Incredibly, the first domes date back to people living in the Mediterranean region 4,000 years BC. Since then, artists have created a fascinating variety of them all over the world. Still today, they are an essential part of modern architecture, as shown for example by Calatrava’s spectacular glass dome of the library of the Institute of Law in Zurich, Switzerland.
One of the biggest knocks against the Nikon 1 series of cameras has been, and continues to be, the small sized CX sensor. While this sensor has some distinct advantages when shooting birds and wildlife with the FT-1 adapter and the resulting 2.7x crop factor, it is challenged with landscape photography where dynamic range and color depth are important factors.
With the prime holiday season just around the corner for many Photography Life readers, many of you will be facing challenges photographing at large, public venues. I thought it may be interesting to share some images I took at the Mosaiculture exhibit in Montreal last year, and some of the approaches I used at the event.
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.
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.
People often ask me about my post-processing when they look over my photography. To be honest, the post-process I’ve developed has been a combination of small tutorials I’ve taken over the years from artists I respect. I’ve since developed my own style from these tools, but the most important part of post-processing is having an image that will take it on well. In this article, I will be talking less about the post-process and more about how to utilize natural light. In order for proper digital development, the shot has to be versatile for the final result.
I got a lot of feedback and questions from my last two posts and it seems like there is some interest in my articles, so I am yet again inspired to give this writing thing another shot. I just want to re-iterate that what I suggest or talk about here is what I do and what works for me – you will have to find your own way to your photography success.
What’s the BEST Lens for Wildlife Photography? If I had a nickel for every time I was asked this question, I could retire. It’s a very common and extremely valid question to ask. And to cut right to the chase, there is no one or right answer to this question. And that’s for many reasons from you, the photographer to the subject and most importantly, to the story you want to tell with your photograph. But there is a focal length that gets used over and over again and I feel is the best one to start with.
I recently wrote an article on hand-holding large and heavy lenses, which attracted quite a bit of attention and some nice comments and questions from PL readers. I am not really a writer, but a few people asked me about my technique for getting those shots. Let me start by saying that I am not an expert and there are many ways to skin a cat. So this is the way I get my shots and you will have to find your own way to achieving what you want. Let’s start with a “money shot”: what I would say is the shot of the day, the shot that made it all worth it.
The Cobra danced in front of my lens, swaying its porcelain white scales and flaring its hood. This was one of the most alluring and flat-out beautiful animals I’d ever seen. Not the least bit camera shy, the cobra flicked out its pink tongue to sniff the air then suddenly lunged at the camera. Luckily there was a pane of glass keeping me safe from the snake. I was at the Reptile Zoo in Slade, Kentucky partaking in something I generally frown upon, which is taking photos of captive animals, not ones in the wild. As I discovered, however, there are situations when shooting captive animals won’t throw your soul on the barbecue. Identifying these situations and how to present captive animal photos ethically is what I want to discuss today. Lastly I’ll give some tips on how the shots illustrating this article were done.