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.
Since Fujifilm kicked off its X-series mirrorless cameras in 2012, it has been releasing a number of superb prime and zoom lenses to attract both enthusiasts and professionals to its camera system. Although until recently the Fuji lens line-up included a number of great zoom lenses, there was no professional-grade 24-70mm equivalent (in full-frame) choice available. Fuji changed that by introducing the Fujinon XF 16-55mm f/2.8 R LM WR in early 2015 – a high-quality, weather resistant lens with superb optical characteristics and tough construction for the most demanding photographers. Combined with a weather-sealed camera like the Fuji X-T1, the new generation Fujinon lenses like the 16-55mm f/2.8 are the top choices for landscape and architecture photographers who often face challenging weather conditions. I had the pleasure of using the XF 16-55mm f/2.8 lens for several months after it was launched and I was able to take it with me on several projects and assignments, so this review is primarily based on my field experience. Let’s take a look at the lens in more detail.
I am in the beautiful city of San Francisco again and this time I would like to give advanced notice for our upcoming Photo Walk this Sunday, April 26 2015! Although the weather has been pretty miserable so far with cold, foggy days, hopefully things will look better on Sunday weather-wise and we should be able to enjoy a nice evening of shooting. Please note that all Photo Walks we host are free and you are welcome to come and join us for some photography, getting to know each other and talking about all things photography in a restaurant after the walk. As in our previous Photo Walks, you are also welcome to bring your portfolio with you and I can spend some one-on-one time after dinner to do a critique session and discuss your work, which will hopefully help you out in deciding how to take your photography to the next level. I will have a special guest with me, our very own John Bosley, who graciously agreed to help out in doing these one-on-one critique session. So we will not only have a great time together shooting, but it will be also a great opportunity to hopefully improve and advance your photography skills. Bring all the questions you have for us!
Today adobe rolled out the much anticipated update to its Lightroom photo management and editing software. Two new versions of Lightroom are immediately available for both standalone and Creative Cloud subscribers. Lightroom 6 will be offered as an update to Lightroom 5 for perpetual users (both regular and upgrade licenses are already available) and those who subscribe to the Creative Cloud will get a cloud-specific version called Lightroom CC (which in its core is the same as Lightroom 6). This update is a rather significant one, because it brings very important and much-needed performance improvements, new camera / lens support and a few new notable features. Let’s discuss those in more detail now.
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.
Big thanks to everyone who took part in our Content Sharing Contest poll to pick the winner of the Sony A6000. It was a close race, with both Aaron Priest and Spencer Cox dominating the poll for a while. But looks like Aaron still came out first, with 80 votes on his side, only 4 votes higher than Spencer. Congratulations to Aaron for winning the Sony A6000 and big thanks to everyone who participated – your articles generated a lot of great interest and discussions among our readers. As promised, we will be emailing each participant with request to pick their smaller prizes as well.
If you have enjoyed our contest and would like to see more future activities like that, please let us know – your feedback is always appreciated.
There is something about crocodiles and their relatives that fascinates many people. Perhaps it’s the 85 million year history of this family of creatures. Or maybe when we look into their eyes, it is the realization that they may be looking back at us as a potential meal that gets our attention. If you are in the Myrtle Beach (South Carolina) area a trip to Alligator Adventure may be a great way to spend part of a day. The facility has a wide range of crocodilia from all over the globe, including rare albino alligators (Note: I pushed my Nikon 1 V2 to f/7.1, 1/20, ISO-6400 to capture the image below)
With the introduction of the D7200, Nikon yet again ignored the desires of wildlife photographers. They didn’t shrink the buffer like they did with the D7100 (in fact they gave it a welcome increase), but they retained the 17% frame rate slashing that started with the D7100 (in comparison to its predecessor the D7000). Folks hoping Nikon would answer Canon’s release of the 10fps 7D Mark II are certainly disappointed. There are two things Nikon doesn’t seem to get about wildlife photography. First, wildlife photographers don’t want to pick either a DX or FX body to shoot with, we want one of each that will work together as a system – an FX body for great low-light capability and a DX option when we need extra reach. Both circumstances come up on an almost daily basis for the wildlife photographer. The second thing Nikon doesn’t get is that wildlife photography is no longer a pursuit reserved only for rich hobbyists.