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.
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.
When one thinks of landscape photography, one more often than not imagines dramatic, sweeping grand landscape scenes, which are almost exclusively taken with ultra wide-angle lenses. While these scenes can be quite stunning (and beautiful… and a lot of fun to shoot!), it is nice to make use of the drastically different perspective afforded by a telephoto lens. A telephoto lens, as you may know, is used to capture frame-filling images of faraway subject matter. This is because it has a much narrower angle of view than a wide-angle lens. While a wide-angle lens exaggerates differences in both the size of and the distance between near and far objects, a telephoto lens effectively reduces those differences. This means that a telephoto lens causes a close object to appear more similar in size relative to a further away object, even if the closer object would actually appear larger in person, and it means that a telephoto lens can cause the apparent distance between near and far objects to appear smaller, which creates a nice compression effect.
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.
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.