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Nature and Wildlife Photography Tips for Beginners

23 Sep

If you have an interest in wildlife or nature photography there is a good chance you have seen an image at some point that has completely taken your breath away. Maybe it was a photograph of a sweeping landscape washed in the golden light of the dying afternoon sun or close-up of some small natural miracle that you had never noticed before that moment. You might even have asked yourself, “How did they do that?”

Winter landscape

Well, the majority of those incredible photographs came about through a good deal of physical hardship, practiced patience, and a healthy amount of self-made luck.

Here are some tips to help you become stronger at wildlife photography and better at recording of the natural world.

Do your homework before heading out

Be as educated as possible before you ever make a photo. Doing your homework is one of the most important, yet loathed parts of wildlife photography. It never pays to walk into a situation and be completely clueless. Though you can never be totally prepared for every challenge you will face (that’s part of the fun) you can educate yourself so that you safely make the most of your outing.

What gear to pack

Advanced gear is not a requirement, however, patience and perseverance are essential. You don’t need the latest and greatest zoom lens or space-age gadgetry in order to produce outstanding nature and wildlife photos. At the same, you must also understand any limitations of your kit, so that you will have realistic expectations and avoid disappointment.

This photograph was made using the 28-135mm kit lens that came with my camera – after I slowly and quietly crawled into range.

Gear up for what you’ll most likely be shooting. Packing for a photographic outing can cause a lot of anxiety. It’s easy to over pack due to fear of lacking a piece of gear. Over packing though, can be even worse than under packing. You become weighed down and uncomfortable. You find yourself not enjoying what you’re doing which is one of the most preventable of all mistakes, made by photographers. Research the animals and scenes you are likely to encounter. Decide what is most and least important to you. Make choices, commit to them, and then let it go. It will make packing a lot less stressful.

If you plan on photographing wildlife, such as birds and animals that scare easily, then pack your best zoom lens so you can keep distance between you and your subject. Shooting landscapes or scenes where stealth is not a concern? You might consider taking along a wider angle lens to better capture your scene. Ultimately, there is no secret formula and no true all-in-one lens to cover every situation. Be informed before you leave so that you can make the best use of whatever lens you have.

A good bag is worth its weight in gold

All the planning in the world isn’t worth much unless you can comfortably carry your essential tools with you. Find a camera bag that can carry the gear you need easily, and is equally comfortable on your body. Bags range greatly in price and quality but you usually get what you pay for. For added piece of mind, you might consider a bag that is semi-weatherproof or water resistant.

My go-to lightweight bag for wildlife photography, shown with and without the handy rain cover deployed.

Camerabag

Read reviews and find a bag that fits your body, your gear, and your planned outing. You will have a much more comfortable and enjoyable experience. Speaking of comfort…

Shoes

Comfort items

Shoes: A good pair of hiking shoes or boots is one of the most important pieces of gear for any wildlife photographer. Grit, dirt, mud, water, insects, rocks, and creepy-crawlies – you need a pair of shoes or boots that can handle all of these elements. Your shoes should be well fitting and suitable for walking long distances. If your feet become uncomfortable it won’t be long before you start thinking about cutting your trip short.

Prepare a checklist

It’s always a good idea to have a mental checklist before beginning any shoot. Before your outing ask yourself the following questions:

Are any special permits or permissions required? Some National or State Parks and wildlife sanctuaries require special permits for access to certain areas, especially those deemed as backcountry environments.
Where will I park my vehicle? This is very important. Believe me, if you park your vehicle in an unauthorized area you will be stuck with a sizeable fine or worse, return to find your vehicle has been towed.
Are there time restraints of any kind? Most natural areas and parks have hours of operation just like a business. You might arrive expecting to shoot a great sunrise only to find out the location you chose isn’t accessible until after daybreak. Also remember that wild creatures and critters are usually most active in the early morning or late evening.
What are the expected weather conditions? This is a biggie. Know what to expect as far as the weather is concerned. Check the forecast the day of departure and keep tabs on it throughout the day if possible. NEVER chance endangering yourself or your equipment by venturing out unprepared for bad weather.
What are the times for sunrise and sunset? Again, be sure the places you want to capture a sunrise or sunset are accessible during those times. You need to also be aware of the schedule so that you can allow enough time to reach your location and set up your gear before it’s go time.
Are there any commonly photographed animals, landmarks, or structures? Research what is usually photographed around the area you plan to visit. Find a park ranger or staff member and ask about lesser known spots that are less travelled by tourists. Knowing what’s popular will save you time and help to avoid shooting a scene the same way it has been done time and time again. Look for ways to be creative and set your work apart!

So, you’ve researched your location and have a good idea of what to expect. Here are a few basic tips that can help you after you’ve reached your destination.

Shoot RAW

Shootraw

If possible, set your camera to capture images in camera RAW format. RAW image files are basically unprocessed, one might say uncooked, straight from your camera’s image sensor. They contain a massive amount of pixel information when compared to JPEG and take up a lot more memory card space. However, this additional information allows more latitude for adjustments in post-processing.

Use the lowest practical ISO

The ISO number of photographic film and image sensors relates to their sensitivity to light. The boiled down explanation is, everything else being equal, the higher the ISO number the less light is required to make an image. Unfortunately with higher light sensitivity comes increased image noise. In most (but not all) situations you will generally want to use the lowest ISO possible. That is not to say you should be afraid of bumping up the ISO. A fast shutter speed is often needed to capture the quick movements of wildlife and increased noise is far less noticeable than a blurred image.

Use AF continuous (AI Servo) mode when photographing wildlife

Afservo

Autofocus (AF) can be your best friend or your worst enemy. When it comes to photographing most wildlife, however, autofocus is a great tool! Animals and birds, especially the wild variety, are almost constantly on the move. They shift positions and move closer or farther away selfishly, with little regard for the photo you are so carefully trying to compose. This is when AF-Continuous and AF-Servo modes come in handy. Though called different names depending on your camera’s make, they both accomplish the same objective which is keeping a moving subject constantly in focus. Place your selected focus area over your subject and half-press the shutter button to engage the AF. Focus will be tracked for as long as you follow your subject while maintaining pressure on the shutter button. Read your camera’s manual (you’ve done that already, right?) for detailed information concerning specific autofocus capabilities for your model, and how each mode can be selected.

Don’t forget the tripod

“I really didn’t think I would need my tripod” are words that usually begin a sad story about how a potentially great shot is missed. In most wildlife and nature photography situations a tripod is always a good idea. It’s better to have access to one and not need it than to need it and not have one available. Find the lightest and most compact tripod that is sturdy enough to handle your camera setup.

Learn so you can prepare. Prepare so you can photograph. Photograph so you can grow.

Photographing wildlife can be difficult but it can also yield huge artistic, personal, and even spiritual rewards. So go out and have fun doing what you do, but don’t forget to put the camera down every now and then to enjoy the world around you.

“Nature never goes out of style.” – Unknown

The post Nature and Wildlife Photography Tips for Beginners by Adam Welch appeared first on Digital Photography School.

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Carry Less – Photograph More: Elevate Your Travel Photography

22 Sep

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As a travel photographer, either on assignment or shooting a personal project, capturing great quality images that represent the spirit of a place and its people is key.

Looking to achieve that was a priority for me, so I always traveled with a bag full of gear, including at least two DSRL bodies, three or four lenses, flash, tripod, batteries, etc. It was a heavy load, and it slowed me down. I am a Nikon shooter, so my first approach to unload weight was to carry an all-purpose lens. I got the Nikon 28-300mm, and along with this, I’d carry the 14-24mm for wide-angle shots. Now I needed a backup camera or second body. I debated whether to keep carrying another Nikon body or to try something more compact. Finally I decided to get myself a mirrorless camera; enter the Fuji X system. My first mirrorless camera was the Fuji X-E1 with the kit lens, the wonderful Fuji 28-55mm. That camera was a turning point for me, and after my first trip I was sold on the system. Yes, I still shoot Nikon, but I just don’t travel with those big guns anymore.

The mirrorless technology is now really advanced – gone are the days when the image quality was not up to par with DSRLs and the availability of lenses was scarce. There are similar options from different manufacturers: Sony, Olympus, and Panasonic all have systems that eliminated the reflex portion and bulkiness of the typical DSRL. Please understand that I am mentioning Fuji because that’s the camera I use, but this is not an article to discuss a specific camera or brand. What you should consider is that for the most of us, the image quality of these cameras nowadays is amazing.

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I’d say I’ve switched, at least for travel. Fuji is now my go-to system for everything on the move, including photo walks. If you are planning to invest in a camera system, you should at least give mirrorless consideration, and here is why:

1) Travel Light

When using a mirrorless system, traveling light doesn’t mean that you’ll be out of options in the field. In just a small camera bag, you can fit a lot. This Domke F-3X Super Compact bag contains two bodies, five lenses, a flash, four extra batteries, radio triggers, a GPS for geotagging and SD cards. What I have here in terms of camera are the Fuji X-T1, Fuji X-E2, Fuji18-55mm zoom, Fuji 55-200 zoom, the 23mm and 35mm primes and an 8mm fish-eye from Rokinon. Believe me, I can carry this all day long without putting strain on my back, which brings me to the second point.

CAMERA BAG

2) Shoot all day

Wandering light means you can wander more. A small and light kit won’t wear you out and you can pretty much shoot all day long. With these cameras you can always have one on you, even if you are not carrying a camera bag. There are plenty of options where you can take them on your belt and even inside the pocket of a jacket. Having a camera with you all the time brings more opportunities to capture the people and places where you are traveling. The photo below was taken my first day in New Orleans; after a long flight I just went out for a walk with the Fuji X-E2, the 23mm prime and a flash in my pockets, and when the opportunity presented itself I was able to shoot it.

Street performer at night in New Orleans

3) Be invisible, blend in

There is nothing more annoying than people being scared of you. Trying to stick a big lens or camera in front of people in public spaces, or even worse, in remote locations where you don’t speak the local language, is a formula for disaster. There is also a difference if they see you as a pro photographer or just another tourist. When you carry a small camera, you’ll most likely go unnoticed or they won’t feel as intimidated as they would when they think you are pro shooting for a magazine. I personally love to shoot markets: these places, away from big cities, are one the best ways to explore local cultures. I’ve noticed a big difference since I started to shoot with the Fujis on my trips. I can blend in more, I can aim the camera, smile, and get a photo with no problems, whereas before many times I’d have people turning their faces down or away from me. Just consider this fact alone and the difference it can make in your photography.

Old Burmese woman smoking a cigar

Another great feature besides what is mentioned above is how easy it is to work with an electronic viewfinder. Imagine being able to see exactly what are you getting in your viewfinder before making the shot. You can quickly adjust camera settings and see the changes on the fly. Seeing where your whites are clipping or how the shooting mode will affect the result of the image without having to move your eyes out of the viewfinder is phenomenal. I could go on an on about the benefits, but I am not a technical person.

If you like to travel and go places, in my opinion this is the way to go. The future is even brighter, as manufacturers continue to develop their lineups. Mirrorless is versatile and delivers excellent results. Touring light will make your travel photography better and you’ll be able to enjoy your trip more.

Any other mirrorless fans here? Show us your photos and tell us about it.

The post Carry Less – Photograph More: Elevate Your Travel Photography by Daniel Korzeniewski appeared first on Digital Photography School.

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Creative Live hosts six days of free online photography classes

21 Sep

Creative Live is currently hosting Photo Week – six days of free photography classes. The event is ongoing through September 20th, and the interactive classes will be taught by professionals from various parts of the industry on a range of topics such as light painting, wedding and GoPro photography. Read more

Articles: Digital Photography Review (dpreview.com)

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Making the Most out of the Photography Stuff You Have Already

21 Sep

Several years ago I had a studio for about six months. It was really nice to have a space that I knew was always there, waiting for me to shoot in, should the need arise. The problem was that most of my shoots took place outdoors or on location, and when my trial lease period was over, I couldn’t rationalize staying on at the monthly rental rate. What didn’t occur to me at the time was that I had a perfectly good, albeit small, basement at my disposal. Due to the low, 80″ (6.6 foot) ceiling, the narrow, 10’x20′ shooting area, and the generally dark ambience of an unfinished basement, the thought of shooting down there had never crossed my mind. It wasn’t until I moved out of my studio and no longer had a place to store my gear, that I even ventured down there with my equipment.

The setup began simply enough, with me doing little more than editing at a table down there. Over the months that followed, I did the occasional head shot or product shoot, quickly realizing that I didn’t need as much space as I originally thought. Sometimes a problem would arise, like when I needed to shoot a full body portrait of a guy who was over six feet tall. I began modifying the space accordingly, such as adding white panels to the overhead joists to reflect light.

I wanted a white seamless set up, but the backdrop stand legs were too wide to allow for the 8 foot wide white vinyl roll. Instead, I discovered that I could run a rod from the top of the air condition duct to a C-stand and just barely fit it in the space, pulling the sweep just out to the edge of my desk. This allowed a depth just long enough to light the subject and background separately, which meant I could accomplish a pure white background (if the space was any more shallow, the subject would be stepping in to the backdrop light, blowing them out with the light).

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The other issue with a small shooting space is that you don’t have the space to back your lights off of your subject. As you may know, if you want soft light on your subject, you need to make your light source large and diffused or indirect. The problem was that if I added even an smaller umbrella to my strobe stand it meant that I’d have to lower the light the length of the radius of the umbrella, leaving my light at a max height of around five feet (too low). The narrow width of the shoot space also meant that I couldn’t simply hang up a white sheet and shoot through it, which is a common workaround in making a small light source larger.

I eventually figured out as a solution which was to place a 40″x60″ white board on my desk, beside where the subject usually stands, and shoot light into the board, several feet in front of the subject. By securing a credit card, or something of a similar size and opaqueness, to the side of the strobe, and zooming the flash in to 105mm, I was able to get my light stand out of my view of the subject as well as create a large, reflected light surface, that ran all the way up to the ceiling. This large light source was fantastic in creating a giant catchlight in the subject’s eyes, sunglasses or any reflective surface. I also added a small, white v-flat to hide the background light, which also served in reflecting some of the light onto the opposite white wall, helping to further light the subject.

Keep in mind that within the small confines of this setup, the subject is pretty much fixed in one spot. If they were to move forward at all, the crosslight will create odd shadows on their face, or if they move backward, they would get caught in the harsh background light.

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What sorts of innovations have you come up with to work within your space or equipment limitations? Share in the comment section below.

Links to other DIY projects for you:

DIY How to Build and Use a Reflector to Take Better Portraits
Light Tent Comparison – DIY Versus Kit Tents
A project for the New Year: How to make a DIY Ground Pod
27 Amazing Macro Snowflake Images Shot with a DIY Camera Set Up

The post Making the Most out of the Photography Stuff You Have Already by Nick Fancher appeared first on Digital Photography School.

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Collection of Summer Sports Photography

20 Sep

The part of the world where I live, we’re already starting to feel the changing season coming. Here that means summer is giving way to fall and cooler temperatures. This roundup of summer sports photography is to help those of us in the northern part of the world to hang on to it a little bit longer.

What’s your favorite sport to watch or photograph?

Maybe you’ll be inspired to go shoot some action or sports while the weather lasts.

Ready? Go!

Photograph Unlimited playground by Tristan Shu on 500px

Unlimited playground by Tristan Shu on 500px

Buffalo race by Astro Mohan on 500px

Photograph Aerial by Jeff Dotson on 500px

Aerial by Jeff Dotson on 500px

Catch by Jessica Drossin on 500px

Photograph [O] by Mariló Irimia on 500px

[O] by Mariló Irimia on 500px

Where are the brakes on this thing? by Christopher Martin on 500px

Photograph Slam Dunk by Tripleasy on 500px

Slam Dunk by Tripleasy on 500px

Frontside Nosebone by toddf on 500px

Photograph Fs Air- Aaron Lewis by David Gutierrez on 500px

Fs Air- Aaron Lewis by David Gutierrez on 500px

The Pitt by Andrew Cooney on 500px

Photograph C6J00010 Pipeline Blur by David Orias on 500px

C6J00010 Pipeline Blur by David Orias on 500px

Motorcross by Faiz Baig on 500px

Photograph Motocross by Sanjay Pradhan on 500px

Motocross by Sanjay Pradhan on 500px

Swimming Championships by MOHAMMED KHAMIS on 500px

Photograph Making the Turn by Tim Tadder on 500px

Making the Turn by Tim Tadder on 500px

Final Effort by John Hartman on 500px

Photograph Sliding in by John Hartman on 500px

Sliding in by John Hartman on 500px

Jump! by rarindra prakarsa on 500px

Photograph Soccer-2 by Jaredd Bell on 500px

Soccer-2 by Jaredd Bell on 500px

Up and Down by Matt Johnson / EMJ Fotografi on 500px

Photograph Untitled by Hai Thinh on 500px

Untitled by Hai Thinh on 500px

Notre Dame vs. Michigan State by Scott Kelby on 500px

Photograph Strength! by Henrik Spranz on 500px

Strength! by Henrik Spranz on 500px

Speed by Jos Didden on 500px

Photograph Sun Skiier by Florian Feuchtner on 500px

Sun Skiier by Florian Feuchtner on 500px

Bouldering top out by Martyn Castens on 500px

Photograph Rock Climbing by Regy Kurniawan on 500px

Rock Climbing by Regy Kurniawan on 500px

I Want to Ride My Bicycle by Charles Kachmarsky on 500px

Photograph Barrel racing by Gabor Monos on 500px

Barrel racing by Gabor Monos on 500px

The post Collection of Summer Sports Photography by Darlene Hildebrandt appeared first on Digital Photography School.

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Weekly Challenge – Sports Photography

20 Sep

Earlier today I shared a collection of sports images. Now as usual it’s time for the challenge. I throw down the gauntlet and urge you to accept it and play along (pun intended).

Sports photography is a tricky subject. Fast moving subjects, quickly changing lighting conditions, and restrictions on where you are allowed to stand. All these things can be overcome and conquered – with practice!

Now is the perfect time to get out and do just that. Try out your high speed shooting mode, or borrow a lens. Find a local sporting event and get out and take some action photography shots. Here are some examples to get you started:

By Jim Larrison

By Javier

By Rahul Bhattacharyya

By USAG- Humphreys

By Todd Fong

By brent flanders

By Devon Christopher Adams

By David Humpohl

Need some help with some sports photography tips? Try these:

Catching The Action: Photographing Youth Sports
Catch that Shot! 10 Tips for Weekend Warrior Sports Photographers
Sports Photography – An Introduction
Tips for Indoor Sports Photography – Part 1

Share your sports images

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section as pictured below) 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.

The post Weekly Challenge – Sports Photography by Darlene Hildebrandt appeared first on Digital Photography School.

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3 Tips to Help Keep Your Photography Passion Alive

19 Sep

Fountain rainbow

Photography is like any other pursuit in life, in that it requires a great deal of time and practice. Unless you make a living as a professional photographer, you might find that you simply don’t have enough hours in the day to devote to taking pictures. With work, family, school, and plenty of other obligations in our lives, it’s easy to let photography take a back seat to everything else. So, unfortunately we often find our expensive cameras gathering dust on the shelf, and our vibrant photo libraries growing ever more stagnant as the months and years pass. How in the world is it possible for hobbyist or enthusiast photographers, much less beginners who are just entering this brave new world for the first time, to find chances to learn, stretch, and grow, or just do what they enjoy doing? Thankfully there is hope, and I’d like to share a few tips that have worked for me.

1. Hold yourself accountable

When most people get their first camera, or upgrade to a better one, they go through a similar process. Initially it seems like anything and everything is worthy of a photograph – kids, pets, food, cars, flowers, clouds, friends, skylines – nothing is off limits. There’s a newness and excitement to the whole endeavour that seems almost childlike. People in this early phase never seem to have an issue with finding time to indulge their new infatuation, and often they find it hard to stop taking pictures! But soon the veneer wears off, the pressures of life start to add up, and cameras often end up spending more time on shelves and dresser drawers.

There is beauty all around, but sometimes you have to stop and look for it.

If this sounds like you, one of the best things you can do is find a way to hold yourself accountable for keeping your photography passion alive. Some people decide to take a picture every day or each week. Others join an online photo community and start posting on a regular basis. Most cities have photography clubs where members gather to discuss techniques, photo opportunities, and gear. dPS, and plenty of other sites, have weekly assignments or challenges that are a great way to try something new, while also keeping your photography hobby alive.

When I was in this rut a while ago I started my own blog, Weekly Fifty, where I post one photo each week taken with a 50mm lens. Doing this has forced me not only stay active with my hobby, but to seek out new opportunities that I otherwise might have missed. Having some type of assignment or challenge that forces you to use your camera will often help rekindle the flame that was once burning so bright, and help you fall in love with photography all over again, even if you do have other things going on in your life.

I had to find a photograph for my blog, so I walked around a flower garden for a few minutes and got this shot of a coneflower. Without something to hold me accountable, I probably would never have gotten this shot.

If you do go this route it’s important to find a method that is fun and enjoyable, rather than a burden. Photography should not be a chore, and I have known some individuals who have grown to resent their accountability methods because they took on more than they could handle. If you already find yourself stretched too thin, signing up for a daily challenge will probably not help. But a weekly challenge, monthly assignment, or local club meeting might be just what you need to fit photography into your already busy life.

2. Bring your camera and keep your eyes open

Whether you decide to participate in a photo assignment or not, one thing you can do to fit photography into your packed schedule is simply bring your camera with you. Most of us have similar daily routines involving home, work, school, or other obligations and you might think that the photogenic moments in your daily life are few and far between. But if you keep your camera close at hand, and keep your eyes peeled, you might learn to turn the mundane into the magnificent. That might sound like hollow grandiosity, but it’s true: if you start looking for the beauty in your everyday life, you will likely find a whole new world of picture-taking possibilities that you never noticed before. It’s a great way to keep your love for photography alive without adding another burden to your already crowded lifestyle.

Case in point: the other day I walked up to the office building at work and saw a patch of mushrooms by the door. At first I thought it was nothing special at all:

Shot with my iPhone

But because I almost always have my DSLR with me I was able to take this picture of what might otherwise have been an entirely forgettable scene.

Mushrooms d200

Circumstances like this are all around you, and finding them is not a matter of time but of observation. If you find your expensive camera spending more time gathering dust than taking photos, it wouldn’t hurt to simply start bringing it with you more often and keeping your eyes opened.

3. Get out of your comfort zone and try something new

It’s human nature to grow complacent and comfortable. We are creatures of habit, and change can be difficult, especially when it threatens to upset a careful balance we have achieved in our lives. But stepping away from your comfortable surroundings and trying something new is a fantastic way to inspire you to find photographic opportunities in your life. Whether it’s a new lens, a new filter, a new technique, a new piece of software, or even a new camera, trying something new is a great way to spice up your photography and help you get your camera off the shelf and into your hands again.

Here at dPS there are hundreds of articles with a myriad of tips, tricks, and techniques to try – and that’s just the start. There is no shortage of articles on the internet filled with new ideas, and doing so won’t add any more hours to your day. But it might help you find ways to squeeze more time in for photography than you might otherwise think. For example, when I found myself stuck in a rut several months ago I read some articles on a technique known as panning. Then my friend, (and photography mentor) Ryan, rode around on a bike while I practiced with my camera, and we ended up with this shot. While it’s not perfect, it gave me an idea of a whole new aspect of photography to explore.

Biking

One of the main selling points of DSLRs and mirrorless models is that they have interchangeable lenses. While the kit lens that comes standard with most cameras is fine for many situations, shooting with a different lens can radically alter your perception of what the camera can do. In the process, you will likely experience the same spark of inspiration and creativity that you had when you first got your camera.

Think of your camera body as a mobile device, and the lenses like applications. Every app on your phone or tablet has a different purpose and allows your device to do different things; in the same way every lens gives you different photographic possibilities for your camera. Using a camera with only one lens, especially the kit lens, would be like buying an expensive new smartphone or tablet but never downloading a single app. You might enjoy it, but you would be severely limiting the capabilities of what your device can actually do. If you want to inject a renewed sense of vitality into your photography, buying, renting, or just borrowing a new lens can do exactly that.

General index

This simple shot of some books in a dimly-lit library would not have been possible with a kit lens, but switching to a 50mm prime lens with wider f/1.8 aperture opened up a whole new set of possibilities like this.

You are busy with plenty of demands on your time; it might seem impossible to fit photography in with everything else going on. But hopefully these tips give you a starting point, and if you have any others that have worked for you feel free to leave them in the comment section below.

The post 3 Tips to Help Keep Your Photography Passion Alive by Simon Ringsmuth appeared first on Digital Photography School.

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Couple Photography: Telling Their Love Story

18 Sep

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A while ago, I went to the funeral for my husband’s dear Grandpa Wes, and I looked through old photos of him and his beautiful sweetheart, Daphene, who passed away just 6 months before (they couldn’t live without each other for very long). They had photos when they were young snuggled up together, holding hands, and even kissing, and it struck me how rare that was. Old photos usually are much more formal, and don’t show a lot of emotion or candid feelings. They also had more recent photos that showed the same affection, and that’s rare as well, to be married for decades and still have that connection. It made me realize even more how much I love what I do, and how much I especially love capturing those real moments, the ones that the grandkids will look back on later and say, wow, Grandpa and Grandma REALLY loved each other!

I’ve found some great ways to get couples to really connect for me, and hopefully these tips will help you capture a love story for every couple you photograph too.

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Be Invisible

I tell couples many times during a session to pretend that I am not there. It usually works to bring their focus on each other, and some of the focus off of me. You want your subjects to act naturally towards each other, and interact how they normally would on a daily basis. You don’t want them to be so worried about you taking their photo, that they forget that they even love each other.

I like to tell them to look at each other, and say everything they feel about the other person with their eyes only. Some couples actually have deep, meaningful connections when I ask them to do this. Others laugh at the corniness, but it doesn’t matter. They are laughing with each other, and the connection is there. Either way, have your camera ready, and capture it.

Another good interaction builder is to ask them to whisper something in the other’s ear. I tell them that I do not want to know what they said to each other under any circumstances! This usually helps them to relax, and gives them permission to whisper all sorts of things to each other that will either ignite sparks, or laughter. It doesn’t matter, as long as they are pretending I’m not there, pretending the camera isn’t there, and making a connection.

Get Them Closer

Most of us have a distance comfort zone that we like to keep around ourselves. We don’t usually like people to be too close, especially when a photographer is watching us. Your job is to get them closer to each other. It may feel a little uncomfortable to them at first, but remind them that in a photo it doesn’t look as close as it feels, it just looks like they love each other.

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You want to have a physical connection somewhere. Ask them to bring their foreheads or noses together (depending on height difference). Ask him to put his hand on her cheek, or on her back. She could put her hands on his chest, or on the back of his head. A good old fashioned kiss can work great too. A physical connection could be as simple as a hand hold, but just make sure they are connected. You don’t have to direct every hand placement, and pose them into uncomfortableness. Sometimes it’s enough just to ask them to hug lightly. Little cues go a long way – you want them to be natural with each other, and connect in a way that feels comfortable to them.

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Give Them Something to Do

People that aren’t particularly comfortable with the camera can get even more uncomfortable if there isn’t anything for them to do. Couples sessions can be easier than a solo session in that regard, because at least they have someone to hold on to, but sometimes that isn’t enough to get them comfortable with the situation. If you just expect them to stand there and make beautiful images for you, you might be disappointed.

Tell them to take a walk together, or look at each other and laugh. Corny? Yes. Effective? Most of the time. Use vehicles to sit on, sit in, or lean on. Let him push her gently on a swing. Have them bring a puppy to interact with together, or a horse to hold onto, or a blanket to sit on. Even a wall or tree to lean on can help them feel a little more comfortable.

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Faces Aren’t Mandatory

It’s great to get a few photos of the couple looking at you, although I still try to get them to have that physical connection with each other (cheeks together, but facing you; her head on his chest, both facing you, arms around each other, etc.). However, you can show even more connection sometimes without showing their faces at all. Intertwined fingers are a favorite thing of mine to photograph. A head on a shoulder, their backs as they walk away, or holding hands can show a lot too. Find those little details that can tell their love story in a subtle way.

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Be Invisible – Again

You’ve already told them to pretend you aren’t there, but you can really remove yourself by peeking your camera through branches, leaves, or curtains. Not only does it kind of remove you and the camera from the sight of your subjects, but it gives you a great perspective for your photo. It lets the viewer feel like they are peeking into something that they shouldn’t be seeing, and makes the emotions feel even more genuine.

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Who doesn’t like a good love story? If a picture is worth a thousand words, then a whole photo session with a loving couple is a romance novel. Your job as the photographer is to make it a good one.

The post Couple Photography: Telling Their Love Story by Melinda Smith appeared first on Digital Photography School.

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10 Must-Have Camera Settings for Concert Photography

16 Sep

The Rolling Stones: Nikon D800, 185mm at f4, 1/320, ISO 1600

The correct camera settings are key to getting awesome concert photos in low light situations. Maybe you were in this situation before. You used the full automatic mode in front of the stage and – BAM- the little flash monster sitting on top of your camera pops up and throws the ugliest light you can think of onto the singer’s face. At this point, a lot of frustrated concert photography beginners just take their cameras home and never shoot a concert again. But wait, in this article I’ll share the camera settings I use all the time during concert shoots and I promise they’ll help you to immediately boost your career as concert photographer. Let’s start.

1) Aperture Priority Versus Manual Exposure Mode

I started off using aperture priority mode; you tell your camera the aperture you want to use and the camera sets the shutter speed accordingly. This is a great option for a beginner to use, because you’ll be stressed enough with all the other things going on around you. However, I soon recognized that only manual mode would give me the flexibility I was looking for. I set aperture, shutter speed, and ISO and then change them on the fly using the internal exposure bar in the viewfinder. I am constantly checking my LCD screen and have a look at the histogram to see if my exposure is correct.

Fink: Nikon D700, 14mm at f/2.8, 1/200, ISO 3200

2) Use the Lowest Aperture Number

When deciding which lenses will work best for concert photography, you’ll always come to the same conclusion: use fast lenses and shoot them wide open. Set your aperture to the smallest number on your lens e.g. f/1.8 (which reflects a big aperture). This allows the most possible light to enter your sensor and is a must-have setting in ultra low-light stage conditions. The best zoom lenses have an aperture of f/2.8, the best prime lenses f/1.4 or f/1.8. For Beginners on a budget I suggest to get a 50mm f/1.8, which is cheap and therefore a no-brainer for concert photography.

3) Use a Fast Shutter Speed

Have you ever been on a concert where the artist was hyperactive jumping from one side of the stage to the other? To freeze these movements you have to use a fast shutter speed. In general, I set my shutter speed at 1/200sec and faster. Otherwise you risk blurred photos.

Miley Cyrus: Nikon D800, 340mm at f/4.8, 1/320, ISO 1600

4) High ISO Values

ISO or film speed refers to the sensitivity of an analog film. Today the term is used for the sensitivity of your digital sensor. The higher the ISO setting the less light is needed for a proper exposure, but the more noise you will encounter in your pictures. Depending on the ability of your camera a good starting point for ISO is a setting of 1600. If my shutter speed is too low, I will crank up the ISO setting to 3200 or 6400.

5) Spot Metering

Set your camera’s internal light meter to spot metering. This takes a light reading limited to the center of your viewfinder (a very small percentage, and some cameras allow you to choose where to meter – check your manual). When shooting concerts, you will often find yourself in a situation where the artist is lit by a spotlight and the rest of the stage is almost dark. When using spot metering mode, place the artist’s face in the middle of your viewfinder and you’ll get the right exposure for it. When using the Matrix (or evaluative) metering setting, the camera will take a light reading at several points in the scene and you’ll probably get overexposed faces if the background is dark.

Atari Teenage Riot: Nikon D700, 50mm at f/1.8, 1/2500, ISO 1600

6) Use the Middle Autofocus Point

On your camera, only use the central focus point in low light situations. This will be the most accurate one. If you don’t always want to have the artist in the middle of the frame, you have to recompose. Simply push your shutter button halfway down to focus on the artist’s face. By holding the shutter button halfway down you lock focus. Now move your viewfinder until you get the desired framing and push the shutter button fully down.

To use this technique, you have to set your camera to Autofocus single (AF-S for Nikon, One Shot for Canon) mode, otherwise the camera focuses continuously while you’re reframing your picture. You can also set the AF-ON button to focus, which I prefer.

7) Use Auto White Balance

I use the auto white balance setting on my camera. The reason being is that I shoot in RAW format and can therefore adjust the white balance setting in post-production anyway.

Skunk Anansie: Nikon D700, 85mm at f/3.5, 1/500, ISO 1600

8) Multiple Shot (Burst) Mode

Set your camera to multi-shot mode (may be called High Speed shooting mode). It allows you to rapidly shoot three to four photos in a row (depending on the frames per second of your camera model. It’s more likely that at least one of the four photos is tack sharp whereas the others might not be in focus.

9) Never Use Flash

First, you are not allowed to use a flash in concert photography. Imagine ten photographers burst their flashes at the same time. This would be quite annoying for the artist. Second, straight flash pictures don’t look awesome.

Korn: Nikon D700, 130mm at f/2.8, 1/250, ISO 3200

10) Shoot in Raw Format

Always shoot concerts in RAW format. If you shoot in JPEG mode, the internal camera computer adds contrast, saturation and sharpness to your photos. These files look great when you open them on your computer, but don’t leave much freedom in post-production. If you shoot in RAW format, the camera does not process the photo at all. The advantage is that you can change parameters like exposure, white balance, saturation, contrast, clarity and so on afterwards.

Here is a summary of my ten must have camera settings:

Use manual exposure mode
Use your lowest aperture number
Use fast shutter speeds
Use high ISO values
Use spot metering
Use your middle autofocus point
Use the auto white balance setting
Use burst mode
Never use flash
Shoot in RAW format

With these camera settings you will be able to get great results when shooting in low light conditions such as concerts.

The Prodigy: Nikon D800, 85mm at f/1.8, 1/320, ISO 1600

Zola Jesus: Nikon D700, 50mm at f/1.8, 1/200, ISO 1600

Being a concert photographer can be tough. There are a lot of industry secrets that nobody is talking about and it took me almost six years to reveal them.

So I decided to write the Guide to Rockstar Concert Photography which is a step-by-step guide which will provide you with all the information necessary from shooting your first concert, learning which camera gear and settings you need, how to build an awesome portfolio, understanding the rules of the photo pit, getting signed by magazines, shooting exclusively for your favorite bands, and making money with your work.

This guide is available for the first and only time at SnapnDeals at a 50% off discount to help you getting started to become a Rockstar Photographer too.

The post 10 Must-Have Camera Settings for Concert Photography by Matthias Hombauer appeared first on Digital Photography School.

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Down and Dirty Guide to Milky Way Photography

16 Sep

Milky Way Over Mono Lake | James Brandon

Seeing the Milky Way with your own eyes is a life-changing, mind-blowing experience. It will put your place within the universe in to perspective and remind you just how small and insignificant we all are. The sad part is that most people have never seen it. Over half of our planet’s population lives in cities where seeing the Milky Way is all but impossible.

Even when people get out of the city and have a good view of the stars, they usually don’t focus on them long enough to find the Milky Way. It’s something that you either stumble onto by accident, or something that you have to plan ahead of time. Here’s a few quick tips for getting the Milky Way in your viewfinder and exposing it properly – your guide to Milky Way photography.

Research, Research, Research

Benjamin Franklin said so brilliantly that, “By failing to prepare, you are preparing to fail”. And it was Antoine de Saint-Exupéry that said, “A goal without a plan is just a wish”. So it goes with Milky Way photography. Sure, you can make a point to go out at night and see what you can find, but chances are you will be wasting your time.

saint-john-milky-way-2

The Milky Way by Hemispheres

The Milky Way is only visible in your respective hemisphere during certain months of the year. If you’re in the northern hemisphere your best time to photograph the Milky Way is in the summer, with July being the peak month. Unfortunately, the summer months aren’t typically the best times for clear skies because of the heat and the clouds from all the storm systems. Summer nights are also short, therefore limiting access further to the night sky. Folks in the southern hemisphere have it better, with the winter months being the best time.

Don’t Forget the Moon!

The moon can make or break your Milky Way shots. This is why planning is so important! Don’t make the mistake of finding a perfect subject, waiting for the Milky Way to line up, and then discovering that the moon is right in the middle of the celestial center. Having the moon obstructing the view of the Milky Way will, quite simply, ruin your shot.

There are two ways the moon can help your shot. One is by its total (or nearly total) absence in the sky. The other is by having the moon behind you, with the Milky Way in front of you (thereby providing a light source for your foreground).

The Best Astro App EVER

Oh no! The moon is in the way!

All you need to do to plan a perfect night of Milky Way photography is a beautifully designed app called StarWalk 2 (sorry Android users, you’re simply out of luck here. I have an Android phone and I absolutely hate that I don’t have access to this). Luckily I have an iPad and it works beautifully on there.

StarWalk lets you interactively view the night sky from either your position, or any other position on earth, at whatever time of day you choose. As you change the time of day, the entire sky will magically begin to revolve around your position, revealing or concealing the Milky Way, the constellations and the moon.

So let’s say you decide to photograph Delicate Arch in Arches National Park. You discover through research that from beneath the arch looking toward it you will be facing east. All you really need to do now is choose a location in that general area, make the app point east and then scroll through the hours in the day to find when the Milky Way will rise above the horizon.

One of the jaw-dropping cool features of this app is that you can actually use it in the field with an image overlay. You can hold your iPad or iPhone out and the app will turn the camera on and look at what you’re seeing. It will then overlay the night sky onto your image so you can see what that view will look like at a certain time of day or night! How cool is that!?

The Milky Way Over Delicate Arch | James Brandon

Having a Dark Sky is Crucial

While it’s not impossible to photograph the Milky Way in light polluted areas, it’s certainly not ideal. I live in the heard of the Dallas – Fort Worth metroplex and to really get a great view of the Milky Way I have to drive about three to four hours west. A great resource for locating extremely dark skies is the International Dark-Sky Association. They’ve got a list of locations that host some of the darkest skies in the world. Planning a trip to any of these places during the right time of the year will give you some of the clearest views of the Milky Way you will find anywhere. Trust me, you haven’t lived until you’ve stood beneath a Milky Way so bright that it lights the landscape in front of you. It’s truly a spiritual thing to witness.

Camera Settings

Photographing the Milky Way is quite different from any other subject you will attempt to capture. Like I said before, it really is a magical experience. Seeing the Milky Way with your own eyes is one thing, but wait until you see it appear on your camera’s LCD screen! You will quite possibly, literally jump for joy the first time you see it.

ISO is the first thing we’ll cover. In short, it needs to be set as high as possible while still maintaining a useable image quality. While this doesn’t mean that you need a pro level SLR, having one that performs exceedingly well in low light will certainly help. If your camera can produce quality images at ISO 1600 or even ISO 3200 you are going to be in great shape. If ISO 6400 or ISO 12800 is still workable, then you are going to knock it out of the park. Having your ISO set high means that your cameras sensor will be as sensitive as possible so that the maximum amount of light can be collected (which is very important at night).

Milky Way Over Monument Valley | James Brandon

Next, select a shutter speed. Anywhere between 20-30 seconds is ideal. If you can get away with super high ISO levels, then go with 20 seconds. If you’re around ISO 1600-3200 then you may want to stick with 30 seconds. The only downside to 30 seconds is that you will have just the slightest hint of trails in your stars from the rotation of the earth. Not really a big deal though.

Finally, you need to set your aperture to be wide open, or very close to it. This is where having a lens that can open up to f/2.8, or larger, is really helpful.

All of these settings combined have one goal – to bring as much light as possible back to the cameras sensor.

Other Gear to Consider

The Milky Way At Tunnel View In Yosemite

A good and sturdy tripod is worth its weight in gold. That is almost a literal statement if you go with something like a Really Right Stuff tripod, hehe. I got mine about a year ago (after saving up for quite a while) and will never consider another one. Having a good tripod means that your camera will be steady throughout the entire long exposure. If your tripod is cheap and made from plastic, or just a very flimsy aluminum or carbon fiber tripod, you will definitely have a hard time with long exposures. If your tripod has a hook underneath the center column, be sure to utilize it by hanging your camera bag there to weigh the whole thing down!

You’ll also want to set either a two second timer or use a cable release (remote trigger). Both of these methods get your hands off the camera for the entire duration of the exposure. If you try and press the shutter button down for a 30 second exposure, you will not be happy with the results.

Conclusion

The Milky Way is one of the most challenging and rewarding things you can get out and photograph. Doing it well requires planning and more planning. Don’t leave anything to chance. If you have more tips to add, questions or thoughts about the article, let me know in the comments below.

The post Down and Dirty Guide to Milky Way Photography by James Brandon appeared first on Digital Photography School.

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