Macro photography is one of the most popular forms of photography, and with good reason. It is easily accessible, and it is a very broad genre of photography. Studio pros can enjoy taking macro shots of leaves, flowers, and sluggish insects, maintaining total control over lighting. Nature lovers can spend hours outside, searching for hidden treasures among flowers and leaves. Plus, in non-photographic locations (like most people’s backyards), macro photography makes it possible to take great images of nature without traveling at all.
This content sharing contest came at a fortuitous time; for a while, I had posted essays on books. I let that lapse because I decided to spend more time on photography. Like many others, I have opinions and have wanted to jump back into writing. Great thing for Photography Life to ask for guest posts!
Recently, I have come realize that Mike Johnston’s phrasing of photography as its own thing, is a profound statement of an approach and appreciation of the craft. He has a whole recent series on it at The Online Photographer. At the very least, it is something that appealed greatly to me.
In my dream life, I would be a fashion and documentary photographer, but until that happens, I’m a barista. Every day I show up to work, serve the same customers, make the same drinks, hit the same cash button on the register, wipe the same tables and bake the same pastries. It can get a little mundane after two years. Everyone has to work, pay the bills, put in your due time so you can play later, right? This was my thought process for years. I always thought I would need to work a full-time job in order to support my true passion, creating images. But in reality, why can’t the two go hand-in-hand?
Zoom lenses are convenient, as everyone knows. I’d imagine that the vast majority of us started our photography with a simple 18-55 kit lens – I know I did, and I used it to take some of my favorite photos. However, it never seemed like a good fit for my style of photography. My first prime lens was the Nikon 105mm f/2.8G VR macro, a truly fantastic lens. At the time, I had never attempted macro photography. It is no exaggeration to say that the 105mm macro opened new worlds for me, and its sharpness was unbelievable. I had discovered the magical world of prime lenses.
Astrophotography is a hobby rapidly gaining popularity thanks to the fast advancing CMOS sensor technology. Over a decade ago, the light recording material employed in astrophotography was primarily chemical emulsion. Its low sensitivity makes it very hard to record the weak signal from deep space. In addition, the lack of real-time feedback is a huge source of frustration for beginners. Operational errors such as out-of-focus can only be realized after several nights of hard work after the film is developed. In the mid 90s, the advent of cooled CCD cameras provided solutions to both the sensitivity and real-time feedback problems. However, their high prices and miserably small sensor areas limited their uses to only a few kinds of astrophotography and to very enthusiastic astrophotographers. While CCDs revolutionized astronomical research, this technology has never really changed the landscape of amateur astrophotography. The true turning point took place in 2002. After Fujifilm announced its FinePix S2Pro DSLR and showcased amazing astronomical pictures taken by this camera, people started to seriously explore DSLRs for astrophotography. DSLRs can provide real-time feedback, which is very important for beginners. They have sensitivities not much worse than CCDs, and DSLRs with large sensors (APS-C) are quite affordable nowadays. Today’s landscape in astrophotography is shaped by a series of CMOS-based DSLRs from Canon, but DSLRs and mirrorless cameras based on Sony sensors are gaining popularity very quickly.
Without question there is a skill component in photography. Understanding our gear, lighting, composition and post processing are all important ingredients when creating images. Photography captures specific moments in time and on occasion it can be extremely helpful when Lady Luck is on our side. Most of us can remember particular instances when we just happened to be at the right place at the right time to capture an image. Maybe it was the expression on a child’s face. A rainbow. Or perhaps one of those sunsets that can simply take our breath away. On occasion Lady Luck has ridden shotgun with me, sometimes when capturing nature images.
Lately, I’ve noticed a trend of stories popping up about a lucky break from a friend, a relative, a previous connection, and those lucky breaks launching a career. There’s absolutely nothing wrong with that (I am kind of jealous!), but I also notice how people keep asking for a story of how work and perseverance paid off instead. As a shy introvert with cheap gear, I thought my story might be something worth sharing with other Photography Life readers – I’ve relied entirely on my work to get where I am today.
Each year camera manufacturers are pushing the limits of sensor technology and the latest trend has been to increase sensor resolution to numbers that were considered unfathomable before. With full-frame cameras reaching 50 megapixels (MP) and medium format cameras pushing beyond 80 MP, we now know that the megapixel race won’t stop there and we will most likely be seeing cameras with even more resolution in the future. But the big question remains – how much resolution does one truly need today? Is 12 MP too little? Is 50 MP too much? While it is a subject that can be open to endless debates, I have been working on a methodology to determine the ideal megapixel range for one’s needs. In this article, I will share what I came up with and it will hopefully serve as a good guide for our readers in deciding how to address the megapixel quench. I highly recommend to read my camera resolution explained article as a pre-requisite to understand the relationship of resolution to printing, cropping, display size and to understand such terms as down-sampling in more detail.
I enjoy taking panoramic images of landscapes, cityscapes, street art or any other time when the view exceeds the frame. While an increasing number of cameras (particularly smartphones) are offering an in-camera panoramic mode, individual images and good stitching software is essential for high quality images.
Let me first be clear. Anyone who knows me well would tell you I’m not a materialist and money is not my primary aspiration. I have food on my plate, a shirt on my back and a photographic imaging device around my neck; believe me, I’m happy. But if I had a pound (British Sterling) for every time someone asked to use one of my images for the reward of ‘exposure’ I could probably make a decent living as a photographer. Well, no, probably not. But often enough I get such a request from some organisation or company to use one of my images with the promise of ‘great exposure’ for my generosity. Presumably in the same way that a lottery ticket would expose one to the possibility of winning?