels and curves, consider using Photoshop’s auto corrections under the Image menu: Auto Tone, Auto Contrast and Auto Color (Figure 3). 

Step Two: Black & White Conversion

Figure 4. The Black & White tool is found under Image / Adjustments.

Once you have a color image that looks natural and properly exposed, select Image / Adjustments / Black & White (Figure 4). This opens the Black and White dialogue with six color channel sliders: Reds, Yellows, Greens, Cyans, Blues and Magentas (Figure 5).

Figure 5. The Black & White dialogue’s sliders allow you to control how each color channel is converted to black-and-white.

These sliders control how each color will be rendered in your black-and-white conversion. By moving a slider to the left, you darken that color, and by moving the slider to the right, you lighten that color. Here you’ll begin to create a unique interpretation of your image based on your personal artistic preferences. Take your time with this step and remember that each color will become a different shade or tone. 

Take a look at my original color image (Figure 1). We have some cyan and blue in the sky. I chose to darken those channels to add contrast and intensity in that area. The foliage is green and yellow, which I chose to lighten to make the foreground pop against the darker sky. There’s no right or wrong amount of adjustment here—you’re simply experimenting to find the look that you want. When you’re done, click “OK” and move on to the final step.

Step Three: Fine-Tune With Selective Color

Figure 6. The Selective Color tool is also found under Image / Adjustments.

The last step is to fine-tune your monochrome image for even more control over the tonality. For this, we’ll use Selective Color: Image / Adjustments / Selective Color (Figure 6). This step really makes a big difference in the final look of your image.

Figure 7. When fine-tuning a monochrome image in the Selective Color dialogue, you’ll be working exclusively with the Black slider.

In the Selective Color dialogue, you’ll see four sliders: Cyan, Magenta, Yellow and Black. We’re going to use the Black slider exclusively (Figure 7). You’ll also see a Colors drop-down menu. This menu allows you to select the colors and tonal ranges in your image and adjust them individually (Figure 8). Since we’re adjusting a monochrome image, we’ll only be working with Whites, Neutrals and Blacks.

Figure 8. The Colors drop-down menu allows you to select the tonal range you’re adjusting. For monochrome images, you’ll adjust Whites, Neutrals and Blacks individually.

Select these from the drop-down one at a time and then move the Black slider to make your adjustments. Moving the slider to the right adds more black, and moving it to the left reduces the amount of black.

When adjusting your Whites, reducing black will make the whites pop, but you lose detail. If you add black, you’ll see more detail in the highlights. Adjusting your Neutrals will have more of a global effect, lightening or darkening the image overall. Finally, increasing the black in your Black channel will produce intense, deep shadows, which is what creates the drama in a black-and-white image that most people look for, especially with infrared images.

In my example image, I chose to reduce the black in the White channel to lighten the foreground. Next, I increased the black in the Neutral channel to slightly darken the image overall. Then, I increased the black in the Black channel just a bit to add a touch more contrast. Figure 2 above is the result of my adjustments.

Creating dramatic black-and-white images doesn’t require a difficult process. Examine the colors and tones present in your original image, decide on what elements you want to emphasize and then use these quick steps to create images with visual impact. 

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See more of Dan Wampler’s work at danwampler.com.

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Photo Of The Day By Mark Koskulitz

Photo By Mark Koskulitz

Today’s Photo Of The Day is “Glacier Point Sunset” by Mark Koskulitz. Location: Yosemite National Park, California.

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 Assignments, Galleries 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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Check Out The All-New Digital Photo & Digital Photo Pro Websites

We’re excited to share that our sibling publications, Digital Photo and Digital Photo Pro, have introduced totally redesigned websites and teamed up for an innovative membership program.

For 25 years, Digital Photo has been the how-to guide for photographers of all skill levels who want to stay on top of the latest gear and technology. And since 2003, Digital Photo Pro is the leading source of new ideas and techniques for professional photographers, showcasing innovative concepts in still and motion image capture, equipment reviews and industry news. Now one membership brings you the best experience on both websites.

The Monthly membership plan ($4.99/month) gives you unlimited access to all of the content on both websites, member galleries and commenting. The Annual plan ($49/year) also includes a free entry to your choice of two of Digital Photo’s photo contests—a $50 value by itself. Learn more about membership options at Digital Photo.

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