I recently bought the Nikon 800mm f/5.6E VR (see Nasim’s review) and took it out for my first field test. It turned out to be extremely poor light and rough snowy weather, but sometimes that’s when you get some great photos. I have some samples to show here and even though they are not tack sharp because the conditions didn’t really allow that, they are moody and show nature in its true beauty. I also wanted to talk about gimbals on tripods versus hand-holding on large lenses to get flying or action shots. I hear so many times you cannot hand-hold that 600mm, but I do and some of my best shots are because I hand-held.
Like any event photographer, most of my wedding shots are of people, i.e. the bride, the groom and their guests. This, after all, is what a wedding is all about and what people mainly want to see when they open a wedding photo album. Weddings, though, are always packed full of other visual details besides the people. So much time is spent in preparation to make a wedding look beautiful that it would be a shame not to preserve some of this in the album. I find that sometimes the best way to achieve this is to make these details the subjects of some of my photographs, even if this means leaving people out of some shots completely.
In this article, Patrick Downs is providing very useful portrait photography tips to our readers, sharing his experience and beautiful images that he has taken as a professional photographer. As a photojournalist for 25 years and shooting for much longer, I may have a different or expanded definition of what a portrait is, and what it takes to produce them. There are genres of portraiture, of course, such as: editorial, corporate, commercial/retail, documentary or candid, and illustrative portraits. With some you exercise almost no control (e.g., William Albert Allard), and with others almost total control (e.g., Annie Leibovitz). There is no right or wrong answer … the photographer chooses their style! There are many photographers whose portraits I love, and not all of them are pure portrait photographers. Allard is a documentary photographer, but his found portraits are wonderful. Annie L. imposes her will on her subjects, but the results are fascinating and something I’d love to be able to do. If I were to pick my top 3 pure portraitists, it might be Arnold Newman, Gregory Heisler, and Annie L, in no special order. I went back and read my Arnold Newman’s “One Mind’s Eye” the other day, and was struck by how many of his images don’t use “perfect” light by today’s standards, but so many are amazing. This one, of Igor Stravinsky, is still one of the most brilliant photo portraits ever taken, I think. It’s interesting to know that Greg Heisler was one of Newman’s last assistants.
Some photographers may have been fortunate enough to obtain professional guidance in their early endeavors at serious photography. I, on the other hand, belong to the camp that had to do on their own. I built most of my photography knowledge through my stock photography experience. My stock work and the associated challenges helped develop my photography grammar.
Rather than taking a deeper look at an image, those of us who are just getting into photography might get carried away with thoughts of major post-processing. If given enough consideration, most photos do not need major editing or hardly need any editing at all. Before venturing into piling on every single editing trick you’ve learned on the photo of your choice, I call you to consider these basic tips to make your workflow faster and hopefully easier.
You have heard it said, “Shoot first, ask questions later” but when it comes to wildlife photography, if you will ask questions first, you will get to shoot more later. This quick tip for the beginning wildlife photographer encourages you to ask questions. While you might go to a park to find wildlife, some photo ops might be in your own backyard, literally, and if not your own backyard, maybe in your friend’s or neighbor’s backyard.
In my opinion, street photography is a significant craft, geared towards preserving human history and history of any given society. It helps us preserve once-in-a-lifetime moments and capture truly authentic imagery. As many of us start getting weary and tired by the polished, glossy magazine looks we encounter daily, random portraits photographed in streets preserve that originality a lot of us crave, once again reminding us of real subjects and objects around us. Street portraiture is a big chunk of street photography and documentary. Today, I want to concentrate on giving you some tips on street portraiture. I should also warn you that the pointers I give today may work better for female photographers, rather than for boys with cameras :)
As photographers, light is something we are constantly concerned about. We need some sort of light source coming in, but from where and how much is always the question. A soft sun glow during the early hours of the morning or right before sunset is ideal, but often times wedding ceremonies or a client’s schedule does not allow for those prime shooting times. Light can take a normally plain image and transform it into a powerful and exciting picture, but what happens when you are dealing with harsh midday, overhead lighting? Luckily, there are a couple ways of dealing with this problem while still achieving beautiful pictures that both you and your clients will be happy with.
If you took workshops and coursework on photography, chances are you’ve heard every mentor talk about understanding composition and learning to crop within the camera. Doing so will yield greatly composed photos and will limit your time in post production. But from time to time, you will come back with badly cropped photos which might have distracting elements in the background and the composition may not look spot on. If you are photographing portraits, even the slightest distraction may draw the viewer’s attention to something else than what you originally intended the viewer to concentrate on. At times like these, instead of deleting the photo, I want to give it another chance. Memories are precious and I do not mind cropping the photo to preserve what is important. Cropping images in post production will give you another chance to re-frame your shots and there are a number of different ways you can do this to achieve desirable results.
If you love astrophotography, today (06/23/2013) you will witness a unique event called “The Supermoon”, where the moon will not only be full, but will also appear larger than normal. If the skies are clear and you are lucky to see the moon, this will be a great time to get out and try some moon photography. If you have never done it before, you might be wondering what camera gear and settings you should use in order to capture the moon in its full glory. In this short article, I will give advice on how to photograph the Supermoon and explain some of the steps involved in the process.