tiistai 28. helmikuuta 2023

PictureCorrect.com: Ice Tunnel Focus Stacking Composite Photo Case Study

Today’s case study on an award-winning landscape photo was kindly shared with us by Ignacio Palacios, author of the Dissecting Award Winning Shots which is designed to help photographers gain the confidence and understanding of how to build their images to an award-winning standard.

‘Ice Hole’ is a composite image created from two images taken in areas very close to one another geographically and is one of my favourite examples of how blending two scenes together can create an image far more engaging and impactful as a result.

ice tunnel

The iceberg was photographed at Black Sand Beach near Jökulsárlón and the ice hole that frames the subject was photographed just outside an ice cave, similarly near Jökulsárlón.

For me, photography is largely a two-step process – firstly the capture and then the post-processing.

Manipulating an image after its capture is a practice almost as old as photography itself. Before the digital age arrived, this was achieved by a range of techniques such as retouching with ink or paint, double-exposure, piecing photos or negatives together in the darkroom, scratching Polaroid’s etc and the list goes on.

The debate around image manipulation has been a topic of discussion since photography was born in the 1830s and the history of composite photographic images and image manipulation relates far back to the methods of Pictorialism* (1885–1915).

In the current realm of digital photography, Photoshop is my most favoured tool of choice for post-processing. As I have alluded to already, I find it is the most effective instrument for allowing me to develop an image from what I had previously captured into what I had witnessed, felt or pre-visualised.

There are other tools available, and more being created every day, but Photoshop still remains the original and current benchmark for unlimited creative potential. It has the range and power to refine, control, design and finesse an image in almost any way you can think of. Your level of imagination really is its only limitation!

Pre-visualization

The concept of pre-visualisation in photography refers to where the photographer can perceive the final image before it has actually been captured. This approach can be of high value for photographers of all kinds, as it has the potential to unlock greater creative vision.

Well before even flying to Iceland, I had been exploring a range of ideas in my mind. Iceland has been so heavily photographed in recent years and I really wanted to create something original and unique, beyond what I had seen before. Not an easy task perhaps, but a motivating one! One of my ideas was to photograph some of the most recognised and iconic locations, but present them framed inside ice, and this image was created from that idea.

ice tunnel capture

My first attempt to frame an icon within ice was at Kirkjufell mountain, framing the peak with a sheet of ice (see image above).

What works about this image

Overall the image has lots of rich texture and form to explore, providing interest in every part of the image, yet the circular framing creates a clear and controlled sense of direction and movement for the eye to follow. There’s a beautiful reward for walking inwards from the outside, held in the flowing movement and sumptuous colour deeper within. Ultimately, it is a fairly unique image of a well seen location with an alluring level of sensuality and spatial depth. I think the success of this image comes from how well the relationship between shape, colour and content has been tied together between the two frames. Let’s start with a view of the two original raw files and I will take you through some of my thought processes and techniques for blending
the final piece together…

Composition

Framing is a compositional tool whereby elements in the image are used to outline or enclose a feature within its boundaries. In this case the ice hole is used to encase and frame the background features of the icebergs at sea – creating a frame within a frame if you like. In this case it works particularly well because the iceberg is framed by another element in the scene that complements its own story and physical structure – essentially two slightly differing forms of the same element, tied together by design.

The original placement of the iceberg within the hole was too tight and it didn’t work compositionally. As a result, I used the warp tool in Photoshop to open it up and give more breathing room to the iceberg, which brought more balance to the two main areas of visual interest.

The compositional choices provide an organized arrangement within the frame, structuring the image more formally. Limits are set, and the image holds back from flowing over the edges. This containment provides a sense of stability, deliberateness and control – a common quality in a successful image.

photo composition

Circular framing creates a clear and controlled sense of direction and movement.

On a purely graphic level, the framing helps focus the attention of the viewer by establishing a clear direction for the eye to move from the outer frame inwards, through a visual passageway. The small gap between the two frames also intensifies the graphic relationship between the two scenes.

Circles and ellipses have a special place in composition. Unlike triangles, vectors and lines, they are not so easy to imply because they need to be complete and have a very precise, recognizable shape. The circular and elliptical elements in this image have an enclosing effect. They contain what’s placed within and draw the eye inward; in this case, creating a tunnel-like effect.

Lines and Curves

The leading lines in this image are less visible and more implied, but very effective nonetheless. The tunnel like effect of the framing denotes the direction of the converging lines that run from the outside to the inside through this visual tunnel. Converging lines have long been used to evoke depth and perspective, and do so here to significant effect.

The horizontal line on the centre of the image, within the frame, provides a familiar anchor and resting point for the eye and a point of reference to explore and relate to the rest of the image. It also provides a point of difference in the otherwise dominant circular features.

The rest of the image is largely made up of curves. Unlike linear features and lines, curves invite the viewer to slow their advancement through a frame visually. They add an earthy sensuality and lure the viewer into slowing down to investigate all the sinuous shapes.

original ice cave

My first attempt to frame an icon within ice was at Kirkjufell mountain, framing the peak with a sheet of ice.

Patterns and Rhythm

There is a large repetition of form in the curved features along the icy tunnel walls, leading into the scene behind. This pattern evokes an almost wavelike rhythm as you wander gently up and down the ridges of ice, deeper into frame. When you finally reach the central scene the viewer is rewarded with a change of tempo and even sound through the washing waves of the sea.

Asymmetry

The visual weight of the image is slightly skewed rather than symmetrical in nature. The bulk of the ice presented is uneven, with greater weighting above and to the left of the frame.

This contributes to the feeling of movement and the organic living nature of the scene. A perfectly symmetrical positioning of the central subject and weighting distribution would be far more static in comparison. The horizon line is quite centrally placed however, which adds a subtle horizontal symmetry and sense of balance to the image overall.

Texture

This image is incredibly rich in texture, particularly in the ridges of ice on the walls of the ice hole. They feel so real and tangible as a result that you almost feel like you can reach out and run your hands over them. Texture has the power to evoke a very physical and sensory response to a subject and in this case, does well to describe visually just how it might feel to the touch.

Light

Selective dodging and burning has accentuated much of the shape and form of the ice features and aided in directing the light down into the deeper parts of the image. The eye almost always travels through an image to rest on its brightest point. The contrast and brightness of the icebergs in the back of the image has been increased to grab the viewers’ attention and help pull the eye through the frame. The outside of the image has been significantly darkened from the original, to add to the sense of framing (in a form of vignetting) to prevent any brightness on the outer part of the image competing with the elements designed to draw you further in. The lighting was handled with enough delicacy that you are invited to gently meander through the frame rather than be pulled through it by any overly bright features.

aurora ice cave

Another version of ‘Ice Hole’ including an aurora in the background.

There is a certain luminosity and translucence that has been conveyed by the use of light painted through the dodging and burning process, that really brings the ice to life. It also introduces a more surreal and painterly quality to the image

Colour

Many hours went in to developing and finessing this file, particularly with the colour, and several different versions were created. Ultimately, this variation rose to the fore where the blues were saturated similarly enough throughout the frame to help tie the two parts of the image together – while still keeping a subtle separation between front and back. Warmer orange hues (again with that beautiful colour complement to the blues) were added to the flowing water and horizon as well as to their ‘reflection’ inside the ice hole.

colors

This added a touch more complexity to the overall colour palette, helped tie the two frames together, making it more believable and bringing a greater level of emotion into the image.

Movement

The front of the image is very static and solid, while the frame in the back, created with a long exposure, brings in an alluring sense of flow and movement. This subject contrast of the two
qualities in juxtaposition add a level of dynamism and interest to the image overall and introduce an added level of separation between foreground and background for the viewer to reflect on. This contrast is both literal and figurative in nature.

Tonal Range and Histogram

The histogram gives you an excellent view of where all the tones lie within an image. 0-255 represents the full range of the values involved from complete black to pure white. I rarely go to the edges, particularly when preparing a file for printing, as it usually means the brightest and darkest areas will not print with any detail – a common criticism from judges. And while it’s crucial to capture a photograph where the information is completely contained within this range, there is room to interpret how this is used and distributed throughout the final image.

Maximising the full range at your disposal within that boundary (I often aim for 10-245) allows you to take full advantage of the contrast, sense of luminosity and overall punch and impact for many images – with this one being an excellent example.

If you compare the original raw capture of the icebergs, the tonal range is very limited with low contrast feel and consequently it’s arguably a fairly lacklustre image in terms of impact. The final version is quite the opposite, largely through extending out the much fuller tonal range accessible within the file. The whites are whiter, and blacks blacker and there is a greatly increased sense of luminance, form and energy brought into the image as a result.

Technique: Focus Stacking

Like the image of ‘Spa Pool’, ‘Ice Hole’ was created using a photographic technique called focus stacking. 8 shots of the ice hole were taken focusing manually at different positions in sequence, from the foreground to the background using an aperture of f11. The eight images were then merged using the very capable specialist software: Helicon Focus. This technique generally requires the use of a tripod to prevent ‘ghosting’ or overlap of images during the blending process and to provide enough control to select the various focal points. Mirror lock-up and a cable release are recommended to avoid any unnecessary vibrations of the camera caused by manually touching the shutter-release button

“Successful composites look natural – as they should – but behind the scenes, you need to be prepared to spend the time required to create a seamless result. Putting the elements together is the easy part; getting them to sit together is more challenging.” – Peter Eastway

Reflections:

• This was a great example of rich reward from time invested. I gave a considerable amount of thought to creating an innovative image that stood out somewhat from the heavy flow of images that come from this highly visited area. Taking the time to be present with any visualised ideas and concepts, both before the capture process, will allow them some breathing room to guide you. Before I even bought my ticket, I was reflecting on ideas about how to approach this area. What were its qualities that I wanted to express? How could I explore it on another level? What was a new approach I could take?

• When I arrived, I used some time to test out the theory of my approach and put it into practise – as you can see in the imagery from Kirkjufell Mountain. It’s well worth some trial runs when you are using a new technique. Photography is a craft like any other and requires time and repetition to refine your skills!

• I thought I’d follow on with a note about Pictorialism that was mentioned above…
*Pictorialism is the name given to an international style and aesthetic movement that dominated photography during the later 19th and early 20th centuries. There is no standard definition of the term, but in general it refers to a style in which the photographer has somehow manipulated what would otherwise be a straightforward photograph as a means of ‘creating’ an image rather than simply recording it. It emphasizes photography’s ability to create visual beauty rather than simply record facts. Pictorialism began in response to claims that a photograph was nothing more than a simple record of reality and transformed into an international movement to advance the status of all photography as a true art form.

• I personally am a huge advocate for photography as a legitimate form of art. For me, it’s just the medium I happen to be using to express myself. It could have been a paint and brush or pencil and sketch book, but for me it’s a camera. It’s the ideas and vision that define where I want to go with my imagery, not the confines of the medium. I am only too happy to use whatever tools are available to establish what I wish to communicate through my image making and I stand by this.

For Further Training:

Ignacio handpicked a selection of landscape images that have received an array of national and international photographic awards and accolades to showcase and explore in depth key aspects of composition, technique, light and storytelling that help contribute to their success.

landscape awards

Dessecting Award Winning Landscape Photos

“My goal with this book is to share my knowledge, accelerate your journey to creating award winning imagery and hopefully save you valuable time and avoid much of the heart break I have been through in the process.“ – Ignacio Palacios

Found here: Dissecting Award Winning Shots

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Did you appreciate this newsletter? Please help us keep it going by Joining Our Patreon Supporters

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

PictureCorrect subscribers can also learn more today with our #1 bestseller: The Photography Tutorial eBook

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

The post Ice Tunnel Focus Stacking Composite Photo Case Study appeared first on PictureCorrect.



from PictureCorrect https://ift.tt/ZChG2IS
via IFTTT

PictureCorrect.com: Photography Tips for Dull Weather Conditions

In this video, photographer Nigel Danson shares his tips for improving photography when conditions aren’t ideal. The video takes place in the Lake District, where Danson is faced with flat light due to overcast weather. He explains that in situations like this, it’s important to be flexible and adapt to the conditions instead of sticking to a set plan. He decides to go on a drive to explore different areas and find interesting subjects:

Danson starts by experimenting with different shots of a waterfall. He puts on his Wellies and gets in the water, using different exposures and compositions to capture different perspectives. He advises not to leave the camera on the tripod and to try different angles to find the best composition. Even if the shot is blurry, it gives a better appreciation of the composition.

He then moves on to shoot a bridge, where he uses the structure to add depth to the image. He experiments with different exposures and compositions, not worrying too much about the outcome, but rather having fun and enjoying the process of photography.

Next, he hikes to a new area, looking for foregrounds and mid-grounds that might add to a future composition. He takes photos with his phone and geotags them to remember where the shots were taken. He finds an old tree that he thinks would make a great shot in snowy conditions, and takes a simple shot of some trees in the foreground and mountains in the background.

dull weather

Finally, Danson reaches Rydal water, where he photographs a famous tree in misty conditions. He decides not to use a polarizer to maintain contrast and takes a wide shot to separate the tree from the background. He also shoots a reflection of the tree in the water, using other trees to balance the composition.

Danson’s main advice is to experiment and have fun, even in less-than-ideal conditions. Trying different angles, compositions, and exposures can help find the best shot, and it’s important to be flexible and adapt to the environment. By doing so, photographers can develop their skills and be better prepared for when the conditions are perfect.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Did you appreciate this newsletter? Please help us keep it going by Joining Our Patreon Supporters

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

PictureCorrect subscribers can also learn more today with our #1 bestseller: The Photography Tutorial eBook

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

The post Photography Tips for Dull Weather Conditions appeared first on PictureCorrect.



from PictureCorrect https://ift.tt/Z6SNo72
via IFTTT

maanantai 27. helmikuuta 2023

PictureCorrect.com: Backyard Photography Tips

One of the most common questions I am asked at workshops is where I go to get my reference photos. Most people assume that I travel far and wide to get my shots. This is true; I do travel as much as I can, but the bulk of my photo archive comes from places photographed within 100 kilometers (60 miles) of my home. Good reference photos for your art are just outside your front door; you just have to open your eyes and look—really look!

backyard photography tips and tricks

Photo by Paul Nuttall; ISO 80, f/2.8, 1/640-second exposure.

The following article is a simple guide of how to look and see your surroundings and find their hidden beauty.

The Equipment

To achieve good photographs you obviously have to have a camera, but what camera do you need? My suggestion is a DSLR camera (or mirrorless) for several reasons. First, the lenses on SLRs are interchangeable, so you can achieve much more with a single camera. As your abilities increase you will want to purchase new lenses or better lenses than you started with. All-in-one cameras don’t allow for any upgrades or interchanging of lenses.

An SLR camera also allows you to attach longer focal length lenses. As for what brand to buy, it all comes down to preference. Today most DSLRs are going to take a great picture. The only thing you need to concern yourself with is the expandability of the make and model you purchase.

In my experience, Canon (which I use), Nikon, and Sony (which will fit all your old Minolta lenses) are the most reliable and expandable models on the market today. Start with a camera body, a good short range lens like a 18–55mm, and if money allows, a half decent telephoto lens like a 100–400 to get those far away shots. If you’re planning to photograph a lot of wildlife like I do, then a 100–400mm lens is a must-have.

Observation

Traveling to Africa or Alaska is the obvious way to get great dramatic pictures, but it’s very expensive. The drama in your backyard can be just as dramatic if you know where to look and what to look for. Lighting is everything. Learn to see light and position yourself to capture natural light in its most flattering state.

methods for backyard photography

Photo by Don DeBold; ISO 200, f/5.6, 1/640-second exposure.

What do I mean by this? Most people stand with the natural light behind them so that they are photographing into a scene flooded with light. This light is great for a fast exposure but tends to “flatten” a scene because everything has the same intensity and lighting. If you position yourself so that you are shooting into the natural light you create dramatic “back-lighting” which has much more shape and form.

Try to set up the composition in your viewfinder so that lighted areas overlap shadowed areas. This will create a wonderful sense of depth. Overlapping will also create strong contrast in the composition and tends to help the sense of form in a picture. Taking the same shot with different exposure settings will also drastically change the quality of light in your photo. It’s good practice to take several different shots with under exposed and over exposed settings to make sure you will return to the studio with at least one shot perfectly exposed.

Look for things that add character or drama to your photos. Directional lines help create a sense of movement. Position yourself to take pictures with strong visual lines that travel through your picture. This means that the line should enter from one side of your frame and leave the photo on one of the three other sides. Diagonal lines are the most productive for drawing the viewer into your picture and creating depth. Lines can also be made by changes in light (light to shadow), the edges of two objects meeting, tonal changes, and warm to cool changes.

best tips for backyard photography

Photo by Bonnie Shulman; ISO 16000, f/5.6, 1/800-second exposure.

Learn to Capture Simple Things

Look past the obvious and see the wonder in simple things. I have photographed hundreds of old barns and pieces of farm equipment over the years and some of those photos became the reference for my strongest art pieces. Objects that are old and aged create a sense of nostalgia. Whenever I see an old barn, the first thing I think of is what that old barn could tell us. Sometimes what you’re photographing has is own character and charm. This character or charm then translates into “mood” or “presence” and creates life in your photos.

Barns are not the only thing with natural appeal to people. Colorful skies, rolling green fields, waterfalls, and babbling brooks all have a certain “character” to them that is natural and interesting. Ponds are a great location for not only settings, but wildlife. My pond offers a tapestry of color, form, directional lines, contrast, and shapes. I have photographed almost every songbird indigenous to my area. The small waterfall is a favorite bathing spot for them. In addition to the birds are frogs, raccoons, fox, deer, squirrels, chipmunks, and so on and so on.

The key to observation is to never stop looking. The same scene can look very different at different times of day. Lighting changes, climate changes, mood changes. Look beyond the “norm” and learn to see the basic beauty that is in everything around us. Humans really are the luckiest of all species because we have both the power to see and the power to appreciate!

About the Author:
Derek C Wicks is an internationally acclaimed wildlife artist whose work has been used to endorse many conservation efforts and charities. Derek’s full biography can be viewed on his wildlife art website.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Did you appreciate this newsletter? Please help us keep it going by Joining Our Patreon Supporters

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

PictureCorrect subscribers can also learn more today with our #1 bestseller: The Photography Tutorial eBook

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

The post Backyard Photography Tips appeared first on PictureCorrect.



from PictureCorrect https://ift.tt/0UkAETc
via IFTTT

PictureCorrect.com: Interesting Photo of the Day: Space Shuttle Aboard a Boeing

An incredible amount of science and technology goes into constructing and flying a space shuttle or airplane. What happens when you fly them together? In this case, it’s a NASA space shuttle attached to a Boeing plane. It might be some photographers’ dream to witness such a sight and capture it from the ground, especially those that closely follow launch sites and flights. However, NASA has its own photographers that can provide a perspective that others cannot:

space astronomy equipment explore

“The Journey Home” by NASA/Carla Thomas (Via Reddit. Click image to see full size.)

NASA photographer Carla Thomas captured this amazing birds-eye view photo of the Endeavour space shuttle mounted on top of a modified Boeing 747 carrier aircraft. It was flying over the Mojave Desert on its return to the Kennedy Space Center in Florida in December of 2008. This space shuttle was constructed in 1990 and performed its final mission in 2011. It currently resides in the Samuel Oschin Pavilion at the California Space Center near downtown Los Angeles for public viewing.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Did you appreciate this newsletter? Please help us keep it going by Joining Our Patreon Supporters

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

PictureCorrect subscribers can also learn more today with our #1 bestseller: The Photography Tutorial eBook

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

The post Interesting Photo of the Day: Space Shuttle Aboard a Boeing appeared first on PictureCorrect.



from PictureCorrect https://ift.tt/JUlQKsz
via IFTTT

PictureCorrect.com: Mastering Exposure: How Your Camera’s Light Meter Works

Understanding your camera’s built-in light meter is crucial for achieving proper exposure in your photographs. In a YouTube video by photographer Phil Steele, he explains how the light meter works, how it determines proper exposure, and how it can sometimes be a hindrance when trying to capture certain scenes:

Most DSLR cameras have a built-in light meter that is represented by a little graph in the viewfinder, indicating the current exposure value with a little arrow or pointer. The exposure is considered correct when the arrow is at the center mark, which means the camera does not consider it underexposed or overexposed.

The light meter’s function is to tell you when you have a proper exposure by indicating whether there is too much light (overexposed), too little light (underexposed), or just the right amount of light (correct exposure) in your photo. The light meter is always trying to allow enough light to come into the camera to create an exposure level known as middle gray, which is also known as 18 percent gray.

The light meter in your camera is always trying to create middle gray, which is a gray that is about halfway between black and white. If the light meter could have its way, every one of your photos would look like middle gray. Phil Steele demonstrates this by taking a photo of a black card and a white card in aperture priority mode, where the light meter is in charge of creating the exposure. The resulting photos look kind of gray because the camera is always trying to create middle gray.

light meter

However, the real world is more complicated than middle gray, and not every scene looks best averaged out to middle gray. For example, when photographing a bride in a white dress, the camera sees all of that white in the dress and thinks the photo is terribly overexposed because it’s so bright on average. Similarly, when photographing a groom in a black tuxedo, the camera sees all that black and thinks the photo is terribly underexposed. If you let the camera make the choice, it will increase or decrease the exposure to average it out to neutral gray, which may not be the desired effect.

To overrule the camera’s middle gray obsession, you can shoot in full manual mode, where you control the aperture, shutter, and ISO. In this case, the camera’s light meter is only giving you advice, and you’re free to ignore the advice and adjust the settings as you see fit.

Understanding your camera’s built-in light meter is crucial for achieving proper exposure in your photographs. By knowing how the light meter works, how it determines proper exposure, and how to overrule it when necessary, you can capture stunning photos that go beyond middle gray.

For further training: Understanding Your Camera Course

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Did you appreciate this newsletter? Please help us keep it going by Joining Our Patreon Supporters

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

PictureCorrect subscribers can also learn more today with our #1 bestseller: The Photography Tutorial eBook

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

The post Mastering Exposure: How Your Camera’s Light Meter Works appeared first on PictureCorrect.



from PictureCorrect https://ift.tt/3EQrW5s
via IFTTT

sunnuntai 26. helmikuuta 2023

PictureCorrect.com: Common Mistakes in Wildlife and Nature Photography

Wildlife photography is both rewarding and frustrating, even for experienced photographers. While a great photo is something to treasure, the challenges of wildlife photography can leave beginners feeling a little lost.

horse wildlife photo

Photo by Fabian Burghardt

“It was wonderful to be there, but this photo doesn’t really do it justice.” Does this sound familiar? Too often we have a great experience in nature, and even though we have our camera at the ready, we fail to get the shot. This is not because the camera lets us down; it is because in our rush to get a photo–any photo–we fall victim to a number of mistakes that can ruin a good wildlife photography opportunity.

Wildlife Photo Mistakes and Tips to Overcome

1. Fail to Get Close Enough to the Subject

This is probably the most obvious mistake you can make. You may see a bird in a tree, but your photo turns out to be all tree and no bird. In wildlife photography, the ‘less is more’ approach is often best. Ask yourself what is important for your photo, and eliminate everything else. In most cases, it’s best to get as close as possible to the subject and/or zoom in with your largest lens. This eliminates the distraction of the background so that the viewer’s attention is entirely on the subject itself.

2. Distracting Depth of Field

This is closely related to mistake #1. When you set your camera to automatic, you allow it to set your aperture and shutter speed settings for you. To get the best results, you need to make these decisions for yourself. If you take your photos on a small aperture setting, you increase the depth of field around the subject, allowing the background to become more of a distraction. You are better to set the widest aperture setting you can. This narrows the depth of field, concentrating the focus on the animal. As an added bonus, it will also allow a faster shutter speed, which helps to freeze a moving subject.

3. Get Too Close to the Subject

When the opportunity arises to get a good close-up, some people go a little too far. A good wildlife photo wants a little space around the subject, otherwise, your composition can look cramped, with the animal squashed into a space where it doesn’t quite fit.

In these situations, try zooming back just a little to allow a little head room around the animal. There should be at least a small amount of space above the head and on each side. If the animal is facing to one side, adjust your composition so that there is a little more space in front of the subject than behind it. That way the animal will be looking into the picture, not at the edge of the frame.

4. Bad Timing

Animals move, they blink, they turn their heads, they flap their wings. Sometimes it seems they are on a mission to foil your best attempts at a good photo.

In every wildlife encounter, there are a thousand opportunities to take a bad photo and maybe one or two opportunities to take a good photo. A nature photographer learns to be ready for that perfect moment.

This is a matter of patience and perseverance. You need to spend as much time as possible with your subject and take a lot of photos. Expect most of them to be rubbish, but take delight in the good ones because they are hard to come by. In particular, watch the animal’s movements and behavior. The trick is to try to catch a moment that expresses something unique to set your photo apart from millions of others. You won’t get that perfect shot every time, but when you do it is a moment to treasure.

5. Poor Lighting

We all love to get out and about on sunny days, but these are not necessarily the best conditions for a good photo. Bright sunshine produces shadow where you may not want them, in particular across your subject’s facet. In the middle of the day when the light shines from above, you can find that most of the face and all of the underside of the subject is lost in dark shadow.

The solution? If it is a sunny day, take your photos early in the morning or late in the afternoon, when the sun is at a lower angle. You will also find lower contrast and warmer color in the light, adding character to the whole photo.

snowy wildlife photo with space around subject

Photo by Jonatan Pie

In many cases, it’s best to take your photos on a cloudy day, when the light is even and the contrast is low. This light can work best for some subjects by completely eliminating glare and heavy shadow.

About the Author:
Andrew Goodall writes for https://naturesimage.com.au/ and is a nature photographer based in Australia. He manages a gallery in Montville full of landscape photography from throughout Australia.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Did you appreciate this newsletter? Please help us keep it going by Joining Our Patreon Supporters

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

PictureCorrect subscribers can also learn more today with our #1 bestseller: The Photography Tutorial eBook

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

The post Common Mistakes in Wildlife and Nature Photography appeared first on PictureCorrect.



from PictureCorrect https://ift.tt/5oXPdzY
via IFTTT

PictureCorrect.com: Interesting Photo of the Day: Milky Way Lighthouse

At night, lighthouses can seem magical. In this case, a lighthouse appears to be light painting the Milky Way into the sky:

Milky Way rising over lighthouse

“Milky Way Lighthouse” by Trevor Dobson (Via Imgur. Click image to see full size.)

The image by photographer Trevor Dobson is a composite of the Milky Way. It was shot near the Guilderton Lighthouse in Western Australia, near the city of Perth. The photo—or rather photos—were shot using a crop sensor Nikon D5100, which was paired with a 35mm lens. The settings used were ISO 3200, f/2 and 13 seconds, and the finished image has a humongous 150 megapixel resolution and stretches 200 degrees from east to west.

Amazingly you can even see some small and large magellanic clouds above the light pollution created by the city in the background. Excellent post-production, too.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Did you appreciate this newsletter? Please help us keep it going by Joining Our Patreon Supporters

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

PictureCorrect subscribers can also learn more today with our #1 bestseller: The Photography Tutorial eBook

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

The post Interesting Photo of the Day: Milky Way Lighthouse appeared first on PictureCorrect.



from PictureCorrect https://ift.tt/3ac5EiZ
via IFTTT

PictureCorrect.com: How to Use a Hand-Held Light Meter

Light meters are hugely underrated in photography. Pros love them, but amateurs and enthusiasts find them a bit of a redundancy, especially with all the on-board clever metering modes in modern DSLRs. So, does the humble external light meter stand a chance facing the deluge of modern DSLRs? Yes it does, and for the simple reason that it meters incident light instead of reflected light. Daniel Norton from Adorama shares some important pointers on how to use a light meter to improve your photography:

There are two basic ways to use a hand-held light meter:

1. General Ambient Light Reading

You are shooting outdoors and you need a general meter reading. Just point the white dome toward the camera and take a reading. The reading may not be precise, but it should be OK for most situations.

how to use a light meter

Using the light meter to get a general ambient reading

2. Incident Light Reading

You are using external lights and need a more precise reading to adjust the exposure. Point the dome toward the light source and take a meter reading. This will give you a neutral reading for the light source in question.

Incident reading for external lights

This is how you would point the meter to read external lights.

In situations where there is a lot of light or when you are using two or more lights and you don’t want the test reading for a specific light source to be corrupted by light coming in from the other sources, lower the light sensitive dome inward like this:

reading in multi-light situations

Light sensitive dome lowered for reading in multi-light situations

This helps to get a more accurate reading of a specific light source. It works best when you want to set up multiple lights in specific power ratios.

Working Modes

On the top left are the three modes in which the light meter works, ambient, corded, and non-corded flash.

functions on a hand-held light meter

Ambient, uncorded and corded reading functions

Ambient mode takes an overall reading, corded requires the meter to be connected to a flash, and in non-corded mode—which is the wireless mode basically—the meter waits for the flash to fire and then gives a reading.

Spot Metering

Most hand-held light meters can also be used as spot meters. Turn the labelled dial and the meter is now ready to be used as a spot meter.

uses of a hand-held light meter

Using the hand-held light meter in spot meter mode

Spot metering works well when you need to read off a small spot in the frame or when you need a neutral reading off of an 18 percent gray card.

Do you use an external light meter? Or do you prefer to stick with the camera’s built-in meter only?

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Did you appreciate this newsletter? Please help us keep it going by Joining Our Patreon Supporters

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

PictureCorrect subscribers can also learn more today with our #1 bestseller: The Photography Tutorial eBook

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

The post How to Use a Hand-Held Light Meter appeared first on PictureCorrect.



from PictureCorrect https://ift.tt/BAfG7dW
via IFTTT

lauantai 25. helmikuuta 2023

PictureCorrect.com: How to Bring Your Black and White Images to Life

Black and white photography can create a world that is stripped down to its most basic elements, allowing for a more abstract and artistic representation of the world.

One key aspect of this type of photography is the use of texture, pattern and lines to create visual interest. These elements can be used in a variety of ways to convey mood, emotions and meaning in a photograph.

black and white image tips

Texture:

Texture refers to the surface quality of an object in a photograph, and it can be used to create a sense of depth and dimension in black and white.

Textured objects, such as rocks, tree bark, or even fabric, can be used to draw the viewer’s eye into the image and hold their attention.

The play of light and shadow on these textured surfaces can add an extra level of interest to the photograph. In the example above, the textures in the Statue of Liberty’s robe come to life in a way that the original daytime version of this image could not portray.

Pattern:

Patterns are repeating designs that can be found in many aspects of the natural world.

In black and white photography, patterns can be used to create a sense of rhythm and flow within an image. They can also be used to create visual interest by drawing the eye through the image in a specific way. For example, a photograph of a series of waves crashing on the shore can create a pattern that leads the eye from the bottom of the image to the top.

Lines:

Lines are one of the most fundamental elements of design and are used in a variety of ways in black and white photography. Straight lines can create a sense of order and stability, while curved lines can convey a sense of movement and fluidity. Lines can also be used to direct the viewer’s eye to specific parts of an image, and they can help to create a sense of depth and perspective.

Editing:

Editing of course also plays a crucial role in creating visually interesting black and white images.

By finely tuning the tones and contrast of an image to your artistic direction, you can highlight these textures, patterns, and lines in creative ways that just aren’t possible in colour.

Whether you’re a seasoned photographer or just starting out, incorporating all of this into your black and white images can help to take your photography to the next level.

If you’d like to learn more about the creative side of black and white editing, you may want to try Steve’s Creative Black & White Editing Course while it is 40% off:

black and white photo editing

Creating great-looking B&W images is about more than just removing color via “desaturate”, or moving a few sliders up and down with a black and white adjustment layer. Landscape photographer Steve Arnold created this course to help photographers master the critical concepts. We were able to arrange a 40% discount for PictureCorrect readers for a limited time if you want to check it out.

Deal ending soon: The Creative Black & White Editing Course at 40% Off

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Did you appreciate this newsletter? Please help us keep it going by Joining Our Patreon Supporters

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

PictureCorrect subscribers can also learn more today with our #1 bestseller: The Photography Tutorial eBook

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

The post How to Bring Your Black and White Images to Life appeared first on PictureCorrect.



from PictureCorrect https://ift.tt/nk36tdJ
via IFTTT

PictureCorrect.com: Interesting Photo of the Day: Epic Light Painting Self Portrait

Today’s Interesting Photo of the Day is a self-portrait made by Ian Hobson, a UK photographer who specializes in painting with light. All of his effects are done in-camera, without any post-processing enhancement. He uses many types of torches in his work, but this one was done simply with a speedlight and a light stick. With the camera on a tripod and a very long exposure, he held the flash behind his back and set it off, then advanced towards the camera waving the light stick – a wand with 15 small bulbs- in a spiraling pattern. The evenness with which he did this certainly shows his years of experience:

light painting

To create this self-portrait, the photographer fired a flash behind him and used a light stick to create the spiral (click to view full size, imgur)

This is only a recent image in a long, long history of incredibly light paintings. You can view his entire Flickr for more examples, and read some of our past tutorials on the methods behind these electric photographs.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Did you appreciate this newsletter? Please help us keep it going by Joining Our Patreon Supporters

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

PictureCorrect subscribers can also learn more today with our #1 bestseller: The Photography Tutorial eBook

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

The post Interesting Photo of the Day: Epic Light Painting Self Portrait appeared first on PictureCorrect.



from PictureCorrect https://ift.tt/9FUYyRu
via IFTTT

PictureCorrect.com: Photographer Shares Workflow from Capture to Print

Are you neglecting to print your photographs? If so, it’s time to reconsider! Your images are meant to be appreciated outside of digital devices and memory cards. In fact, the process of printing photos is more straightforward than you might think:

This informative video from B&H goes beyond the basics of photo workflow to explore the finer details of preparing your images for sharing. Every photo is unique, and it’s essential to consider your intentions for the image both during and after the shoot.

By watching this video, you’ll gain valuable insights into the techniques and tools that can help you save, print, and share your photos in the most effective manner. You’ll discover key factors to keep in mind while capturing the image, as well as tips for editing and selecting the best paper for your prints.

Matt Kloskowski, a seasoned professional photographer, also shares his expertise on post-processing techniques to make your images look exceptional. Additionally, he covers those sometimes-tricky printer settings that can help you achieve the prints you envision at the moment of capture.

capture to print

Overall, this video offers valuable guidance for photographers of all levels who want to elevate their work and create prints that truly do their images justice. So, if you’re serious about photography and want to ensure your photos are displayed in the best possible way, you won’t want to miss this informative video.

For further training: The Perfect Print Course at 40% Off

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Did you appreciate this newsletter? Please help us keep it going by Joining Our Patreon Supporters

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

PictureCorrect subscribers can also learn more today with our #1 bestseller: The Photography Tutorial eBook

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

The post Photographer Shares Workflow from Capture to Print appeared first on PictureCorrect.



from PictureCorrect https://ift.tt/Pi7XxuB
via IFTTT

perjantai 24. helmikuuta 2023

PictureCorrect.com: Garden Bird Photography Tips

The great thing about photographing garden birds is that it’s much easier than going out to a reserve or park, and therefore much simpler for beginners. When starting out with bird photography, you want to minimize expensive equipment until you know that you enjoy it and are capable enough to pursue it.

Bird photography at home can be as simple as sitting in a lounge chair and firing away until you get your shot. But really, you will get as much out of your photography as you put into it. So careful planning is going to go a long way in getting those beautiful shots, even if it is in your own garden. Here are the basics of getting into garden bird photography.

garden bird photography basics

Photo by ☼☼ Jo Zimny Photos☼☼; ISO 3200, f/5.6, 1/400-second exposure.

1. Attract the Birds

If there is one task you need to perform successfully with this genre of photography, it’s attracting birds. If you have a garden that is bird-friendly, then you are ready to start. This is where good research begins. Either buy a local guide to garden photography, find someone else doing it from a local bird club, or use the Internet to locate some of the great websites dedicated to this genre. You need to understand what type of food the birds like and where they like to hang out together. This means going further than putting out their favorite food by planting the vegetation they like and even growing the food they seek out. Another tip here is to grow the vegetation near to where you will be shooting from. Create a dedicated area in your garden or outside a window.

2. Establish Your Location

This can be as simple as shooting from a window in your home, or it could mean building a hide somewhere in your garden near all the best perches and food. It’s up to you as to how much effort you put into it. I have found that for people starting out, a simple location is a bedroom or living room window looking onto a garden with plenty of foliage and vegetation. This is a place where there is good potential with great lighting and places to perch.

3. Create the Setting

This step is vital because you want the place where the birds will perch to be as close to the window or hide as possible. Ensure that there are places high enough for the bird perch and survey its surroundings for danger. Add an intermediate perch before the food source and have the food source at a reasonable height in order to shoot your images. Light is important. The better the lighting, the less artificial light you’ll need, and, of course, using a flash will disturb the birds. Be very aware of your backgrounds, as these will make or break your final image. Getting the setup right is a large part of the final image.

tips for photography garden birds

Photo by Dennis Church; ISO 3200, f/6.3, 1/640-second exposure.

4. Create the Hide

As I said, this is as simple as a bedroom or lounge or as complex as a purpose-built hide. To begin with, I suggest using a room in the house. The glass forms a natural barrier and allows you to shoot freely most times, as the reflection hides you from the birds. Just make sure that the glass has been cleaned on both sides so that you don’t have dirty or blurry images. Inside the hide, make sure that you have a comfy chair, because you will probably have to wait a while until you know what the feeding and perching patterns are. Whatever happens, you’ll need a fair amount of patience. Remember that when you move around inside to do so slowly; the birds might not see you clearly but will react to flashes of movement. Turn any lights off and close any other curtains to limit the light inside the room.

5. Set Up Your Equipment

Of course in this situation you aren’t really limited by your equipment because most cameras will shoot reasonable images when you are close to the birds. What I mean by this is that the lenses won’t necessarily need to have huge focal lengths. Even most bridge or prosumer cameras will have sufficient focal length. Compacts may be a little wanting in this situation. Whatever your equipment, a tripod is essential and, if possible, a cable release or your shutter set to timed release of two to ten seconds in order to minimize camera shake. Another vital action to ensure success is to pre-focus your camera, using the manual focus setting, on a well-used perch or branch, the bird feeder, or feeding platform you have set up. This increases the chance of getting your shot instead of focusing wherever a bird lands and hoping for the best. Again, planning is a big part of a successful bird images.

6. Keep Shooting

Don’t wait for the perfect shot. Just shoot as much as you can. The key at this stage is to get as many good shots as possible. You can always crop the image later, because you want good clear photos of the birds. If you focus on perfect composition, the chance of getting good images will be reduced. Remember that this is the beginning of you bird photography journey and there is lots of time to improve. There’s an old saying that says “nothing breeds success like success”. You need to be getting the shots to keep you motivated.

introduction to photographing birds

Photo by George Thomas; ISO 400, f/5.6, 1/500-second exposure.

These are some simple steps to get you going with bird photography in the easiest and simplest possible way. The bottom line is to have fun and continue having fun. I can assure you that when you start getting those great images you will not stop, so make sure your bank balance is full; the expense starts here. Happy shooting!

About the Author
Wayne Turner has been teaching photography for 25 years and has written three books on photography. He has produced 21 Steps to Perfect Photos, a program of learner-based training using outcomes based education.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Did you appreciate this newsletter? Please help us keep it going by Joining Our Patreon Supporters

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

PictureCorrect subscribers can also learn more today with our #1 bestseller: The Photography Tutorial eBook

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

The post Garden Bird Photography Tips appeared first on PictureCorrect.



from PictureCorrect https://ift.tt/NQTbJyZ
via IFTTT

PictureCorrect.com: All the Ways to Trigger an iPhone Shutter to Take a Photo

In this video tutorial, photographer Emil Pakarklis from iPhone Photo Academy shares five unique ways to release the shutter button of your iPhone. He starts by introducing the importance of clouds when taking sunset photos. Clouds can either make or break a sunset photo, so it’s essential to choose the right configuration of clouds to create a truly unique and special photo:

Emil then moves on to the main topic of the video, which is the shutter button of the iPhone. He shows viewers five different ways to release the shutter button, starting with the obvious way, which is to tap on the shutter button to take a photo. He advises to tap lightly to avoid shaking the iPhone, which can result in blurry photos.

Next, Emil demonstrates a hidden feature of the shutter button. By tapping and holding on the shutter button, a video can be recorded. The duration of the video is shown at the top of the screen, and when the finger is released, the video stops. If a longer video is needed, tapping and holding on the shutter button again will activate the lock icon at the bottom left-hand corner of the screen. The video will continue to be recorded, and a smaller shutter button will appear at the bottom left-hand corner of the screen, allowing the user to take a photo while recording a video.

Emil then shows how to activate burst mode by tapping and dragging the shutter button towards the top of the screen. This is useful when taking action photos or when there is movement in the scene. He also shows how to release the shutter using the volume buttons on the side of the iPhone. Tapping either the volume up or volume down button will take a photo, while holding down the volume up button will activate burst mode. Holding down the volume down button will activate video mode.

The fourth way to release the shutter is by using wired headphones that also have volume buttons. Tapping either the volume up or volume down button on the headphones will take a photo, but burst mode and video mode cannot be activated using this method.

iphone shutter

Lastly, Emil demonstrates how to use a Bluetooth shutter release, which can trigger the shutter button of the iPhone remotely. This is useful for taking selfies or group photos, and the shutter can be released from a distance.

In addition to the five ways to release the shutter button, Emil also shares some tips on how to compose a beautiful sunset photo and how to activate the self-timer of the iPhone to avoid shaking the iPhone when taking photos on a tripod. Overall, this video is packed with useful tips and tricks for taking better photos with an iPhone.

Deal ending soon: The iPhone Photography Academy at 85% Off

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Did you appreciate this newsletter? Please help us keep it going by Joining Our Patreon Supporters

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

PictureCorrect subscribers can also learn more today with our #1 bestseller: The Photography Tutorial eBook

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

The post All the Ways to Trigger an iPhone Shutter to Take a Photo appeared first on PictureCorrect.



from PictureCorrect https://ift.tt/6EBbzFV
via IFTTT

torstai 23. helmikuuta 2023

PictureCorrect.com: Top 10 Must Haves for Successful Photography

How did you get into photography? Can you really make a good living shooting photos? These are a couple of the questions I often get asked by friends, models, and trainees. I recently visited a family friend whose son had just graduated and had really become interested in photography. He purchased a nice camera body and a few lenses and had already shot a number of beautiful scenic shots. As we were visiting, the questions above surfaced. I feel like I’ve had this conversation a number of times, but I still love sharing what I have learned on the journey.

photography musts

Photo captured by Marco Xu

As a photographer and media designer, I get to do a lot of fun things and call it work. Few people get to wake up in the morning and do what they’re passionate about day after day. Life is far too short to work an 8–5 job that slowly sucks the life out of you. I’m sure that if you’re reading this, you are well aware of that fact, but the challenge is how to make the transition. It’s a scary endeavor to start a photography business.

I’ve come up with the following list of tips to help the newcomer get off the ground and down the road toward success. I provide photography advice coupled with business advice. I don’t claim to be a photography or business genius and unfortunately have been taught far more through going down a road of mistakes than I have by nailing it the first time. As far as the completeness of my list, there are other great resources or recommendations out there, but I feel these 10 make a very strong base from which a photographer can operate.

1. Passion is vital for success. Are you really passionate about photography? No, I don’t mean have you taken some pictures on your cell phone, posted to Instagram and found it exciting. What I mean is, do you find it addictive? Are you continuously looking for opportunities to shoot, experiment, and tweak to make that perfect picture? Do you desire to intimately know your camera, understand lighting, aperture, lenses, posing techniques, and so forth? If you find yourself saying, “Meh, maybe,” then you might want to choose a different path. Clients can sense lack of passion like dogs sense fear.

2. Equipment is essential, but significant debt is debilitating. The easiest way to kill a passion is to water it down in debt.

photography equipment

Photo captured by Jakob Owens

3. Don’t be afraid to buy used equipment and work your way into better equipment. For years, I have bought and sold equipment used from Craigslist, Facebook photography groups, friends, and even pawn shops. It may be intimidating at first, and I recommend finding a photography friend to help you make sound decisions. I have found a number of people that did not follow rule number 2 and now need to sell their equipment. (Hint: When buying from Craigslist, never use PayPal and never ship. Always meet in a comfortable, public location like Starbucks for the transaction and review of equipment. Don’t be afraid to offer less, but discuss that before meeting. Also, for better deals, shop areas where the known income levels are notably higher.)

4. It’s typically better to spend more money on a lens versus a camera body. This may seem odd, but I have bought a number of lenses over the past 12 years. Amazingly enough, the lens I bought for $1,350 over 10 years ago is worth about $1,300. The Canon 5D body I bought for $1,800 would be hard to sell for $500. Putting current values behind, I know how tempting it is to buy the best camera body you can and then find a second rate lens to save money. The problem with that methodology is that you just reduced your camera’s quality tremendously by adding poor glass. Make sure you buy the highest quality lens you can afford, as you will likely have it longer than your camera body.

camera lens

“Big” captured by Anders Adermark

5. Knowing your market is essential to thriving as a photographer. You may enjoy taking pictures of families with a fake mountain in the background. It may be an incredibly crisp picture with great lighting, but if nobody likes the ’70s theme, it’s time to move on. Don’t force your style where the market is not going if you hope to make a living.

6. Get out of your bubble and shadow other professionals when possible. My clients have greatly benefited from the knowledge I have gained when working with other photographers. Sometimes, you have to put pride aside and look for opportunities to learn. Early on in my career, I worked with several photographers in a media design lab that I managed. Two photographers really stood out to me. It was interesting to learn their approaches to photography and dramatic differences in what they shot and how. Both were great, but had completely different styles. One focused on the technical aspects, while the other took an artistic approach. Later in my career, I shadowed a photographer on a bridal shoot that transformed how I use the sun and natural light. I’ve learned advanced lighting techniques from other photographers by simply asking questions. I’ve learned Lightroom techniques that simplified my post-production process while also contributing techniques that I use with other photographers.

photo shoot

“Behind the Scenes” captured by 55Laney69

7. This may sound like a contradiction to my previous recommendations, but be yourself as a photographer. By this, I mean don’t try to mimic other photography styles based on a client’s whim. Do what you do best and don’t be afraid to say you’re not a great fit in those cases. (This is certainly easier once you are more established.) Having said that, study other photographers and attempt to replicate photography styles that you find fascinating for the advantage of learning. Hint: It’s not always best to do that during a live shoot unless you’ve got the time and rapport with the client.

8. Educate your clients. Although it’s tempting to accommodate clients’ every wish, you must gently educate them on what it takes to have a successful shoot. For instance, noon outside in the summer of Texas presents a number of challenges that will likely lead to a poor photo and a frustrating experience. When scheduling natural light shoots, I learn more about the couple, family, or individual to determine style. Then I recommend a place and time (usually during the golden hour). Then we build from there. If we’re doing newborn photography, I will inform the client that we will move at the baby’s pace, which sometimes takes much longer than expected. Sometimes the baby needs to nurse or extra time is required to soothe the baby. You can’t rush a newborn! Telling this to the parents before they show up for the shoot helps prepare them for what may be a longer shoot and reduces the stress of an unexpectedly long shoot.

newborn portrait

“Newborn Photography” captured by Ron Aguilar

9. Guns and cameras shoot. A photography instructor told me once that a good photographer directs a shoot like he or she is holding a gun. I laughed at first, but I found this to be some of the greatest advice I ever received as a photographer. Clients don’t want unconfident direction.

Examples:

  • Unconfident Request: “Would you like to try posing like this, maybe?”
  • Confident Request: “Let’s try this pose next.”
  • Unconfident Request: “Do you think you may like a picture with your left hand on your hip and arm across your body toward the shoulder?”
  • Confident Request: “Put your right arm on your hip and bring your left arm to your shoulder… I love it.” (Compliments inspire confidence—see next tip.)

You get the drift. An unconfident photographer yields an unconfident model, and it will be reflected in your photos.

Note: Confidence is not rudeness; it is direct and clear instructions.

10. Compliments create confidence. While working with another photographer, I noticed that he would provide excellent feedback and compliment the model or group when their pose was good or the picture looked good. He would say it with such confidence that the models in the picture could not help but stand taller and appear more confident in the picture. He would throw out things like:

  • “Wow, that’s a beautiful image.”
  • “I love what I’m seeing here. Let’s continue with this look.”
  • “What a glorious photograph.”
  • “Oh, I really like this one.”
  • “The lighting is just remarkable.”

He didn’t make it an awkward compliment that could make the model feel uncomfortable or concerned that their photographer may be creepy. He mainly spoke about the picture itself, but it was still exciting for the model to know they were getting good photos.

About the Author:
For more information about Luminous Productions Photography, their site is located at getyourpix.com. Luminous Productions Photography is based in Commerce, TX. This article was written by Joe L Shipman.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Did you appreciate this newsletter? Please help us keep it going by Joining Our Patreon Supporters

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

PictureCorrect subscribers can also learn more today with our #1 bestseller: The Photography Tutorial eBook

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

The post Top 10 Must Haves for Successful Photography appeared first on PictureCorrect.



from PictureCorrect https://ift.tt/94V3BOR
via IFTTT

PictureCorrect.com: Behind the Scenes with a Wedding Photographer

Imagine you’re about to start a new job. You get anxious. And you’re really appreciate a detailed understanding of how things work at your new job so you can feel prepared and confident. Well, if you’re a budding wedding photographer ready to make the leap into the professional world, you’re in luck. Taylor Jackson shares behind the scenes footage of a wedding day and also shares his tips and tricks that he uses while photographing weddings:

The Initial Shots

To start the session, Jackson warms up by doing two basic things: shooting some detail photographs and making the people around know that he is the photographer and will be taking their photos throughout the day. Here are some tips to start the day off:

  • Start by taking detail shots. Take photos of the ring, the jewelry, bouquets, and the dress.
  • If the couple is spending some time with their friends preparing for the day, be sure to take some photos of the candid moments.
  • If they are comfortable with it, take some photos of the bride and groom getting ready for the ceremony. While doing so, be wary of the background. If the room is all messed up due to many people getting ready in the same room, Jackson recommends using something like an 85mm lens to have a tight frame around the subject. Otherwise, if the room is less cluttered, you can get away with shooting with something wider, like a 28mm lens.
  • While shooting, candid shots give pure emotions. However, at some point of the shoot if you feel that you can get a better shot by asking the people to pose, do so without any hesitation.
  • Clarify with the client whether they want photos to be taken during the first look or not and comply with what they want. Since it is a private moment, some couples may not want their photos taken.

Outdoor Photography Session

bride with bridesmaids

Now that they’re all prepared and have had their first look, you can have a quick photo session with the couple and then with their friends. Here are some things you should consider while doing an outdoor photo shoot on the wedding day:

  • Pose the couple in a way that signifies love and romance. Holding hands, walking together, gazing into each others’ eyes, or a quick kiss to the lips can be some classic poses to shoot.
  • As far as gear is concerned, you can use something like an 85mm, 70-200mm, or even the 135mm being used by Jackson. These focal lengths when used wide open create beautiful bokeh and melt the background away.
  • Look for areas with shade to pose the bride and the groom, and even their bridesmaids and groomsmen. Areas with harsh sunshine can blow away the details and, more importantly, make it difficult for the subjects to pose.
  • Jackson’s way of working is to take a lot of photos and select afterward rather than having to miss the perfect moment.
  • If the couple has had something special designed to be used as a photo booth, be sure to take some photos there as well. Why let their efforts go unnoticed?
  • While taking group photos of friends and family, ask them to talk to each other—or pretend to be doing so—or even share a joke to make them laugh. A photo with such emotion and expression looks much better.
  • If there is a limited area with good lighting in the place the wedding ceremony is taking place, then it’s fine to set a shop up in that area. That will result in a much better photograph and make your work easier as well.

Wedding Ceremony Photo Shoot

bride walking down the aisle with parents

The wedding ceremony is one place where the photographer cannot pose or control the subjects. So, as a photographer, you need to be prepared in a different way to take photos during the wedding ceremony.

  • Use a versatile zoom lens. Jackson likes to shoot wedding ceremonies with a 70–200mm lens as long as the location has good lighting.
  • If the ceremony is happening outdoors, the lighting conditions may change by the second depending on the clouds. For such conditions, shooting in a semi-automatic mode like aperture priority is okay. You wouldn’t want to miss a shot while fiddling with the camera settings.
  • Be aware of the kind of light that is hitting on the subjects’ faces and position yourself so you can photograph the flattering light.
  • If there are kids walking down the aisle, get down to their eye level. Don’t be lazy.
  • Try to stay on the outskirts of the wedding and never come in between the parents and the couple.
  • Refrain from being the center of attention by photographing from the middle of the aisle or by being too close to the bride and the groom. Instead, try to remain invisible and photograph unadulterated reaction shots. The only moment that it is okay for you to shoot from the middle of the aisle can be during the ring exchange and the first kiss ceremony.
  • During the ring exchange ceremony, Jackson uses this neat trick of switching his camera into crop mode and thereby effectively changing his focal length from 200mm to 300mm. He does this by assigning the function button of his camera to switch the camera to crop mode. He does lose some megapixels in the process, but that’s not important. What is important is that he gets a closer shot of the ring exchange ceremony without getting closer physically.

Cocktail Hour Photo Shoot on a Wedding Day

cocktail dinner wedding photography

Jackson admits that photographing during the cocktail hour is not his favorite part of the day, but it is a part of the job and it has to be done. Here are a few tips that he shares for photographing during cocktail hour:

  • Shoot with a longer focal length like an 85 prime, a 70–200mm or 135mm prime.
  • Walk around the venue and hang out around people who are in good light and seem to be having some good time. Take their photos when they smile.
  • You can also shoot some detail photos of the table setup, the flower arrangement, and the candles.
  • Jackson takes this opportunity to take some food photos so that the caterer can use those photos to post to social media. This can aid in business promotion for yourself. You want as many people as possible using your photos to aid in word of mouth marketing.
  • If the dinner is indoors, the lighting will obviously be not as good as it was outdoors. So, if you’re shooting in aperture priority mode, keep an eye out for the shutter speed. If it dips too low, then the photos can turn out to be blurred with motion. You may want to switch over to manual and have a complete control of the settings.

Shooting During the First Dance

first dance in wedding

  • Since the couple sharessome romantic time together during the first dance, it’s better to photograph from a distance. Taylor uses his 135mm lens during the first dance.
  • It also helps to keep the frame limited just on the couple by using a longer focal length as all the people in the room may not be paying attention to the bride and the groom or may be doing something awkward. So, blurring them away helps.

To conclude everything, Jackson suggests two things. First, it is not necessary to be too artistic during wedding photography. You are there to document an important event, so focus on getting clean images with the best light. And second, find good light and make people look good.

Here’s a pretty interesting closing remark from Jackson:

“Always remember to have a good time, because if you’re smiling and enjoying yourself, everyone is going to believe that you’ve done an amazing job before they’ve even seen a single picture.”

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Did you appreciate this newsletter? Please help us keep it going by Joining Our Patreon Supporters

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

PictureCorrect subscribers can also learn more today with our #1 bestseller: The Photography Tutorial eBook

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

The post Behind the Scenes with a Wedding Photographer appeared first on PictureCorrect.



from PictureCorrect https://ift.tt/er7Ws3X
via IFTTT