As part of the field work for my review of the Nikon 1 V3 I took some images of birds in flight under rather harsh winter conditions earlier this year. While I did have some success with the Nikon 1 CX 70-300 f/4.5-5.6 zoom lens I wasn’t satisfied that I had given the lens a good test with this subject matter as my goal for the article was more to demonstrate the capability of the V3. I really wanted to try photographing some cormorants but by the time I purchased my copy of the Nikon 1 CX 70-300 in late 2014 most of the cormorants had already migrated south so I missed a good testing opportunity last year.
One of the biggest challenges that many photographers face is yielding sharp photos when hand-holding a camera. Many end up with blurry images without understanding the source of the problem, which is usually camera shake. Unfortunately, camera shake can come from a variety of different sources – from basic improper hand-holding techniques to mirror and shutter-induced vibrations that can be truly challenging and sometimes even impossible to deal with. While I will go over the latter topics in a separate article, I would like to talk about the most common cause of camera shake: lower-than-acceptable shutter speed when hand-holding the camera. I will introduce and explain the reciprocal rule, which can help in greatly increasing the chances of getting sharp photos when you do not have a tripod around.
With the introduction of lenses like the Tamron 150-600mm f/5-6.3 VC, more people than ever before are using long telephoto zoom lenses. Sometimes they are disappointed with their initial results when using these lenses hand-held, especially at slower shutter speeds. This short article provides some tips that can help improve hand-holding technique.
You have to forgive me; I have been off in my own little world trying to work two jobs so to speak. The most important job is the one that pays the bills and that’s managing my wife’s dental practice, somehow while doing that I am getting ready to attempt some serious selling of my photos at fairs and shows. Wish me luck. I have said it before, a writer I am not, however Photography Life has helped me many times, so I want to give back to the community. Let’s see where this long overdue article leads!
Although I am primarily a landscape photographer, I have recently found a great deal of enjoyment in photographing plants, both in botanic gardens and in the wild. Photographing these kinds of smaller scenes feels more meditative than photographing landscapes, as the process often includes slowing down, seeking out details, and taking time to craft photographs of sometimes tiny subjects. Another primary benefit of seeking out these kinds of subjects is their prevalence. Plants like those featured in this post can be found in almost any landscape or garden, which means it can be easy to find compelling subjects close to home. And, since many photographers pass by these kinds of scenes without a second thought, you have ample opportunity to make unique, creative photographs.
Exposing to the right, or ETTR, is an approach to photography that is as helpful as it is controversial. On one hand, exposing to the right is yet another technique to remember while shooting, and it can potentially ruin your exposure if utilized incorrectly. On the other hand, at least in theory, ETTR is the epitome of digital exposure. With proper ETTR, your images have as much detail in the shadows as they possibly can, without any of the highlights losing information along the way.
If you have experimented with long exposure photography, you may have seen light leakage issues in your images. For the uninitiated – your camera is a light tight body that is intended to allow light from one end only, and that’s the front of the lens. Light only enters when you press the shutter release. Normally, your camera wouldn’t allow light to enter through any other opening in the camera. However, unless you have a badly manufactured camera, there is typically only one source that could potentially harm your images, and that’s your camera’s viewfinder. Let’s talk about what you can do to mitigate light leaks during those long exposures.
Hey folks, my name is Siddhant Sahu, I am a 16 years old aspiring photographer from India. I have been shooting macro photographs for about a year now and I would try to encapsulate all I have learnt along my way in this short article. I believe that macro photography has the power of entering in a whole new world of tiny creatures. In fact with only modest piece of equipment you can shoot high magnification macro photographs. It’s good to mark the behavior of insects and how close you can approach some of them, but then again these are wild animals and there is no way to predict how exactly they will behave, each subject can be different, each background can be different. But with digital photography there is no penalty to shoot thousands and thousands of photos, and eventually someday among those thousands photos one particular would be usable enough. Anyone is capable of doing this, you don’t need the greatest lens or the newest camera out there. Macro photography is physically exhausting, challenging and requires a lot of patience and time consuming but you can get amazing results with fair piece of equipment.
I have been fortunate over the years to see a few of the many great apes in the wild. My work includes photographs of some of the highly endangered species such as the mountain gorillas. In this article, I will present my thoughts on the best places to capture these wonderful animals on camera as well as some of the issues I have faced doing so. Finally, I will outline my suggestions for camera and lens selections.
With almost all of our cameras featuring video capabilities (I’m looking at you, Nikon Df), most of you have probably considered going beyond the occasional family video. However, like photography, video requires post-processing for best results, and the prospect of buying After Effects, Premiere Pro, and SpeedGrade just to get your toes wet is daunting for many photographers. What you may not know is that you already have a powerful video-editing program in Adobe Photoshop CC, or CS6 Extended. This is an easy way for photographers to play around with film without purchasing hundreds of dollars worth of software, and is surprisingly effective. I’m certainly not a professional videographer as my example video will show, but I have enjoyed editing a few shorts, just for fun. The two most critical aspects of editing for video (not including cuts/sequencing) are color-grading and sharpening, both of which can be done relatively painlessly in Photoshop using tools you’re already experienced with.