The more you edit a particular photo, the more likely your eye is to grow weary of the changes that you make. Personally, after spending a few hours editing a single image, I begin to lose my ability to tell a good edit from a bad one – presenting a clear problem for making more edits. To some degree, this is even true after a two- or three-hour break; the photo is still too familiar to see with a fresh eye. In this quick article, I will cover a couple ways to look at your photos from a different perspective, including my personal favorite tip in photography.
There are some basic aspects of photography that one would have to strive to master no matter what type of photography you do – and these are light, composition, content, timing, camera settings, presentation. There is plenty of information on these subjects that is well written and very useful. In this article I wanted to bring attention to some less thought of elements of my photography (mainly wildlife) that I find are extremely important, and why they are important to me. These same topics also happen to be items that were heavily commented on by readers in my past articles on PL.
Sharpening remains a particularly confusing topic among photographers, especially given the tremendous number of post-processing options available. Some post-processing software has so many options that it is hard to know where to start; others do not let you use optimal methods in the first place. If you are trying to use the best sharpening settings – including the lowest possible levels of noise and other artifacts – the ideal method is three-step sharpening.
I’ve been doing some experimentation the last little while photographing birds in motion at 60fps with my Nikon 1 V2. I thought Photography Life readers may enjoy seeing a few sample images captured at this fast frame rate. All images in this article are consecutive hand-held captures of individual birds.
We had quite a few of our readers engage in our last “How Was This Picture Made #9” article for the image of the Sokullu Mehmet Pasa Mosque that I posted from my trip to Istanbul, Turkey. While some of the readers did a great job at giving a description of my shooting environment and even correctly guessed the location, the camera and the lens I used for the shot, none of the readers correctly identified the specific challenges I faced when photographing the scene. And to be honest, it would have been nearly impossible to identify those challenges by just looking at the photo, since it is the final, processed version. Let’s go through all the steps that will reveal everything I did to capture and process this image.
Have you ever heard someone say that a telephoto lens “compresses” the background or “flattens” an image? What exactly does this mean? The perceived distance between your subject and the rest of the scene is dependent on two things: where you stand relative to your subject to take the photo and the focal length of the lens you choose. In this short article, I want to discuss this type of perspective distortion, and how to use it to compose exciting photographs.
This is a second installment of how you can plan out an engagement session with your wedding clients. The first part of this article How to Photograph Engagement Sessions – Planning was posted a while ago and I thought it would be good to continue where we left off, so that I could jump into the process of photographing the session after that. Please give the above-mentioned article a quick read before reading the second installment below.
Have you ever wondered why you are instantly drawn to some photographs, but not to others? Or why some of your images lack that wow factor that you see in other’s. It may be related to how you compose your pictures. How a photograph is composed has a huge impact on how long we look at it. The longer our brain is allowed to wander through an image, the more likely we are to like it. Photographs that are not composed well do not have staying power, and are quickly discarded by our brain. In this article I want to discuss four very basic compositional tips. I won’t be talking about the “rule of thirds” or “leading lines”, but rather four pointers you should consider before you take a picture. These tips will save you a lot of post processing time, and will allow you to create much stronger images.
Recently, as part of a photography class at my university, I had an assignment to shoot two rolls of film with the theme “Point of View.” This topic was open to interpretation, but I was encouraged to try something out of my comfort zone. I puzzled over the assignment for a few days – and I almost decided to shoot a roll of typical abstract photographs – but one other possibility began to interest me: With enough effort, could I take realistic landscape photographs from my kitchen table?
When photographic architecture, landscapes and even people, photographers often desire to increase detail and resolution, capture a wider angle or create a unique look that is impossible to achieve with standard camera gear. That’s where panorama photography comes in – it can be a great technique to utilize in order to accomplish such goals. Although the concept and the technique itself are fairly straightforward, panoramic photography often confuses many photographers. We often get many inquiries about this topic from our readers and one of the most frequently asked questions is about the specific type of gear to buy in order to produce stunning panoramas. And that’s certainly one of the biggest myths about panoramic photography – you rarely ever need such gear! Most of the panoramas I have stitched so far have been done without panoramic gear and although I do own a panoramic slider, I rarely ever get to use it. Read on to find out why!