The nomadic Rautes are the last hunters-gatherers of the Himalayas. The Rautes, who call themselves Kings of Forests, subsist on langur and macaque monkeys, wild yams, rice and a few kinds of vegetables traded from local farmers. Their main occupation is to trade and exchange of wooden items in nearby villages and bazaars. They migrate from river valleys up to middle hills in the Western parts of Nepal living in temporary camps hidden away from the villages in remote parts of the forests.
Every once in a while, I bump into a great idea that I wish I came up with myself. Recently, I came across such an idea – a website called “KeepSnap” and I thought that the concept behind it was very smart. Many of us photographers often go to the streets and events armed with cameras, in hopes of finding something or someone interesting to photograph. And sometimes we do indeed come across fascinating people that we immediately get attracted to, wanting to take their pictures. Many of us can relate to such situations. While I was photographing a beautiful sunset in the mountains last fall, I saw a couple, sitting on chairs and enjoying the sunset and the surrounding beautiful scenery. I approached them and asked for a permission to photograph. They not only immediately agreed, but also requested me to take more photographs, because they had not been photographed for many years! I took a few photos, including some close-ups. When I showed the photos to them, they were really excited and they were ready to pay me for preserving their moment of happiness and joy.
Earlier this week I posted a portrait as the next installment to our How Was This Picture Taken series. Most of our readers took this as an opportunity to stretch their brains a bit and try to use visual clues within an image to figure out how it was taken. They are rewarded all of the internet points.* A few, missing the entire point of the post in an effort to be “right”, decided to go directly to the image’s EXIF data and rattle off the technical details of the image. They are rewarded zero internet points.*
*internet points are imaginary, useless and non-redeemable for anything except for maybe bragging rights
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.
When testing out the Nikon 58mm f/1.4G, I really wanted to get a hold of the legendary Noct-NIKKOR 58mm f/1.2 lens to see how the two lenses from different generations compare optically. Unfortunately, I could not obtain a good sample of the Noct-NIKKOR at the time, but after scouting eBay for a while, I finally found a pristine copy of the lens from a photographer in California. Being a collector item, the lens was barely used and had been sitting for years in a closet – exactly what I had been wanting to get. I really wanted to make sure that the lens performed as close to its original specifications as possible, because I was on the quest to measure its optical performance, particularly at its super wide f/1.2 aperture. Let’s take a look at the lens in more detail.
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.
Firstly, a couple of apologies. One to Nasim for not contributing much lately; my only excuse is that I have been ridiculously busy on this side of the pond. Another to the readers if this subject has been covered before. But Nasim’s excellent posting about Jordan inspired me to consider something he alluded to, about people potentially in the way of the composition, particularly if time is of the essence and you can’t wait for the place to be suitably vacant.
A while ago, I wrote an article on low-contrast B&W conversions with Lightroom. After reading through some of the response the article received I was pleasantly surprised that so many of our readers actually prefer low-contrast look over the ever-popular high-contrast conversions. That is not to say high-contrast B&W photography is in some way inferior, not at all. It is merely the more popular, the more easily accepted sort of look, which is exactly the reason why I saw fit to go against the wave and start with the opposite. Now, ever since I wrote that piece, I’ve received several requests for a similar article on a high-contrast conversion. This topic is particularly tricky for me since I rarely do high-contrast B&W, but the requests did remind me of one occasion where I was deliberately working towards such a result from the very start. And so, as always, we begin with a photograph.
A lot of wedding photographers think their work is mostly for the bride, and I can see why. Usually, it’s the bride who spends countless hours looking for the right person to capture the best day of her life, sometimes even years before the actual wedding. I’ve had men contact me more than once, of course, but eight times out of ten, it is the bride’s letter that reaches me. Every little detail has to be perfect, and brides-to-be are more than happy to dive into the planning to make sure it is exactly like that. On the wedding day itself, it is the bride that receives the most attention and most admiration. Not to say the groom is secondary – oh no. His admiration and attention are the most important, he is her knight in shining armour, so to speak. And yet, she is the princess. So if she is happy, he is happy, isn’t that how they say it? Strangely enough, I’ve found that it is not the bride that is hardest to impress with your work. After all, if she’s chosen you, she already knows, more or less, what to expect. And the groom? That is a somewhat different story.