UK-based photographer Martin Henson has recently published a video showcasing his pinhole photography process. An experienced film and digital photographer, Henson combined a 4×5-inch pinhole camera with Ilford FP4 film to capture a photo of flowers in his back garden. The result will show that one doesn’t need to travel far to capture beautiful images.
With his pinhole camera laying in the undergrowth and pointing toward the sky through the flowers in his garden, Henson also used an orange filter to darken the blue in the sky. The pinhole camera captures a wide field of view, so Henson must look down from above through the flowers to get a sense of how they will be arranged within the frame. After settling on the location for his camera, he must then determine the correct exposure.
When determining the correct exposure, Henson must consider that the Ilford FP4 film he’s developing is rated at ISO 200, but with the addition of the orange filter, he must compensate for an additional stop. Henson then places his light meter on top of his pinhole camera and meters at ISO 100. The reading states a 1/15s exposure at an F22 aperture. For Henson’s pinhole camera, he then had to convert this exposure time to an F216 aperture, which results in an exposure time of 6.5 seconds. Further, accounting for the reciprocity of Ilford FP4 film, the final exposure time is 12 seconds.
As you can see in the video above, after making his captures, Henson then slid the dark slide back in and developed the image. As he states, his video shows that the pinhole camera is a versatile photographic tool. It can be placed in positions and allow for compositions that would be ‘virtually impossible with a normal camera.’
The finished image, Chaos, is up for auction on eBay. There’s much more to learn about pinhole photography and analog photography in general. Henson has additional excellent resources. You can visit his large format photography forum and his black and white photography forum. He has recently published another pair of videos about pinhole photography on his YouTube channel, which can be seen above.
Microsoft has been sued over alleged copyright infringement by photographer Matilde Gattoni, who has accused the corporation of using several of her images for an MSN article without permission or a proper license. The lawsuit was filed on May 19 in the Southern District of New York and seeks damages potentially amounting to $ 150,000 per image allegedly infringed upon.
Gattoni’s images are featured in an article titled ‘These are the women leading China’s wine revolution,’ which appears on the Wall Street Journal’s website and on the MSN website, which includes a Washington Post header on the article, indicating that it is a syndicated work. Before both of those posts, the article with the same images was published in December 2018 by SCMP.
The new lawsuit is directed only at Microsoft, which is accused of using the images from that article on its MSN news website without permission or license.
The lawsuit alleges, in part:
Microsoft is not, and has never been, licensed or otherwise authorized to reproduce, publically display, distribute and/or use the Photographs … Upon information and belief, the foregoing acts of infringement by Microsoft have been willful, intentional, and purposeful, in disregard of and indifference to Plaintiff’s rights.
Gattoni’s images are registered with the U.S. Copyright Office. The lawsuit seeks either actual damages, among other things, or statutory damages up to $ 150,000 per copyrighted image allegedly infringed upon. The MSN article contains a total of 15 of Gattoni’s images, which, assuming Microsoft paid $ 150,000 for each, would amount to $ 2,250,000.
The legal document is, at this point in time, quite short with no mention of the Washington Post, the header for which is featured on the MSN article. It’s unclear what license the WaPo received for the article and images, how that license may impact MSN’s use of the content and, ultimately, the viability of the copyright lawsuit.
This isn’t Gattoni’s first copyright lawsuit. As we detailed in 2017, Gattoni had sued the clothing retailer Tibi over its alleged use of her photos without permission or license. In that case, the lawsuit had accused Tibi of cropping one of Gattoni’s Instagram images, which had been published alongside a copyright notice; its copyright registration was still pending in the US at that time, however.
In that case, the judge had ruled that while Gattoni could go after Tibi with a DMCA claim, the copyright infringement claim couldn’t proceed because the copyright registration was still pending at the time. Photographers can register their works with the U.S. Copyright Office through its online eCO registration portal.
Microsoft is the latest in a long line of big companies and news publications sued over alleged copyright infringement. In April, for example, a New York court ruled that digital media website Mashable didn’t infringe upon an image copyright by embedding an image a photographer had uploaded to Instagram after a long squabble over the matter. Likewise, photographer Carol M. Highsmith sued Getty Images for $ 1 billion in July 2016 over its alleged infringement of more than 18,000 of her images.
A general view before the start of UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN
Editor’s Note: Some of the photographs in the interview below are graphic due to the violent nature of mixed martial arts events. Proceed accordingly.
With the world all but paused due to the ongoing COVID-19 pandemic, most sporting events have either been delayed or downright canceled. Some sports, however, are allowing events to continue taking place, albeit with minimal personal, very proactive testing and—most interestingly—no audience.
One such event was the mixed martial arts event UFC 249, which took place on May 9, 2020 at VyStar Veterans Memorial Arena in Jacksonville, Florida, United States. Only a few photographers were allowed to document the unprecedented event, one of whom was Cooper Neill, a freelance photographer from Dallas, Texas, who on assignment at UFC 249 for ESPN. We had a chance to talk with Neill about what it was like to shoot such an unusual event. Below is the interview, edited for clarity, as well as a selection of images from the event.
How many photographers were allowed to be there and how were they chosen?
For UFC 249 there were only 4 photographers cageside (Getty, Associated Press, USA Today and myself working for ESPN) along with the UFC photographer who is in a fixed position on top of the Octagon. I’m sure they had other folks apply for credentials but given the small space of the Octagon there aren’t many photo positions to begin with so I’m assuming numbers were limited to make sure folks are able to properly social distance themselves as best as they could.
A general view during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN
What precautionary measures were taken for yourself, the other photographers, as well as the fighters and other participants?
I showed up with a mask, gloves, hand sanitizer, sanitizing spray w/ paper towels and alcohol wipes to wipe down my equipment. I stayed at the same hotel as the UFC staff so I was given a nasal swab test for Covid-19, an antibody test and regular temperature checks including one to get into the arena on fight day. I’d assume the other folks in the building did the same – I saw a few folks with goggles on and some with face wraps that offered more coverage than the masks.
Henry Cejudo fights against Dominick Cruz during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN
Was it more difficult to shoot with the PPE and having to constantly sanitize? Also, did you have to stay further away from the athletes than you normally do?
The extra PPE really didn’t make a difference for me. If I were wearing goggles they would have fogged up which is why I opted not to. There was time between fights for me to make sure my area was clean, the UFC staff would sanitize things between fights as well and then I’d sit down and transmit a few photos from the previous fight to my editors at ESPN. We are already a good distance away from the athletes and I think everyone in the arena was very aware and respectful of people’s personal space. With so many fewer people there was more space to operate which was super helpful as well.
Anthony Pettis throws a kick against Donald Cerrone during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN
Did you have to change how you photographed the event and did you take photos any differently than you normally would’ve?
Yes and no – I always show up to events looking to tell the story of the event as a whole and not just the action – so in that way I approached things the same way I do the NFL playoffs or World Series. On the other hand there was an equal if not greater interest in UFC 249 because of what’s going on in the world than the actual fights so I probably sent in more scene-setting and storytelling images than I normally do because in my opinion that was more important than most of the fights.
Joe Rogan interviews Calvin Kattar after his win during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN
Was it weird actually being able to hear your shutter click when you’re probably used to it being drowned out from crowd noise?
Sony user here so I’m used to not hearing the shutter – but having the event in an empty arena was a big change. Not having a pop from the crowd after a big punch really changed the environment and feel of the event. On the other hand it was really cool being able to hear both fighters coaches giving instructions, the fighters talking to each other between rounds and the commentators doing their play by play which are all things that are usually downed out by the crowds.
Niko Price has talks with Vicente Luque after losing his fight during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN
Did the athletes seem to have a different type or amount of energy compared to previous events you’ve shot?
I don’t think they’d admit it but I think there was a different energy – not a bad thing – but different. In my opinion the fighters were much more relaxed than they normally are with significantly less distractions in and around the arena. The intensity was definitely still there.
An arena employee watches the fights on a tv in the concourse during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN
Overall, what were the pros/cons of shooting an event in an empty arena?
Pros – cleaner backgrounds, easier on your ears and more space to work
Cons – no fan interactions with fighters and no fan reactions
Justin Gaethje throws a punch against Tony Ferguson during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN
Do you see more empty-venue events taking place the remainder of the year? If so, what did you learn from this event that will change how you shoot other fan-less events going forward?
From what I’ve read it looks like most if not all pro sports are planning on moving forward with empty arenas for a good while. The thing that I’m curious about is how they manage media access in everything. Football games have 50+ photographers on the field roaming the sidelines close to each other and the players – it’s hard to imagine that happening in a few months. I think it’s realistic to imagine 50% less credentialed photographers for most sporting events in the future just to allow folks to socially distance themselves better.
A member of the UFC crew cleans the Octagon between fights during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN
What gear were you packing and why did you choose the camera/lenses you did for this particular event?
I used 2 Sony a9s with a combination of a 70–200mm f2.8, 16–35mm f2.8 and 400mm f2.8. The majority of the images were made with the 70–200 but used the others to get some wide or super tight images.
Justin Gaethje celebrates after defeating Tony Ferguson during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN
Do you have any pieces of parting advice for photographers looking to make the most of this unprecendented time where work can be sparse and what work they might get will be different than usual?
Find something you’re interested in and experiment on different ways of photographing it. If nothing else, this whole situation has given us some time to retool, learn and create new ways of looking at things.
Finally, where can readers find your work and keep up with what you’re doing?
www.instagram.com/CooperNeill
www.CooperNeill.com
Photo credits: Photographs by Cooper Neill for ESPN, used with permission
When Jerry Ghionis got a call asking if he was interested in photographing portrait legend Joe McNally, he jumped at the opportunity. Using just one lens – Nikon’s Z 85mm F1.8 S – Jerry and Joe turned their cameras on one another. Watch the video above to see how they got on.
What’s it like to take pictures of a portrait legend? In an exclusive interview, Jerry explains the background to the shoot and what it was like to work with Joe, as well as offering some insight into his work, and his approach to portrait photography.
Tell us how you got involved with this shoot
When I got the call about taking portraits of Joe McNally, I thought wow – that’s like being asked to cook for Gordon Ramsey!
The brief was just to shoot portraits of one another, have some fun, and see what comes of it. I wasn’t intimidated, I was excited. I want to create flattering and meaningful portraits of people, and I thought, well, here’s a guy who’s done this for everyone, and he deserves something for himself. That was the opportunity I was excited about: creating something for Joe that he’s done for so many people.
For this shot, Jerry posed Joe with the first Nikon camera he ever used, an FTn with F36 Motor Drive.
Photo by Jerry Ghionis, courtesy Nikon USA.
The one shot that was pre-planned was the portrait of Joe with the Hollywood lights and me in the mirror. For that one I thought it would be cool to feature Joe with the first Nikon camera he ever used. He’s a tall guy, and I wanted to style him like a trendy 50s or 60s-era photographer, with a blue background working with his blue eyes, and the contrast against the color of his hair. So I found some old studio lights, a vintage mirror and some other things. I knew what I wanted, but I only had literally about five minutes to set it up and another five to shoot it. That was quite tough. I’m trying to light Joe, who’s a lighting master!
Everything on this shoot, including the video, was shot using the 85mm alone. Was that intimidating?
No, not at all. Once you’ve shot a few weddings and you know how to do it, very few things intimidate you. At least in terms of gear. And anyway, some of the recent weddings I’ve shot, most of the images I took were using that one lens.
The 85mm suits my style of photography because I like longer focal lengths
How long had you been working with the 85mm at that point?
Probably a month or two, before the shoot. And I loved it. The 85mm suits my style of photography because I like longer focal lengths. My usual favorite lens is a 70-200mm, so I was looking for something longer to use with my Z6 and Z7, which might become my new ‘go to’ lens.
What is it about the 85mm that makes it useful to you?
Whenever you use a lens that’s faster than F2 for portraiture, you’re going to want to shoot a handful of images, sort of rapid fire, to make sure that you get a shot where the focus is exactly where you want it. That’s just the nature of portrait photography on fast lenses. But the 85mm has just become my reliable everyday go-to lens. I’d say the last six months of weddings I’ve shot, I’ve used the 85mm probably about 90% of the time. It’s so light. Focus is perfect at F1.8 and it’s completely sharp. I’ve made an incredible amount of pictures using that lens, I love it.
Had you worked with Joe on a project together before?
No this was the first time we’d shot together. It’s rare on campaigns like this that you’d shoot with somebody else. It was great, it was just two guys, no egos – we just wanted to have some fun and create some cool pictures.
The whole thing was probably one of the biggest honors of my photographic career.
It’s rare on campaigns like this that you’d shoot with somebody else
Did Joe like the pictures you took of him?
He did! He’s referred to the pictures on stage in his presentations. He’s been very generous and kind. And most importantly his wife likes them too!
What lenses would you advise someone should invest in who wants to get into portrait and event photography?
Most of the weddings and portraits I’ve shot lately have been on the 85mm F1.8, and at a minimum, I would recommend an 85mm, two camera bodies, a 24-70mm, and a 70-200mm, and two flashes. One camera’s not enough, and you’ll need cameras from the same system, so that you can switch between them without thinking.
The Z 85mm F1.8 S is a compact short-telephoto prime lens for the Z System. Sharp and almost aberration-free wide open, the Z 85mm is a useful lens for portraiture and available light shooting.
What simple things can someone do to improve their portrait photography?
The biggest problem I see is people shooting too quickly. When you’re photographing a wedding or a portrait, you can’t just show what someone looks like, you need to show who they are. To do that, you need to slow down, connect with them, and know how to flatter them. You can’t do that if your eye is glued to the viewfinder or your head is buried in your camera’s menu system. Shooting too quickly contributes to a lack of confidence.
The other thing is people don’t practice enough. I practice all the time. I’ll often shoot once a week just for myself, trying a new technique or a different lighting setup. I have a mannequin at home, so if I want to produce a particular lighting setup that I haven’t done before, while the hair and makeup person is doing their thing, I’m practicing with the mannequin and by the time my subject is ready I’ve prepared the full lighting setup.
What advice would you give to someone who is trying to get into photography seriously?
Remember that you’re only as good as your last shot. You don’t have to be the best, you just have to be better than you were last week.
This is sponsored content, created with the support of Nikon. What does this mean?
Members of the Society for Nature Photography have selected the GDT Nature Photographer of the Year. The 7th annual competition received 5,046 submissions from 307 GDT (German Society of Nature Photography) members across 11 countries. Peter Lindel was declared the Overall Winner with ‘A Hare’s Dream.’
‘The European hare, once a common inhabitant of open country all over Germany, has become a rare sight. While the large number of hares that I used to spot every morning on my way to work in the fields and meadows North of Dortmund, prompted me twelve years ago to explore this area with my camera, it has now become increasingly time-consuming to find hares and present them in an appealing photograph,’ Lindel explains.
For the first time, voting was conducted online instead of a general meeting on account of the pandemic. 70 winners and finalists were selected by judges and members for the following categories: Birds, Mammals, Other Animals, Plants and Fungi, Landscapes, Nature’s Studio, and the Special Category: Water. All winning and finalist photographs can be viewed here.
While GDT Nature Photographer of the Year is open to the society’s members only, GDT’s European Wildlife Photographer of the Year competition is open to all photographers residing in Europe.
Overall Winner: ‘A Hare’s Dream’ by Peter Lindel
GNPY 2020, Peter Lindel, GDT
About this photo: ‘A hare’s dream was taken in July of 2019 when months of searching a suitable location led me to a dirt road, which offered the most beautiful morning light, lovely vegetation and … three hares. Dreamy, curious, careful, anxious. These are the adjectives that I find describe the expression of “my hare” best,’ says Lindel.
Winner, Other Animals: ‘Danger in the Mud’ by Jens Cullmann
GNPY 2020, Jens Cullman, GDT
About this photo: Crocodile in a drying mud pool.
Winner, Nature’s Studio: ‘Flooded with Light’ by Jan Piecha
GNPY 2020, Jan Piecha, GDT
About this photo: A blackbird perches on a branch in North Hesse, Germany.
Winner, Landscapes: ‘Magic Light’ by Benjamin Waldmann
GNPY 2020, Benjamin Waldmann, GDT
About this photo: Tree in the mist at the Albtrauf.
Winner, Birds: ‘Take-off’ by Flurin Leugger
GNPY 2020, Flurin Leugger, GDT
About this photo: Coyote panics geese.
2nd Place, Mammals: ‘Glowing Fox’ by Mohammed Murad
GNPY 2020, Mohammed Murad, GDT
About this photo: Arabian red fox in Kuwait City.
2nd Place, Special Category, Water: ‘Milk and Honey’ by Sandra Bartocha
GNPY 2020, Sandra Bartocha, GDT
About this photo: Reflection of the chalk coast, England.
4th Place, Special Category, Water: ‘Poseidons Wrath’ by Christian Wappl
GNPY 2020, Christian Wappl, GDT
About this photo: A top-down view of Waves, La Palma.
5th Place, Nature’s Studio: ‘Refraction’ by Burkhard Hillert
GNPY 2020, Burkhard Hillert, GDT
About this photo: Refraction of light in the cobweb.
10th Place, Atelier Natur: ‘Iceland Going Abstract’ by Uwe Hasubek
The post Four Essential Beginner Photographer Tips appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
If you are new to photography the possibilities can seem endless and the options almost overwhelming. Buttons, dials, apertures, shutters, flashes…where do you even start? Of course, it’s always good to learn basics like the exposure triangle, but there are some simple beginner photographer tips that will immediately elevate your picture-taking prowess.
The first of the beginner photographer tips is tho look for the light.
Does your camera have a flash? Great!
Does it turn on all the time? Not so great.
This is usually a sign that your camera thinks your picture is too dark, so it tries to add a bit of light to fix things. From that perspective, the flash makes a lot of sense, but often it can end up ruining what might otherwise be a perfectly good photo. Instead of a pleasing, well-lit image, you end up with red eyes, harsh shadows, and bright spots of light reflecting off windows.
I shot this in a well-lit room with a lot of windows letting in the sunlight. Nikon D750, 50mm, f/5.6, 1/90 second, ISO 6400.
Instead of relying on the flash, look for the light that’s already available and reposition yourself accordingly. If you are indoors, put your subject in front of you and put your back to a window. If you are outdoors, look at where the sun is. Move yourself and your subject so that the light is behind you, not behind the person or object you are shooting. Better yet, re-compose your shot so your subject is in the shade and evenly lit.
Nikon D7100, 50mm, f/2.8, 1/750 second, ISO 100.
In the picture above, the light was so bright that my kids were entirely shrouded in shadow, creating a silhouette.
The only way to save the photo was to make it black-and-white in Lightroom! I could have also waited until the light was more overcast to get a more even exposure. Or I could have intentionally used the pop-up flash as a fill flash to add a touch of light to the two shadowy subjects.
This technique works for casual snapshots, formal portraits, or pretty much any style of photography.
To get this group photo of three generations of women in a park, I had to get a little creative with light and positioning. I found a spot that was in the shade of a tree, so all their faces were well lit. You can see a swath of light going across the foreground that would have wreaked havoc on the photo if everyone was two steps forward.
Nikon D750, 70-200mm f2.8, f/4, 1/200 second, ISO 360
Looking for the light is one of those beginner photography tips that sound constraining, but with practice, it will become second nature. You will automatically find yourself thinking about light and shadow and how to create the best composition without resorting to that pop-up flash. It’s also one of the most impactful things you can do to differentiate your photos and make people think twice when considering you as more than just an amateur.
Use Continuous Autofocus
Modern DSLRs and mirrorless cameras are outstanding when it comes to autofocus – certainly much more than their counterparts from a few years ago.
Modern focusing systems can track people, objects, and animals with ease. The latest mirrorless cameras can even lock focus on a single eye and reacquire in an instant if the person turns their head or another object momentarily blocks your view.
Nikon D750, 140mm, f/2.8, 1/3000 second, ISO 100
Action shots are almost impossible without rock-solid autofocus. Almost any camera you get is probably going to be up to the task as long as you’ve got the right lens.
There’s one mistake that a lot of beginner photographers make that can really hold back your action shots or even just everyday photos of people or pets. They use single-shot autofocus instead of continuous autofocus.
When you half-press the shutter button you probably here a sound to let you know that your shot is in focus. It might be a quick beep-beep along with a little dot or square lighting up to indicate that your picture will be tack sharp. Continue pressing your finger and you’ll get just what you expect: a crystal clear image in bright, vivid color.
Nikon D7100, 50mm, f/1.8, 1/6000 second, ISO 100
This is all well and good, but what if your subject moves in that brief moment between the time you lock focus and press the shutter button fully? Worse, what if you want to take another picture?
You have to lift your finger off the shutter button, do a half-press to acquire focus, and then push the shutter down all the way to complete the shot. It might not sound like much, but a lot can happen in that short time!
The solution is to enable your camera’s continuous autofocus setting.
Instead of focusing once, continuous autofocus means your camera will keep your subject locked no matter where your subject goes. It will be in focus as long as you never fully lift your finger from the shutter button. This technique is incredibly useful for everyday shots and almost mandatory for fast action, especially when paired with back-button focus.
This child moved around a lot! Continuous autofocus helped me make sure these images were sharp. Nikon D750, 120mm, f/4, 1/250 second, ISO 1400.
Every camera does this a little differently and you’ll find it by looking in the menus under the focus settings.
While it’s not always required, especially if you are shooting still objects or doing macro work where manual focus is preferred, I have found that I generally prefer continuous autofocus in most situations. If you are shooting with a prime lens wide open, where depth of field is razor-thin, it can really help you get better photos with minimal effort.
Use Program instead of Auto
The next of the beginner photography tips is to use Program Mode instead of Auto.
Every camera has a few different exposure modes, and if you are new to photography, you might find comfort in using the familiar green Auto setting. And there’s nothing wrong with that! Auto is great for a lot of people, and camera manufacturers have tweaked the auto setting so well that it really does produce good results.
Most of the time.
My dad shot this photo of me when I graduated with my Master’s Degree. He shoots in Program Auto all the time, and he’s able to get lots of great shots with it. Canon Rebel T4i, 270mm, f/6.3, 1/50 second, ISO 1600.
Even though there’s a lot to be said for learning Aperture or Shutter Priority, or even going all the way with Manual Mode, there’s a good middle ground that a lot of beginners don’t know about. It’s called Program Auto, and if you want a little more control than what Auto has to offer, it might very well be the solution for you.
Program Auto is kind of like regular Auto, but you get a little more control over the exposure. The camera starts by setting a value for lens aperture and shutter speed that it thinks will give you a properly-exposed image. You can see these numbers in the viewfinder or on the rear screen, but if you don’t like what the camera selects all you do is turn a dial.
Canon Rebel T4i, 270mm, f/7.1, 1/400 second, ISO 320. Shot in Program Auto mode.
You’ll see the aperture and shutter change but the exposure will remain constant.
Want a little more depth of field? Rotate the control dial on your camera until the aperture value is larger.
Want a faster shutter speed? Spin the dial until the shutter speed increases. Program usually lets you control the ISO as well. And if you still don’t like your picture, you can use exposure compensation to make it brighter or darker.
While the green Automatic mode on cameras is a great way to get started, Program is a good way for beginners to take a bit more control over their photography without getting too confusing.
Adjust your eye level
This final of the beginner photography tips applies no matter whether you have a fancy expensive DSLR or a basic mobile phone. It’s about getting yourself on the same plane as your subject or shooting your subject from a more interesting angle. It’s particularly useful when taking pictures of children, but applies in almost any photographic situation.
I had to lay on the ground to get this picture. It’s a lot more interesting than if I had stood up and shot at a downward angle. Nikon D750, 122mm, f/3.3, 1/500 second, ISO 100.
The default position for a lot of beginner photographers is to take a picture from an eye level that works for you. It’s usually standing up, sitting down, or whatever position you happen to be in when a picture opportunity presents itself.
For better photos, it’s important to move around and look for a more interesting, compelling, or exciting vantage point.
A normal flower became much more interesting when I shot it crouched down and positioned with the sunlight coming from behind. Nikon D7100, 50mm, f/1.8, 1/2000 second, ISO 100.
This a simple thing to do, but it takes repeated practice until it becomes second nature. If your subject is short, crouch (or lay) down to get a more interesting shot, and if your subject is tall, find a way to elevate yourself.
It might not be easy or even comfortable, but your pictures will be much better because you took the effort to adjust your eye level.
This young man was so tall I brought a stepladder to his photo session. I had to elevate myself about a meter off the ground to get on his eye level! He and his family were extremely pleased with the results. Nikon D750, 200mm, f/3.3, 1/250 second, ISO 110.
Conclusion
These four beginner photography tips are just the tip of the iceberg. There’s so much more to learn when you start down your exciting journey to learn more about photography.
Everyone has to begin somewhere and if you’re not sure where to start, give these a try. If you have any recommendations from what you have learned over the years, share your thoughts in the comments below!
The post Four Essential Beginner Photographer Tips appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
Dee Molenaar, an icon in the Pacific Northwest mountaineering community passed away recently at the age of 101. Filmmaker Eric Becker, a long time collaborator of DPReview was lucky enough to spend some time with Dee around his 100th birthday. What resulted was a short film produced by Eric in collaboration with DPReview about Dee’s life, his love of the mountain climbing community and his prolific work as a visual artist.
The film takes a look into Dee’s expansive archive of paintings, hand drawn maps, 8mm film footage and a treasure trove of archival slide photographs. You can watch the final piece above, and read on for a personal account, from Eric, of the background behind the film.
Eric Becker – director
In 2018 I was finishing up my feature documentary Return to Mount Kennedy, which centers around the first ascent in 1965 of a remote mountain in the Yukon – Mount Kennedy – then newly named after assassinated president John F. Kennedy. Climber Jim Whittaker lead the expedition, which included JFK’s brother, Bobby Kennedy.
Dee Molenaar was one of the photographers in the group. I originally connected with his family to track down some of his original images, but in talking to Dee’s son Peter I learned that there was a lot more to his life and work than just that one trip, back in 1965. Peter invited me to come and go through his father’s photos, and it occurred to me that this might make for an interesting short film on its own.
When I arrived at Peter’s house to take a look through his father’s archives, I was shocked. There were just so many boxes of slides, reels of footage, and beautiful paintings that Dee had created during his life. Peter mentioned that Dee’s 100th birthday was coming up in June and that the family was planning to take him to Mt. Rainier to visit his favorite place on earth. At this point, I knew there was a story.
There was a bittersweet element to the trip which gave it an emotional thrust – the unspoken sense that this would probably be Dee’s last opportunity to see the place
Good stories need some key ingredients. First off, there needs to be visual material to work with, which we had in volumes, in the form of Dee’s photographs and paintings. Second, you need strong characters. Peter was totally comfortable being filmed, and the love and admiration he had for his father came through when he spoke. The same was true of his sister Karen, and his brother David.
The third ingredient is action. In this case it was the simple act of taking a 100 year-old man to see his beloved mountain. There was a bittersweet element to the trip which gave it an emotional thrust – the unspoken sense that this would probably be Dee’s last opportunity to see the place.
During the making of this film we digitized about 40 reels of 8mm film footage and found some absolutely beautiful imagery of the Pacific Northwest in the 1940, 50’s and 60’s. I also read Dee’s autobiography and did as much research as I could to get some background on his life and work. We filmed interviews with the Molenaar family, and we joined Dee on the trip to Mount Rainier.
My favorite moment was when I showed Dee some of his films that we had digitized. He watched them on an iPad for about 45 minutes and was totally tuned in, even talking about some of the people and places.
This was a very archive-heavy project, and the bulk of the editing for this short film happened in early 2019 once we had collected all of the pieces. Editing is both my favorite and least favorite part of the process, but it’s where the magic happens. Whenever young filmmakers ask for advice, I tell them to learn the tools, including editing. The reality is that cameras and computers are so inexpensive and user-friendly these days that the way to distinguish yourself from the crowd is to focus on the craft of it all. And getting good at editing, as anxiety-ridden as the process can be, is one of the easiest ways to advance your craft as a storyteller.
Getting good at editing, as anxiety-ridden as the process can be, is one of the easiest ways to advance your craft as a storyteller
We made the film using the Fujifilm X-H1, some of it handheld shooting internal 4K but mostly paired with an Atomos Shogun, with Senheiser wireless lavs for sound. We have a simple rig that holds everything. Aside from the camera (which changes from shoot to shoot) this is the same basic setup we use for all of the DPReview long-form videos. Everything was shot in 24p, except for some 60p footage that we captured for slow motion. We used the Fujifilm Eterna profile, and I cut the piece in Adobe Premier Pro.
With this video and with all of the other pieces in the long-form series that we’ve shot with DPReview, I hope we’ve succeeded in inspiring people to get out and shoot. I’d like to think that Dee would approve.
Photographer and DIY camera extraordinaire Brendan Barry has used his time in lockdown to create a camera and darkroom out of a shed in his yard.
Throughout the above 22-minute video, Barry summarizes the build process, showing what was required to turn his compact shed into an all-in-one photo room and the process required to capture the image and make the resulting prints. As you might expect from such an ambitious project, it took a good bit of time to get everything sorted out and even more time to dial in the capture and printing process.
A close-up screenshot from the video showing off the massive 1016mm (40″) F5.4 aerial reconnaissance lens used in the build.
‘In [the video] I talk through the build and operation of the shed camera, bring together a number of the processes I experiment with and shares some of the materials and approaches I use in my practice,’ says Barry in an email to DPReview. Barry specifically notes he used ‘RA4 colour reversal, B&W paper negs contacted to positives and shooting with direct positive paper, both with normal chemistry and with caffenol’ to capture and make prints of the images captured with the ridiculous rig.
While this is technically possible to do at home, it will require plenty of power tools, spare wood you might have sitting around, a generous amount of gaff tape and an insanely large lens (a 1016mm [40”] F5.4 aerial reconnaissance lens in Barry’s case).
We’ve featured Barry’s previous projects before, including his 101 Park Avenue skyscraper camera, his shipping container camera and his guide to turning any room in your home into a camera. This shed project might not be his most grandiose project to date, but it certainly required a healthy dose of elbow grease and equal amounts of patience.
You can find more of Barry’s work on his website and keep up with his latest endeavors on his Instagram profile.
A drone shot of the New York skyline. Hart Island is located east of Manhatten at the western end of Long Island Sound.
George Steinmetz is a regular contributor for National Geographicand The New York Times. Over the span of his 30-plus-year career, he has received numerous accolades for his aerial photography work including three World Press Photo Awards. Steinmetz started out by piloting a foot-launched motorized paraglider to capture his aerial perspectives. These days he uses a drone.
This past Tuesday, while documenting a burial ditch located on Hart Island, due to the alarming number of COVID-19 fatalities in New York City, Steinmetz’ drone was confiscated by the New York Police Department (NYPD) and he was issued a Desk Appearance Ticket. He was cited for violating NYC Administrative Code § 10–126, which prohibits the takeoff and landing of drones within New York City (NYC).
A screenshot of Hart Island, captured in Apple Maps.
‘I’m not trying to be an advocate, but my encounter with the NYPD [on Tuesday] was not about any safety or privacy considerations that I assume the law was designed for. The officers who cited me were not local, and appeared to be working in conjunction with city employees involved with Hart Island interments. It was a clear example of a law being used for petty press intimidation. It doesn’t look good to see the city’s poor treated like toxic waste,’ Steinmetz tells DPReview.
‘Preparing for burials of what appear to be more COVID-19 victims this morning on Hart Island, New York City. For over 150 years this island with no public access has been used to bury over a million souls (whose) bodies were not claimed for private burial. With the morgues of NYC strained, the pace of burials on Hart Island has increased dramatically. I was cited by NYPD while taking this photo, and my drone was confiscated as evidence, for a court date tentatively scheduled for mid-August,’ reads the quote from Steinmetz’ official Instagram account.
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Preparing for burials of what appear to be more COVID-19 victims this morning on Hart Island, New York City. For over 150 years this island with no public access has been used to bury over a million souls who’s bodies were not claimed for private burial. With the morgues of NYC strained, the pace of burials on Hart Island has increased dramatically. I was cited by NYPD while taking this photo, and my drone was confiscated as evidence, for a court date tentatively scheduled for mid-August. #keepthememorycard
A post shared by George Steinmetz (@geosteinmetz) on
The post, documenting the mass burial site, currently has over 30,000 likes and 813 comments as of publishing this article. It has also ignited an online debate over ethics in photojournalism and the need to overhaul existing drone laws in NYC. While some online commenters criticized Steinmetz for invading the privacy of those being buried, and others questioned the legality of his flight, many more are supportive of the image he was able to capture.
‘This one hits close to home – George Steinmetz does incredible work and this photo is important. I hope some photojournalist groups will step in to defend him. There is a rough NYC working group forming to revise the avigation law. But it got stalled with COVID from what I understand. NYPD is supposed to get first crack at the rewrite which was scheduled for May before this happened,’ states Scott Harrigan in a comment on the Commercial sUAS Remote Pilots Facebook Group.
When asked to elaborate, Harrigan shared the following information with DPReview:
‘As of today, NYC currently has the ‘avigation’ law still on the books. NYC has recently shown interest in overturning this law after an architect was tragically killed last December by falling debris from a facade that went un-inspected.
As a result, detailed in that article above, NYC council members outlined three goals:
1. That the 1948 avigation law would be revised to allow commercial drone use. 2. That a bill would be proposed requiring a facade inspection within 48 hours following any NYC 311 complaint of an unsafe facade 3. That a study would be performed determining the efficiency of using UAVs to inspect NYC owned buildings (performed by DOB)
An informal working group has been formed, to address this law – a coalition of local architects, real estate developers, drone pilots, and drone manufacturers. Mr. Steinmetz’ ticketing highlights how the avigation law is being used inconsistently by NYPD to penalize drone flights at the officer’s whim with no enforcement guidance, rather than in a standardized manner that takes into account public safety. This particular flight posed no threat to public safety, was conducted in compliance with existing federal UAV regulations and was an important act of newsgathering.
It is my hope that this event will spur NYC policymakers to create a consistent legal framework that allows drone operators to perform the many tasks that benefit the public, such as newsgathering, facade inspections, search and rescue, construction progress monitoring, etc.’
‘I could be misinformed but I don’t believe anyone flying a drone has actually been held to the 1940 statute. The prosecutor may not feel it is applicable. This is a reason to clarify and reform the provision so that there is actual accountability for things that matter in New York,’ adds Brendan Schulman, DJI’s Vice President of Policy & Legal Affairs, followed on the same comment thread as Harrigan.
New York City Mayer, Bill de Blasio, has confirmed unclaimed COVID-019 victims are being buried on Hart Island, but not en masse, saying ‘everything will be individual and every body will be treated with dignity.’ Below is the first of a thread of tweets wherein he addresses the subject:
The pictures of our fellow New Yorkers being buried on Hart Island are devastating for all of us.
I want to make sure everyone knows what they’re seeing and what is actually happening on Hart Island.
Remember, these are human beings. These are neighbors we’ve lost.
— Mayor Bill de Blasio (@NYCMayor) April 10, 2020
This isn’t the first time a drone has been used to capture images on Hart Island, which hosts numerous gravesites and is accessible by appointment. Melinda Hunt, who founded the Hart Island Project, which documents the information of those buried on the small island located Northeast of the Bronx, insists that the burials aren’t disrespectful.
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