Category: Photography

  • 15 Cheap Yet Fabulous Gifts for Your Photography Clients

    If you’re in the photography industry, leaving your clients with a good impression at the end of a job is very important. The best way to show your clients that you enjoyed working with them is a small gift which you can give them as part of your photo delivery package. Giving a pen with your logo on it is Continue Reading

    The post 15 Cheap Yet Fabulous Gifts for Your Photography Clients appeared first on Photodoto.


    Photodoto

  • Weekly Photography Challenge – Places of Worship

    Today I rounded up some images of some special places. Some architectural wonders, many full of history – all special to the people who visit them. This is various places of worship.

    Neil Howard

    By Neil Howard

     

    That could mean a number of different types of buildings and places including:

    • Small home town churches
    • Basilicas
    • Mosques
    • Synagogues
    • Temples
    • Wats
    • Even cemeteries

    Weekly Photography Challenge – Places of Worship

    In my quest for example images I found a lot of HDR images of interiors – many that were quite a bit over done, at least for my tastes. I even found some of my own images dating back to 2010 when I first started experimenting with HDR and they were making my eyes bleed – my own images! See this article on the stages of HDR photographers, see if you can relate.

    So I redid a few from the Montreal Notre Dame Basilica, an amazing thing to see and photograph. I used the new Lightroom 6 (CC) Merge to HDR feature – see what you think.

    churches-dps717px-01

    churches-dps717px-02

    churches-dps717px-03

    Just for comparison here are my old versions, my first attempts from 2010. Even pros and teachers make mistakes but we aren’t too big to admit them.

    Multiple image HDR

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    churches-dps717px-06

    “Ewww” right? I agree – let’s move on!

    Okay here are some other good examples (in my opinion) of places of worship.

    Darlene Hildebrandt

    By Darlene Hildebrandt (also my image from Salt Lake City)

    Michael Caven

    By Michael Caven

    Stròlic Furlàn - Davide Gabino

    By Stròlic Furlàn – Davide Gabino

    Forest Wander

    By Forest Wander

    Jeff Wallace

    By Jeff Wallace

    Matthias Rhomberg

    By Matthias Rhomberg

    Kah-Wai Lin

    By Kah-Wai Lin

    Now it’s your turn. Think outside the box to other places besides those listed about that might be considered for worship. A quiet outdoor coffee shop, how about sunrise on a deserted beach? What places do people go to find solice and think, or pray (if so inclined)?

    Note: please be respectful of people inside places or worship. Those are NOT public areas and you do not have free rights to photograph them. By all means photograph the architecture if you’re allowed but always ask before taking someone’s photo inside. 

    Share your images here:

    Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer upload them to your favourite photo sharing site and leave the link to them. Show me your best images in this week’s challenge. Sometimes it takes a while for an image to appear so be patient and try not to post the same image twice.

    A couple more ideas from my own image collection. Keep in mind you can do bits and pieces of places too, not just grand sweeping wide angle shots. How quiet is this shot of the candles? How meaningful is it though, and does it tell a story of the place?

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    OLYMPUS DIGITAL CAMERA

     

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    The post Weekly Photography Challenge – Places of Worship by Darlene Hildebrandt appeared first on Digital Photography School.


    Digital Photography School

  • Ethereal Images of Places of Worship

    A while ago I shared a collection of architectural images, now let’s get a little more specific. Churches and places of worship are often well design, finely crafted, masterpieces of architecture.

    Let’s take a look at some great, ethereal images of churches, mosques, and other places of religious practice:

    Photograph Cathedral by Andrew Vasiliev on 500px

    Cathedral by Andrew Vasiliev on 500px

    Photograph Notre Dame Cathedral Basilica (Ottawa) Vertorama by Roland Shainidze on 500px

    Notre Dame Cathedral Basilica (Ottawa) Vertorama by Roland Shainidze on 500px

    Photograph Tamway Orléans by Nicolas Wecandoit on 500px

    Tamway Orléans by Nicolas Wecandoit on 500px

    Photograph St. Peter Basilic (Vatican, Rome) by Domingo Leiva on 500px

    St. Peter Basilic (Vatican, Rome) by Domingo Leiva on 500px

    Photograph Lights by Mauro Tandoi on 500px

    Lights by Mauro Tandoi on 500px

    Photograph Cologne Cathedral by Aaron Choi on 500px

    Cologne Cathedral by Aaron Choi on 500px

    Photograph Basilique Notre Dame by Naibank Eng on 500px

    Basilique Notre Dame by Naibank Eng on 500px

    Photograph El Pilar (II) by Carlos Luque on 500px

    El Pilar (II) by Carlos Luque on 500px

    Photograph The Cloister's Cat by Albert Vàzquez on 500px

    The Cloister's Cat by Albert Vàzquez on 500px

    Photograph Cloisters by Ann  on 500px

    Cloisters by Ann on 500px

    Photograph In the Morning Light by Teguh S on 500px

    In the Morning Light by Teguh S on 500px

    Photograph Good Night... by Ahmet Kizilhan on 500px

    Good Night… by Ahmet Kizilhan on 500px

    Photograph Wonderland by Achim Thomae on 500px

    Wonderland by Achim Thomae on 500px

    Photograph Mosque at Sharjah Cornish by Utsav Verma on 500px

    Mosque at Sharjah Cornish by Utsav Verma on 500px

    Photograph sheikh zayed mosque by Ronny Behnert on 500px

    sheikh zayed mosque by Ronny Behnert on 500px

    Photograph Bandaraya in the evening by Nelson Michael Jr on 500px

    Bandaraya in the evening by Nelson Michael Jr on 500px

    Photograph Sharjah - Buhaira by Mostafa Ajjawi on 500px

    Sharjah – Buhaira by Mostafa Ajjawi on 500px

    Photograph Good morning from ?stanbul by Gürkan Gündo?du on 500px

    Good morning from ?stanbul by Gürkan Gündo?du on 500px

    Photograph Dark Skies by Fabien Bardelli on 500px

    Dark Skies by Fabien Bardelli on 500px

    Photograph God's light.. by Samet Güler on 500px

    God's light.. by Samet Güler on 500px

    This is my own image - by Darlene Hildebrandt. Hagia Sophia in Istanbul. A fascinating history this place has had!

    This is my own image – by Darlene Hildebrandt. Hagia Sophia in Istanbul. A fascinating history this place has had!

    Photograph 444 B.C. by George Papapostolou on 500px

    444 B.C. by George Papapostolou on 500px

    Photograph Big Buddha by Chaluntorn Preeyasombat on 500px

    Big Buddha by Chaluntorn Preeyasombat on 500px

    Photograph Bahai Temple - Night View by Natasha Pnini on 500px

    Bahai Temple – Night View by Natasha Pnini on 500px

    Photograph BHUTAN TAKTSANG by Santanu Banerjee on 500px

    BHUTAN TAKTSANG by Santanu Banerjee on 500px

    Photograph St. Basil Cathedral, Moscow by Moritz Königsbüscher on 500px

    St. Basil Cathedral, Moscow by Moritz Königsbüscher on 500px

    Photograph The Marble Temple by Daniel Cheong on 500px

    The Marble Temple by Daniel Cheong on 500px

    Photograph The Light of Angkor Wat Temple ! by Mardy Suong Photography on 500px

    The Light of Angkor Wat Temple ! by Mardy Suong Photography on 500px

    Photograph Wat Sampov 5! by Mardy Suong Photography on 500px

    Wat Sampov 5! by Mardy Suong Photography on 500px

    Photograph Temple of the God's by Spiros Lioris on 500px

    Temple of the God's by Spiros Lioris on 500px

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    The post Ethereal Images of Places of Worship by Darlene Hildebrandt appeared first on Digital Photography School.


    Digital Photography School

  • Today’s New Version of Flickr Implements Bulk Downloading of Your Photos — Your Photos Really Do Belong to You

    Flickr Rolls Out New Search, Camera Roll and Batch Download Improvements

    Today Flickr is launching a number of new improvements to their service. I’ll review what they are in this post, but in my mind the most significant change coming today is that Flickr is introducing the ability for you to bulk download your photos from their site.

    I’ve been critical of Flickr in the past over the inability to easily get your photos back out of the service. While not a silo, Flickr’s never made it exactly easy to get your photos back after you upload them.

    You’ve always been able to download your photos on a photo by photo basis, but for someone with a ton of photos, downloading each and every one individually isn’t very practical or user friendly. For a while Flickr had partnered up with a company called Qoop (now out of business) that would bulk load your photos to CDs or DVDs and sell them back to you, but that never sat right with me either — why should you have to pay to get your own photos back? Also for someone like me with over 100,000 photos on the site, how many CDs would that take and how much would *that* cost?

    Several third party developers had developed apps that claimed to be able to use the Flickr API to bulk download your photos for you. I tried many of these apps with names like bulkr and migratr and flickrsync over the years and never found any of them very reliable or easy to use.

    All that changes today though as Flickr rolls out official support for batch downloading your photos from Flickr.

    Now you can fill up that free 1 terabyte (or unlimited terabytes if you’ve got a grandfathered Pro account) with confidence knowing that if you ever want/need those photos back from Flickr you’ll be able to get them back much more easily. As I understand it, there still may be photo limits for how many individual photos you can select in camera roll for a single download for performance reasons, but you can select large batches of photos from the new camera roll and Flickr will convert those photos into a zip file for you and send them right back to you on your computer. The number of photos you can download is unlimited. You can download multiple zip files effectively accessing 100% of your photostream.

    Today’s new support for downloading is a very consumer friendly thing for Flickr to do. It is already very generous for Flickr to give people 1 terabyte of free cloud storage for your high res original photos, but now allowing you to get them back as easily as you upload them there makes this even more generous. Kudos to Flickr.

    This new download support is part of a new section on Flickr called “Camera Roll.” Camera Roll has been in beta testing for several months now, but this downloading feature is newly available today.

    In addition to download support, Flickr also now allows you to easily grab a batch of photos from your camera roll and share them as sort of an album on the fly via url. This can be helpful if you have a batch of recent or specific photos that you want to email to one person, or share on Facebook or Twitter or elsewhere — with this new feature you just select them in camera roll and create a shareable url. Even if you have photos marked private you can share them with others with these special url links — sort of like a shareable guest pass but much easier to generate on the go.

    Flickr is also going deeper now with deep machine learning with Camera Roll. In addition to viewing your photos by date taken or posted, Flickr is now adding in a New Magic View, where Flickr will auto tag many of your photos and build them into commonly grouped albums. You can see all of your sunset photos in one place, or all of your group photo shots in one place, or all of your photos of automobiles, etc.

    Some of you who go wayyy back with Flickr, might remember the old Tag Cow company which would do similar tagging for you of your photos. In Tag Cow’s case though they were actually using Amazon’s Mechanical Turk and hiring people in places like India and China to manually review and tag your photos for pennies.

    Magic View is no Tag Cow though. Instead Flickr is actually using image recognition technology (remember this acquisition?) and algorithms to determine what your photos are of and then auto-tagging them based on this technology. If Flickr gets a tag wrong you will always be able to manually remove the automated tag. The tags that you add will be in a different shade than the auto-tags making it easy to see which ones you added and which ones Flickr added based on this technology.

    One of the benefits of having more/better tagged photos on Flickr is that it will allow more public photos to be findable and searchable. This public/private distinction is important because private photos on Flickr are never searchable, except to you.

    Which brings me to search.

    I am a HUGE fan of the new Flickr search experience. I’ve spent hundreds if not thousands of hours using the search functionality of Flickr. I routinely use Flickr search to scout photo locations, find people shooting in a particular area, stay on top of events happening around the San Francisco Bay Area, and tons of other ways. The new search page is clean and fast. In addition to date posted, interestingness and relevancy you can also now search Flickr photos by date taken.

    Flickr’s done an entire rebuild of the back end of the search page to make it super fast and responsive — they will also be porting this new rebuilt page technology to other pages in the weeks and months ahead to improve performance on many other popular Flickr pages.

    Although I consider myself a fairly advanced search technician when it comes to Flickr, for many who are not as sophisticated, basic text searches will be smarter. In the past if you wanted to search for the London Eye you’d have to search for “London Eye” with quotes, or merge the two words together as londoneye. With the new search if you type London Eye just as plain text, Flickr is smarter and will realize that you want to see photos of the London Eye not random photos of London mixed in with random photos of eyeballs.

    Flickr has also introduced some slick filters which will allow you to filter by colors (or black and white), photo styles such as depth of field photos or minimalistic photos or heavily patterned photos. Unfortunately there still is no filter to only show me photos without those pesky and ugly signatures and watermarks though. ;)

    In addition to Camera Roll and improved search, Flickr is also updating their mobile apps for iOS and Android, to provide a more consistent experience. My iOS experience on Flickr has not been good the past few months. Recent activity for me has become completely jumbled and unusable, which is more of a power user problem I think than anything. I’m hoping that the refresh fixes this bug for me — maybe not though. I do like to use the mobile version when I have a few minutes for looking at and favoriting photos of my contacts and it will be interesting to see what this is like once I upgrade.

    The changes Flickr is rolling out today continue to make Flickr better and better — a trend that’s continued over the past several years as Flickr has ramped up staff and built a better and stronger team.

    No other company today will give you a free terabyte of photo storage for your high res photos.

    It always boggles my mind that people actually pay for storage of their photos on things like iCloud, when they could just send everything to Flickr for free. Especially now that you can get your photos back so easily, there really is no reason why everyone in the world should not use Flickr as a free cloud backup storage for all of their photos. Even if you don’t want to mix up every photo on your hard drive or phone with your current carefully curated Flickr presentation, you can just set up a second account and call it backup to Flickr and have a free backup site for your photos.

    Are you one of those people who are constantly running out of space on your phone because of all of your photos? Then why aren’t you using Flickr?

    More from The Verge, Wired, TechCrunch.


    Thomas Hawk Digital Connection

  • Stop Giving Away Your Authority – You ARE a Photographer

    I recently started coaching my eldest son’s flag football team. Being a Mom, as opposed to a Dad, this was a rare situation. As the league’s only “Lady Coach”, I was not taken very seriously by anyone, including myself. I stepped up because no other parent volunteered, but once everyone saw that a woman was going to be coaching these young boys to fifth grade flag football success, Dads came out of the woodwork. Some to kindly assist me because ten 11 year old boys is a lot no matter who you are; yet others insisted on their services, because what could I possibly know about football and a bunch of boys? Certainly not enough to coach a youth sports team to uncertain victory.

    lynseymattingly6

    My turning point came at our weekly game last Sunday. Down more than a couple points in a season that has yet to provide a win, one of the kinder dads came up to me to suggest a play for the offense. When I didn’t understand he said, “Do you want me to draw it out for you?” and I said, “No. I want you to just run it with them.”

    Another dad would have taken over and done exactly that. This Dad didn’t. Instead of letting me give away my role—the one that I had rightly came by and earned, he went and found my clipboard from my very well-prepped coaches bag and drew it out for me to take to the field. I would love to tell you that it worked and it was the winning touchdown, but it didn’t, and it wasn’t. Instead, I got an extremely valuable life lesson out of it: It’s one thing to have someone—ANYONE try to take away your earned authority, but it’s an entirely other thing to hand it to them on a silver platter.

    lynseymattingly11

    As I reflected on this, I realized how often I do this with photography. The way I dread shoots, you would think that I was being called on to singlehandedly perform heart surgery on the President, with my only (actual) medical training being retrieving splinters and applying Band-Aids. The way I take feedback on my images, it would be easy to assume I had zero confidence in myself. The way I’ve dismissed my own skills, you would begin to question if I had any.

    You know that moment when your portrait clients show-up, dressed all perfect and looking adoringly at you, ready for whatever direction you give them? My first instinct is ALWAYS to run – away – fast. From these people who think I know what I am doing and want to give me money to do it.

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    In actuality, I am a good photographer. I, more often than not, grant my client’s every wish and provide them with more than a questionable response to the always asked, “Do you think you got anything good?”

    Truthfully, I am actually quite confident in many things—overly confident in some I bet. It’s when I am considered to be an expert that I lose my footing. It’s when I feel pressure to do something specific and challenging that I want to quit. It’s when there is an expectation from another than I mentally run through my getaway options.

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    For most of us, it’s uncomfortable to be considered an expert at anything. Especially if what you have to back it up is basically just other scenarios where it worked out in your favor. I am around kids all the time; I work with them, I volunteer for them, I actually parent five of them. I’m pretty comfortable talking to and instructing a younger age group on just about anything – including a sport that is considered the most important American game by beer-drinking middle-aged men everywhere.

    Why would I give away my power and not allow myself to be respected as the expert I am? For the same reasons I worry before every shoot, certain that I’ve finally reached the moment where my luck has run out and I, in fact, will not get anything good this time. And there will be the President of the United States, laying on the operating table while I stand over his open chest cavity with shaking tweezers and a flashlight.

    lynseymattingly2

    Just like I had never played flag football before a few months ago, I did not go to a formal photography school. In fact, I didn’t even study photography. I studied people and art, but the only true darkroom I have ever been in was when I wandered into my Grandfather’s in the basement once before, being knocked over by the chemical smell and never making that mistake again. I didn’t take pictures for my high school yearbook. I’ve never worked for a college newspaper. I don’t carry my camera with me everywhere (it’s heavy and really gets in the way). All of that said and when someone asks me what I do for a living, I say, “I’m a photographer.” (Cue the excited statements about the glamour and the questions about celebrities.)

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    I got here differently than you did. You got here differently than every other photographer you know. Probably the only thing we all have in common is occasionally (or maybe more often) doubting ourselves, and disliking aspects of our job—just like most everyone else on the planet. We are so quick to move negative thoughts aside because: how lucky are we? That has to be our first, last, and only thought, right? That we do something so fun. So glamorous. So creative. So special. And should we ever change our minds or fall flat on our face, there is a line of people a mile long behind us, happy to trample over our humbled bodies to get to the front of The Photographer Line.

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    In that moment on the football field when I wasn’t allowed to give my expertise and authority away to someone else, I vowed to make some changes in other parts of my life as well. Well not in that exact moment, but later that day when I was icing my entire body because walking back and forth, stiffly because you’re terrified someone will get something hurt – pride or otherwise – is more of a workout than you would assume.

    I decided I’m not going to sugarcoat photography as easy, and more than that, I’m not going to dismiss myself anymore. Photography isn’t just some random skill I picked up at a party somewhere, like opening a champagne bottle with a knife. Photography is hard. It’s exhausting and full of pressure, and sometimes…….I don’t like it at all. The need to stay relevant and at the top of my game is more tiring than pacing 50 yards over and over again in the hot sun. The idea that sometimes people don’t like my work, don’t know I tried my best, don’t realize how hard I have worked to get here, or really want me to perform Photoshop plastic surgery is often frustrating and sad. The nervousness I feel before any shoot is enough energy to power my camera without batteries, if I could figure out how to convert it.

    But I’m really good at it, and so are you.

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    And, it turns out, that you all feel the same. Or at least some of you do. I know that because when I posted this on my photography Facebook page this morning: I don’t like editing or emailing or scheduling. I hate the pressure to make sure I “got something good” at every shoot and I hate being out in the hot sun or the bitter cold when I’m shooting. I get nervous meeting new people and I dread trying to get to know them and be on their good side in a matter of minutes. – Within an hour, it was liked by many and commented on in appreciation for “being honest” and showing how much mental and emotional work photography often is.

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    I’ve been doing this for 10 years and I’ve seen a lot of portrait photographers start their own businesses. Some are still around, and some quickly faded. In the past, I have viewed them as competition, but the truth is that they aren’t. Not only is there enough business for all of us, but the more choice a client has, the more business is created and generated. I’m not the portrait photographer for everyone. You aren’t either.

    But you are an expert. You possess an ability that few have and a vision all your own. Your skill level may be at the beginning stages, or it may be very advanced. You get to choose to be nervous before shoots. You get to despise pieces of your job as a photographer. But quit giving away your power. Stop being so humble that your expertise is up for grabs. Don’t reduce your authority on a subject you’ve been marinating in for however long.

    Be confident in your piece of the photographer pie, no matter how small that piece is.

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    You’re going to fail at some point. Brilliantly, brilliantly fail. You’re going to show up without your memory cards, or you’re going to shoot absolute garbage, or you’re going to ask someone to pose in a way that puts them in the emergency room (it’s my greatest fear). But just like there are 10 boys that don’t know any better than to think that I can led them to a certain flag football victory, there is a handful of people in this world that think of you first as an expert in photography – and that’s something you should never, ever, give away.

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    The post Stop Giving Away Your Authority – You ARE a Photographer by Lynsey Mattingly appeared first on Digital Photography School.


    Digital Photography School

  • 10 Surefire Tips for Photographing Birds in Flight

    Recently an internal survey in my blog revealed that photographing birds in flight is the most sought after topic.
    It didn’t come as a surprise though, because that’s the specialty of birds. They defy gravity and rise up into the sky. How wonderful it is!

    Here I have listed 10 surefire tips that will help you to make better photographs of birds in flight. The more you practice, the better your photographs will turn out.

    1. Learn Flight Behaviour of the Birds

    Birds in Flight Photography

    Birds normally have the predictable flight behaviour. It requires observation. The more you observe them more you understand about their behaviour.

    Why is it important to learn bird flight behaviour?

    Tracking the bird as it flies is the trickiest part of birds in flight photography. If you know the flight behaviour of the bird, then you will be able to predict the next move and wait for the right moment to get best photographs.

    2. Point of View Matters the Most

    Generally the difference between good and bad photographs is the point of view. Photographing a bird in flight right above your head gives a different impact than a bird flying across.

    A photograph of a bird flying towards you will have a greater impact than a bird flying away from you.
    Taking an eye-level shot of a flying bird would yield an intimate result.

    Birds in Flight Photography

    3. Start with Slow Flying Birds

    It can often lead to frustrating results if you choose to photograph birds in flight without really having an understanding of proper techniques.

    Proper hand-holding and focusing techniques doesn’t come easy. There is no substitute to hard work when it comes to practicing these techniques. Best way to master them is to start with slow flying birds like Egrets and Herons.

    Great White Egret in Flight in Bharatpur Bird Sanctuary or Keoladeo National Park in Bharatpur, Rajastan

    Great White Egret in flight in Bharatpur Bird Sanctuary or Keoladeo National Park in Bharatpur, Rajastan

    Egrets and herons are in abundance and it is not tough to put all 10 tips into practice, just with these birds, and become a better photographer.

    4. Use the Right Camera Settings

    Make your life easy with these settings:

    • Aperture Priority mode
    • Matrix/Evaluative metering
    • Auto ISO settings up to whatever ISO settings you are comfortable with for your camera
    • Shutter Speed of at least 1/500th of a second or faster
    • AF-C focus mode for Nikon users and AI-Servo mode for Canon
    • Highest frames per second burst mode setting
    • 9-point or 21-point zone focus or 3-D tracking

    If you are unable to get decent shutter speeds of 1/500th of a second or more while hand-holding the lens, then wait for the proper light. No point taking high noise or poorly exposed photographs.

    Grey Heron Landing on a Misty Morning in Bharatpur Bird Sanctuary in Bharatpur, Rajastan

    Grey Heron landing on a misty morning in Bharatpur Bird Sanctuary in Bharatpur, Rajastan

    If you are using a sturdy tripod and a gimbal type tripod head, then you would be able to make some creative shots like motion blur or panning shots with slower shutter speeds.

    5. Choose the Proper Focus Points

    Choosing the right number of focus points is critical to making successful flight photographs. Most cameras provide a selection of multiple focus points which is often referred to as zone focus.

    I often select 9-point or 21-point zone focus out of 51-points. The idea is to use less, but enough auto focusing points, to make it easier for the auto focusing system and also for you to compose it in the field. If you do not have zone focusing then you might have to resort to using all focusing points. Also, with newer DSLRs, the 3-D tracking seems to have been improved considerably. You might want to try it too (consult your camera manual).

    Birds in Flight Photography

    6. Track Before You Photograph

    Most often it is our tendency to start photographing the moment we see the bird taking off or flying away. That’s natural but wrong.

    Photographing birds in flight takes patience. After waiting for a very long time you wouldn’t want to lose the opportunity. When you see a bird in flight, track the bird until the autofocusing system gets enough time to lock the focus. Once it is locked, you can fire off as many shots as you want without losing the focus.

    Tip number 1 and 7 coupled with this tip will help you to make successful flight photographs.

    Birds in Flight Photography

    7. Wait till You Get the Best or Contrasting Background

    Okay, assume that you are tracking the bird to get the focus to lock, but your lens is hunting for focus. If you understand how focusing systems work, then you will have better control over your photographs. Remember that the focusing system needs good enough contrast between the subject and the background. It is generally very easy for the autofocusing system to lock the focus when the bird is flying against a clean background like a blue sky.

    With practice, you will discover the capabilities of your camera’s autofocusing system which will in turn enable you to make better flight photographs.

    Birds in Flight Photography

    8. Take-off and Landing Shots

    Most birds often defecate before they take-off to lighten their load. This is a very important clue to get fantastic take-off shots. Of course, it also depends on your position and the light direction to get the most of the situation.

    Wind direction plays a major role in getting better take-off and landing shots since birds often fly into the wind while taking off and landing. It is wise to stand with your back facing the wind, very similar to the way you would face your back to the sun.

    Purple Heron Landing in Bharatpur Bird Sanctuary or Keoladeo Nationa Park in Rajastan

    Purple Heron landing in Bharatpur Bird Sanctuary or Keoladeo Nationa Park in Rajastan

    9. Get Creative with Silhouettes

    Photographing silhouettes of birds in flight is much easier than you might imagine.

    The brighter sky, to which you would expose, gives you a good enough shutter speed and also provides very good contrast for autofocus system to lock the focus.

    What is more important in the silhouette shot is the definitive shape of the bird. Because the bird is going to be dark or featureless, you have to get the shape of the bird properly. If the shape is not defined then you won’t be able to make it work, no matter how beautiful the sky is.

    Birds in Flight Photography

    10. Pay Attention to the Composition

    It is probably not as tough as you may think to get the decent composition in the field for birds in flight photographs. You just have to follow the Rule of Thirds guidelines so that you have enough breathing space, or room for the bird to fly in its direction.

    It makes sense to use Rule of Thirds because you would want to keep the bird in the left of the frame if it is flying towards your right so that you do not clip its wings and vice versa.

    Perfect Reflection of a Seagull Taking off during  Sunset in a Lake in Grayslake, IL, US. I love the reflection in this slightly frozen lake and the white plumage of the Seagull contrasting against the dark background.

    Perfect reflection of a seagull taking off during sunset in a lake in Grayslake, IL, US. I love the reflection in this slightly frozen lake and the white plumage of the seagull contrasting against the dark background.

    If the bird is taking off from ground level then you would want to keep the bird in the lower third position of the frame so that it takes off upwards. Keep the bird in the upper third position if it takes off downwards.

    Conclusion

    If you practice these 10 tips while photographing birds in flight, you will make better photographs for sure. It takes time to practice and make them your second nature, but it is worth a try.

    If you like my photographs of birds in flight, they are the result of my 7+ years of photography. Very important thing to remember is, no photographer gets fantastic photographs every time he/she presses the shutter. There will be hundreds, or even thousands, of hopeless photographs before getting one photograph that is worth sharing.

    You have got to have patience!

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  • Exploring Abstract Photography: History, Philosophy, Inspiration

    How do you as an artist express an emotion, an idea or a concept without referring back to something already loaded with meaning? How can you explore new visual territory hidden within old subjects you know well? Or what can you do to find some new inspiration and break out of your photographic rut? Abstract photography has the potential to be Continue Reading

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  • Exposure Lock Button – What is it and How to Use it?

    Nestled quietly on the back of most cameras is a button that is often ignored or misunderstood, particularly by those who have recently upgraded to a DSLR or Mirrorless camera. It’s the Exposure Lock button, and it can be a tremendous asset to photographers who are looking for ways to get more control over their cameras and ultimately their photography in general.

    students

    Using the exposure lock button helped me get the correct exposure on this picture of two students studying for final exams.

    To understand what this button does it’s helpful to know a bit about how your camera calculates the exposure using aperture, shutter speed, and ISO sensitivity.

    In Full Automatic mode these are all handled by the camera itself, producing images that are often pretty nice but can sometimes turn out too dark, too bright, or otherwise not exactly how you intended. In Manual mode you are required to set all three parameters yourself, which can sound intimidating at first, but is quite easy once you get the hang of it. However if you shoot in one of the semi-automatic modes like Aperture Priority, Shutter Priority, or Program Auto you have a high degree of control while still letting your camera figure out a few things too.

    In Aperture Priority you set the aperture and ISO, while your camera figures out the shutter speed to use for a properly exposed photo. But, in Shutter Priority you set the shutter speed and ISO to use, while letting your camera set the aperture. In these so-called Creative modes the automatic parameters (whichever settings are handled by your camera, not you) are constantly changing depending on what you point your camera at in order to get a nice, even overall exposure.

    stairway

    I didn’t have much time to get this shot, so using the Exposure Lock button was a quick way for me to get the image I was looking for.

    This is where the Exposure Lock button comes in; it freezes whichever exposure parameter was set by your camera until you take a picture. At first this might sound like a silly thing to do but makes a bit more sense when you understand how it can be used.

    I shot the picture below in Aperture Priority with my aperture set to f/2.8 while my camera selected a shutter speed of 1/500. Unfortunately my camera was looking at the entire scene, not just the subject, and chose a shutter speed that resulted in my subject being far too dark. The tradeoff was that the background was properly exposed, but my camera did not know that I was more concerned with the teddy bear than the scenery outside. To correct the problem I simply pointed my camera down at a darker spot in the foreground, pressed the Exposure Lock button, and held it down while recomposing my shot to the original framing. When I locked the exposure my camera selected a slower shutter speed of 1/30 which resulted in my subject being well lit even though the background elements were a bit too bright.

    bear-underexposed

    I shot this in Aperture Priority at f/2.8 but with the bright light through the window, my camera picked a shutter speed of 1/500 second. The outside looks great, but my subject is horribly underexposed.

    Aperture Priority, f/2.8, 1/30, ISO 200.

    By pointing my camera down, locking the exposure, and then recomposing the result was f/2.8 with a shutter speed of 1/30 second. Far too slow for the background to be properly exposed, but my subject looks just fine.

    You might look at this photo and wonder where the background went, but remember what happened in the original when the background was visible – the subject was too dark. By locking the exposure such that my subject was well lit, the background ended up far too bright. It worked out just how I wanted, because it was the bear that mattered to me, and not the scenery outside the window. I could have also employed another method to get my subject properly exposed such as center-weighted metering or adjusting the Exposure Compensation, but in this case I found the Exposure Lock function to be quick and easy enough to get the job done. It’s a handy tool to have in your back pocket for those times when you need to quickly over or under expose your shot.

    rooftop

    The Exposure Lock button came in handy here as well, and helped me get both a background and foreground that are well lit.

    If you’re interested in trying your hand at Exposure Lock, most camera manufacturers make it fairly painless. On Nikon cameras the button says “AE-L/AF-L” and is located about an inch from the right-hand side of the camera (on the back), while Canon’s button is a bit smaller and marked with an asterisk. You can even customize it on some cameras so that exposure is locked until you take a picture or as long as you physically press the button. Sony, Pentax, Olympus, and others have this button too but its exact appearance and location varies depending on the manufacturer and model.

    exposure-lock-button

    Most Nikon bodies have the Exposure Lock button in the top-right corner, but the exact location on your camera may be a bit different.

    The Exposure Lock button is a nice tool to have at your disposal, but it’s not quite the same as shooting in Manual mode while reading your light meter and histogram to make sure your exposure is nailed precisely how you want it. Still, it’s a fantastic way to adjust your exposure quickly, without changing any metering modes or other shooting parameters. I often find myself using it when I need to over or under expose the scene in a pinch, and once you get the hang of it you might find it useful in a similar fashion.

    Are you a fan of the Exposure Lock button, or do you have any other photography tips to help your curious camera-owning counterparts get photos that are properly exposed? Leave your thoughts in the comment section below.

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  • How to Shoot in Low-Light Conditions Without Using Flash

    Photography is all about capturing the subject beautifully in the available light. Sometimes as the photographer you have more than optimum light (e.g., bright sunlight, halogens, etc.) to work with while some other times you have to work in suboptimal or low-light conditions. If you are not a pro photographer then it is always a great challenge, and sometimes it’s a nightmare, to capture great shots in low-light conditions.

    Aperture 1

    Exposure info: f/1.8, 1/50th at ISO 3200

    In order to face the challenges that low-light conditions come with, I will be sharing five techniques that you can use to capture your subjects, effectively. For better understanding, I have divided these techniques into two categories: technical and non-technical considerations.

    Technical considerations

    • Use of high ISO
    • Use of large aperture
    • Use of slow shutter speed

    Non-technical considerations

    • Capture image(s) in raw format
    • Use of remote shutter and a tripod

    Use of high ISO

    ISO is the sensitivity of your camera (sensor) towards available light. It is measured in numbers (for example 80, 100, 200, 400 etc.) The higher the number, the greater the sensitivity of your camera is towards light and thus, more light can be captured.

    The amount of light captured is directly proportional to the selected ISO. In other words, at ISO 200 you can capture double the light than you can at ISO 100. Similarly, at ISO 800 you can capture 8 times more light than at ISO 100. Thus, in low-light conditions, you should use a higher ISO in order to capture your subject effectively.

    Iso 2

    Exposure info: f/3.2, 1/5th at ISO 1600

    Limitations of using a high ISO

    As it also impacts the image quality that your camera (sensor) produces, ISO comes with its own limitations. By image quality, I mean, the ability of your camera to produce noise (grain). At a higher ISO your camera will always produce more noise (grain) than at a lower ISO. So, you will have to test and check what the ideal ISO setting is (for your camera) at which you can capture your subject with optimum light, along with maintaining good image quality.

    NOTE: ISO is a feature of the camera and not the lens that you are using.

    Iso 1

    Exposure info: f/5, 1/125th at ISO 2500

    Use of large aperture

    Aperture is the opening (eye or hole) in the lens, through which light enters into the camera. Aperture size is also represented in numbers (for e.g., f/1.4, f/1.8, f/2.2, f/2.8, etc). The smaller the number, the wider the opening is and thus, more light can be captured.

    The amount of light captured is inversely proportional to the selected aperture. Say, for a lens with aperture values of f/1.4, f/1.8, f/2.2, f/2.8, f/3.3, f/4.0 etc., the amount of light captured at f/1.4 will be double the light than at aperture f/1.8. Similarly, at f/1.4 you can capture 8 times more light than at f/2.8. Thus, in low-light conditions, you should use a larger aperture (smaller value) in order to capture your subject effectively.

    Aperture 2

    Exposure info: f/1.8, 1/5th at ISO 400

    Limitations of using a large aperture

    As it also impacts the depth of field (sharpness or clear visibility) of the subject in your image, aperture comes with its own limitations. By depth of field, I mean, the ability of your lens to keep the subject in focus.

    Generally, using a small aperture (higher f/number) you will be able to keep your entire subject in focus which is not possible using a large aperture (lower f/number). Again, you will have to test and check what the ideal aperture size is at which you can capture your subject with optimum light, keeping it in focus.

    NOTE: Aperture is a feature of the lens and not the camera that you are using.

    Use of slow shutter speed

    Shutter speed, also known as camera exposure, is the length of time a camera shutter remains open in order to capture the light. Shutter speed is also represented in numbers (for e.g. 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/125, 1/250, etc.) The higher the number, the longer the camera shutter remains open and thus, more light can be captured.

    The amount of light captured is directly proportional to the selected shutter speed. For a camera with shutter speed values of 1/4, 1/8, 1/16, 1/32, 1/64, 1/125 etc., the light captured at 1/2 second is double the amount of light than that at a speed of 1/4 second. Similarly, at a shutter speed of 1/2 you can capture 8 times more light than at a shutter speed of 1/16th. Thus, in low-light conditions, you should use a slower shutter speed in order to capture your subject effectively.

    Shutter speed 2

    Exposure info: f/3.2, 1 second at ISO 400

    Limitations of using a slow shutter speed

    As it also impacts the motion or movement of your subject, shutter speed comes with limitations. If you want to freeze the motion of your subject then you should use a higher shutter speed (e.g., 1/250, 1/500, 1/1000, etc.) While if you want to capture your subject with a motion blur then you should use a slower shutter speed (e.g., 1/8, 1/4, ½, etc.) Once again, you will have to test and check what the ideal shutter speed is at which you can capture your subject with optimum light, freezing or blurring its motion.

    Shutter speed 1

    Exposure info: f/10, for 8 seconds at ISO 200

    NOTE: Shutter speed is a feature of the camera and not the lens that you are using.

    Capture images in Raw format

    A Raw image captures much more detail and information about the subject that you are shooting than a JPEG file. You get the luxury of improving the exposure, color, sharpness, etc., of the subject (using an editing software like Adobe Photoshop or Lightroom) while still preserving all the detail of the subject which is usually not possible while editing a JPEG file.

    Raw 1 1

    Exposure: f/3.2, 1/5th at ISO 400, before editing

    Raw 2

    Exposure: f/3.2, 1/5th at ISO 400, after editing

    Note: the editing has been taken overly far just to show you the amount of detail in the Raw file.

    Limitations of capturing images in raw format

    • Not all cameras can produce images in Raw format. Only selected higher-end cameras can. Most SLRs and Mirrorless camera can shoot Raw format as well as a few point and shoot models (check your manual if you are unsure, look for file formats)
    • Size of a Raw image is usually 4-5 times larger than the JPEG file that the camera produces. Thus, you will need more space for storing these images.
    • Only a handful of software can read and recognize Raw format files. Thus, you need specialized software (like Adobe Photoshop, Lightroom, etc.) to edit these images.
    Raw 1

    Exposure: f/2, 160th at ISO 2200

    NOTE: I believe that capturing images in raw format comes with more advantages than disadvantages and that it is always better to shoot in Raw format.

    Use of remote shutter release and a tripod

    If you want to capture a stationary or slow moving subject in low-light conditions then it is always better to do so using a remote shutter release and a tripod. This will help you avoid possible camera shake and you will have a greater chance of capturing your subject, effectively.

    NOTE: While most of the cameras can be mounted on a tripod, a smaller fraction of them can be used syncing with a remote shutter.

    Conclusion

    I have discussed in this article five techniques which you can use in order to take great photographs in low-light conditions. These techniques are: use of higher ISO, use of larger aperture, use of slower shutter speed, capturing images in Raw format and use of a remote shutter and a tripod. Almost all these techniques come with limitations, but they are also very effective, if tested properly for the camera and lens combination that you are using.

    Which particular technique do you use for taking those challenging shots in low-light conditions? Did I miss any other technique which can be equally effective? I would love to have your thoughts regarding this issue.

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  • 7 Landscape Photography Mistakes That Could be Ruining Your Photos

    If your photos aren’t turning out the way you expect them to, new gear is not necessarily the answer. In fact, chances are you are making one of these seven common mistakes. Don’t be discouraged though; just as a musician needs time to refine their skills, so does a photographer. Once you recognize where the problem lies, it’s easy to make adjustments and achieve better results the next time out.

    1) Shooting at the Wrong Time of Day

    Harsh afternoon sunlight can wreak havoc on a landscape photo. With bright highlights and dark shadows, the contrast makes for especially difficult exposures. For truly dramatic scenic opportunities, dedicate the hours around sunrise and sunset to photography. You’ll be amazed at how few people are there to clutter your composition. With the soft light and colorful skies, your photos will take on a new level of natural beauty.

    1_moonrise_red_rocks

    2) Your Images Lack a Clear Subject

    When you experience something grand, it’s tempting to try and include it all into one frame. The expansive landscape is undeniably beautiful but it’s lacking in any one point of importance. Before pressing the shutter, ask yourself “What is my subject?” If you’re able to provide an answer, you can learn to see like a camera. The human eye interprets a scene differently, heavily influenced by our peripheral vision and ability to scan from left to right. The camera however sees in a much simpler way, only able to record a small portion onto the sensor. By determining what the subject is, you can take the necessary steps to make an effective photo.

    2_fire_wave

    3) No Foreground

    The gentle hues of dawn are worth getting out of bed for, but color alone won’t hold the viewer’s interest. To make a dramatic impact on your scenic and travel images, find a strong foreground element. This can be a field of flowers, a boulder, tree, or even a man-made object. The idea is to add visual interest all the way through the frame. As you explore various options, try several perspectives including ground level. By having this location worked out in advance, you’ll be ready to capture the fleeting light.

    3_cactus

    4) Lazy Composition

    At nearly every scenic vista or photographic landmark, you’ll notice a definitive dirt spot where grass once grew. This well-worn spot is the final destination for scores of tourists who shoot the same photo year after year. Rather than following the crowd, take a quick loop around the area and search for unique perspectives. To more effectively communicate your vision, check all four corners of your viewfinder, and either zoom or physically move to make a stronger image. Do you need the fence in the bottom corner, or the tree that seems to enter the frame from nowhere? This type of attention to detail will help strengthen the composition in-the-camera which saves you time at home trying to clone out unwanted objects.

    4_lake_louise

    5) It’s Been Done Before

    Automatic modes were designed to provide average results under a variety of conditions. While this can be effective on occasion, it’s fundamentally opposite of what you’re trying to achieve with your art. Do you really want your images to be just average? In order to go beyond the safe shot, creative photographers will push the boundaries to explore their own vision. Rather than trying to recreate what’s already been done, find your own twist on it. This may not always be in line with current trends, but who’s to say you’re attempts won’t cause their own stir.

    5_brooklyn_bridge

    6) There’s Too Much Contrast

    One of the most common issues with scenic photos is the huge contrast difference between the foreground and the sky. The solution is not a new camera or complicated software. Actually, a simple tool known as the graduated neutral density filter is all you need. These commonly come in strengths of two (0.6), three (0.9), and four (1.2) stops. While HDR is another effective method, these filters allow you to achieve your vision in the camera at the time of exposure.

    Start by manually spot metering the foreground. The goal is to expose in such a way that the foreground is not black, leaving some detail in the shadow areas. This could be at “-1″ on your meter, or “0”, or even “+1″. Of course if you are not sure which foreground looks best, bracket. Take a quick test shot and notice how the foreground looks well exposed but the sky is overexposed. The next step is where the magic happens.

    6_without_filter

    Get out your graduated neutral density filter and position the dark portion over the top part of the lens. This will darken the bright sky while leaving your foreground properly exposed. You can fine tune the effect by adjusting the filter placement up or down in the mount.

    7_with_filter

    7) Fear of High ISOs

    You may be surprised to learn that a high ISO can be helpful for landscape photography. This is particularly true when shooting without a tripod or including a person in the frame. In these instances, the shutter speed can be no slower than about 1/125 to prevent camera shake and/or subject motion. Then, to achieve great depth of field and keep everything sharp from near to far, your desired aperture would be f/11 or f/16. With these two decisions made, you may take your photo only to find that it’s too dark. This is where the ISO comes into play. Simply double the ISO number and watch as the photo gets brighter.

    Many photographers are overly sensitive about high ISO noise and refrain from using anything over 800. Instead they’ll slow down the shutter speed, rely on image stabilizers, or open the aperture wider. The results may look acceptable on the small LCD only to appear soft when viewed or printed larger. Like most aspects of photography, there is always a tradeoff to consider. Would you rather have a blurry, but noise-free photo, or a sharp image with a bit of noise? Considering that most image editing programs now offer terrific noise reduction options, the ISO noise isn’t as harmful as it once was.

    8_tunnel

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