You must forgive my ramblings on this age-old debate. And for many of us, it may seem like the chicken and egg quandary. Should I get a better camera to make me a better photographer? Or has my skill evolved to the point whether I need a better camera to fully realise my potential? If someone hands me an airplane do I automatically become a pilot? Or do I need to go to flight school first?
We all know the mantra of the best camera being the camera that you have available with you. Following the same analogy, I decided to dedicate this post to photographing food on camera phones. Let’s face it, our camera phones are with us every step of the way, and I will not be the last person to admit that I use it more than any other device in my household. So, I think it cuts the bill of being “the best camera” when you need one in a jiffy.
Despite all the recent photowalks shooting urban ephemera, my primary interest in photography was always wildlife and animal photography.
I believe it was Cartier-Bresson who said that your first 10,000 photographs are your worst. For many hobbyist photographers, myself included, it may be much more than that, as improving our craft means constantly shooting, experimenting, reassessing, and continually culling our very best from our best.
For most people who just want to have some fun with their photography and have another ‘trick up their sleeve’ focus stacking can be an interesting technique to explore. To put this article in proper context, I’ve never used focus stacking for any of my client work, and I don’t profess to be an expert at the technique…but I have experimented with it. The following image is a quick focus stacking example I put together for this article. It was composed from 11 separate exposures. It’s far from perfect, but it does represent a typical result that most hobbyists can easily achieve.
Rainbows are rare in nature, because a number of events have to happen at the same time. First, there has to be moisture in the sky, so a rainy day or a quick rainstorm is the first pre-requisite. Second, the sun must be positioned on the horizon at a low angle, around 42 degrees relative to the viewer. Third, the part of the sky where the sun is must be clear from clouds and obstructions, while the part of the sky where the rainbow will appear must have continuous rain / moisture. When all of these conditions are met, the sun rays will refract and reflect off the water droplets in the sky, creating the optical illusion that we refer to as “rainbow”. When you see a rainbow, it is only natural to want to capture it on your camera. Who wouldn’t want to capture such beauty that contains the full color spectrum visible to our eyes? And if you happen to be at the right place, rainbows could make an ordinary subject appear truly extraordinary. Even a boring scene could be turned into something completely different with a full arc of a rainbow.
Nature often rewards us with incredible opportunities for photographing sunrises, sunsets and sun rays piercing through the clouds, creating stunning views. As a landscape photographer, I tend to wait for partly cloudy and stormy days, because clouds make photographs appear much more dramatic and vivid. Without clouds, sunrises and sunsets often look boring, forcing us to cut out the sky and focus on foreground elements instead. In contrast, if you get to witness a sunrise or a sunset with puffy, stormy clouds that are lit up from underneath with colorful sun rays, creating a fiery view, including the clouds in your photographs would make the scene appear much more colorful and alive. In fact, clouds can be so beautiful, that they could become the main element of composition in your photographs. In this article, I will not only talk about the process of photographing clouds, but also will focus on making clouds appear much more dynamic and dramatic in your photographs.
My wife is an avid gardener and for more years than I can remember, I have accompanied her on a wide range of garden tours and other such outings. While gardening is of little interest to me per se, I do find some enjoyment in capturing images of flowers and foliage. And, on the odd occasion I have shot videos of private and public gardens.
Many travel and landscape photographers, including myself, try to avoid shooting scenery with a clear blue sky. As much as we like seeing puffy or stormy clouds to spice up our photographs, we have no control over what the nature provides each day. Sometimes we get lucky and capture beautiful sunrises and sunsets with blood red skies, and other times we are stuck with a clear, boring sky. When I find myself in such a situation and I know that the next morning will be clear, I sometimes explore opportunities to photograph the stars and the Milky Way at night. I am sure you have been in situations where you got out at night in a remote location and saw an incredibly beautiful night sky with millions of stars shining right at you, with patches of stars in a “cloudy” formation that are a part of the Milky Way. If you do not know how to photograph the night sky and the Milky Way, this guide might help you in understanding the basics.
I hope the idea I have in my head for this wildlife photography series of articles turns out on paper the way I imagined it and you find some useful tips that will help you on your photographic journeys. This first part comprised of a number of tips will briefly touch on light, weather and lens \ focal length selection. Like in my other articles, I will start with a simple disclaimer: what I present here is what works for me and you have to find your own way to what ultimately makes you happy.