As the maximum temperatures slowly drop below 40 F (6 C), the ephemeral autumn silently gives way to a long winter in New England; but not before weaving its colorful magic yet again. This year, I was fortunate to witness this magic from up close during a weekend camping trip in Acadia National Park in Maine. Colors in Acadia usually peak around mid-October, which roughly coincided with my trip and I found the foliage in good shape: either peaking or just past peak. Moreover, the forecast called for cloudy skies and occasional rain with breaks both in morning and evenings, which meant I can photograph all day: golden light at the fringes and soft, overcast light in between. My equipment was a Nikon D610 and a Nikon F100 (loaded with Velvia 50) along with the a host of Nikkor lenses (with polarizers): Nikon 24mm f/2.8 AI, Nikon 24-120 f/4G VR, Nikon 18-35mm, Nikon 50mm f/1.2 AIs, Nikon 85mm f/1.8G and Nikon 70-200mm f/4G VR.
What makes a good black-and-white photograph, how do I take one, and why should I try when I have this nifty hypersaturation preset that makes even my lamest photos look awesome? I’ll answer the last question first – your oversharpened oversaturated photos stink. Their gaudy colors may suck the eye in, but then the eye gets stuck, realizes there’s nothing more to look for in the picture and hastily moves on. Effective black-and-white photography relies on form, texture, lines, contrast, tonality and composition to engage the viewer. Without flashy colors to draw viewers in, the black-and-white photographer either masters the principles of composition or perishes. Shooting in black-and-white is a great way to improve your photography skills.
She posed atop a sand dune with wind-gnarled cypress trees clinging to a rocky precipice in the distance. She was nude of course, and sitting on a bedpan. A dead pelican lay at her kelp-entwined feet. In one hand she held a nautilus, in the other the most sensuous bell pepper that had ever grown. As I adjusted my 8×10’s tilts and shifts she gave me that glance – just 1/60th of a second, but in that moment I knew there would be more tilting and shifting later as her aperture and my shutter speed would dance in perfect rhythm. I stopped the lens down to f/64, then…I woke up.
‘Attempting’ and ‘style‘ being the salients word here! Nope, not any kind of expert on this subject either but the style and simplicity of fine art photography is greatly appealing to me, and by explaining why we may consider some important aspects of making compelling images.
Rainbows are rare in nature, because a number of events have to happen at the same time. First, there has to be moisture in the sky, so a rainy day or a quick rainstorm is the first pre-requisite. Second, the sun must be positioned on the horizon at a low angle, around 42 degrees relative to the viewer. Third, the part of the sky where the sun is must be clear from clouds and obstructions, while the part of the sky where the rainbow will appear must have continuous rain / moisture. When all of these conditions are met, the sun rays will refract and reflect off the water droplets in the sky, creating the optical illusion that we refer to as “rainbow”. When you see a rainbow, it is only natural to want to capture it on your camera. Who wouldn’t want to capture such beauty that contains the full color spectrum visible to our eyes? And if you happen to be at the right place, rainbows could make an ordinary subject appear truly extraordinary. Even a boring scene could be turned into something completely different with a full arc of a rainbow.
Nature often rewards us with incredible opportunities for photographing sunrises, sunsets and sun rays piercing through the clouds, creating stunning views. As a landscape photographer, I tend to wait for partly cloudy and stormy days, because clouds make photographs appear much more dramatic and vivid. Without clouds, sunrises and sunsets often look boring, forcing us to cut out the sky and focus on foreground elements instead. In contrast, if you get to witness a sunrise or a sunset with puffy, stormy clouds that are lit up from underneath with colorful sun rays, creating a fiery view, including the clouds in your photographs would make the scene appear much more colorful and alive. In fact, clouds can be so beautiful, that they could become the main element of composition in your photographs. In this article, I will not only talk about the process of photographing clouds, but also will focus on making clouds appear much more dynamic and dramatic in your photographs.
Many travel and landscape photographers, including myself, try to avoid shooting scenery with a clear blue sky. As much as we like seeing puffy or stormy clouds to spice up our photographs, we have no control over what the nature provides each day. Sometimes we get lucky and capture beautiful sunrises and sunsets with blood red skies, and other times we are stuck with a clear, boring sky. When I find myself in such a situation and I know that the next morning will be clear, I sometimes explore opportunities to photograph the stars and the Milky Way at night. I am sure you have been in situations where you got out at night in a remote location and saw an incredibly beautiful night sky with millions of stars shining right at you, with patches of stars in a “cloudy” formation that are a part of the Milky Way. If you do not know how to photograph the night sky and the Milky Way, this guide might help you in understanding the basics.
Here in California, we do not have the autumn hues to rival New Hampshire or Colorado. Nevertheless, the Sierra Nevada mountain range attracts a good number of photographers and seekers of fall colors every autumn. Yosemite Valley, situated on the western slopes of the Sierras has its own display, thanks to the Black Oaks, Maple, Cottonwoods and Dogwoods, which flourish here. Apart from these, there is the famous Elm tree in Cook’s meadow, which in peak color offers a memorable light show at sunrise and I believe it to be the most photographed Elm in the world.
I had the good fortune to join Nasim again this year on his annual Landscape Photography Workshop in the San Juan Mountains of Colorado. While I regularly communicate with Nasim and others from Photography Life via email and phone, time and distance do not afford us with many chances to meet in person. I also appreciated the chance to spend some quality time with avid Photography Life readers, who share an appreciation of photography, camera technology, and the outdoors. Their comments, suggestions, constructive criticism, and support have helped make the Photography Life site better over time. Last year’s adventure allowed me to meet some wonderful people and share some memorable moments. I expected no less from this year’s trip.
If you love astrophotography, you might want to photograph 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.