Here in California, we do not have the autumn hues to rival New Hampshire or Colorado. Nevertheless, the Sierra Nevada mountain range attracts a good number of photographers and seekers of fall colors every autumn. Yosemite Valley, situated on the western slopes of the Sierras has its own display, thanks to the Black Oaks, Maple, Cottonwoods and Dogwoods, which flourish here. Apart from these, there is the famous Elm tree in Cook’s meadow, which in peak color offers a memorable light show at sunrise and I believe it to be the most photographed Elm in the world.
Photographic photo papers are designed to produce a high quality image in an effort to best reproduce the photographed object. How good or bad the paper is at meeting this objective will depend on the type of printer, type of ink and of course the subject of this guide; the type of photo paper. In this guide we will explain the various considerations to take into account when evaluating your options.
Inkjet Vs. Laser Photo Paper
The mostly widely adopted technology by the professional printing community is the Inkjet printer technology. Laser printing is able to outperforming Inkjet printing in terms of speed, but it lacks the accuracy that high quality photographs require. Laser uses melted powder-like substance in CMYK colours, while Inkjet uses the same colours though liquid ink form that are delivered to the paper by means of small jets (hence Ink-Jet). This method of printing can achieve 2880Dpi vs. 720Dpi commonly found in laser printers. Therefore from here on, the various parameters for choosing photo paper will refer to the Inkjet type.
Let me start off this hands-on review of the Nikon 1 V2 with a reminder that no one camera can do everything that an owner may require. Regardless of the price paid, every piece of equipment comes with compromises. And, so it is with the Nikon 1 V2. I should also state upfront that I shoot more client videos with my Nikon gear than I do still photographs, so this review does contain a reasonable amount of evaluation from a video perspective.
Nasim has already provided a list of Nikon 1 V2 specifications and compared them to the previous model, the Nikon 1 V1. For those of you who would like to see a detailed comparison between the two, it can be found here.
2) The challenges and advantages of a CX sensor
The Nikon 1 V2 has a small 1” CX sensor. This gives the camera some inherent challenges when using it in real-life situations such as more noise at higher ISOs, somewhat limited dynamic range, and difficulty in achieving shallow depth-of-field. Some people are quite negative about the V2 because of its sensor size and immediately dismiss it as a ‘toy’. This is very unfortunate because the Nikon 1 V2 does have some wonderful capabilities and I believe it should have a place in the bags of many professional photographers.
Like any event photographer, most of my wedding shots are of people, i.e. the bride, the groom and their guests. This, after all, is what a wedding is all about and what people mainly want to see when they open a wedding photo album. Weddings, though, are always packed full of other visual details besides the people. So much time is spent in preparation to make a wedding look beautiful that it would be a shame not to preserve some of this in the album. I find that sometimes the best way to achieve this is to make these details the subjects of some of my photographs, even if this means leaving people out of some shots completely.
Efficient time management is a major factor in a successful wedding shoot, and it can be difficult to capture all the shots you require across the day. That’s why I always endeavour to turn up early. I do this partly because it affords me the opportunity to walk around the venue – both inside and outside – and assess the lighting conditions on the day. However, it also gives me the chance to get some photos of the building itself and perhaps some of the decorations, flower arrangements and so on before any of the guests have arrived.
Of course, often we are asked to take photos of the bride, groom or both getting ready for the wedding. If this is in a hotel or other location far from the venue, it may be difficult to find time to turn up early and capture these detail shots. If so, don’t worry, there will be plenty of other opportunities. Try to spot details and photograph them across the day, and perhaps steal a bit of time at an opportune moment. An ideal opportunity is usually during the meal; most people don’t want to be photographed when they’re eating, so I take the chance to have a walk around the building and its exterior to grab some extra shots.
Here are a few examples of the finer details at some of the more recent weddings I’ve shot. You’ll notice that none of these photos feature people as their subject.
The Venue and Location
What was the weather like on the day? What did the venue look like? Where did the wedding take place? These questions can be answered by taking some photos from outside the venue. Wide angle landscape shots that take in the whole scene can certainly play a role here, particularly if the wedding is in an especially picturesque setting. However, don’t just restrict yourself to landscapes. This is all about capturing the fine details of the day, so try to photograph some of these with a normal or telephoto lens too.
Try to consider: is there anything unusual about the location; any distinguishing features that are worth capturing? Also remember that it’s often possible to have some fun with these photos, especially if the wedding is in a quirky location.
In this article, Patrick Downs is providing very useful portrait photography tips to our readers, sharing his experience and beautiful images that he has taken as a professional photographer. As a photojournalist for 25 years and shooting for much longer, I may have a different or expanded definition of what a portrait is, and what it takes to produce them. There are genres of portraiture, of course, such as: editorial, corporate, commercial/retail, documentary or candid, and illustrative portraits. With some you exercise almost no control (e.g., William Albert Allard), and with others almost total control (e.g., Annie Leibovitz). There is no right or wrong answer … the photographer chooses their style! There are many photographers whose portraits I love, and not all of them are pure portrait photographers. Allard is a documentary photographer, but his found portraits are wonderful. Annie L. imposes her will on her subjects, but the results are fascinating and something I’d love to be able to do. If I were to pick my top 3 pure portraitists, it might be Arnold Newman, Gregory Heisler, and Annie L, in no special order. I went back and read my Arnold Newman’s “One Mind’s Eye” the other day, and was struck by how many of his images don’t use “perfect” light by today’s standards, but so many are amazing. This one, of Igor Stravinsky, is still one of the most brilliant photo portraits ever taken, I think. It’s interesting to know that Greg Heisler was one of Newman’s last assistants.
I have (too many) other favorite portraitists, for sure: Albert Watson, Mark Seliger, Mary Ellen Mark, Helmut Newton, Irving Penn, Avedon, Art Streiber, Dan Winter, Peter Yang, Brad Trent, and photojournalist Joe McNally, who is really a great generalist. I know I’m forgetting many.
“Landscape” and “documentary” are two of the most celebrated genres in the photographic arts. These traditions are also the inspiration for the photographic images in my primary area of work as a historical geographer focusing on what is arguably the world’s most intractable geo-political dispute – the Israeli / Palestinian conflict. “Photographs furnish evidence,” the cultural critic, Susan Sontag conceded in an otherwise critical examination of the documentary genre in her work, On Photography (1973). The photographs in this collection for Photography Life build on Sontag’s observation in an effort to reveal how aspects of this protracted conflict have become embedded in the Palestinian landscape.
While the Israeli / Palestinian conflict has generated impassioned debate about its causes and consequences, there is little debate that these hostilities have altered the patterns of daily life for both Israelis and Palestinians. At the same time, most observers who travel to the region would probably admit that everyday life on the Palestinian side has been transformed in a more fundamental way. Despite the recent lull in hostilities, the Palestinian West Bank and Gaza are conflict zones. In these areas photographers confront very specific rules established by military authorities limiting the type of images that can be taken, along with cultural conventions that place certain subjects out-of-bounds.
Some photographers may have been fortunate enough to obtain professional guidance in their early endeavors at serious photography. I, on the other hand, belong to the camp that had to do on their own. I built most of my photography knowledge through my stock photography experience. My stock work and the associated challenges helped develop my photography grammar.
Our readers frequently ask us about extension tubes for macro photography. Since I am not much into macro myself, I have not explored this area of photography enough to qualify to write about it. While I have done some macro photography for product shots and ring shots in weddings with my Nikon 105mm f/2.8G VR lens (a very sharp lens that I absolutely love), I have not explored its full capabilities and I have not tried to use extension tubes and bellows to do crazy things that you can achieve with a true macro setup. Meanwhile, our readers have been gracious enough to fill in, and I have recently received the below post from one of our readers, Usama Nasir, who talks about what extension tubes are and how they are used in macro photography.
Most photographers, whether professional or amateur, as much as they love their photographic gear, loathe the notion of lugging around tons of heavy equipment. What’s the solution, you may ask? Well, some would say, “why don’t you get a portable point-n‐shoot”, or “invest in one of those smaller mirrorless cameras”. Others disagree amusingly and grab their bulky DSLR with a smug on their face!
You might have found yourself in one of those tricky scenarios, where you really wanted to carry your bulky camera and yet you wished it was a few pounds lighter, a tad bit smaller but still gave you pleasing results. Thanks to technology whiz-kids in the camera land, we have had a ﬂurry of compact cameras being introduced recently that oﬀer plenty of bells & whistles to satisfy even the most demanding consumer / prosumer, and professionals alike for their speciﬁc needs. Having said that, I admit these cameras may not entirely deliver quality that rivals pro level DSLR’s yet it’s suﬃce to say they pack quite a punch for intended purposes.
As photographers, light is something we are constantly concerned about. We need some sort of light source coming in, but from where and how much is always the question. A soft sun glow during the early hours of the morning or right before sunset is ideal, but often times wedding ceremonies or a client’s schedule does not allow for those prime shooting times. Light can take a normally plain image and transform it into a powerful and exciting picture, but what happens when you are dealing with harsh midday, overhead lighting? Luckily, there are a couple ways of dealing with this problem while still achieving beautiful pictures that both you and your clients will be happy with.
1) Shade – Even Lighting
The best way to avoid distracting facial shadows from midday lighting is to bring your subjects into a shaded area. That shade can be provided by a large tree, a building or really anything that is casting a big enough shadow to fit your subject. What we want to do is create even lighting where no direct sun is hitting the face or body, allowing the subject to be evenly lit. Make sure you are not using patchy shade where spots of light are coming through. This will cause uneven lighting and your subject will have spots of light hitting their face and body.
2) Backs to the Sun – Back Lit
If no shade is available, position your subjects with their backs to the sun. Doing this will block most of the direct light and cause their faces to be evenly shaded. This is called back lighting. This is sometimes easier to do with one subject because you can position them perfectly to make sure no sunspots are making their way onto the face. With two or more individuals it can be more of a challenge. Keeping their faces closer together can help eliminate some of the light spots coming through or you can use the taller subject to block the sun off of the shorter person. Make sure to expose for the subjects’ faces or they will be too dark to see any detail. Something to note is that the background will be overexposed when metering for the face in a situation like this.