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maanantai 31. lokakuuta 2016
PictureCorrect.com: Interesting Photo of the Day: Sailing on Clouds
There’s something wondrous about seeing the world from above; we’ve all grabbed for our cameras as we’ve gazed out the window of an aircraft:
Sailing through clouds by gameadd1kt (Via Imgur. Click image to see full size.)
Taken from what appears to be a C-17, this picture of a ship that looks like it’s floating in the clouds, is a result of a very low clouds, probably due to some fluctuations in the temperature and atmospheric pressure.
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PictureCorrect.com: Still Life Photography Tips and Techniques
Still life photography has many uses. Perhaps you want to take a picture of a beautiful shell or perhaps take a picture of a product that you’re selling on eBay. Other reasons for learning still life photography may include selling still life photograph downloads at stock photography sites or to food magazines. No matter what your reason, still life photography is a great skill to learn.
photo by Rick Harris
Unless you’re photographing specific products or pictures for a magazine assignment, the subjects for your still life photography are endless. Despite common belief, still life photography isn’t limited to just pictures of apples and grapes. Even something like artfully arranged spools of thread can be interesting and visually appealing. Microstock sites like Shutterstock and iStock that cater to commercial users have a high demand for all sorts of still life, often of very simple objects, like a cup of coffee or a key.
photo by C_osett
People often times think of still life photography as a lot easier than other types of photography like sports or landscape photography. With stills, you often have full control over the composition and can arrange the inanimate objects exactly how you want them.
And sometimes, good quality still life pictures can be even more challenging to photograph. That’s because they are close up so it’s easy to spot imperfections like a blemish on a piece of fruit that would usually pass unnoticed.
photo by Samantha Durfee
Despite the challenges, using basic photography skills and the following tips, you can create quality still life pictures.
Lighting for Still Life Photography
Professional photographers usually use a soft box or a light box to shoot their still lifes. Although soft boxes can help out a lot, they still aren’t absolutely necessary to get good results as you’ll see shortly. However, if you do want one, you can find a softbox online or you can easily make one using instructions you find online. The purpose of these lighting tools is to provide even light on the subject.
You can also get a good quality of light by setting up your photo shoot outside. A high overcast or bright sky can create a natural soft box effect without having any of the harsh shadows.
Composing Still Life Pictures
When composing your photograph, you need to arrange the objects in a pleasing composition. You should consider using classical composition techniques like the “Rule of Thirds,” “Leading Lines” or “Frame within a Frame” for ideas of how to best compose your pictures.
photo by Olga Filonenko
Artfully arrange the objects, and use your imagination. For example, if you’re taking a picture of an apple try taking a bite out of it to give it some added interest.
Fill the Frame with Your Still Life Subject
When taking still life pictures, always remember that your subject should be the only thing that you see in your viewfinder or LCD screen. You need to remove any distractions or clutter from the background so you can have a clean and up close image.
photo by aotaro
If you have a backdrop or background you don’t like don’t worry about it because it can be easily solved. The light box or soft box will solve this problem, but if you’re taking pictures outside and have a distracting background simply place a piece of white foam board behind your subject and you’ll be all set. If you want a sharp image, make sure to use macro mode or you can end up with a fuzzy image.
Look for a Good Angle
Instead of shooting from your height, hold the camera so that it is level with your subject. You should also try shooting from a variety of different angles. Hopefully you can start applying these still life photography tips immediately so you can start seeing a difference in the quality of your still life images.
About the Author
Autumn Lockwood is a writer for Your Picture Frames. If you’re looking for 11×14 picture frames visit their online picture frame shop or call us at 1-800-780-0699.
For further training, here is a video on the topic. This tutorial walks us through the process of some advanced still life photography techniques. Mark demonstrates how to use an aquarium to capture engaging images of ordinary household items. From a strawberry to food coloring, watch as Mark provides step by step instructions for creating unique still life images:
Best of luck and have fun with your still life photography endeavors!
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sunnuntai 30. lokakuuta 2016
PictureCorrect.com: 8 Outdoor Child Portrait Photography Tips
Children are endearing, free-spirited, and full of life. Their bodies and minds are stuck in a state of perpetual motion. Unfortunately, many of the qualities that people love about children are the same attributes that make them difficult subjects for many photographers. Even the most experienced artists may run in to some trouble when it comes to capturing something as natural as a child’s laughter:
Having worked with models of all ages from across the globe, photographer Karl Taylor has a knack for communicating with kids. Here are a few tips that he’s found to be especially effective over the years:
1. Keep them entertained. It doesn’t take long for kids to grow bored. To keep their attention on a shoot, create games, tell jokes, and above all, communicate often with the subjects. Children are incredibly perceptive. If you’re having fun, chances are that they will, too.
2. The shorter the shoot, the better. Keep in mind that interaction and communication will only take you so far in a child’s photo shoot. Do your best to wrap the shoot up before your models begin to grow tired or impatient.
3. Get to the same level. Kneeling down and working at the same height as your subject has multiple advantages. Not only will you be able to get a closer, clearer view of your subject, you’ll also find that being on equal ground will result in a child being more receptive to instruction.
4. Use versatile equipment. In the video, Taylor utilizes a 70–200mm lens that allows more flexibility than fixed glass would. He also employs his camera’s auto-focus to capture the quick movements of the children in perfect clarity.
5. Have an assistant tag along. A source of back up can make all of the difference in child’s photo shoot. Not only can the extra hands help the shoot move along at a faster pace, another person can also serve as a source of entertainment and a means of keeping the subjects engaged for a longer period of time.
6. Be encouraging. Simply enough, children respond well to positive reinforcement. Be outgoing, friendly, and let your models know when they are doing an excellent job.
7. Try out different techniques. If a pose or idea isn’t materializing the way you’d envisioned, it’s often better to move on to something new that your subject might be more receptive to. Trying unsuccessfully to force a shot that isn’t meant to be will likely only result in frustration for all parties involved.
8. Improvise! Kids are spontaneous by nature. Allow time for them to be themselves; more often than not, these funny, candid moments are what an audience wants to see most.
“Getting the kids to mess around a little bit actually made for a better shot.”
The next time you’re booked for a photo shoot featuring kids, don’t break out into a cold sweat. Photographing children does not have to be an arduous task. Often times, the most valuable advice is to let loose, open your imagination, and try to embrace your inner child.
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Martin Bailey Photography: Iceland Full Circle Photography Tour 2016 Travelogue 3 (Podcast 547)
Today I share with you the third in our four part series of travelogue style episodes to walk you through ten more images from my recent Iceland Full Circle Tour and Workshop.
We pick up the trail after lunch on September 10, 2016. In the morning, I’d been photographing on the west side of the channel, through which water from the Jökulsárlón glacial lagoon flows, but this first photo (below) from the afternoon session was from the east side, or the left, as you look out from the lagoon.
Rough Sapphires and Waves
I love the color in the ice that washes up on this beach from the glacier. We literally can spend an entire afternoon just photographing a relatively short stretch of beach, and continue to find compositions that work. Here I was waiting for the waves to crash bigger than average, and I was also conscious of the waves rolling in as well, trying to get a good combination of both. The sky was great on this afternoon too.
Careful Composition
I set up my camera on a tripod, as I often do, and carefully positioned the left edge of the frame just to the left of the end of the ice. When composing shots like this, I’m also very conscious of where the chunks of ice fall in the frame. I’ll move around and find an angle and focal length that enables me to compose the shot without a chunk of ice being cut off by the edge of the frame.
When there is this much ice strewn around, there will often be a few small chunks that are cut off, but I’m fine with cloning those out. I just don’t want to be messing with large chunks. I generally allow myself to clone things out that I was aware of in the field. If I get home and find something annoying sticking in the edge of the frame that I didn’t even see, I abandon the shot. Over-kill, you may think, but this is how I’ve trained myself to be very careful with how I compose my photographs.
I shot this image with my 24-70mm lens at 24mm, with a shutter speed of a 1/50 of a second at f/14, ISO 100. I also used my cable release, without a timer, so that I could release the shutter at the optimal moment as the waves crashed.
For this next shot, it’s obviously not possible to avoid cutting off the large chunks of ice, as I was square on, and there were no gaps, so in these circumstances I start to look for the best place to cut off the ice, and that results in this composition for this scene (below).
Sapphire Splash
Again I was using my cable release to release the shutter at the best moment for the waves. I actually speeded up my shutter speed a little to 1/200 of a second for this, and increased my ISO to 400 as well, to counter that change. Basically I increased the shutter speed by two stop, going from 1/50 to 1/200 and that means two stops less light would get into the camera, so increasing the sensitivity of the sensor by two stops gives me exactly the same exposure as the previous image with a faster shutter speed.
The reason I speed up the shutter speed was because I was now closer to the waves, and wanted to freeze the movement just a little bit more than a 1/50 of a second would. Note too that I also considered lowering my tripod a little, so that the waves reached further up into the sky, making them look bigger, but that also reduced the amount of sea and distant waves in the shot, and I didn’t want that, so I stuck with my tripod height.
Jökulsárlón Glacial Lagoon
After spending most of the afternoon on the beach, I walked back up into the glacial lagoon, and did a few more shots, like this one (below). This was a 20 second exposure using my new 10 stop 4X neutral density filter from Breakthrough Photography.
Jökulsárlón
Looking Forward to the 24-105mm Mark II Lens!
I bought this particular filter a number of months before the trip, and was so happy with the images from this filter, when I got home, I bought five more filters from Breakthrough Photography. My 24-70mm lens has an 82mm filter thread, but I’m currently eagerly awaiting my new Canon 24-105mm f/4 Mark II lens, that is expected to go on sale this week (Nov, 2016).
I have bought a UV protector filter for it, as well as the Breakthrough Photography Circular Polarizer, and their 3 stop, 6 stop and 10 stop neutral density filters. This means that I’m now fully kitted out for the new 24-105 lens, and I can use these filters on my 100-400mm lens too, which is means I actually don’t need to carry my 82mm filters around with me any more.
I’m not going to sell the 24-70mm just yet, as this is a beautiful lens and I may still need the f/2.8 aperture, which is the main reason I sold my old Mark I 24-105mm lens years back. The reason I’ve been waiting for this Mark II version of the 24-105mm is because I am now shooting with my 100-400mm lens rather than my old 70-200mm, because of the extra reach and great sharpness.
I’ve never been happier with my kit, traveling most of the time now with my 11-24mm, the 24-70mm and the 100-400mm lenses. But of course, that leaves me with a 30mm gap between 70 and 100mm, and that’s where the 24-105mm lens comes in. I have made it work with that gap, but there has been times, lots of times, when somewhere between the two lenses would have been better.
Zooming With Your Feet Can Get You Killed!
If you are listening right now thinking that popular mantra “zoom with your feet” then just stop. There are plenty of places where that just isn’t possible without falling off a cliff or otherwise maiming yourself, and when possible, I don’t want to crop down a wider shot either, so the 24-105mm lens is going to be a great new additional to my kit.
I actually have a rule that I try to stick to with my gear, that is, if I don’t use it for more than a year, I consider selling it. I’ve actually just sold my Canon EOS 7D Mark II camera, because I haven’t used it since the 5Ds R came out, and I sold that 70-200mm lens too, because I haven’t used that since the 100-400mm came out. Half of the money from these sales will pay for the new 24-105mm and I have the rest saved in my Map Camera point card for the next purchase, whenever that will be.
Double Rainbow Reflection
The following day, we moved on to new territory for me. I’ve perhaps been as far as this photo actually, but from this point on, we were heading north, and were going to go around the northernmost areas of Iceland that I had not taken the group to in the past. As we headed into the unknown, we couldn’t resist stopping for this rainbow (below).
Three Rainbows
It’s at times like this that I’m happy for my GoreTex lined Scarpa hiking boots, as I can just walk out into water like this to get a water filled foreground to reflect the bottom arch of this double rainbow, without getting water filled boots. I used a polarizer filter to intensify the color here. This was a fun stop, with everyone running around like crazy trying to find a good bit of water for a reflection or including the road that you can see to the left of the frame.
The Teigarhorn
We spent the day driving and stopping for shots along the coast, and our last shot from this day that I wanted to share with you is this one, from a small promontory of land from which we had this view of the Teigarhorn mountain and an abandoned boat in the foreground (below).
Teigarhorn and Abandoned Boat
I also did some long exposures here, but the sky didn’t look great, as the cloud cover was a little bit sporadic. I prefer heavier skies for long exposures. I like this though, with the browning autumn grass and that characteristic boat in the foreground. It’s a bit postcardy, but that’s OK sometimes.
Litlandesfoss Waterfall
The next day, we continued up into northern Iceland, and had some lovely shoots at a number of waterfalls. The first of which is Litlandesfoss, that you can see in this photograph (below). This is a good little hike up the hill from the road, but it was a pleasure to be shooting in an area a good distance from Reykjavik, far from the madding crowds.
Litlandesfoss
As I’ve mentioned in previous episodes, I’m now processing all of my images in Phase One’s Capture One Pro, and just wanted to quickly mention that I haven’t really done a lot to these images, but am really happy with the results, after tweaking the Highlight and Shadow sliders, as well as the Levels a little, and the Luma Curve, and a little bit of Clarity and Structure to finish.
Tim Vollmer, my partner for this tour had shown me a photo from the top of the waterfall, where there is another basin in the basalt rock, but when we walked up there, it turns that that you have to be a mountain goat and totally fearless, like Tim, to get to a point where you can actually make that photograph. No one in the group, including me, was brave, or maybe stupid enough, to climb down onto the wet rocks, to get that photograph, so I’m pleased that I’m happy enough with this photo.
What!? No Name?
Unnamed Waterfall
A little later in the day, we stopped at another similar waterfall, which as far as I can see from the map, has no name. It’s amazing to me that Iceland has so many beautiful waterfalls like this one (right) that they don’t even bother to name them all.
We spend plenty of time at these spots, so we’d photographed these falls and the river from higher up initially, and then walked down to the river, to get shots like this, with the water swirling around in the foreground.
I used my 11-24mm lens for this, at 14mm, so that I could point the lens down to get the river in like this, while still including the falls in the distance, showing us where the water had come from.
I used a shutter speed of 0.3 seconds for this shot, at f/16, ISO 100. I can’t remember exactly, but I think I had an strip of ND1.2 film in the gelatin filter holder on the back of the lens, giving me four stops of neutral density to get this exposure.
I could perhaps have gone a little bit longer, but I was also trying to maintain some of the texture in the water here, so this is my result.
Otherworldly Scene
This next shot is of a pretty surreal landscape as we made our way to our next location. We were told that NASA did some testing of the moon buggy out here, although I don’t know if that’s true or not. Regardless, I love this almost otherworldly landscape, made even more eery by the low cloud (below).
A Moon with Atmosphere
I cut this down to a 16:9 aspect ratio, because there was a bit too much sky, but I quite like this letterbox look for some photos, and of course it’s a great ratio for showing images on a wide screen display or TV. One change to note for this photo is that there were lots of patches of bright orange foliage in this scene, especially to the left, but rather than cloning them out, I used the Advanced Color Editor in Capture One and selected the color, then reduced it’s Lightness and Saturation, to make the orange less prominent.
We continue with the otherworldly theme, with this somewhat apocalyptic scene at Namaskarth (below) the following morning. This reminded me a lot of Sulphur Mountain, that we visit on my Japan Winter Wildlife tours, but this place covers a much wider area.
Námaskarð
I generally wait for people to leave the scene in landscape shots before releasing the shutter, but this is one of those times when I think the people add interest. I waited for the person on the far right to walk in front of that billowing fumarole, but I also had a second figure walking through the steam near the middle of the frame, and I quite like both. It almost feels like they’ve just had a sinister meeting, maybe a small package was exchanged, before going their own ways.
Dettifoss
Later in the day, we visited Dettifoss (below) accredited as being the most powerful waterfall in Europe. There is a waterfall in Norway with more water flowing, but it only falls about half the distance. Of course, you can’t tell how far the water is falling from this shot, and we were not able to get to the other side of the falls, so we’ll have to save that for a future trip.
Dettifoss
The wind direction made the spray from the falls very difficult to work in, but I was able to get a number of shots, using my trick of keeping a cloth in front of the lens while I wipe it dry, then taking it away a split second before I release the shutter. Despite that, I was working with a shutter speed of 1.3 seconds, to enhance the silky feel of the water for this shot.
A short walk from Dettifoss, is Selfoss, a beautiful series of waterfalls, that we’ll take a look at to kick off the concluding part of this series next week.
Join us in 2017!
If you think you might like to join us for the 2017 Iceland Full Circle Tour & Workshop, from September 4 to the 15th, please do check out the details at mbp.ac/iceland. As you see, we visit some amazing locations, and have a great time.
Iceland Tour & Workshop 2017
Show Notes
Check out details of the 2017 Iceland Full Circle Tour Here: http://mbp.ac/iceland
Music by Martin Bailey
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PictureCorrect.com: Backlit Silhouette Portraits: Photography Activity
This is a portrait of a person or thing, taken with bright back light, causing the subject to be rendered as a dark shape. You’ll need:
“Silhouette blown hair” captured by PictureSocial member Ornela Pagani
- A source of bright light (open window, bright sun behind a person outdoors, etc.). The sunset with water behind it is a great setting for this kind of shot.
- A willing model.
Camera Setup
- Mode: Aperture Priority (often shown as Av on the mode wheel)
- ISO: 100 or so (there will be lots of light)
- White Balance: Custom
- Aperture: Mid-range, from f/5.6 to f/16
Exposure
Even in aperture priority, the camera may try to expose for the subject. You may have to use your exposure compensation to drop the exposure by 2-3 stops.
White Balance
Take a shot of your gray card or reference paper before you adjust your exposure compensation. Make sure it’s bright grey, and set custom white balance.
Pose
This is your choice, but I recommend an interesting body pose. For ladies, I recommend a turned pose, off-center, hands on hips, head facing 90 degrees so you can see a face silhouette.
Framing the Image
For people shots, frame in portrait mode, and not on center. Think of the rule of thirds, and leave some open space to one side.
Take the Image
You want a very bright background and the subject quite dark. If the camera refuses to do this naturally, you can use the exposure compensation down by 2-3 stops from normal to force a darkening of the underexposed portions. Do not use flash!
Advanced Tricks
Instead of messing with exposure compensation, you can expose for the background, note the f-stop and shutter speed, and then switch to manual mode and crank up the f-stop (to larger f-numbers) or crank up the shutter speed (to faster values), to lower the total exposure. It also holds those parameters and will not float around like aperture value tends to do when changing your composition. Also, in post production, you can use the levels tool to pull in the darks and make them darker.
Photo captured by PictureSocial member bluenaren
Analyzing and Improving
If you can get the background perfectly exposed, to see the colors and features, and the silhouette is dark, you have nailed it! Try the same kind of shot with non-people things such as bridges, buildings, towers—anything that has less light on one side and will create an iconic shadow.
About the Author:
John Huegel (jhphotomusic.com) is a photographer in the Erie, Pennsylvania area who specializes in Seniors, Dance Studio, Families and other groups. He is active in many charitable and volunteer activities in the Erie area.
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PictureCorrect.com: Interesting Photo of the Day: Sunrise in Rangarvallasysla, Iceland
Nothing beats relaxation time while watching and listening to a cascading waterfall. The feeling is hypnotic, especially in the presence of beautiful terrain and a complementary sunrise. This image successfully captures that feeling, giving the viewer a sneak peek of the captivating landscapes strewn throughout Iceland:
“Behind the Waterfall: Seljalandsfoss, Iceland” by Adrian Chandler (Via Reddit. Click image to see full size.)
This waterfall named Seljalandsfoss, located in the Rangarvallasysla region of Iceland, is a very popular destination for photographers and travelers. Photographer Adrian Chandler captured this photo of the waterfall at sunrise from behind the fall itself. This perspective offers a breathtaking view of Iceland’s famous natural beauty. Many viewers have remarked that when you’re planning a trip to Iceland, this destination should definitely be at the top of your list.
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lauantai 29. lokakuuta 2016
PictureCorrect.com: 5 Imaginative and Inspiring Ideas to Boost Your Photography Creativity
At one point or another, almost all photographers have experienced periods of creative block. Though incredibly frustrating, lulls in the artistic process are completely natural and do not indicate a loss of the “spark” you once had. Nevertheless, navigating your way out of a block can be a long, arduous process. Here, Marcin Lewandowski offers advice on feeding your imagination and getting yourself back behind your camera’s viewfinder:
Games and experiments can be some of the most effective ways to exercise your mind and form new ideas. Using resources such as The Photographer’s Playbook, Lewandowski has discovered and devised the following activities to inspire his students as well as challenge himself as an artist.
1. Play with Numbers
On November 11, 2011 (11/11/11), Lewandowski commemorated the unusual date by challenging himself to take a photograph every 11 minutes between 11am and 11pm. Although the next 11/11/11 may not occur for another 95 years, there are numbers surrounding us in things like dates, times, prices, and addresses. Even the settings of a camera are relegated to numbers. This exercise can be as simple as shooting everything at aperture f/8 with a shutter speed of 1/8 second to see what sort of results occur.
2. Switch Perspectives
Photographers often keep their cameras close to eye level. However, this is only one way of seeing things. By getting close to the ground and shooting upwards, you may be able to recreate the perspective of a child or pet. Conversely, climbing up to a higher vantage point and looking downward can replicate a bird’s eye view. Even snapping the shutter at the level of your hip can yield interesting results. By physically altering the way in which you’re looking at things, boring, uninspiring subjects can often be transformed into something utterly mesmerizing.
3. About Face (Turn Around)
Interesting images can be found by simply looking the other way. The next time you stop to take a picture, turn around 180 degrees and see what’s going on right behind your back. If you’re shooting a specific object or model, position them behind you as well. Not only will you have a new background to experiment with, you may also observe differences in the way light falls upon a subject.
4. Focus on Reflections
Although many people have admired the beauty of a reflection in water at some point, very few photographers focus primarily on reflections. In fact, much of the time we disregard reflections entirely. However, photographers can add layers of depth to an image and create something surreal or abstract by simply observing the reflections scattered throughout everyday life. Keep your eyes peeled for what lies in antique mirrors, storefront glass, automobile bumpers, rain puddles, and much more.
5. Location Study
Sometimes all it takes to get the creative juices flowing is some extra attention to a specific place. Whether it’s a local city landmark, a remote patch of wooded area, or your own backyard, there are sure to be details that most would overlook. By limiting yourself to a specific small area, you are forced to consider the environment, search for unique image opportunities, and experiment in ways you might not otherwise.
Simple to understand and easy to adapt, these activities are appropriate for photographers in all stages of their career. No longer does the creative block have to slow down your workflow. By simply loosening up and embracing a new strategy, an antidote to inaction is easier to attain than ever before.
“By constraining yourself to a strictly limited set of parameters, you will paradoxically open the mind for new possibilities and foreseeing situations in a new light.”
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PictureCorrect.com: Interesting Photo of the Day: Starry Skies Over the Cascades
Anyone who’s visited the American Pacific Northwest can attest to the beauty of the Cascade Mountains. In a stunning pair of images, photographer Steve Schwindt recently proved that the majesty and grandeur of the landscape ceases to disappear once the sun sets below the horizon:
Moonset behind Three Fingered Jack in Oregon (Via Imgur. Click image to see full size.)
Using a Canon 5D Mark II equipped with a Rokinin 24mm lens, Schwindt seized the beauty of the wilderness outside of his hometown of Portland, Oregon while on a backpacking trip. Using 11 exposures to reduce camera noise and bring out darker details in the meadow that lies at the foot of an inactive volcano known as Three Fingered Jack, he composited the consecutive shots with the help of Lightroom and Photoshop.
Pleased by the final outcome, he replicated the technique to capture one of the highest peaks in North America, Mt. Rainier:
Mt. Rainier (Via Imgur. Click image to see full size.)
Although the photographs feature similar subject matter beneath equally stunning skies, each evokes a unique mood that’s difficult to turn away from.
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