In this post the value of using high dynamic range (HDR) photography for landscape and particularly panorama photography will be examined. This combination of two fairly widely used photographic techniques, the making of panoramas with HDR photographs is described in books dedicated to HDR techniques. This discussion will provide the reader with some methodological starting points and provide examples showing why the extra effort is worthwhile. Previous Photography Life posts are excellent reference primers for landscape photography and should definitely be consulted for their insights. In this post the term “panoramic” is used to indicate that two or more adjacent photographs covering overlapping parts of the same scene have been combined to make the single final image. “Landscape” is used to describe final photographs produced from a single image. All of the photographs in this post are panoramas by these definitions.
A couple of weeks ago, I shared the first part of my exploration of the waterfalls of New England here on Photography Life and promised that there will be a part two. This write up fulfills the promise and continues the story further. My focus this time were the forests of Western Massachusetts, especially those around Route 2 West from Boston. This freeway is also known as the Mohawk Scenic Byway and is a very beautiful drive once you get little beyond the Greater Boston area.
My name is Ori Cohen, I am a semi-serious photographer, and a computer science PhD student. Last year my wife and I traveled to Switzerland, so I packed a Sony NEX-7, a Sony 16mm f/2.8, a Minolta 24mm f/2.8 attached to an LA-EA4, and a Haida ND1000 filter.
It is the month of May and spring has finally taken over from winter in New England. With the woods turning green again, color has returned to the landscape. Most of the creeks and brooks that crisscross the region and give rise to hundreds of waterfalls are flowing reasonably well. Together this combination of silver and fluorescent (almost) green highlights the effervescence of spring and I, together with a friend, decided to explore this juxtaposition one weekend at a
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.
It is evident to me that images can carry and convey truth – small and capital T – and that most people aren’t actually talking about truth when they talk about objectivity and subjectivity. Strong statement, I know, but I think as usual, the people using the Internets simply bring their own ideas and not really paying attention to how writers define their terms.
I have been fortunate over the years to see a few of the many great apes in the wild. My work includes photographs of some of the highly endangered species such as the mountain gorillas. In this article, I will present my thoughts on the best places to capture these wonderful animals on camera as well as some of the issues I have faced doing so. Finally, I will outline my suggestions for camera and lens selections.
With almost all of our cameras featuring video capabilities (I’m looking at you, Nikon Df), most of you have probably considered going beyond the occasional family video. However, like photography, video requires post-processing for best results, and the prospect of buying After Effects, Premiere Pro, and SpeedGrade just to get your toes wet is daunting for many photographers. What you may not know is that you already have a powerful video-editing program in Adobe Photoshop CC, or CS6 Extended. This is an easy way for photographers to play around with film without purchasing hundreds of dollars worth of software, and is surprisingly effective. I’m certainly not a professional videographer as my example video will show, but I have enjoyed editing a few shorts, just for fun. The two most critical aspects of editing for video (not including cuts/sequencing) are color-grading and sharpening, both of which can be done relatively painlessly in Photoshop using tools you’re already experienced with.
If you haven’t noticed, camera sales are down. I mean, they’re way down. Unsurprisingly, everyone’s scrambling to find a reason why. There’s a video floating around from Mayflower Concepts that, at the very least, explains what is not the cause for the camera sales drop. If you don’t have 50 minutes to watch it for yourself, here’s the “TL;DR” version: It’s not due to the rise of phones with cameras – at least, not in the way you think. It’s not because the economy is in the tank, as most camera manufacturers claim on their financial reports. There’s simply no strong correlation between any of the global financial crises, or the simple existence of cameras on phones, to have any reason to believe either is the cause for a huge drop in sales.
If you become a student of street photography, the curriculum is littered with advice and maxims on what defines and makes a “good” street photograph; I use the word “littered” intentionally – because much of that curriculum is just that… things that can be tossed out. Within that heritage, I don’t claim to be a master, let alone a division chair or associate professor, or even a teaching assistant. But I am a student, or a ‘disciple’ of the genre if you will – one that realizes that that I will never stop learning the craft, and that beyond the techniques or gear used or the aesthetic of an image I am working to create, the genre is itself as much about a process of self discovery, growth, and expression of who I am as it is about the final “result.” That may sound out of place in a discussion of street photography, but to that end, I want to state that – in this student’s opinion – what matters most in street photography is the choice and act of your presence, and shooting “who you are” in an image. Grab some coffee, as this isn’t going to be another “three essential ways to improve your street photography” kind of article.