Exposing to the right, or ETTR, is an approach to photography that is as helpful as it is controversial. On one hand, exposing to the right is yet another technique to remember while shooting, and it can potentially ruin your exposure if utilized incorrectly. On the other hand, at least in theory, ETTR is the epitome of digital exposure. With proper ETTR, your images have as much detail in the shadows as they possibly can, without any of the highlights losing information along the way.
If you have experimented with long exposure photography, you may have seen light leakage issues in your images. For the uninitiated – your camera is a light tight body that is intended to allow light from one end only, and that’s the front of the lens. Light only enters when you press the shutter release. Normally, your camera wouldn’t allow light to enter through any other opening in the camera. However, unless you have a badly manufactured camera, there is typically only one source that could potentially harm your images, and that’s your camera’s viewfinder. Let’s talk about what you can do to mitigate light leaks during those long exposures.
Hey folks, my name is Siddhant Sahu, I am a 16 years old aspiring photographer from India. I have been shooting macro photographs for about a year now and I would try to encapsulate all I have learnt along my way in this short article. I believe that macro photography has the power of entering in a whole new world of tiny creatures. In fact with only modest piece of equipment you can shoot high magnification macro photographs. It’s good to mark the behavior of insects and how close you can approach some of them, but then again these are wild animals and there is no way to predict how exactly they will behave, each subject can be different, each background can be different. But with digital photography there is no penalty to shoot thousands and thousands of photos, and eventually someday among those thousands photos one particular would be usable enough. Anyone is capable of doing this, you don’t need the greatest lens or the newest camera out there. Macro photography is physically exhausting, challenging and requires a lot of patience and time consuming but you can get amazing results with fair piece of equipment.
It is evident to me that images can carry and convey truth – small and capital T – and that most people aren’t actually talking about truth when they talk about objectivity and subjectivity. Strong statement, I know, but I think as usual, the people using the Internets simply bring their own ideas and not really paying attention to how writers define their terms.
I have been fortunate over the years to see a few of the many great apes in the wild. My work includes photographs of some of the highly endangered species such as the mountain gorillas. In this article, I will present my thoughts on the best places to capture these wonderful animals on camera as well as some of the issues I have faced doing so. Finally, I will outline my suggestions for camera and lens selections.
If you become a student of street photography, the curriculum is littered with advice and maxims on what defines and makes a “good” street photograph; I use the word “littered” intentionally – because much of that curriculum is just that… things that can be tossed out. Within that heritage, I don’t claim to be a master, let alone a division chair or associate professor, or even a teaching assistant. But I am a student, or a ‘disciple’ of the genre if you will – one that realizes that that I will never stop learning the craft, and that beyond the techniques or gear used or the aesthetic of an image I am working to create, the genre is itself as much about a process of self discovery, growth, and expression of who I am as it is about the final “result.” That may sound out of place in a discussion of street photography, but to that end, I want to state that – in this student’s opinion – what matters most in street photography is the choice and act of your presence, and shooting “who you are” in an image. Grab some coffee, as this isn’t going to be another “three essential ways to improve your street photography” kind of article.
Landscape photographers often use fog to help them create wonderful, moody images. You’ve likely seen one of those arresting photographs of a single tree shrouded by fog standing silently in a field.
Unless you have the luxury of close access to National Parks or scenic destinations or can travel during the off-seasons, visiting a destination for the first time is something hard to plan for. Prior to each trip, I always browse the internet to look for interesting locations I may want to visit. It’s especially hard to fully explore some National Parks such as the ones in Utah in only under a week. Therefore pre-planning some hiking trips doable by the whole family within the limited time is a must.
I have thoroughly enjoyed the response from my first article here at Photography Life – both the encouragement as well as the advice to follow my photographic instincts than to be led sideways. It is nice to have allowed a wider audience a peek at my work and hear some constructive feedback on my images and thought process. This article is a bit of a throwback post and is intended to be a general starter guide to photographing the Northern lights. The title is perhaps misleading as the “Northern Lights” are not just a phenomenon of the Northern hemisphere but also occur in the Southern Hemisphere. In the North, it’s generally referred to as the Aurora Borealis whereas in the south, it goes by Aurora Australis. However, my experience, though not vast, has generally been shooting the Northern Lights in Norway and Iceland and this is what I will now expand upon.
Most landscape photographers, myself included, love to photograph gigantic, thunderous, raging waterfalls, quiet little babbling brooks, and just about everything in between. Successfully photographing them is not always easy, though. Here are some tips that I am constantly reminding both myself and tour participants alike while in the field: