Noise is the sleet storm Satan drenches our photos in when we stupidly leave our tripod in the trunk thinking VR will save our lazy butt, but instead we end up shooting at quadruple digit ISOs. In this article, we will take a look at a couple of techniques on how to reduce noise and how to avoid it in the first place.
Nowadays, it is not unusual to hear about photographers being asked by their clients to do video work for them. For many photographers adding video to their list of services can be a bit intimidating, especially when it could entail making some investments in video-related gear. While it is certainly possible to spend many thousands of dollars on additional gear, most people wouldn’t want to put that much money at risk when first venturing into this area. If you choose gear wisely you can keep your investment at a modest level while adding a significant amount of production value for your clients.
With Adobe Lightroom being the most popular post-processing tool on the market, one might wonder how good the software really is in processing RAW images. After-all, that’s what we use Lightroom primarily for – to post-process our images and get the best out of them. Having been using Lightroom since the early release versions (dating back to Lightroom 1), I have seen the software grow from a simple RAW editor to a pretty complex piece of software for both image management and powerful RAW processing. While there have been many great additions to Lightroom over time, Adobe certainly has had its share of rather disappointing problems, from typical bugs and stability issues to poor handling of RAW files. True, the software has gotten much more complex and with that complexity, it is surely expected to see potential bugs and issues. But one would hope that things would get better with each new release and bugs would eventually get taken care of. Sadly, the direction where Adobe is heading with Lightroom has just not been looking good. It appears that with every update, instead of getting proper fixes, all we are getting is additional bugs and new features that are not ready for prime time.
In this fourth installment to this series, I have selected a series of photographs that I made with long exposures on three film stocks to share in the context of a discussion of film reciprocity departure and the use of filters in color film photography. Although I had originally intended to include a discussion of exposure corrections for close-ups in Part IV, in the interest of brevity I decided to defer this topic to a final Part V to this series. Of note, reciprocity departure and filtration in color film photography are complex and interesting topics. This article is not meant to be a comprehensive treatment of both topics, but rather an introduction that I may expand upon in future articles.
Data loss is a very painful experience that unfortunately many of us go through at some point of our lives. In my workshops, lectures and this website, I spend quite a bit of time advocating the need for a well-established workflow that incorporates solid backup strategies to prevent data loss. And during this process, I came across many different backup routines practiced by other photographers, some of which I found to be downright scary. You have probably heard of horror stories of professional photographers losing their life’s work, or wedding photographers losing images of weddings that they were not able to deliver to their clients yet. It sure happens, and it usually happens at the worst possible time too! It is one thing when you lose your personal data / photos and totally another when you are dealing with a client who paid you money. I cannot imagine how one could even handle a situation with lost wedding photos, as it would be impossible to recreate those precious moments. Sadly, for many of us, it seems like data loss has to take place in order for us to seriously consider a solid backup strategy and workflow. But it does not have to! In this article, I will walk you through two scenarios for establishing a good photography backup workflow: a low-cost and painless workflow for hobbyists, and a much more serious workflow for enthusiasts and professionals. For the second scenario, I will reveal my own backup strategy.
There are two kinds of photographers. Those who admit they crop, and those who claim they don’t. The latter are glistening bastions of photographic purity whose souls glow at a constant Zone 10. They graciously lecture us heathens on the evils of cropping and try to exorcise the post-processing devils from our souls. They abhor us croppers, whom they consider inferior photographers – low down scum worse than fixer stains or a piece of grit in a bulk loader. They realize that cropping leads to even more sinful behavior, such as high speed bursts and shamelessly shooting above base ISO. I could go on, but they’ll pick up where I left off in the comments section.
Less philosophy and more actual photography this time, leading the eye into a scene is one of the tenets of composition (at least for me) and there is a multitude of ways in which this can happen. An image of something or somewhere can be a more rewarding experience for the viewer if they are led into, through or across it, spending longer to absorb and take in the scene. Advanced photographers will (I hope) forgive the simplicity of this article; I am no kind of expert on composition but I thought I would share some ideas.
Autumn is the favourite season for many photographers. The colours in the forest can be spectacular. Wildlife, especially birds, can often be found in abundance as they migrate. And, the weather can bring interesting effects like fog into more prominence. When most people think of the Niagara, Canada area their minds usually go directly to Niagara Falls. That’s understandable given how majestic they can be during all four seasons. In this article I’d like to share a few images taken at other locations in the Niagara area that many photographers overlook.
I set out with a goal to find the best outdoor camera bag. For the most part all of these bags turned out to be pretty great bags with different strengths. To try out the bag it needed to hold at least one pro body, a wide angle zoom, normal zoom, telephoto zoom, flash, tripod and accessories. My kit was a Nikon D800, 17-35mm f/2.8, 24-70mm f/2.8, and 70-200mm f/2.8. Let’s take a look at a number of different outdoor camera bags and see which one is the most versatile option for shooting outdoors.
What is Nikon’s best DSLR? This is perhaps one of the most frequently asked questions that many of us Nikon shooters get. Having been using Nikon gear for close to a decade, I have been fortunate to use pretty much every Nikon DSLR produced since I started – from low-budget entry-level cameras to high-end professional DSLRs. While my overall experience with Nikon DSLRs has been mostly positive, I surely did criticize Nikon heavily a number of times (and sometimes very harshly) – all with good intentions of course. As a company, Nikon has had its ups and downs for sure, but its track record of delivering solid cameras and lenses cannot be denied. Looking back and thinking about every Nikon DSLR camera I have used so far, I came to realize that some cameras just really stood out from the bunch. For example, for a long time, I picked the Nikon D700 as Nikon’s best overall camera for a reason – it was and still is an absolutely brilliant DSLR in many ways. At the time of its peak popularity, it was a very well-balanced DSLR, appealing to many enthusiasts and pros. And many of them even today, still believe that the camera never had a proper replacement. I sold mine a couple of years back and although it was difficult to let go of it, I eventually found something that I truly think presents the same amazing balance of image quality, features, ergonomics and value today. For me, it is the Nikon D750. I wrote a detailed review of the D750 last year and since then, it has surely become one of my most favorite Nikon DSLRs. Let’s take a look at the reasons why I picked the D750 over others as Nikon’s best overall camera.