This part of the book is entitled "Essential Skills" and contains numerous sections that correspond with things that are needed to know when doing nature photography. The first section is all about exposure. Learning how to make a good exposure is the first step in becoming a photographer. Exposure is controlled by aperture size and shutter speed and can be set automatically or manually. Attaining correct exposure is a matter of checking the histogram on the LCD screen. The histogram graphs the luminance values in the frame and tells you instantly if all parts of the scene have been recorded on the sensor. Next, this section talks about meters. Light meters are best used for an average shot while if you are shooting snow and an inactive lava field the camera is not going to be able to differentiate between the two. Exposure modes include Aperture Priority (AV) mode, Shutter Priority (TV) mode, and manual mode. All of these help make the amount of light in the photo turn out the way it should.
The second section is about reading the light, how to recognize and use different types of light. The first suggestion is to stay out of the midday sun. On cloudless days in this such light much of the subject's detail will be lost to excessive contrast. A rule in general for shooting nature photography is the visual and photographic appeal of natural light improves the closer the sun is to the horizon and these periods are when your shooting will be most productive. Due to front light's direct and even illumination, it is recommended when you wish to portray saturated color, contrast between different colors and fine detail in all parts of the scene. Side light produces long, deep shadows that reveal the wrinkles, dimples, ridges, and other details of a surface in greatest relief. Backlighting's effect is dramatic on subjects with indistinct, shaggy peripheries -- furry and feathered animals in particular. Lens flare becomes a problem that you must watch for. This occurs when the rays of the sun strike the front lens elements directly, resulting in a loss of color saturation, contrast, and the appearance of octagonal hotspots caused by light reflecting off the interior diaphragm blades of the lens aperture. Twilight provides wonderful landscape lighting for photography. Overcast skies produce soft light that illuminates the subject evenly without noticeable shadows.
Next is motion effects. This is where you use shutter speed and camera movement to control the effect of motion. Panning the camera is a way to reduce blurring by tracking the subject as it moves while trying to keep the position in the viewfinder stationary. Panning is most effective if you keep the camera moving smoothly through the shot, both before and after the exposure. Choosing an exposure time that produces obvious blur in moving subjects is an exercise full of potential for producing beautiful abstract imagery whose precise formulation is normally hard to predict.
Then we have modifying natural light. This is by using filters and reflectors with natural subjects. The filters that are normally used are polarizing filters, split neutral density filters , graduated neutral density filters, standard ND filters, color modifiers, and blue/gold polarizing filters. Reflectors are also used to modify light around you. Portable reflectors may be used to change the light that is reflected off of the subject. You can also use fill-in flash for much of the same purpose.
Finally designing the picture space. This section is all about how to manage image features to achieve clarity of expression. The dominance rules are as follows. Red is more attractive than yellow; large draws more attention than small; difference draws more attention than conformity; jagged lines are more striking than curved ones, diagonal lines are more attractive than vertical ones; sharpness is more attractive than blur; light is more attractive than dark. Color evokes the greatest emotional reaction of any graphic element. The center of interest is where the eye is most likely to begin its exploration of the image. If you prioritize the features of a scene based on their visual dominance, you can be pretty sure of a strong composition if you follow the well-known rule of thirds. This guide calls for the center of interest to be placed one-third away from the top or bottom of the frame and one-third of the way from either side.
Tuesday, November 9, 2010
Wednesday, November 3, 2010
Book- Part 1
Part One of our book is all about having the right equipment. In section one, the book starts out talking about the advantages of digital camera 's over traditional film cameras and what to look for when you are buying a digital camera . Then the book goes into cameras and tripods, lenses that one should have and all the accessories that go with them such as teleconverters, telephoto lenses, adapters, filters, etc. This portion is just a brief overview of some of the necessities.
The second section in Part One talks about tripods. There are a few things to consider when looking for a tripod. First of all you need to have the right size. When the tripod is fully extended with the camera mounted it should come to eye level with the center column seated. You also need the right head for different things. The ball and socket head with panning capabilities is best for nature photography. For large and heavy telephoto lenses, a gimbal type head is best.
The third section in Part One talks about Super-telephoto Lenses. There are a lot of advantages to having these lenses. They focus closer and so it makes getting what were once hard photos to capture easy. Distance is no longer as much of a problem as it used to be. If you get a lens that is water resistant it will allow you to shoot during periods of precipitation without any problems or inconveniences.
Section three and four kind of go hand in hand. The third section of Part One talks about everything you need for working in the field and the fourth section discusses what is needed in order to spend time doing photography in the winter. The author talks about how to carry your tripod and that wearing a vest is sometime a lot more convenient than carrying around a bunch of bags. He also describes all the things one needs to bring while out in the field such as Duct tape reflectors, plamps and bags for if the weather turns bad on you. He also talks about making sure to have some way to communicate with someone if you are shooting alone.
In the portion about winter photography, he talks about wearing layers that are NOT cotton to wick away moisture so you don't freeze (Cotton kills). Then you should have an insulation layer to keep the heat in and the cold out. An outer shell that is loose fitting and wind/water proof is also important for winter shooting. The pants you are wearing should be water proof since a lot of nature shooting means getting on the ground for a differentperspective . The author also talks about head gear, and water proof and warm footwear gloves that make shooting easy but keep your hands warm, etc. Making sure your equipment is weatherized is also important.
The last section of this book talks about different places around the world that are great places to go visit and get some awesome pictures as well as the prime time of year for each of them.
The second section in Part One talks about tripods. There are a few things to consider when looking for a tripod. First of all you need to have the right size. When the tripod is fully extended with the camera mounted it should come to eye level with the center column seated. You also need the right head for different things. The ball and socket head with panning capabilities is best for nature photography. For large and heavy telephoto lenses, a gimbal type head is best.
The third section in Part One talks about Super-telephoto Lenses. There are a lot of advantages to having these lenses. They focus closer and so it makes getting what were once hard photos to capture easy. Distance is no longer as much of a problem as it used to be. If you get a lens that is water resistant it will allow you to shoot during periods of precipitation without any problems or inconveniences.
Section three and four kind of go hand in hand. The third section of Part One talks about everything you need for working in the field and the fourth section discusses what is needed in order to spend time doing photography in the winter. The author talks about how to carry your tripod and that wearing a vest is sometime a lot more convenient than carrying around a bunch of bags. He also describes all the things one needs to bring while out in the field such as Duct tape reflectors, plamps and bags for if the weather turns bad on you. He also talks about making sure to have some way to communicate with someone if you are shooting alone.
In the portion about winter photography, he talks about wearing layers that are NOT cotton to wick away moisture so you don't freeze (Cotton kills). Then you should have an insulation layer to keep the heat in and the cold out. An outer shell that is loose fitting and wind/water proof is also important for winter shooting. The pants you are wearing should be water proof since a lot of nature shooting means getting on the ground for a different
The last section of this book talks about different places around the world that are great places to go visit and get some awesome pictures as well as the prime time of year for each of them.
Thursday, October 28, 2010
John Shaw
John has been a professional nature photographer since the early 1970s. His work has been published in many publications and books, including National Geographic, Nature's Best, National Wildlife, Audubon, Outdoor Photographer, and many others. In 1997 he received the first-ever Outstanding Photographer Award given by NANPA (North American Nature Photography Association). Nikon chose him as a featured Legend Behind the Lens in 2002, while Microsoft designated him an Icon of Imaging in 2006. He has been part of Epson's Stylus Pro fine art print makers group since 2001.
John has published six books on nature photography, plus five ebooks on Photoshop and Lightroom. He has photographed on every continent, from the Arctic to the Antarctic, from Provence to Patagonia. Previously he used a variety of film cameras, primarily 35mm and 6x17cm, but switched completely to digital capture several years ago.
Thursday, October 21, 2010
Gary McGhee
I ran across a photo of Gary McGhee's while my friend and I were looking at some photos for fun one day. I like his pictures because they are so serene and peaceful. On his website he says, "Photography has really opened my eyes to the world we live in with 4am rises followed by a two hour drive to places like Snowdonia National Park in North Wales and the Lake District National Park in North West England. I hope that my photographs reflect some of the beautiful scenery and light that I have encountered during the magical dawn and dusk light".
http://www.garymcgheephotography.co.uk/section268645.html
http://www.garymcgheephotography.co.uk/section268645.html
Popular Photography - "Shoot For the Moon"
The second article I read from Popular Photography is titled "Shoot For the Moon". The author Ian Plant discusses his reasons for using the moon in so many of his pictures as well as his techniques for shooting.
He says," The moon is one of nature's power elements, instantly drawing attention and establishing a primal connection with viewers. I'm always looking for way to incorporate the moon into my nature photography-- it adds mood, drama, and compositional interest". Moon photography falls into three basic types, according to Plant; You can use it as a subject in its own right, as a secondary element with other subjects or as a light source for outdoor scenes.
When shoot the moon in whatever sense it is essential to use a tripod and an electronic cable release to make sure that your pictures are vibration-free and as sharp as possible. Long exposures of the moon will create motion blur that will start to show up is exposures longer than 1/15 sec if you are shooting with a telephoto lens. Anything longer than 1 sec will blur with just about any lens due to the fact that the moon is always moving as is the earth you are standing on.
He says," The moon is one of nature's power elements, instantly drawing attention and establishing a primal connection with viewers. I'm always looking for way to incorporate the moon into my nature photography-- it adds mood, drama, and compositional interest". Moon photography falls into three basic types, according to Plant; You can use it as a subject in its own right, as a secondary element with other subjects or as a light source for outdoor scenes.
When shoot the moon in whatever sense it is essential to use a tripod and an electronic cable release to make sure that your pictures are vibration-free and as sharp as possible. Long exposures of the moon will create motion blur that will start to show up is exposures longer than 1/15 sec if you are shooting with a telephoto lens. Anything longer than 1 sec will blur with just about any lens due to the fact that the moon is always moving as is the earth you are standing on.
Popular Photography - "The World Below"
The first article I read in Popular Photography is titled "The World Below". Written by Jad Davenport, this article is all about the new advances in underwater photography as well as some tips for getting the lighting how you would like it and a few other tidbits of information. Davenport refers underwater as "the most hazardous and difficult shooting environment there is".
In shooting underwater photos there are many things to be aware of. First, shooting underwater, especially salt water which is particularly corrosive, will mess with your electronics in less time than you would imagine. Also there is the amount of pressure as you go down into the water. (Think of how your ears feel when you dive into the deep end of a pool. Now multiply that exponentially to get the amount of pressure in the depths of the sea.) To fix these problems manufactures have produced pressure- proof equipment that span the entire spectrum of camera gear. From ones made of plastic, polycarbonate to top-of-the-line aluminum for DSLRs.
Another obstacle that must be overcome is lighting. As you get deeper into the ocean some colors, such as red, are not visible. So getting color into coral and fish can be quite a challenge. "It's important to have a little light in order to add color and detail in an otherwise monochromatic scene" says photographer and marine conservationist Brian Skerry. He uses a heavy-duty Hartenburger 250 TTL strobes on articulated arms connected via sync cavles to his Nikon D3X and D3S bodies in aluminum Subal housings. Even the most powerful strobes lose about 1 stop of output for every foot they travel through. Sometimes there can even be too much light as well. Sometimes simply dialing your stobes down or moving them away from your subject help get the right balance of light.
The last topic covered in the article is titled "Macro Management". Here Davenport discusses different shots that are usually taken in underwater photography. He says, "Since you can generally get enough visibility for telephoto shots, most underwater photography is either wide-angle or macro".
In shooting underwater photos there are many things to be aware of. First, shooting underwater, especially salt water which is particularly corrosive, will mess with your electronics in less time than you would imagine. Also there is the amount of pressure as you go down into the water. (Think of how your ears feel when you dive into the deep end of a pool. Now multiply that exponentially to get the amount of pressure in the depths of the sea.) To fix these problems manufactures have produced pressure- proof equipment that span the entire spectrum of camera gear. From ones made of plastic, polycarbonate to top-of-the-line aluminum for DSLRs.
Another obstacle that must be overcome is lighting. As you get deeper into the ocean some colors, such as red, are not visible. So getting color into coral and fish can be quite a challenge. "It's important to have a little light in order to add color and detail in an otherwise monochromatic scene" says photographer and marine conservationist Brian Skerry. He uses a heavy-duty Hartenburger 250 TTL strobes on articulated arms connected via sync cavles to his Nikon D3X and D3S bodies in aluminum Subal housings. Even the most powerful strobes lose about 1 stop of output for every foot they travel through. Sometimes there can even be too much light as well. Sometimes simply dialing your stobes down or moving them away from your subject help get the right balance of light.
The last topic covered in the article is titled "Macro Management". Here Davenport discusses different shots that are usually taken in underwater photography. He says, "Since you can generally get enough visibility for telephoto shots, most underwater photography is either wide-angle or macro".
Tuesday, October 12, 2010
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