I recently returned from a vacation in Cuba during which I had the opportunity to photograph a few different species of heron using my Nikon 1 V2 and Nikon 1 CX 70-300 f/4.5-5.6 telephoto zoom lens. I ended up photographing birds hand-held for about 7-8 hours every day and my Nikon 1 gear proved to be an ideal combination to take with me as it was very light and easy to handle, and I avoided the fatigue that can set in when using larger, heavier gear.
There is so much duality in photography. On one hand, it’s the light and the subject, it’s the story we tell and the story the viewer sees, it’s a feeling, an emotion, a state, a symbol, a metaphor. Sounds poetic, doesn’t it? On the other hand, it’s pure science, every single bit of it – from the said light traveling through a complex lens design, all the way to the scene being imprinted whether on a piece of light-sensitive film or, temporarily, on a digital sensor. And that scientific part of photography brings all sorts of terms with it, terms that may not be necessary for the creative process, but as far as skillful execution goes, you can’t do without understanding them for very long. A painter needs to know his brushes at some point, right?
And so we are back to covering basics, something you surely must have noticed. In this article, I will talk about yet another, confusing-at-first-encounter term used in photography, more specifically – exposure stops. I will try to explain what they are and how stops of different exposure parameters – shutter speed, aperture and ISO sensitivity – correlate, as well as give you examples of what are considered to be regular stop values of each parameter, and what are full, half and third-stops.
When dealing with slow shutter speeds, a solid tripod is a must-have tool for eliminating camera shake and capturing sharp photographs. Although setting up a tripod and effectively utilizing it for photography needs at first sounds simple and self-explanatory, I often come across photographers that do not know how to properly use a tripod. Even though you could own the most expensive tripod on the market and know exactly what to do to yield razor sharp images, your images could still be suffering from poor framing choices. In this article, I want to explore the proper techniques for setting up, handling and using tripods.
I was recently asked how many concerts I’ve photographed, and realized that it is coming up on thousand in the last 15 years. Any given week you can find me shooting anything from a 20 person house concert to The Who in a 30,000 seat arena, and anywhere in between. Tonight, it will be an up-and-coming band called The Spring Standards, who I’ve shot 7 times in the past. They are a dynamic, high-energy band with a lot of emotion, character and flying hair to capture.
Last update: January 1, 2015
I did the first Lightroom Q&A session over a year ago and I think it is about time I do one again. As before, you are welcome to ask any question you like about Lightroom. I very much hope to answer all of them by updating this article. I will run this session for up to a week and update the article regularly with answers. If there are any questions very specific to a certain case, I may answer them in the comments section. Specific, to-the-point questions will be answered in this article, while questions requiring more extensive explanation may be covered in separate articles in the near future. As always, our readers are very much welcome to pitch in and participate actively in this Q&A session by helping with the inquiries (I doubt I will know all the answers!). If you are new to Adobe’s Lightroom and find it difficult learning what’s what, this is the time and place to ask for help!
Horse Polo is normally played on a field that is nine times the size of an American Football field, making it a very challenging sport to photograph. A smaller version of the game, Arena Polo, is played on a field that is slightly smaller than a Football field. For purposes of this article, I will mostly discuss the large field version of Polo.
When publishing articles on our site, our team always cross-posts links to the same content on our Facebook fan page, where we have close to 250 thousand fans. One of the biggest frustrations we came across with Facebook, is when we post a link to an article that contains images, and Facebook refuses to show the image on top of the link. The strange thing is, sometimes deleting the URL and pasting it again will show images and other times, Facebook completely refuses to do it. And when the image does not show, no matter how many times you refresh the page or paste the link, it will never appear. Since a number of our readers have Facebook fan pages or personal pages where they paste links to their sites or portfolios, I thought it would be a good idea to share the way to force Facebook to show images in links.
So this time of year in the United Kingdom, many people will be enjoying fireworks displays and bonfires to celebrate Guy Fawkes Night. For those who aren’t familiar with the night, Guy Fawkes tried to blow up the Houses Of Parliament (Westminster Palace) on the 5th November 1605, but he was caught and executed. Thus every year on that date he is burned in effigy (less so nowadays due to health and safety concerns) and a fireworks display usually accompanies.
In my recent Street Photography in Greece article I mentioned that I used DxO ViewPoint 2 to apply perspective adjustments to many of my street photography images. A number of readers contacted me outside of the discussion forum and asked me if I could demonstrate a couple of common adjustments that I do with this software as they were unfamiliar with it.
Almost every American High School has a football team, and it is perhaps the major sport for all such schools. Homecoming is almost invariably scheduled for a week when the team has a home game. As such, this sport, perhaps more than any other, serves as a great opportunity for taking pictures. I normally shoot Football with two cameras: one with a zoom lens for the action shots, and one with a shorter fixed lens for the sideline shots. For cameras I used to use a D3S (action shots) and a D800E (candid shots), however I have replaced the D3S with a D810.