I am currently in Death Valley NP, shooting with a bunch of new gear including the Nikon 24-70mm f/2.8E VR, so I wanted to provide my early thoughts on this lens. Some of our readers sent me concerned emails, asking what I think about the 24-70mm f/2.8E VR, since apparently some others were quite unimpressed with this lens, even putting it into the category of “one of the worst lens releases of 2015”. I am not sure where these statements come from (sadly, my Internet connection here is really bad), but based on two samples of the Nikkor 24-70mm f/2.8E VR that I currently have access to, the new updated version seems to be an absolute gem. Based on my limited time pixel-peeping some of the images I have captured so far, it seems like Nikon has optimized the new 24-70mm differently when compared to its predecessor.
To continue our “How was this picture taken?” series, I would like to invite our readers to analyze this photograph and try to figure out how it was made. It may not seem out-of-the-ordinary at first glance, but this was one of the most technically-difficult photographs I have ever taken. In fact, my post-processing was particularly interesting for this image, and I employed a technique that I have used only three or four other times in my life.
Drones – often called unmanned aerial vehicles – have become vastly more common over the past few years. In the United States alone, the Federal Aviation Administration (FAA) predicts that more than one million drones will be sold over this holiday season; many more will be sold in other countries across the world. Whether you love or hate the growing prevalence of drones, their popularity has never been greater. In this tutorial, I will share some tips that I have learned over the past few months of using a drone for taking pictures. My focus is on still images, but many of these tips apply to drone video and cinematography as well – particularly for people in the midst of buying their first drone.
Jack Dykinga can punch you in the gut with a photo, like he did with his 1971 Pulitzer-winning portfolio, or he can seduce you with his understated yet thoroughly evocative landscape images. He’s one of the rare photographers who has excelled in multiple genres, has adjusted to multiple technological revolutions, and has successfully weathered the ups and downs of the photo industry. After over five decades in the business, Jack Dykinga’s photos remain relevant. Jack Dykinga’s photos endure.
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.
Famous scenes — landscapes, wildlife, buildings — are famous for a reason: they are spectacular, and often easy to access. You have seen these photographs, undoubtedly: a sepia-toned photograph of the Eiffel Tower, perhaps, or a dusty herd of wildebeest in the sun. Glacier Point at sunset, and Mesa Arch at sunrise. These are some of the most incredible sights on the planet, and it is no wonder that photographers flock to them; in many cases, photographers are the very reason that these sights are on the map in the first place. I have nothing against photographers who focus on these beautiful scenes, and I wholeheartedly admire those who photograph them well. Indeed, as photographers, we too often get caught in the idea of taking unique photographs at a famous location, when the most beautiful scene may be the one staring us in the face.
A landscape photographer’s goal, especially in the most dramatic and massive locations, is to demonstrate the size and scope of the landscape in a photo. However, it is quite difficult to translate the three-dimensional world into a flat rectangle — certain aspects of a scene, including the scale of the landscape, can get lost along the way. In this article, I’ll go over some common ways to put the size of a scene into perspective.
One of the most amazing landscapes in the world is Iceland’s Jokulsarlon lagoon — famous for its massive and beautiful icebergs. And if the lagoon isn’t enough, these glass-like icebergs routinely wash ashore on a nearby black-sand beach. This crazy combination is enough to attract photographers from across the globe. In this article, I will share some tips for photographing Jokulsarlon that will help you make the most of your trip to Iceland.
What is most striking for a visiting photographer to Myanmar, beyond the legions of magnificent pagodas and monasteries, is its people. The 135 ethnic groups offer an extraordinary diversity of subjects to be sure, but it’s their welcoming nature and willingness to open their lives to the camera toting foreigner that never ceases to amaze. As a photography director for a travel company based in Myanmar, I have been fortunate enough to work all over this very photogenic land with its two most celebrated travel shooters, as well as a major award winning western photographer who knows it well.
Landscape photographers work primarily in natural light, which presents a few problems — for starters, the most beautiful lighting conditions each day last for no more than a few hours. Other times, sunsets will be lost behind cloudy skies, making it impossible to see a landscape at its best. When the sky is gray or the sun is directly overhead, it can be tough to find inspiration for high-quality photography. My hope with this article is to share some tips that have worked for me when I photograph in bad lighting conditions — something which every photographer experiences at some point.