Ok, I know you may be thinking, “How is take a kid shooting a wildlife photography tip?” Maybe it isn’t in the traditional sense. Regardless, I was thinking about an ad campaign here in the United States that promoted fishing whose slogan was “Take a kid fishing” and it got me to thinking about photography and a similar slogan that could be “Take a Kid Shooting”. I have a grandson that has taken a liking to photography having been influenced by his father and grandfather’s love of taking photos. His interest has given me the pleasure to take him out and have him shoot with me from time to time.
My personal food photography journey started slightly earlier than my love for wedding and portrait photography. Since I cook a lot, one day Nasim suggested that I document it and possibly turn my recipes into a blog. It started with one single shot of the final look of the dish before we devoured it, and ended up developing into step-by-step recipes that started gaining popularity. Although I took a break from food photography, I still kept on getting questions regarding the craft of food photography. So, I decided to start writing articles dedicated to food photography tips and techniques and how to work with food in various situations.
Most of the cover photos for famous magazines and different publications are taken with very simple photographic tools. If you carefully look at the photos, you can probably tell what the light source is from the shadows that fall on the model and roughly understand what really went into making that specific production. While anyone can take a photo using the same tools, it, does not necessarily mean that you will end up with the same cover page.
Many people enjoy photographing wildlife but sometimes don’t seem to know where to go to find the opportunities. It doesn’t need to involve going to exotic locations or spending big money for a guided trip. Oftentimes, some of the most accessible wildlife is found if not literally in your backyard, then close by. In this quick tip for the beginner wildlife photographer, we advise you to get out and go to the park.
Living in an urban setting doesn’t mean you don’t have access to wildlife. In fact, much of the wildlife found in urban settings, give photographers an advantage over their more rural counterparts – they are more approachable. Any animal that is more acclimated to humans, tends to be less skittish and will allow closer interaction. In local parks, there are people walking, riding bikes, jogging, fishing, boating, playing, etc. and due to this increased human activity, the animals tend to recognize our behavior as less threatening. They recognize things that are out of the norm and will heighten their alert mechanisms only when something is different.
It’s been a while since we had a tip for beginners, so here is a quick post for the wildlife photographer. It’s not uncommon for friends of mine to see a photo like the one below and for them to ask where I took it. Quite frequently my response to them is, “From the window of my car.” They usually laugh thinking that I am joking and then I tell them that I’m serious. If you take many wildlife shots, you will quickly realize that oftentimes, animals are acclimated to cars and if we stay inside them, we don’t stress them as much and they don’t flee as fast.
While a good, sturdy tripod is often best for stabilizing your gear, there are times when a monopod is more convenient and/or can be a big help in supporting larger camera/lens combinations. In keeping with Nasim’s mention in the Focus and Recompose Technique article that we would be doing some posts on basics and Tips for Beginners and since we have had a couple of monopod reviews, it occurred to us that some people may not know how to use a monopod properly, so we decided to share some pointers. The main differences between the three methods that we will discuss here is where you place the foot of the monopod.
Method 1: Straight Out in Front
Most people will first use this method as it is the logical way to use a monopod. With their own legs standing square and spread to approximate shoulder width, they will put the foot of the monopod roughly centered between their legs and straight out in front of them so that the foot of the monopod forms a triangle with the photographers two feet. This more or less mimics a tripod with two legs supplied by the photographer and the third from the tripod. To increase the stability, the wrist strap should be utilized by using it to firmly seat or push the monopod foot into the ground.
Fast prime lenses offer a number of advantages. They are great tools in many situations – whether you need discretion, low-light performance, portability or aesthetics, there’s a lens for every taste. However, these strong advantages also come with certain issues. When used wide-open (meaning at maximum aperture), many prime lenses render extremely shallow depth of field. In normal lighting conditions modern AF systems are capable of focusing accurately. In low-light environments, our DSLRs start to suffer, which reduces our chances of capturing sharp images. Because of this, missed focus is often mistaken for lack of general lens sharpness by beginner photographers. In this article, I will introduce you to several tips on how to use fast lenses in low-light environments, which hopefully will make you feel a little more confident when using them for your photography needs.
Tips on Shooting in Low-Light Conditions
1) Calibrate Your Lenses
The first step you need to take in order to focus accurately in any light, is to make sure that your lens(es) can focus accurately in general. Front and back-focusing has become a very known issue recently. It has become especially visible with higher resolution sensors – they are most unforgiving if you miss focus even slightly. If you want to know why these issues happen, please read our How Phase Detection Autofocus Works article where we explain everything thoroughly. If you want to identify whether your gear has any of these problems, read our How to Quickly Test Your DSLR for Autofocus Issues article.
One of the requests we have been getting lately from some of our readers has been to provide more simple and easy to understand photography techniques. So far this year we have covered a lot of complex topics that are for more advanced users, thanks to such new fine tools as the Nikon D800. So for the remainder of the year, we decided to focus on photography basics again, covering simple and basic techniques and tips for beginners. In this article, I will go over the focus and recompose technique, which can be quite useful when photographing in various environments – whether shooting in low-light situations, or composing your shots with the subject in the corner of the frame. I personally use this technique quite a bit in event photography and it saved me a number of times when the light conditions were extremely poor and my camera could not properly focus.
1) What Recomposing Means
Before I talk about this technique, let me first explain what the word “recompose” stands for in photography. When you take a picture, you carefully frame your shot and place your subject somewhere in the frame before you take a picture. In other words, you compose the shot. Recomposing simply means framing your shot first (for example to acquire focus), then moving your camera to re-position your subject somewhere else in the frame.
In continuing the excellent guest posts that we have previously posted, we are introducing a local landscape and wildlife photographer, Russ Burden. Russ is an excellent photographer and loves to teach as you can tell from his article. We would like to thank Russ for taking the time to share with us ideas to consider as we strive to improve our photography. Enjoy.
Guest Post by Russ Burden
As I sit back and relax, I can still hear mama’s words, “Watch out what you do today because someday your background may come back to haunt you.” Was mama psychic? Did she peer into a crystal ball knowing of my passion for photography? Was she a closet photographer versed with knowledge about how important a background check is?
You see, learning how to eliminate background distractions in a photograph is imperative. As meticulous as one can be in composing a perfect subject, if the background isn’t treated with equal care, the end result will not be successful.
A while ago, I posted an article explaining the Brenizer method panorama. Ryan Brenizer is a NYC based wedding photographer and the “father” of Bokeh Panorama, or Brenizer panorama, technique, which allows one to achieve an otherwise impossibly shallow depth of field at a given angle of view. While I did my best to explain how it all works, it’s often better to see how one does it once than read about it ten times. And who to better do it that Ryan himself?
So here are a couple more tips for those of you interested in learning this technique, followed by Ryan’s much more understandable and professional explanation.
1) Remember Composition and Light
While Brenizer method panorama can help even the most simple and dull photograph look amazing, any eagle-eyed photographer will be able to tell you’re just trying to fool people by using simple aesthetics, such as bokeh, which has nothing to do with your skills as a photographer, only the lens you’re using. Light, Subject and Composition are the main aspects of an image, even when it’s 9463-ish pixels wide and has the most beautiful background blur you’ve ever seen. Work on it – find the best light, the best pose or lack of one, and work on your composition skills – Brenizer method is there to improve your photography and give you more creative choice, but that’s all it can do. The rest is, once again, up to the living, breathing creature holding the camera with a lens set wide open.