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Tuesday, January 31, 2023

Today’s Photo of the Day is “Ghost Trees” by Paul Laurenza. Location: Yellowstone 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 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, January 30, 2023

Photo By Gary Nack

Today’s Photo of the Day is “Into the Clouds” by Gary Nack. Location: Italy.

“I traveled to The Dolomites this past fall hoping for some of those moody, foggy scenes that I’ve seen in other photographs,” explains Nack. “Mother Nature didn’t disappoint us! On this evening high in the mountains, we had dense clouds covering the mountains with the peaks dancing in and out of them. Finding the right composition was a challenge as the scene changed second by second. This photo captured exactly what I had in mind. Enjoy!”

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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I deliberately chose a commonly written about topic for this week’s tip to encourage everyone to take every piece of information deep to heart and integrate these concepts into your workflow. If you’re new to it, may this reading be the start of your using it. If you’re somewhat familiar, may depth of field become one with you. And if you’re a frequent user of it, may it help further reinforce its importance.

 

The Basics

There’s a direct relationship in how much depth of field is created in a photo to extremely important variables: the focal length of the lens, the aperture at which the photo is made, how close the subject is to the background, how far away the subject resides from the camera and how much the subject is magnified. (This assumes a DSLR is used to make the image. A point and shoot inherently provides a lot of depth of field due to its small sensor size.)

Proximity To The Background

The farther away the subject is from the background, the more the background can be thrown out of focus. If the subject is very close to the background, it’s not possible to make the background go soft even if you use a super-telephoto lens and set the aperture to ƒ/4. In the photo of the kingfisher, the background was a significant distance from where the bird perched. The focal length was 400mm with an aperture of ƒ/8. Note the plane of sharpness lies solely on the bird. Even the stick upon which it’s perched falls out of the range of focus. (I used flash as a source of fill because the bird was photographed in a forest.)

The Aperture

The wider open the lens, the less depth of field. The more the aperture is stopped down, the greater the depth of field. In other words, ƒ/4 nets shallower depth of field than ƒ/22 based on a fixed focal length. It’s important to realize the connection to focal length in addition to how far away from the background the subject resides. If you use a telephoto lens with a wide-open aperture, you stand a greater chance of throwing the background/foreground out of focus. Understanding how the combinations go hand in hand is absolutely imperative to comprehend. In the side-by-side portrait, the image on the left was made at ƒ/13 and the image on the right at ƒ/4.

Focal Length

The more telephoto the lens, the less potential for near-to-far depth of field. The wider the lens, the greater the potential. For instance, an image made with a 28mm lens will inherently display more depth of field than a 100mm lens at the same aperture. So if you want to create shallow depth of field and you use a wide lens, it may not be possible. Hand in hand, if you use a telephoto lens and want a subject close to the lens and a distant object to both be in focus, it may not be possible. The red rock scenic was made at ƒ/20 with a 20mm lens.

Subjects On Multiple Planes/Distance From Camera

In order to fully comprehend depth of field, you need to understand the concept of infinity. Infinity occurs when all the elements in the photo start where the lens focuses at its farthest distance. The wildebeest photo was made at 166mm at ƒ/5.6. Even though the aperture was wide open and a medium telephoto zoom setting was utilized, everything is in focus in that all planes are at “infinity,” so every layer is sharp.

If the subject is very close to the camera and the focus point is placed on the subject, there’s more potential to create shallow depth of field than if the subject is significantly farther away. This concept is tied into the above explaining subjects on multiple planes. Again, there’s a very specific relationship of the focal length, the aperture, how far the background is from the subject and the distance the subject is from the camera.

Scenics for Maximum Depth

Decades ago, I realized the importance of depth of field when I began to make scenics. I pieced together the facts that wide-angle lenses are most often used, stopped-down apertures are needed and it’s good to maintain sharpness on all planes—foreground, midground and background. In the scenic made in Yellowstone, I used the grasses as my foreground, trees and lake for the mid, and mountains and dramatic sky as the backdrop. The focal length was 45mm, the aperture was ƒ/14, and I placed the focus point on the foreground spit that juts into the lake. 

Selective Focus

Mostly incorporated into portraiture and macro photography, a technique known as selective focus is utilized so the eye is drawn to a single slice of one plane of focus. In the photo of the California poppy and spider, I wanted the viewer’s eye to zero in on just the silhouette of the spider and top of the poppy. When I made the photo, I was actually photographing just the backlit poppies, so I dialed in a stopped-down aperture in order to get the entire flower in focus. When the spider entered the scene, I quickly adjusted the lens opening to ƒ/4 to make the spider the focal point. Because the majority of the image content falls out of focus, the viewer is drawn to the spider since it’s one of the few sharp planes.

Subject Magnification

The closer you get to a macro subject, depth of field quickly falls off. This concept of depth of field is more specialized and it really is a subject unto itself. I bring it up for the sole purpose to let you know it’s an important variable. Study the side-by-side images of the Columbine bud. The image on the left was made at ƒ/4 and the one on the right at ƒ/16. The focal length for both was 100mm. In that I zeroed in on a single bud, I had to fully stop down to ƒ/16 to get sufficient depth of field. (Note that it also tries to increase the depth of field of the background so the flower has to compete with it.)

Since there’s a ton of info to digest just above, I simply bring up the following two concepts that should be explored and are extremely important in controlling depth of field: hyperfocal distance and focus stacking. Digital photography has opened the door to focus stacking and requires knowledge of software to utilize it. Hyperfocal distance is reliant upon where in the composition the focus point is located and how it interacts with the focal length and aperture—definitely worth looking at both if you already comprehend the other info in this week’s tip.  Enjoy your journey into the depths of depth of field!

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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Sunday, January 29, 2023

Photo By Kathy Ritter

Today’s Photo of the Day is “Fog Creep” by Kathy Ritter. Location: Arizona.

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, January 28, 2023

Photo By eabowe

Today’s Photo of the Day is “Howling Coyote” by eabowe. Location: Yellowstone National Park, Wyoming.

“It was very cold, but I had been watching this coyote for about 45 minutes as it hunted in the snow-covered Lamar Valley,” explains eabowe. “My hope was that I would be able to catch it as it jumped in the air to get a vole. Instead, it stopped in the middle of the field, threw back its head and let out a howl.”

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, January 27, 2023

Photo of gear of the year

After new flagship full-frame camera releases in 2021 from Canon, Nikon and Sony, 2022 was quieter on the full-frame mirrorless front, but there were some exciting introductions of smaller-sensor cameras. Full-frame models tend to draw the most attention, but there are advantages of APS-C and Micro Four Thirds sensors in terms of focal length magnification for wildlife and sports photography.

Here are Outdoor Photographer‘s 10 favorite cameras and lenses of 2022 including our picks for Camera of the Year, Super Telephoto of the Year, Zoom Lens of the Year, and Wide-Angle Zoom Lens of the Year. 

The post 10 Best Cameras & Lenses of the Year: OP Editors’ Picks 2022 appeared first on Outdoor Photographer.



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Photo By Beth Baker

Today’s Photo of the Day is “Winter Morning Along the Merced River” by Beth Baker. Location: Yosemite National Park, California.

“Even when the grand landscapes of Yosemite are socked in, there’s plenty of beauty to be found in more intimate scenes,” says Baker.

Canon 5D Mark III, Canon EF 70-300mm f4/5.6L. Exposure: 1/300 sec., f/11, ISO 400.

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 Karthik Subramaniam for winning the recent Stillness Assignment with the image, “Patience.”

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

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Thursday, January 26, 2023

Photo By Stephani Holdorf

Today’s Photo of the Day is “Snow and Frost Covered Trees” by Stephani Holdorf. 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, January 25, 2023

Photo By Douglas Croft

Today’s Photo of the Day is “Dent du Géant” by Douglas Croft. Location: Chamonix, France.

“The needle of Dent du Geant towers over the French Alps near the ski town of Chamonix,” describes Croft.

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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Tuesday, January 24, 2023

Photo By Gary Fua

Today’s Photo of the Day is “Retrospect” by Gary Fua. 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 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, January 23, 2023

Photo By Beth Young

Today’s Photo of the Day is “Uniform Sequoia Grove” by Beth Young. Location: Sequoia National Park, California.

“A uniform grove of sequoia trees framing a view of the foggy forest beyond,” describes Young.

Canon EOS 5D Mark IV, 70mm, ISO 160, 3.2 seconds at f/16.

See more of Beth Young’s photography at www.optimalfocusphotography.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 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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I was leading one of my June safaris to the Serengeti and was asked a question. In that a “correct” answer depended on a number of variables, my short reply was, “It depends.” I garnered more info by asking follow-up questions and finally gave a solid response. A short while later, I was asked another question based on variables, so my answer was, “It depends.” We dug deeper, and once again, a solid answer was provided. Guess what happened a short while later—yes, I was asked another question and by now you see the pattern: “It depends.” It actually became the slogan of the safari for the entire two weeks and each time a question was asked, smiles did abound anticipating the response.

I want to provide fodder so you get the idea why it depends always comes into play. We are in the safari vehicle and I hear, “Russ, what’s the best way to photograph that elephant?” We’re in the Ngorongoro Crater and the morning sun just crested the rim. The light on the elephant is beautiful. So is the scenery behind it. There are two females close to the big bull. So how do I answer the question I’ve been asked? First off, what lens is on your camera? Second, do you want to show a single elephant or all three? Third, do you want to include the environment and show the gorgeous backdrop of the crater rim? Fourth, from your angle, do the three elephants merge or is there separation between them? So, as you can see, it depends.

I can show the person asking the question my LCD to provide an idea as to what I just captured, but my next shot may be totally different as I pick up a camera with a different focal length or if I zoom to a wider or narrower focal length. To provide background, you need to be illuminated about a photographer phenomenon: Do you as a photographer tend to see subjects with wide-angle eyes or do you inherently have telephoto eyes? I can almost guarantee that if you line up four photographers all in front of the same subject and compare the last photo each made, there would be four different versions. The beauty of doing this is if the subject remains, each photographer will more than likely make additional images based on what they saw on the other person’s LCD! It’s not because it’s a better photo, it’s because it’s seen through a different pair of eyes and the photo was overlooked. It’s a matter of how any given photographer’s first impression compels him or her to press the shutter. It’s all about a variable or, dare I say, it depends.

All of the above led me to come up with one of my business tag lines: Exhaust All Possibilities. Once you make a photo of any subject, if it’s cooperative, eliminate all variables. Be sure to photograph it using your wide-angle eyes, your telephoto eyes, your eyes that see vertically and your eyes that see horizontally. Make an environmental portrait and then use your most powerful lens to make a portrait. Overlook no options to make sure you come back exhausting all possibilities.

When you’re in the field, answer every photo question you ask yourself with it depends. If you do so, it will remind you to eliminate all variables. This results in no missed shots. Let your innate psyche dictate the first image you make but then move on to all other options. Let the lens/body combo currently in your hand dictate the first image, but then move on. While you approach a subject, think about all the ways you can exhaust all possibilities. The first photo will be the one dictated by a number of givens, so make that shot and all the while let the words it depends run through your mind so you come back with all options covered. 

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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Sunday, January 22, 2023

Photo By natrpixdvm

Today’s Photo of the Day is “Icy Tree” by natrpixdvm. Location: Guadalupe Mountains National Park, Texas.

“An ice storm in late autumn leaves trees encrusted with intricate ice formations,” describes natrpixdvm.

Canon 5D Mark II, Canon 100mm F2.8 IS L lens. 1/400 sec., f/8, ISO 500.

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, January 21, 2023

Photo By Jeremy Hansen

Today’s Photo of the Day is “Sniktau Wind Lines” by Jeremy Hansen. Location: Loveland Pass in Colorado.

“The way the wind howls along portions of this trail will keep the majority away, but I find it very exhilarating to be surrounded by high alpine views of the glorious Rocky Mountains when the light is putting on a show,” says Hansen. “I’ve done this hike numerous times for sunrise, but this was taken at sunset with the wind blasting me as I made a human barrier to try and reduce the wind shaking my camera and tripod during exposures. Having views like this is motivation to be hiking up at pre-dawn hours or hiking down under stars and moonlight.”

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, January 20, 2023

Photo By Sandra Rust

Today’s Photo of the Day is “American Robin in a Flurry ‘Waiting on Spring’.” Location: Joliet, Illinois.

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, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Congratulations to Joung Ji Kang for winning the recent “Working” The Scene Assignment with the image, “The Way Together.”

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

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We had so many incredible submissions to our weekly assignments last year. With seasonal themes to those focusing on composition and technique, our weekly assignments were created to inspire photographers, and we hope you gained inspiration and new skills over the year.

The gallery below features the winning image from each assignment in 2022. Check it out for inspiration, and then get ready to enter our assignments in 2023!

The winning images from our weekly assignments are featured on the OP Blog, as well as our Facebook, Twitter and Instagram pages.

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Thursday, January 19, 2023

Photo By Garry Everett

Today’s Photo of the Day is “Sun Powder” by Garry Everett. Location: Yosemite National Park, California.

“An overnight snowstorm deposited a fresh layer of powdered snow in the higher elevation of Yosemite,” explains Everett. “The windy morning was blowing the snow off the tops of the ridges towering above the valley floor.”

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, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Wednesday, January 18, 2023

Photo By Gerry Groeber

Today’s Photo of the Day is “Grand Sunset” by Gerry Groeber. Location: Grand Canyon National Park, Arizona.

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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Tuesday, January 17, 2023

Today’s Photo of the Day is “Fox Tracks” by James Day. Location: Yellowstone National Park, 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 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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Monday, January 16, 2023

Photo By Gene Putney

Today’s Photo of the Day is “White On White” by Gene Putney. Location: Colorado.

“On a November day, I went to search for white-tailed ptarmigan and hopefully have some photo opportunities,” explains Putney. “I was lucky to have found this cooperative one that paused briefly for me to capture its portrait. During the summer, their feathers are brown, and in the winter they turn white, blending into the snowy environment for natural camouflage.”

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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Everything in life has a purpose, but does a given item that performs a given task need to be relegated to only that task? The human brain is an amazing organ that allows those who are so inclined to construct implements that make life easier. But even more special are those who ingeniously come up with alternative ways to utilize any developed product for totally different purposes for which they were invented. Not all of the below tips relate to inventions or their alternate use but still relate to the above context. I hope everyone ascends to the next plateau and figures out some ingenious tricks to incorporate into their own photography. I also hope this tip sparks your creativity so you can add a technique or two to capture better images.

Wet Those Rocks

Rivers and streams are a scenic photographer’s go-to subject. They can be used as leading lines, shutters can be slowed to provide a cotton candy look to water, they attract animals that may enhance the scenic and much more. Depending on the season, time of day and light, the rocks that inhabit the water may be exposed. If it’s a low precipitation year, if the snow hasn’t begun to melt or if an environmental factor created a natural dam, the flow will be impacted. On sunny days, rocks that sit above the water line may be bright. The sun bleaches them over the years or they get weathered.

Regardless of the cause, bright rocks become distractions. In post-processing, they can be toned down, cloned out and their color can be modified, but there’s a much easier natural solution that involves zero computer work. I grab my empty water bottle, fill it with river water and drizzle it over the entire bright rock. If the rocks are close to the shore, I splash water on them. The important thing is to get them nice and wet so the brightness value is brought way down.

Create A Shadow

A bright subject against a bright background isn’t a good formula for an award-winning photo. On the other hand, if the bright subject is offset against a dark background, the bright subject pops off the page. I made the photo of the frosted yucca seed head against white gypsum in White Sands National Park. It’s a desolate location and there are very few natural elements that create shadows. To produce the dark blue background, I simply asked one of the participants on my tour to stand to the left of the yucca until his shadow filled the background. The blue color cast is the result of the clear sky reflected onto the dunes. Because I biased the exposure so the frosted seed head wouldn’t lose detail, the shadowed background took on the dark hue of the sky. The minus exposure compensation preserved the delicate pieces of frost.

The Other Use For A Polarizer

Most scenic photographers use a polarizer to darken and saturate blue skies and to make clouds pop. It works wonders when the “proper” focal length is utilized so the darkening of the sky is uniform. If the focal length is too wide, uneven darkening occurs. It has to do with the physics of how polarization reacts to the angle of the light source. The optimum position is to aim it 90 degrees from the sun. That being said, there’s another use for a polarizer that often gets overlooked and also has to do with physics.

Polarizers work wonders to lessen or remove glare from shiny, reflective surfaces. In the image of the water lily, you can see the difference. The “look” that’s revealed is dependent upon the orientation of the polarizer. Spin it one way and you’ll see one of the versions. Continue to spin it in the same direction and you’ll obtain the other. It works on glass, shiny metal objects, misty or shiny leaves—any place glare exists. The intensity to which it may remove glare is dependent on numerous factors. In certain instances, it may show just a small improvement. I find that rare, so I always carry a polarizer and love it when it works. A third bonus is it can also act as a neutral density filter to either slow down moving water to obtain the silky look or modify a working aperture to control depth of field.

Perspective vs. Proximity vs. Focal Length

From macros to the grand landscape, the following holds true: The end result of two similarly composed photos can appear very different influenced by perspective. Perspective is based on two key factors—distance from the subject and the focal length lens used to make the similar composition. As you move closer to the subject, in order to include it all, you’ll need a wider lens. If you don’t have a wider lens, you’ll need to move further away to include the elements. The key caveat is that the combination of the given focal length in conjunction with the distance from the subject has a huge impact on the perspective. Elements get pushed back when a wide angle is used. Elements get compressed when a longer length is used.

Note the two photos of the Tetons and cottonwoods above. The one with more sky and “shorter” mountains is the result of having to use a wider lens. The one with less sky and “taller” mountains was created with a longer focal length lens from a further distance. I suggest you experiment using different focal lengths from different distances and try to create similar compositions to get the feel of how this works—it’s actually a huge eye opener.

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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Sunday, January 15, 2023

Photo By Laura Zirino

Today’s Photo of the Day is “Dawn Light Begins” by Laura Zirino. Location: Grand Canyon National Park, Arizona.

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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Saturday, January 14, 2023

 

Photo By Joung Ji Kang

Today’s Photo of the Day is “First Snow and Aspen Tree Meet” by Joung Ji Kang.

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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Friday, January 13, 2023

Photo By Laura Schoenbauer

Today’s Photo of the Day is “Fawn in Winter” by Laura Schoenbauer. Location: St. Paul, Minnesota.

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 By Pam Dorner

“I spent a week exploring Grand Teton National Park in late spring,” explains Pam Dorner. “I was fortunate to be able to photograph the most famous brown bear mother in the world, Bear 399, with her four cubs.

“In this image taken near the Jackson Lake Dam, one of her grizzly cubs was having fun playing with traffic cones. Many bears in the area are ‘roadside’ bears and have learned to use the roads to traverse the park. This is a good reminder to slow down while driving through our national parks, as wildlife can cross the road at any moment.”

See more of Pam Dorner’s work at pam-dorner.smugmug.com.

Canon EOS R5, Canon RF100-500mm F4.5-7.1 L IS USM. Exposure: 1/1250 sec., ƒ/8, ISO 250.

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Thursday, January 12, 2023

Photo By Jody Partin

Today’s Photo of the Day is “Frozen Fun” by Jody Partin. Location: Merrill, Wisconsin.

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 Sigma 60-600mm lens

Sigma just unveiled the massive 60-600mm F4.5-6.3 DG DN OS Sports ultra-telephoto zoom lens for mirrorless camera systems, which should be a great tool for capturing everything from landscapes to wildlife and bird photos. Our colleagues at Imaging Resource, OP’s sibling website, have already got their hands on this whopping, 10x lens and posted a first look review.

“Wildlife, nature, and outdoor sports photographers should all take notice, as Sigma has added yet another extremely versatile telephoto zoom to its arsenal of mirrorless lenses,” writes William Brawley, Imaging Resource‘s managing editor.

“The new Sigma 60-600mm F4.5-6.3 DG DN OS Sports for Sony E-mount and L-mount full-frame mirrorless cameras is unique amongst Sigma’s existing telephoto zooms for mirrorless cameras — and indeed the full-frame mirrorless market as a whole — being the world’s only 10x optical zoom lens for full-frame mirrorless cameras.”

Photo of Sigma 60-600mm lens

We’ve included a few of Brawley’s test images captured with the new Sigma 60-600mm lens on a Sony A7 IV camera in this story. Click on them to see the full resolution photos on IR’s website.

Known colloquially as the “Bigma,” the mammoth new 60-600mm F4.5-6.3 DG DN OS Sports lens offers “6 stops of Optical Stabilization at the telephoto end and 7 stops at the standard end,” according to a Sigma press announcement.

“The newly designed HLA (High-response Linear Actuator) focusing motor delivers unprecedented fast and precise autofocusing, and dual action zoom allows for both the precision of the zoom ring and the swift, intuitive response of the push-pull action on the front end of the barrel.”

Photo of a bird

Shot with a pre-production version of the Sigma 60-600mm F4.5-6.3 DG DN OS Sports on the Sony A7 IV at 556mm, F6.3, 1/2500, ISO 1600. Click on the image to see a full resolution version.

The Sigma 60-600mm F4.5-6.3 DG DN OS Sports is slated to go on sale in mid-February 2023 for $1999. Here’s a rundown of some of the key features of this new super telephoto zoom lens.

  • All-in-one 10x telephoto zoom lens for full-frame mirrorless
  • Updated optical design with 27 elements in 19 groups (incl. 2 FLD and 3 SLD elements)
  • Optical Image Stabilization with 6 stops at 600mm; 7 stops at 60mm
  • Newly-designed HLA linear motor-based autofocusing system
  • Dual action zooming mechanism (zoom ring + push-pull zoom)
  • Weather-sealed construction
  • Multi-material construction helps reduce size and weight while remaining highly durable
  • Weight: 2,495g (5.5 lbs.)
  • Length: 279.2mm (11 in.) at 60mm
  • Built-in Arca-Swiss-compatible tripod foot
  • Screw-on lens hood
  • Sony E-mount, L-mount versions
  • $1999 MSRP
Photo of a chipmunk

Shot with a pre-production version of the Sigma 60-600mm F4.5-6.3 DG DN OS Sports on the Sony A7 IV at 600mm, F6.3, 1/500, ISO 2500. Click on the image to see a full resolution version.

While the Sigma 60-600mm F4.5-6.3 DG DN OS Sports Brawley tested is a pre-production sample with beta firmware, he was impressed with what he has seen so far from this lens.

“This is a pre-production sample, so I’m not going to make a final judgment on image quality just yet,” he writes. “However, what I’m seeing so far is very impressive. I spent much of my time photographing small birds and other tiny critters, as that was pretty much all I found while exploring the outdoors with this lens. Most of my time shooting I found myself at the longer focal lengths, especially at 600mm F6.3, and the results look great. The image quality so far looks fantastic, with excellent sharpness, great contrast and minimal CA, both at the center and out toward the edges.”

Photo of a hawk

Shot with a pre-production version of the Sigma 60-600mm F4.5-6.3 DG DN OS Sports on the Sony A7 IV at 535mm, F6.3, 1/500, ISO 500. Click on the image to see a full resolution version.

The post Sigma Intros Massive 60-600mm Lens: Hands-On First Look Review appeared first on Outdoor Photographer.



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Congratulations to Julia Cook for winning the recent Fall Wildlife Assignment with the image, “Framed by Gold.”

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

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Wednesday, January 11, 2023

Photo By Marti Phillips

Today’s Photo of the Day is “Spot of Sunshine” by Marti Phillips. Location: Yukon, Canada.

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.

The post Photo Of The Day By Marti Phillips appeared first on Outdoor Photographer.



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Photo of snowy winter landscape

I had seen this North Dakota scene a few times before, but it was not until I passed it on a cloudy day after a new snow that the pattern and shapes really stood out.

I was standing on top of 2 feet of snow in an open North Dakota field more than a quarter of a mile from where I parked my truck. I was fully encased inside a down parka, carrying a full photo backpack and a large tripod with snow feet. The 1996/1997 winter was especially snowy—it would eventually flood the entire Red River Valley, causing more than $3.5 billion in damage—and everything was awash in blinding white. The temperature was hovering in the mid-20s, and the surface of the snow was a hard crust, which supported both me and my tripod.

I don’t remember what, exactly, I was photographing at the time, but I do recall I was out on that snow for more than an hour as the sun rose. When I turned to head back to the car, my first step broke through the crust, sinking me above the knee. As I tried to extricate myself, my other foot broke through. And so it went the entire way back to the truck. It was a slow and exhausting walk. Apparently, the morning sun had raised the temperature enough to weaken the top layer of crust, rendering it insufficient to support my weight and that of my gear. A trail of post holes followed behind me. The photograph I made that morning was unmemorable, but I learned from the experience.

On another trip, this time in Yellowstone National Park, I descended a steep, snow-covered slope to get an unobstructed photograph of Yellowstone Lake’s Carrington Island. Misjudging a step, I slid a dozen feet and, after contorting myself to make the photograph I had envisioned, I had to scratch and claw my way back to the top.

Winter is not always an easy time to photograph. It offers a slew of unique challenges to mind and body (and gear). Yet it is, for many of us, one of the best times of the year for photography.

Winter snows can have a cleansing effect on the landscape, covering distracting elements and providing a clean and bright background against which we can compose compelling subjects that may have gone unnoticed in other seasons. Here are XX ways to keep it simple to help you capture striking snowy landscape photos.

Photo of a snowy landscape

Wyoming is known in part for its winds, and this day it was gusting over 25 mph, creating a ground blizzard that softened the look of the ground and the distant hills.

#1 Look for Flat & Open Scenes

I have photographed winter scenes in many different areas, but my favorite place also happens to be one of the coldest and photographically underappreciated places in the continental United States: North Dakota. The flat, open and already-reticent landscape lends itself well to winter’s further simplification, and most roads in the state, including rural gravel roads, are regularly plowed.

I recall one particular scene I had driven by numerous times while I was working in the state, an agricultural shelter belt made in an alternating pattern of evergreen and deciduous trees, each fitting tightly with its neighbor. In the previous, warmer months, I had noticed a hint of photographic potential in the scene but never felt compelled to make a photograph, as the textures of the planted fields distracted from the pattern of the shelter belt, rendering it weak and uninteresting.

But with the fields covered in new snow along with the featureless cloudy sky, the shapes and patterns of the leafless trees and the anomaly of the missing evergreen created a compelling narrative. It remains one of my most popular photographs.

Photo of a snowy landscape

This image of Carrington Island on Yellowstone Lake was made while I was holding onto a tree branch after slipping down an embankment while trying to get a better view.

#2 Find Shapes & Shadows

Similar experiences happen almost every winter. The clean winter palette emphasizes the stark shapes and forms of almost any subject. Deciduous trees become naked and vulnerable without their leaves (without which the previously mentioned photograph would not have worked).

Shadows upon clean, open snow form caricatures of their owners. It’s a revealing atmosphere that helps bring out the raw, unadulterated nature of things and allows us, as photographers, to explore and present our subjects with fewer compositional distractions.

Of course, not all landscapes are as stark and flat and gray as the northern plains. Mountainous areas offer their own brand of winter cleansing. During an early-morning drive through Grand Teton National Park, I came across a small grove of dark trees that were shaped like a mini version of the mountains behind them.

The foreground snow helped to separate the trees from the otherwise-distracting texture of the grasses, while the pre-dawn, -15 degrees Fahrenheit ice fog (ice crystals hanging in the air) softened and lightened the distant mountains, further allowing the grove of trees to stand out and become the dominant subject despite their relatively small size. I have returned to this spot in the summer months and, with both foreground and background in full detail, this grove of trees was barely noticeable.

Photo of a snowy landscape

A Minnesota hillside made a wonderful backdrop for this tree to reveal its alternative self.

#3 Take Precautions

Whether we’re working in the flat, frozen north or alongside snow-covered mountains, there are certain precautions we should take to ensure the health of both ourselves and our equipment. Most important is proper clothing.

In my earlier story in which I was slogging back to the truck in thigh-deep snow, I had made an error in judgment. I was wearing a medium-weight down parka as my only insulation layer because the temperature was fairly mild, but as I struggled through the snow, that parka became very hot and, with only a T-shirt beneath, I had to wear that parka all the way back. I was soaked with sweat that, in a different situation, could have been dangerous.

Instead, I should have dressed in layers with light insulation against my body instead of a simple T-shirt, which would have allowed me to wear a lighter jacket. That way, when I started getting hot, I could have removed the overcoat and still have been protected.

As photographers, we might plan for the static photography part but forget that we often have to walk for a fair amount. We need to be prepared for both.

I don’t want to get into too much detail regarding proper clothing and safety as we each have different cold tolerances, conditioning and clothing preferences. Just dress in layers and be aware of your body. Don’t hesitate to return to safety at the first sign of trouble. And don’t forget that we often stand in one spot waiting for the right conditions to make our photograph, so be prepared for that level of static, cold-inducing inactivity.

If you’re a photographer with a nearby vehicle rather than a self-reliant, long-distance winter trekker, it’s OK to dress a bit too warm; just be sure to dress in layers so you can cool off if needed and keep any sweating at bay.

Protecting our exposed skin against the cold is another important factor to consider. Our cameras, whether of metal or plastic, could be painfully cold and, if cold enough, may cause frostbite on contact with bare skin. After one particularly cold day out with the camera, I returned home with a black spot beneath my right eye. It turns out that, while looking through the viewfinder, my cheek was in direct contact with the camera body, and it froze the skin. That was almost 20 years ago and, to this day, that area can be quite sensitive in cold weather.

I have tried just about everything available to protect my fingers: insulated gloves, mittens with a pointer finger, fingerless gloves and even mittens for hunters that allow the pointer (shutter) finger and thumb to be uncovered. Each has a place and can work well in moderate cold, but for below-zero temps, I prefer lightweight, textured liner gloves worn inside heavy mittens. This allows me to temporarily remove my hands from the mittens for working the camera controls while still giving a modicum of frostbite prevention. I know that not all winter photography is done in dangerously cold weather, so please adapt my suggestion to better fit your situation.

Photo of a snowy landscape

North Dakota has thousands of miles of shelter belts, most of which lose their leaves in the winter, showcasing visually strong and compelling patterns.

#4 Gear Considerations

Our personal comfort and safety will always come first, but close behind is protecting our gear. Cold weather can be tough on photographic equipment. The colder the temperature, the greater the effect. But after photographing winter landscapes for the better part of 20 years, both as a creative artist and as the senior photographer at the University of North Dakota in Grand Forks (the coldest university campus in the lower 48 states), I can honestly say I have never had a camera stop working, even in temperatures that reached down to -20 degrees Fahrenheit. Batteries, on the other hand, are a different story. Cold weather saps the power from batteries and can drastically shorten their charge, so carry spares. I have had many lose their charge after only a few dozen shots. I always keep a spare battery or two close to my body to keep them warm.

There are a few field tricks I have learned through trial and error (mostly error) to keep my equipment operating in the field. The most important is to never try to keep your camera warm. Let it cool to the ambient outside temperature. The reason is that, if the camera is warm, snow will melt upon contact. This is important when it’s snowing, but it is especially important when your awkward, mitten-encased hands drop the camera into a pile of snow. If it is below freezing and the camera has been allowed to get cold, the snow will not melt, and you can just brush it off and continue working. If the camera is warm, the snow will melt on your camera and, quite possibly, refreeze.

Another important trick is to never bring your cold gear into a warm environment, such as a running car or building. Condensation can form. It is embarrassing to convey how many fogged lenses and camera viewfinders I have to warm up on my truck’s dashboard with the heater running at full blast. Often that condensation was inside the camera viewfinder or lens and took forever to clear up.

While a lot of websites and books recommend placing cold gear into sealed plastic bags before you bring it into the house, I prefer just to keep everything zipped inside my camera backpack for a couple of hours. If I need to edit right away, I can just remove the storage cards before I head inside.

Phot of a snowy landscape

Pre-dawn ice fog surrounds and softens the Grand Teton range in Grand Teton National Park, allowing the stand of dark evergreens to become a very strong compositional element.

#5 Nail The Exposure

Now that we are safe and comfortable, and our gear is protected, we can start to photograph. As you may already know, photographing in snow, whether in sunlight or cloudy days, requires an adjustment in our exposures. Camera meters are much more intelligent than in the past, but even the most advanced metering systems are going to get fooled by a snowy scene. Depending on the specific conditions, this usually means adding 1.5 to 2 stops to our exposure.

In the days of film, we would have to guesstimate, but it wasn’t too difficult to get pretty close. With digital photography, we have the histogram to guide us.

Snow detail can be very small and subtle, but it is very important, so we need to pay special attention to the right (highlight) side of the histogram to prevent any potential loss of image data. Often, when working a snowy landscape, I will purposely err on the side of a slight underexposure to ensure I have sufficient highlight detail in even the tiniest of areas. I don’t trust the white or black exposure “blinkies” on the LCD screen, especially when working in winter conditions as they may miss very small, overexposed areas.

Photo of bison in snow

Five Yellowstone National Park bison pause in -15 degrees Fahrenheit temperature before going their separate ways. Bison have thick coats and can remain comfortable down to -40 Fahrenheit.

#6 Style Your Edits

Editing snow images is no different than any other photograph. Personally, I prefer high-key images that still retain highlight detail to give the snow some dimensionality while still keeping it a secondary element. But other winter photographers, such as Michael Kenna, often print their snow close to a middle gray. Allow your personal style to guide you.

Despite the challenges of photography during the cold winter months, it is a wonderful time to be out with the camera. Snow, especially newly fallen snow, can purify a landscape and offer a clean and reticent palette. And did I mention there are no bugs?

See more of Chuck Kimmerle’s work at chuckkimmerle.com.

The post 6 Tips for Striking Snowy Landscapes That Use Minimalism appeared first on Outdoor Photographer.



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