tiistai 31. toukokuuta 2016

PictureCorrect.com: Photographing a SpaceX Rocket Streaking Across the Night Sky Returning to Earth

What you see here is the 2nd Stage Burn with the 1st Stage Re-entry Burn, which is used to initially slow down to begin the landing process, appearing under the tree limb.

rocket landing

At 1:21am on May 6, 2016, SpaceX continued its run of aerospace brilliance with a night launch of its Falcon 9 rocket, carrying its Japanese communication satellite payload to geostationary orbit. The most spectacular portion of this event was the first successful night landing of the Falcon 9’s first stage onboard their floating platform called “Of Course I Still Love You.” While this was not the first successful landing for SpaceX, it was the first one at sea at night and also one that they predicted to have a high probability of failure due to the dynamics involved with the much higher energy needed to send the satellite to a higher orbit than previous launches.

What does that have to do with me? Well, at the time, I was on Hunting Island in the southern portion of South Carolina doing what I love to do, shooting the Milky Way…. and I captured the moment!

final spacex image

This was my 3rd time out with my new gear, the Sony a7R II and Zeiss Otus 28mm f/1.4 and I can’t tell you how ecstatic I am with both of them in this early honeymoon stage, as they are providing me with the sharpest, most beautiful night skies I’ve ever seen without using star tracker equipment.

This was very reminiscent of my capture of the International Space Station a couple of years ago. If you’ve followed me at all you might remember the night I went out to shoot star trails above Weaver’s Needle in the Superstition Mountains just outside of Phoenix, Arizona, and the ISS photobombed me. Maybe I have a knack for being in the right place at the right time.

star trails

Weaver’s Needle and the ISS

My current method of nightscape shooting involves capturing a series of images and then doing some advanced stacking techniques in Photoshop to remove the noise (rather than using Adobe or other 3rd party noise removal software) and Sony’s mirrorless line of cameras has a decent application that you can install directly on the camera (called Sony PlayMemories Time-lapse) that allows you to automatically capture a series of images, like I want, without having to resort to an external intervalometer. I’m all for less gear, so I’ve been doing it this way for a few weeks now. The downside is that the minimum number of images the application allows is 30, and while that’s more than I need, it still works out to only about 5 minutes of shooting (I’ve settled into 10 second exposures with my current setup) and I’m never going to complain about having extra data just in case.

Sorry for the sidetracking there, where was I? Right. I got out of my tent around midnight as the Milky Way was beginning to rise to the east and headed down to the pitch black beach where there is a plethora of trees slowly getting swallowed up by the sea. It’s an incredible environment to shoot in, but there’s a little wrinkle in all of this and it has to do with turtles. This time of year is sea turtle season in the southeast and the threatened turtles that come up on the beach to lay their eggs (and any little ones that hatch) are highly sensitive to light and often get turned around and disoriented by lights on the beach. For that reason, South Carolina (and presumably other states in the area) has instituted a no lights on the beach policy. Luckily there’s enough light pollution that you can at least navigate without a problem, but not being able to use a flashlight to help with focusing, adjusting camera settings, etc., is a bit of an annoyance. I’m all for helping the turtles though, so I fully support this mandate. And the Sony a7R II is configurable enough so that you can view everything through the EVF. After adding some gaffer’s tape to the lights on the outside I’m able to operate in complete no-light stealth mode.

night sky long exposure

milky way

Capturing the Moment

At around 1:10am I set up by a particular tree that I was interested in and started capturing data for an ISO invariance test, unbeknownst to the countdown happening 250 miles to the south. Since I was still new to the Sony a7R II, I wanted to know what its sweet spot was for ISO settings. I’ve been using ISO 6400 almost exclusively (with some minor exceptions on particular nights) with my old Canon 5D Mark III, but I expect that the Sony can shoot higher without any problem. I still need to work up that data, but it’s coming soon. Since I was already set up on a tree that I sort of liked, I figured I might as well capture my normal Milky Way data. So at 1:17am I turned on the Sony PlayMemories Time-lapse app to fire off 30 frames with a 1 second interval. I stepped back, looked up, and let the sky take me in for five minutes while my camera did its thing. As the camera slowly ticked down to its final few frames, I saw out of the corner of my eye what looked like a firework going off in the distance. I could make out a vertical red trail going straight up to the south of me. From the horizon, it was maybe a couple of fists tall before it disappeared and my timelapse completed while I shrugged my shoulders, wondering.

rocket landing

As I stood there thinking, I remembered two other guys were out shooting as well and I initially thought that maybe they were playing around with a drone because I knew those typically have red lights on them. But I stood and watched for a few seconds and even though the red trail was gone, I could still make out some movement in the sky. It was very reminiscent of a satellite in orbit so I got to thinking that maybe, just maybe, it was some sort of rocket launch. Too bad it was almost due south and I was facing to the east. So I stood there dumbfounded… and waited for about two minutes before I came to grips with what was unfolding. The rocket was no longer going up, but had made a turn and was maneuvering towards my frame. Without hesitation, I hit the shutter button and started another 5 minute timelapse.

By the time it was complete, I could tell that the rocket was long gone. In my haste, I grabbed my tripod and set out to find the other photographers to see if they saw it too. In hindsight, this was a mistake. I always try to take a couple of longer, lower ISO, higher f-stop images with the foreground in focus so that I can blend it in later in post. It always make a more pleasing image when everything looks in focus. So yeah, when I got home and realized that I forgot to do that, I was a little frustrated in myself. But luckily there are some (limited) ways around it, which I’ll get into.

Processing the Image

The next morning, I groggily got out of my tent and drove home to recharge my batteries and see what I had captured on the big screen. The first step in the process is obviously importing the images into Lightroom. I’m running things on a Surface Pro 3 i7 with a 256 GB SSD and 8 GB RAM. I love it for just about everything except image processing. With my old Canon, RAW files were only around 29 MB per file, and it did a rather admirable job in keeping up with my workflow. But the 42MP Sony a7R II RAW files are clocking in at 84 MB per file. If things are settled down, previews have been created, and I’m not zooming in and out constantly, Lightroom can handle it, but the fan kicks in quite a bit and we get to take plenty of breaks while it thinks about things. Taking it one step further, most of my image processing is actually done in Photoshop after I do my initial RAW editing in Lightroom, and once you multiply 84 MB by 30 images, well you’re talking a couple of gigabytes of files in Photoshop, and the short breaks turn into long ones. So it looks like a dedicated desktop mega-editing workstation is in my future, but that’s neither here nor there. Back to the image processing….

First I edit in Lightroom. I don’t want to take away any thunder from working pros who put out impressive video tutorials on how to process images in Lightroom, so I’ll leave that to Google (or I can make recommendations). Here’s what the first image looks like after I complete this stage. I try to mainly focus on the sky with a little bit of shadow recovery in the foreground. I know I can do a little more fine tuning in Photoshop, so I just try to get it close at this point.

Then I sync the settings to all 30 images.

syncing images in post-processing

Finally, I highlight them all and right-click on the first one, click Edit In -> Open as Layers in Photoshop. The first thing I usually do at this point is to highlight all of the layers and set their blending mode to Lighten. This allows the brightest part of each layer to shine through to the layer above it. In landscape astrophotography terms, it creates the star trail effect.

star trail effect

Over the course of five minutes of shooting, the stars are moving through the sky. In reality, the earth is rotating on its axis, but from our perspective, it’s the stars that are moving. If I were looking for true authenticity in my final image, this would be where I would start. But as I looked at it, I decided to deviate a little. The star trail portion of the image was too much because the Milky Way is such a dense part of the sky. My goal was to represent the rocket trail and I felt that the smeared look of the Milky Way was too distracting of an element. I realize this might ruffle some feathers, but at the end of the day I’m trying to create an image that tells the story I want it to tell. And I wanted to tell the story of a rocket launch. So I decided to ditch the star trails and show the rocket launch as an overlay on a clean Milky Way sky. My image, my choice. Here’s my plan:

  1. Clean up the foreground
  2. Clean up a single Milky Way image
  3. Clean up the rocket trail
  4. Combine (1), (2), and (3), add magic pixie dust, crack open a beer and smile at my creation

Foreground

As I was saying earlier, I screwed up. I forgot to take an in-focus shot of my foreground. Not that it would have been easy. Over the next two nights I continued to struggle taking in-focus foreground shots due to the no-lights-on-the-beach mandate. Trying to yoga-ize myself into a position where I could see through an EVF that was low to the ground and pointing up at the sky was painful. And then trying to make out detail on a tree limb in pitch blackness was near impossible. Anyways, that’s not part of this story. I found out a way to get some sharpness out of an out-of-focus image. It’s not perfect, but for an image that has a lot of noise and darkness in it anyways, I can get away with it. That and the tree isn’t the point of the image, so you really shouldn’t be looking at it in the first place.

foreground

To do it was pretty simple. I took the first frame out of my layer stack and applied an unsharp mask and high pass filter to it. Then, to complete the foreground process, I took the top four layers, made copies, converted them to a smart object, and then applied a median stack filter to it. This does a fantastic job of eliminating noise and smoothing things out. Here’s a before and after of the tree and surrounding beach. I think it’s a remarkable improvement on the foreground.

foreground improvement

To finish the foreground, I also used Nik’s Dfine noise removal software (Google made all of the Nik tools free, download them!) to do just a little bit more. It was very minor, but I knew it needed a little more. I also planned on adding this filter to the Milky Way so that the whole image would match up. The hardest part of this process is usually trying to get the foreground and background to match up without there being a distracting demarcation line of no-noise to lotsa-noise.

astrophotography noise

Milky Way

Most of my Milky Way processing is initially done in Lightroom, so for the most part it’s already complete by the time I get here, though there are some additional color, curves, levels, and brightness adjustments that I tend to do in Photoshop to finish all of my images. At this point, there wasn’t much that I did because I knew I’d be doing more once the rest of the image was put together. But to be fair, and to show where I started, here’s the first image in the stack that I used as my base Milky Way image with the clean foreground masked in.

milky way masked in

Rocket Trail

The Falcon 9 rocket raced through the sky for at least 7 minutes before disappearing from view. If you’ve been paying attention, you know that I missed the first 2 of those minutes. But, there’s a reward at the 6 minute mark… the landing, or at least the landing approach, of the first stage of the Falcon 9 rocket. As the rest of the rocket continued to motor on to orbit behind the second stage, the first stage dropped off and successfully landed on a floating platform out at sea. How cool is that?

Props to the SpaceX sleuths on Reddit for determining the high-probability that this is just the re-entry burn. However, they also deem it to be remarkable that it was visible from over 700km of atmosphere.

This is probably the final part of where I used my personal creative freedom in creating my image. The drawback to shooting multiple frames instead of just doing long five minute exposures is that there is a short delay between frames where the camera is clearing the buffer and starting the next exposure. When you combine the layers, you’ll see those gaps between star trails and, in this particular case, the rocket trail. Because of how bright the rocket trail is, I knew I had to fill in the gaps to make it look right. So after some careful clone stamping on each layer to extend the trail over the gaps and then some more extremely careful masking to just select the trails out of each image, I was able to come up with a layer that looks like this, only without the white background. One thing to note… I am TERRIBLE at masking. I don’t want to hear any comments about that. I already know it and need to work on it. It doesn’t really show in the final image because the sky gets put back in behind the rocket trail, but still. It’s a part of the image that I’m not totally proud about it.

rocket trail

The Final Image

The final step in the process is to combine all of the elements and clean things up. The base layer was the Milky Way from the first frame, with a Nik Dfine filter applied to it to smooth out a very small amount of noise without totally degrading the image. The Sony+Zeiss combo is extremely sharp and the noise is well within the bounds of being acceptable and pleasing, so I didn’t need to do much. Then I added two Color Balance adjustment layers, one to the whole layer and then one to just the sky to balance the color out.

From there, the rocket trail was added back in as well as the new foreground layer that showed a little bit more detail in the tree. I added another Color Balance adjustment layer to only this foreground layer since it had a little bit of a color difference from the bottom layers and I wanted to bring it back in line.

The final adjustments were global without masking anything and were a Vibrance layer (added some vibrance, subtracted some saturation) a Brightness/Contrast layer (added a little brightness, subtracted a little contrast), a final Levels layer where I pulled in the white and black points to extend the image to both ends of the histogram and add some extra punch to it, and a light vignette because I like vignettes sometimes.

final spacex image

Final Thoughts

I figure this will probably get lost in the 2500 words above it, but the whole point of this is not to show you how to process your own image, but to give you an insight as to my thought process when I’m processing my images. The specifics of each step won’t help you, but hopefully you’ll come to realize that you’re probably having the exact same conversations in your head that I usually am. And at the end of the day, it’s your story to tell… and this was mine.

Now if you’ll excuse me, time to crack open a beer.

About the Author:
Zach Grether is a photographer who hopes his images will help preserve the night sky in a matter fitting of its greatness. Follow him on Facebook, and Instagram.


Go to full article: Photographing a SpaceX Rocket Streaking Across the Night Sky Returning to Earth

What are your thoughts on this article? Join the discussion on Facebook

Article from: PictureCorrect



from PictureCorrect http://ift.tt/1UcPMVW
via IFTTT

PictureCorrect.com: Bird Photography Hacks with a Smartphone

For all their convenience, connectivity, and image quality, there are some things that even the best smartphones in the business can’t do right. That includes getting great bird shots. But with Sam Hume‘s creative techniques, you might just be able to get away with using your smartphone for bird photography:

Hume uses just a few things you might already have around.

Binoculars

Believe it or not, your handy pair of binoculars can be used to increase the focal length of the built-in camera lens.

bird photography with a smartphone

Use binoculars with a smartphone to shoot bird photos.

Cardboard

The real challenge, however, is in keeping your setup stable while you’re photographing the bird. But don’t worry. There is a way out. This is the blueprint of a cardboard design that Hume came up with to stabilize the lens.

DIY binocular mount, smartphone bird photography

Stacked binocular mount for your smartphone.

For best results though, brace the binocular strap against your neck.

Binder Clips

Smartphones are small, and that makes them discreet. You can set up your smartphone very close to the birds and make images without drawing any attention. But how do you stabilize the phone? There’s a way. A couple of bulldog clips and voila! You have yourself a mini tripod. Set down the whole contraption on any surface and you can control the shutter remotely to make images without startling the birds.

Bird photography using a smartphone

Use a remote trigger to shoot bird photos.

Camera Trigger Apps

There are many apps and remote triggers available that allow you to trigger the smartphone from a distance. These work through Wi-Fi. Hume used an app called Wi-Fi Camera. But there are many others like it out there.

Clip on Lenses

Another technique that Hume uses involves a macro clip on lens. This is the ultimate when you want to get extremely close to the birds.

clip-on micro lens, bird photography

Hume used a clip-on micro lens to get close to the action

You also need some extra something to attract the birds—food.

Hume was lucky in this case because the Rainbow Lorikeet is an extremely bold bird.

Do you have any tricks for getting great wildlife photos with a smartphone? Let us know!


Go to full article: Bird Photography Hacks with a Smartphone

What are your thoughts on this article? Join the discussion on Facebook

Article from: PictureCorrect



from PictureCorrect http://ift.tt/1RKOnEk
via IFTTT

PictureCorrect.com: Interesting Photo of the Day: Rainbow Over Norwegian Lake

Norway is undoubtly a major player when it comes to natural beauty. With its sweeping landscapes and gorgeous color, Norway could be considered a landscape photographer’s mecca. For example, take a look at this stunning image from Rune Askeland:

landscape photography rainbow

“High Above” captured by Rune Askeland (Via 500px. Click image to see full size.)

The breathtaking image of a rainbow stretching out between to mountains was taken at Jølstravatnet Lake in Norway. Askeland used a Canon 60D set to 13mm, f/7.1, 1/20 of a second, and ISO 100.


Go to full article: Interesting Photo of the Day: Rainbow Over Norwegian Lake

What are your thoughts on this article? Join the discussion on Facebook

Article from: PictureCorrect



from PictureCorrect http://ift.tt/1kuldQa
via IFTTT

PictureCorrect.com: Using Multiple Exposures in Action Photography

When you first take a look at photographer Marcelo Maragni’s images, you might think that they’re a product of Photoshop. But the truth is they’re all created in camera. Maragni’s photos are created with multiple exposures. In the film days, a multiple exposure occurred when the strip of film did not advance to the next frame causing the same frame to be exposed twice. This created overlapping images, and while it was originally the result of a mechanical failure or mistake on the part of the photographer, it has become an area of experimental photography:

The great thing about shooting multiple exposures with digital is that you can choose which two photos to combine. Most DSLRs will have a multiple exposure function that will allow you to go through your images and preview how the two would look like combined together. The results can yield unique and unexpected photos.

Perhaps the most fun part of creating multiple exposures is that it means you get to spend more time shooting and less time at the computer. But, like photography itself, creating multiple exposures is both an art and a science. You’ll need to learn how bright areas will look on dark areas, and vice versa, when creating multiple exposures. But seeing as you can’t live view the how the final image will look, a bit of guessing and experimentation will be needed as well.

multiple exposure photography

It’s not Photoshop, it’s multiple exposures!


Go to full article: Using Multiple Exposures in Action Photography

What are your thoughts on this article? Join the discussion on Facebook

Article from: PictureCorrect



from PictureCorrect http://ift.tt/1bpIgB9
via IFTTT

maanantai 30. toukokuuta 2016

PictureCorrect.com: Light Painting Photography Techniques: 7 Useful Tips

Light painting is a fun photography technique where photographers use camera flashes, flashlights, and spotlights to paint light in a scene. It can easily qualify as the best/most fun night photography technique. Although many photographers have attempted it before, only a few have mastered the technique. Below are some very useful tips to consider when you want to perfect your light painting skills.

1. Try out different light sources

This is very important You shouldn’t try painting everything using the same light. To avoid odd and flat pictures, consider using different light sources, otherwise your work will defy the sole purpose of light painting, which is to create unique light impressions on different landscape parts at night.

outdoor light painting

“After the Workshop 4 – Dewayne & Jamie Battle” captured by PictureSocial member Jeremy Jackson

2. Use dimmable light sources

For the best results, you need to choose dimmable light sources, because light painting relies heavily on light intensity. To get the best results, you must be able to alter light intensity whichever way you like to ensure every part of a photo gets the right amount of light.

3. Take care of the noise

It is important to note that long exposures create more noise. Because of this, take time painting in light, but don’t forget to factor in this small detail; it can be the difference between good and bad lighting photography.

4. Take multiple shots

To get the best light painting photos, you need to take as many shots as possible. Multiple shots help you treat different parts of a photo separately which should be the case in light painting.

5. Use flashlights that don’t have hot spots

Moving your flashlight beam randomly when taking light photos doesn’t make a big difference even if your flashlight has a hot spot (a bright circle located at the center of the beam). The hotspot does, however, make a big difference when you are considering fine details in scenes. If you don’t have money to buy the perfect flashlight, consider taping tissue paper or wax paper over your flashlight lens to eliminate hot spots.

flashlight light painting

“Light Painting” captured by PictureSocial member David Elwood

6. Include night photography techniques

Just because you are light painting shouldn’t mean you forget typical night photography techniques. You must consider techniques like mirror lockup, cable release, long exposure noise reduction, etc., to ensure you get the best outcome.

7. Mix ambient light

You should also remember to incorporate ambient light—like street lights or moon light—to add mood to your photos. Using flashlights shouldn’t mean you ignore all other light sources.

light painting with steel wool

“Crazy Reflection” captured by PictureSocial member Arthur Taylor

Keep these tips in mind next time you head out for a light painting shoot.

About the Author:
Swee Shiong Chong writes for SG East Photo, a photography blog on techniques and equipment that is used in creating all types of photography from around the world.


Go to full article: Light Painting Photography Techniques: 7 Useful Tips

What are your thoughts on this article? Join the discussion on Facebook

Article from: PictureCorrect



from PictureCorrect http://ift.tt/1rQfd7k
via IFTTT

PictureCorrect.com: Interesting Photo of the Day: Laser-Like Traffic Lights Pierce the Fog

Looking more like a laser show or special lighting effects at a concert, Lucas Zimmermann’s “Traffic Lights” series transforms a mundane object into a colorful spectacle:

traffic lights in fog

“Traffic Lights” by Lucas Zimmermann (Via imgur. Click image to see full size.)

This 20-second exposure was taken with a Canon 5D Mark II on a foggy winter night near Weimar, Germany. To capture the shot, Zimmermann reportedly had to dodge cars and experiment with camera settings before coming up with the striking results.

Zimmermann describes how his originally planned photo shoot (car headlights in the fog of a forest) quickly shifted when he drove past the intersection seen in the photo:

“I drove past an intersection with traffic lights and was immediately taken by the scenery and mood. The blue tint of light green light surprised me, and in my opinion, contributes positively to mood of the images. The unknown color is like the fog hidden to the human eye, but the photographs show us things that we would otherwise have easily overlooked, such as a simple traffic lights at the side of the road in the fog. That way, the familiar object creates a strong graphic effect in an unnatural situation with a simple photographic setup.”


Go to full article: Interesting Photo of the Day: Laser-Like Traffic Lights Pierce the Fog

What are your thoughts on this article? Join the discussion on Facebook

Article from: PictureCorrect



from PictureCorrect http://ift.tt/1pqgb2w
via IFTTT

PictureCorrect.com: How to Do Timelapse Photography for the First Time

Making a beautiful timelapse sequence involves quite a bit of work. It takes a methodical approach, extensive research, careful calculations, and of course planning. You need the right equipment, too. This video by DigitalRev TV covers some of the essential points to successfully making your first timelapse:

Gear

There are a lot of cameras out there with built-in timelapse features. Ideally, get one of those. But don’t fret if your camera does not have a built-in feature. You can pick up an intervalometer like the Syrp Genie to control the interval shooting.

In any case, camera stability is vital to shooting timelapses. You don’t want to press the shutter release button with your finger, as that will create camera shake.

gear to shoot time-lapse

You need the right gear to shoot timelapse.

Camera Settings

Switch everything to manual: shutter speed, focus, white balance—everything. You want all of the shots to be consistent. Absolutely no wobbling, no auto-focus adjustment, and no auto change of exposure.

Numeris Complexis

Now for the complex bit. You need to figure out how many shots you need. That will depend on two things:

  1. how long you need the timelapse sequence to last, and
  2. the frame rate.

Let’s say you need a 2 second clip at 25 frames per second. That means you need 50 photos.

time-lapse video tutorial

Multiply the timelapse video duration (in seconds) with the frame rate to arrive at the total number of exposures.

Shutter Speed

Shutter speed controls the smoothness of the timelapse. Too fast a shutter speed and the movements will look jarred. Especially for subjects like water or people you need a slow shutter speed. Dragging the shutter speed makes for smoother movements. You may want to use a neutral density filter in brighter conditions to allow for slower shutter speeds.

Assembling the Video

There are many free and paid applications to assemble the images you shoot into a timelapse sequence. But before you can assemble the images you need to tweak the exposures in Lightroom or another post-processing application. The main thing is to balance the exposures. Simply adjust one of the frames and copy the settings to the other frames.

Assembling a time-lapse sequence

Assembling the timelapse shots into a video clip

The next step is to export the JPEGs and then import them to your video editing tool. Select the frame rate and export the video. That’s it! You have successfully created your first timelapse video.

For further training: The Timelapse Photography Guide


Go to full article: How to Do Timelapse Photography for the First Time

What are your thoughts on this article? Join the discussion on Facebook

Article from: PictureCorrect



from PictureCorrect http://ift.tt/1Up8ex3
via IFTTT

PictureCorrect.com: Concert Photography: Maneuvering the Crowd and Getting the Shot

Band photography can be an exciting and fun genre to get into, and it’s great for building your portfolio. Newspapers and magazines will be willing to pay for great images of the local music scene. Of course, like any other type of photography, it has its own tricks and obstacles to overcome. And many of these obstacles are physical, such as the crowd of people you have to wade through to get the shots that you want. This video covers a unique perspective of a photographer shooting a live concert. The little video cam attached to the photographer’s DSLR shows you how he maneuvers the crowd, frames his subjects, and waits for the right moments:

Some tips for shooting live bands:

  • Learn the Venue – Figure out where the band will be playing, where the crowd will be, how close you can get, and most importantly, if you are allowed to shoot there. Most places will be very accommodating for photographers as it can give them potential for publicity, but make sure you ask before you start shooting away.
  • Use a Fast Lens – Most places will be very dim during a live show. Of course there will be stage lights, but the ambient lighting will be very low. To compensate for this, you’ll need a fast lens. A prime is preferable, but a f/2.8 zoom could work as well.
  • Shoot at High ISO – Don’t be afraid to bump up your ISO. You’re going to need it to capture sharp shots in such a dim setting.
  • Don’t Use Flash – Flash is very distracting during a live show, especially if it’s inside. Don’t be the guy that ruins the show for everybody. Be courteous to and conscious about the people around you.
  • Be Prepared – A lot can happen on stage very quickly. The performers are jumping and running. Occasionally they go up to the edge of the stage and wail on a solo. If you want to get these shots, you have to be ready at all times. Some moments only last a second before they’re gone forever.
live band photography concert shooting

Things happen quickly on stage. Be ready if you want to capture the best shots.


Go to full article: Concert Photography: Maneuvering the Crowd and Getting the Shot

What are your thoughts on this article? Join the discussion on Facebook

Article from: PictureCorrect



from PictureCorrect http://ift.tt/13qkOR0
via IFTTT