Like many other photographers I enjoy letting my mind wander, seeing if it will lead me to some kind of new photographic experiment that I haven’t tried in the past. The idea of photographing flowers with a prime lens and an extension tube fell out of my old, porous brain this week. So, for a couple of mornings I grabbed one of my Nikon 1 J5s, my 1 Nikon 32mm f/1.2 prime lens (efov 86.4mm) and a 10mm Vello Deluxe extension tube, then headed out for my daily 5km early morning walk. This article shares some images created while experimenting with flower photography at f/1.2. Except for the last image in this article, all photographs are displayed as 100% captures without any cropping.
Color calibration should definitely be an essential part of every photographer’s workflow. Otherwise, it is impossible to tell whether the colors that are displayed by your monitor are truly accurate and whether what you see will match the print. There are many ways to do it and the process can be fairly simple or complex, depending on how accurate you want to reproduce the colors and whether you are also printing your work in-house. The simple method involves a hardware colorimeter for color profiling your monitor for everyday photo editing and image viewing, and there is also an end-to-end professional-grade color profiling that requires very concise calibration of all display and output devices, such as printers. In this article, I will only focus on simple methods to make your monitor show more or less accurate colors, so that you could rely on it for everyday photography needs.
In this article, we will go over what exposure compensation is on a digital camera and how you can take advantage of it to make adjustments to your exposure when shooting in camera modes such as aperture priority, shutter priority, program mode and other scene modes of your camera. Every modern camera today has a built-in capability to adjust exposure settings in order to make it easier to properly expose images. In simple terms, the idea is to be able to control the brightness of an image, so that it does not end up looking too bright or too dark. To be able to do this, one has to use the Exposure Compensation feature, which is typically provided either as a dedicated button on a camera, or as a dial that one can move from positive exposure compensation to negative. Let’s take a look at how you can utilize this great feature on your camera and take a full control of your exposure.
Any photographer who has ever lost some of their photos will tell you how important it is to have a good backup system. For your best photos, you should have three or more copies, located in at least two different physical locations at all times. You absolutely shouldn’t have any of your photos located in just a single spot, or you’re asking for trouble. But how do these recommendations apply when you’re traveling, particularly if you’re out in the middle of nowhere and don’t have access to your normal backup equipment? In this article, I’ll cover some ways to back up your photos in a secure way no matter where you are.
There are some popular conditions for landscape photography that every photographer already knows: sunrise and sunset, storm clouds, fog, and so on. But one that doesn’t get mentioned very often is the light produced by a full moon on a clear night. The subtleties of moonlight aren’t always visible to the naked eye, but long exposure photography can lift the curtain. The results may have hints of familiarity, but they also have unique characteristics that make them stand out from typical, daytime photos. Photographing landscapes under the full moon (also referred to as “moonscapes”) is a process with its own set of challenges, so I will explore it in more detail in this article, and hopefully provide some tips for those who are interested in trying it out.
Once the good weather breaks, from the late spring through to the fall, many small towns in Ontario hold festivals. Quite often displays of antique and custom cars are featured at these types of events and represent great opportunities for photographing automotive details. This past weekend the town of Smithville held its annual PoultryFest, which I had the opportunity to attend. The day started out with bright, sun-filled skies…a significant change from the torrential rains that had hit much of Southern Ontario on Friday. The heavy rains caused quite a bit of flooding in the areas north of Toronto and resulted in many owners of custom cars changing their display plans and bringing their vehicles to Smithville instead.
This post is the last in a three-part series dedicated to teaching sports photography at all levels of competency. In part one I covered the basics for photographers who are just getting started. Part two was geared towards intermediate amateurs who have mastered the basics and want to gain additional competency to bring their images to the next level. This part is for advanced amateurs looking to enhance their existing skills and create professional-looking images.
On Father’s Day morning we had some very unsettled weather move through our area which brought with it some extremely strong winds. I couldn’t help but grab my camera and go out for a birds-in-flight practice session as I knew the very high winds would create ideal conditions for me. So, I headed out to Eastport Drive by Hamilton Harbour with my Nikon 1 V3 and 1 Nikon CX 70-300mm f/4.5-5.6 VR zoom lens to capture some practice images of birds-in-flight.
Losing irreplaceable images might just be every photographer’s worst nightmare. Fortunately, there are a few easy steps you can take to help prevent image loss. Almost all of these steps can be implemented right away with little to no cost or change to your overall workflow. While they might seem a little excessive, the resulting additional protection for your images should outweigh any inconvenience or minor cost. [Read more…]
Like many photographers I like to experiment with my camera gear and push it to see what will happen. Today I went to RaptorFest 2017 in Grimsby Ontario to view the displays and catch some of the animal presentations. The indoor lighting was less than ideal and I decided to do a little test with my Nikon 1 V3 and push its small 1″ sensor to its limits by shooting at ISO-12800 (please see the Reader Note at the end of this article)