Photography Life is excited to announce the creation of a new landscape photography section on the website! For years, one of the most important parts of Photography Life has been landscape photography, including dozens of guides, tutorials, and inspirational essays we’ve written along the way. And, as our website continues to grow, we wanted to make it easy for readers to find these articles as quickly as possible. In the upcoming weeks and months, keep an eye out for several new articles in this section (which will still appear on the main homepage, marked with a green landscape icon next to the title). We hope this will be a good way for you to find the most relevant content for your own photography! Here are some of the additional reasons we made this decision:
How is it that two photographers can visit the same landscape at the same time, but one of them manages to take a better photo? It’s not about equipment, or camera settings, or sharpness. Instead, it’s all about composition. Composition is how you arrange the elements of your photograph to guide a viewer’s eye. How do you pick a good composition for your landscape photos? There are two elements that matter more than anything else: simplicity and visual weight. In this article, I’ll share some tips for using them correctly.
One of the windiest nights I’ve ever taken pictures turned into perhaps the single most rewarding — and frightening — landscape photography experience of my life. I was on the Mesquite Sand Dunes in Death Valley, a place I had visited twice in the past, though under much tamer conditions. This night, the gusts of wind were far greater than I had seen before, and they kicked up a layer of sand that made for amazing sunset photos. But as the day came to a close, it was clear I had entered uncharted waters.
Many photographers, including our team at PL, have been frustrated with Adobe’s latest move to discontinue the standalone version of Lightroom, something Adobe said it would not do in the past. As a result, a number of us (including myself) have been looking for alternative post-processing tools that can replace Lightroom completely. For the past few years, I have owned Phase One’s Capture One Pro software, which I found to be very capable when it comes to post-processing images. Some of Capture One Pro’s capabilities (such as color adjustments, adjustment layers, etc) are light years ahead of Lightroom, and performance-wise, Lightroom has only been getting worse year after year, with things like adjustment brush slowing down even some of the most powerful desktop computers, whereas you can stack layers and layers of adjustments on images in Capture One without slowing anything down. Because of this, I have been running Capture One for some time now, hoping that I can fully transition to it at some point in the future. However, the biggest reason why I have not been able to fully transition, is the lack of Fuji GFX 50S camera support, something I was hoping I would see in the new version of Capture One 11 that was just announced today. After looking at the release notes of Capture One Pro 11, I came to conclusion that Phase One has no plans to support the GFX 50S or any other medium format camera on the market to protect its own medium format system. For this reason alone, Capture One could never replace Lightroom as post-processing software for many photographers out there.
It doesn’t seem that long ago when I wrote my 100th article for Photography Life, and here we are today with article number 150. I must confess that I mulled over what topic that this ‘mini-milestone’ article should cover. My ‘little voice’ told me that it needed to have a philosophical orientation. So, this article shares some of my philosophic approach to photography, and answers the question why I prefer being a lazy post-processor than a lazy photographer. And, make no mistake, I am a lazy post-processor. [Read more…]
When you’re out taking nighttime landscape photos — Milky Way photography, or photos of the Aurora Borealis — one of the most difficult tasks is to compose your photos exactly how you want. The reason? It’s simply too dark to see anything. Looking through the viewfinder on a DSLR, it can be tough to make out any of the scene’s important features. Live view might be even worse, often showing absolutely no detail at all. The most common solution is to guess at your composition, wait 20 or 30 seconds for the exposure to finish, and adjust afterwards via trial and error. It’s a slow process — but there’s another method. This is one of the few times when the best option is to use your camera’s highest ISO.
While many of the Black Friday deals are still available, some of the deals are sold out by now. However, considering that today is a Cyber Monday, there are plenty of great deals available on electronics that were not available before. I compiled a list of last minute hand-picked deals for our readers, so check these out!
To begin, an apology that I have not been very active here at Photography Life for the past few months. My time has been consumed with client video work, as well as working on a photography eBook project. My wife and I recently spent two weeks in Nova Scotia doing a partial circumnavigation of the province as field work for our recently launched eBook: Nova Scotia Photography Tour. We have visited Nova Scotia a number of times in the past and have always enjoyed the people and scenery. This article features some of the images contained in the eBook.
Depth of field causes more confusion among photographers — beginners and otherwise — than nearly any other topic out there. Many “common knowledge” tips about depth of field have some flaws, or are at least partially inaccurate. At a personal level, it took me far too long to separate the good suggestions from the bad, and I eventually realized that I had been relying upon some erroneous information for years without knowing better. My goal with this article is not to make the most controversial possible statements, or needlessly poke holes in things that are almost entirely true. Instead, my hope is to cover some of the basic, common inaccuracies that you may have heard about depth of field, in case you’ve been relying on faulty information for your own photography.
When I say alternative I really mean images that aren’t the typical scenic images from the Big Apple, although there are a few in here that are. It’s probably just an excuse for my bad photography but I wasn’t disposed to take my postcard shots of familiar sights. These are from a few years ago when my friend Lisa had a birthday and I decided to treat her to a trip to New York. Thus my main focus was not to take photos but to ensure that she had a great time (she did). These are here because I was looking for an image that someone wanted for a canvas and stumbled upon a few others that I thought would serve as filler content.