I still have Iceland on my mind. Over the past two weeks, I saw the greatest sunset and the strongest winds of my life; I walked through a pathless desert to the edge of a canyon, and I climbed a glacier lit by the midnight sun.
Many times in my travels I’ve happened upon a beautiful scene spread wide before me with a huge dynamic range that just begged to be photographed. It would require HDR to capture the range but also need to be stitched together as a panorama. I’d set up my tripod, snap the sequences, then get home and say “Verm, it’s time you give HDR another try.” Which would last about two minutes until the first bracketed set of shots made it into Photoshop HDR Pro and gave me a result that looked like someone painted a coat of gray primer over it.
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.
I must say that I am beyond impressed with my visit to Jordan this time (I have been in Amman, Jordan once last year, but only for a few days). This place is so historic, so beautiful and so unique! And although I was initially a little concerned about the safety here (after all, Jordan borders with both Syria and Iraq), everywhere I go appears to be really safe and people are quite content overall. I have explored a number of places near Amman and I am planning to visit Petra next week for a day, but after some feedback from our readers, I also really want to visit the beautiful Wadi Rum.
Balance is one of the least-discussed principles of good composition, but it is perhaps the most important. Photographers, consciously or not, make an important decision for every image: should the composition be balanced or imbalanced? To some degree, every photograph in existence has elements of both balance and imbalance, which makes this topic crucial for photographers looking to improve the strength of their images at the most fundamental level.
This article is the second part of a weekly critique section at Photography Life, where one or more of us will provide feedback and tips for reader-submitted photos. All of the images we feature come from the photo critique forum, and each one stands out to us in its own right. This week, I will be sharing my thoughts on two recent submissions to the photo critique forum: “As the Day Ends” by Jani Dharmesh, and “European Green Woodpecker” by Dusan Vainer.
In my recent essay on visualization, I discussed the historical and modern day significance of this concept in photography as well as the role that a composition card serves in bridging the vision in the mind to its tangible realization into an image. In this follow-up essay, I will discuss the interplay of other critical aspects of visualization that accompany, if not transcend, the tangible aspects.
I’ll admit it — I was a bit late to the party. While everyone else has been enjoying the brand new D750 and D810, I have been happily stuck with my aging D7000.
Being a student, I am on a student budget. This means that I buy used technology, and I buy old technology. I have nothing against this, though, since older DSLRs are truly dependable machines, and they still are capable of producing wonderful images. Over the course of two years, I have taken 50,000 photos with my D7000, and it doesn’t look a click over 10,000.
Long exposure photography can produce stunning photos. Nighttime shots can bring out unexpected detail and create amazing light effects. Daytime long exposure can create images with haunting moods and ethereal imagery. None of this is actually hard to achieve, but it does take a little thought and preparation. Here are some tips to ease you into long exposure photography.
Sometimes we can get so caught up in the technical aspects of our gear that we forget that the most important things are the images we capture regardless of the gear we are using. Those images help to enshrine memories. They could be of family and friends, pets, events, or places that we have visited.
A Panasonic FZ28 super-zoom would never be considered as anything much more than a point-and-shoot camera by most folks. After all, its 10Mp sensor is a miniscule 1/2.33″ (6.08×4.56mm), with uninspiring dynamic range and colour depth, and very poor low light performance. But in my mind it will always be one of my favourite cameras because of the memories that it allowed me to capture. Like a sightseeing trip to Arizona and southeastern Utah.