When it comes to photographing wildlife, I’m nowhere near the lofty eminence of John Sherman or Tom Redd (both of whom I had the privilege of meeting in Colorado earlier this month), but I’ll make use of any opportunity I can. Photographing the grey seals on the Norfolk coast was an annual autumnal pilgrimage for me but the last couple of years I was remiss in not making the journey.
After almost a year of hard work, John and I are excited to finally release our first photography course “Level 1: Photography Basics“. It has been an awesome experience creating this video and I can proudly say that we have done our best to produce truly educational material for our readers to learn from. Compressing years of photography knowledge and experience into a 5 hour course was not easy, but we managed to do it! Although this is our first commercial product, we have huge plans for making more of such videos in the future, as detailed below.
We don’t really get much choice here in the rain capital of the Universe (well, ok, it’s not quite Cherrapunji but it feels like it sometimes). But rather than avoiding the wet and water one can see it as … wait for it … yep, an opportunity to do some shooting.
I have never liked the phrase “rules of composition.” To me, it seems too formal, suggesting that such a complex topic as composition can be boiled down to a few quick tips. So, in a blatant attempt to out-do John Sherman’s provocative “Is Nikon’s New 500mm FL Too Sharp?” title, I have aimed this article at the heart of photography school’s most basic lesson in composition: the rule of thirds.
In this third installment to this series on visualization and film photography, I have selected a sample of photographs (mostly made in the 35mm format) to share and discuss. Although I heavily focused on technical aspects in film photography in Part I and Part II of this series, my goal with this article is to provide a more aesthetic description and simplified approach to the construction of photographs. I thought it would be of interest to beginning 35mm photographers to briefly discuss some of the film choices available. Although the choices of film stocks have dwindled over the years, fortunately there remain a plethora of excellent professional and consumer 35mm films from which to choose and enjoy. Even though I have used many – but not all – of the available film stocks, I cannot possibly discuss all of them here. For one particular film stock, I am delighted to share a pair of interviews with more experienced photographers that readers might find interesting and helpful. Of note, Photography Life contributor Vaibhav Tripathi has previously shared his experiences and beautiful photographs made on 35mm with Fuji’s Velvia 50 and Kodak’s Portra stocks in his inspiring photo essays on Acadia National Park, landscape photography, and Waterfalls of New England series that may also be of interest.
One of the common misunderstandings in photography has to do with the focal length of a lens, or its optical distortion properties. Many photographers claim that a wider angle lens will distort facial features either because of the lens distortion, or the focal length of the lens being too short. In this article and the accompanying video (which is extracted from our upcoming Photography Life Basics Video), we will prove that focal length has nothing to do with distorting a subject’s face and the additional information on lens distortion will explain in detail exactly what gets impacted by lens distortion.
Both Zenfolio and SmugMug are giants in the world of photography hosting websites, and each has its fair share of loyal supporters. After a year of using Zenfolio to display my photos, though, I was beginning to second-guess my choice. There was no single, nail-in-the-coffin issue with Zenfolio, but several small details were beginning to annoy me as time passed. I kept wondering, could the grass be greener with SmugMug? Two months ago, I decided to jump ship and answer the question for myself – I have been using SmugMug ever since. In this article, I want to share my experiences with both companies and help other photographers choose which site is better for their needs.
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.
If you have read any of my previous articles, then you would know I have two Nikkor super telephoto lenses and I often use them in wildlife photography. I also often mention that reach is important in wildlife photography and getting highly detailed and crisp images. Two of the super telephoto lenses I have are the 600mm f/4 prime and the 800mm f/5.6 prime and they are amazing lenses that give me amazing reach for wildlife, but this reach can also be a problem when multiple eyes are involved (ie: several animals in same frame).
Lets take a look at a nightmare photo to get with a 600mm lens at optimal distance requiring minimal cropping:
In this second installment to this series on visualization and film photography, I have selected two photographs, “Gravida” and “Pyramis” (both architecture), to share and discuss. As in Part I to this series, I will provide a detailed description of the thought process behind the construction of the photographs, the choice of tools, and the technical considerations involved.