Landscape Photography

Landscape photography is a form of photography that generally captures an outdoor setting. Landscapes generally do not include people or posed subjects, but may include animals that are part of the natural scenery. Although landscape photography sounds easy enough to capture, it takes a keen eye to capture the essence of a given scene. Very few have mastered this technique, such as Ansel Adams. It is easy to recognize a master of landscape photography since their work stands out ahead of all others. After studying the masters, it becomes apparent that the beauty lies within the simplicity of the shot. Here are a few tips to help the amateur photographer to improve their landscape photographs.
Simplicity is better than complexity. Landscape shots should include very few elements. The photograph included in this article is focused on a singe object; the barn. Although there are other elements within the photograph, it is clear that the barn is the main subject within the photograph. Oftentimes, photographers try to capture too much within a single shot and end up with a photograph that is overly complex.
Landscape photographs typically include elements within the foreground, the mid-ground, and the background. Do not confuse the presence of these elements with the need to introduce complexity to the photograph. The foreground includes those elements that are naturally present within close proximity to the photographer. The foreground introduces the illusion of depth with in a landscape photograph by creating a close proximity to those elements that are within reach.
The mid-ground is not discussed much in photography since it serves as a rather benign, yet important element to the photograph. The mid-ground elements create a transition to the observer from the foreground to the background elements. The mid-ground elements serve as a transitional message to the observer that in order to reach the main elements of the photograph, the observer must first pass through stages between the foreground and the background.
The background in landscape photography is the star of the show. Landscapes generally focus on the horizon and other elements within the background. Care should be taken to include as few objects in the background as possible to bring a sense of achievement to the observer. Each landscape should end up at a destination. In the sample provided in this article, the barn is the destination for the observer. It is simple, easy to relate to, and easily achievable, meaning there are no barriers between the foreground and the background.
Landscapes should be shot with the focus set to infinity and the aperture set to a narrow setting (high f-stop numbers). By setting the aperture to a high f-stop you will obtain more detail between the foreground and the background. If necessary, lower the shutter speed and use a tripod to achieve maximum focus within the shot.

Working with Grain and Digital Sensor Noise

You may have noticed some digital photographs tend to have purple dots, or perhaps bands scattered throughout the print. Usually, these distracting specks are significantly more prominent when taking photographs at night. This effect is “grain” when discussing film photography and “digital noise” when discussing digital photography. So what causes these specks and how can they be avoided? Better yet, how can you use this effect to your advantage? This article addresses these questions and offers some suggestions on how to intentionally introduce this effect.
Long before digital cameras entered the marketplace, silver nitrate film was the standard medium. Film is rated by the International Organization for Standards (ISO) to standardized the film’s sensitivity to light. As the film becomes more light sensitive, the ISO rating increases. In application, a low ISO number uses finer silver particles, which creates a finer print; however, it is significantly less responsive to light. Conversely, a high ISO number uses more course silver particles, which creates a print with more “grain,” but it is more responsive to light. Knowing this, a low ISO, let’s say 100, requires more exposure time than a film rating of 1000 ISO. Since the 1000 ISO film requires less exposure time it is referred to as a “fast” film.
When digital cameras came on the market, the industry had some degree of difficulty recruiting the traditional photographers to convert from film. Many photographers did not care to become electronic experts in order to grasp the concepts behind digital photography, so the digital camera manufacturers retained the film terminology for the ISO film standards. Although there are differences between the ISO standards, the existing film photographers found the familiarity more palatable.
Here are a few ways to avoid grainy photographs:

• Shoot at a lower ISO setting, especially at night.
• Increase your ambient light and reflective surface.
• Reduce your shutter speed and increase your aperture settings.
• Avoid backlit subjects.

Sometimes a little bit of grain is a reasonable trade-off for the advantage of using a high ISO setting. As discussed above, using higher ISO settings reduces the exposure time. Motor sports photographers have been using high ISO for years to stop motion without requiring flash units. Since motor sports photographers often use high focal length lenses, flashes become ineffective to stop motion. By increasing the ISO they can stop motion without increasing the aperture settings. Again, the photographer must decide of the trade-off is worth the effect.
There are times when a grainy shot is desired. Grain is often a desired effect to create a nostalgic effect with sepia or black and white portraits. Photographers use this to their advantage to create family albums and interesting shots. Many artistic photographers can find applications where grain is desired, but the effect is almost universally undesirable when taking night shots.
The photograph included in this article was intentionally shot at a low ISO to avoid grain, but still, as you can see, some fine grain particles were introduced due to the angle of the sun.

Understanding Depth of Field

In the olden days of film photography, depth of field was discussed quite extensively amongst photographers. Somehow, up and coming digital photographers seem to have lost their focus (sorry, I couldn’t resist) on the importance of understanding how certain camera settings greatly effect depth of field. I believe that in days past, a significant division existed between those who were SLR photographers and those who were not. Back then, auto focus was unheard of on a SLR camera. After all, where is the skill in letting the camera do all the work? Instead, the photographer had to set focus by aligning a split horizon and depth of field was determined by simulating the effects by pressing a DOF button, which was quite a nice feature that was available on some systems. So, to pay due tribute to those who long for their old SLR systems, let’s take a look at some of the principles relating to depth of field.
To begin, let’s define the meaning of depth of field. Depth of field is a principle where the distance between a focal point and the point at which the background or foreground loses focal quality. As the distance between the two points increase, the shot setup is said to have an increased depth of field. Conversely, as the distance between the focal point and the point at which the shot becomes unclear is reduced, the shot is said to have a narrow depth of field. Unlike the human eye where most people are able to simultaneously focus on objects that are close by and those object that are far away, camera lenses require focal points to be effective. So why do shots, such as landscapes, appear to be entirely in focus? That’s an easy question to answer; the focal point in most landscape shots are set to infinity, therefore, the shot has a very wide depth of field.
Generally, there are three ingredients that affect depth of field: focal length, aperture size, and the distance between the lens and the subject.
Focal Length
Telephoto lenses tend to have a much narrower depth of field than wide angle lenses. This becomes more evident as the focal length increases. Telephoto lenses are generally used to focus on a single subject at greater distances. As the focus becomes more concentrated, the depth of field is greatly reduced. However, when using a short lens, say about a 28mm, less attention is placed on a single point, rather the general area becomes the targeted subject, which increases the depth of field.
Aperture Size
Depth of field is dramatically reduced as more light enters the lens. Light, as you may recall, is generally controlled by the aperture. A wide aperture (low f-stop numbers) increases the amount of information the camera must process, thus those items that are outside the focal area lose focus and the depth of field is reduced. However, reduce the size of the aperture (high f-stop numbers) and depth of field is restored.
Distance
The depth of field is increased by distance between the subject and the lens. This can be easily demonstrated by comparing a shot taken at the minimal focal distance and a subject that is far away without changing the aperture settings (let’s be fair about this). To demonstrate this more dramatically, examine a macro shot that was taken at a 1:1 ratio. You will see how the macro shot has barely any room for error, which is why a stabilizing system is so important.
Now that you have a better understanding of depth of field, don’t be shy about bringing up the subject around a few of the old timers as they follow butterflies in the park with their legacy systems. After all, you may earn a little recognition in the process, but be prepared for some pre-digital war stories.

Understanding Metering

Modern camera systems have come far in recent years. Most SLR camera systems on the market now, be it digital or film-based, automate many of the processes that were strictly manual just a few years ago, such as automatic metering. In the not so distant past, metering was an essential process involving a variety of gray cards and meters…even some calculations were in order to ensure the correct exposure was selected. This is not to say these steps are no longer important. To the contrary, understanding metering is just as important today as it was in years past. The difference between now and then are the systems that are available to the photographer. As with all things that are designed to automate a process, there is a risk of experiencing some skill loss caused by automated dependency. This article will cover metering and how metering has an effect on the quality of your photographs.
There are surely some people reading this who may become quite defensive over the suggestion that photography has become an automated process. It is not my intent at all to suggest a photographer should allow the camera to make all the decisions. Rather, I submit that the photographer must not only understand the principles of traditional metering, but they must also be familiar with how the automated process works in order to better understand the process.
There are three basic forms of automated metering on SLR camera systems; Matrix Metering, Center-Weighted Metering, and Spot Metering.
Matrix Metering
Matrix Metering, also known as Evaluative Metering, is the workhorse of metering. Matrix Metering uses a generalized approach to handle exposure. In this mode, the camera evaluates the totality of light within the field of view and tries to find the best balance for the exposure. Generally, if a photographer were taking photographs of a landscape setting using Matrix Metering, the camera would perceive the highlights at the top of the shot as sky and would apply the darker areas to set the exposure levels. This mode is best used with general view shots, such as landscapes and other full-frame shots. The dangers associated with Matrix Metering is that specific subjects tend to become underexposed. For instance, if a photographer were to take a shot of a person standing outside, the camera would not set priority to the subject, which would almost surely result in an underexposed subject.
Center-Weighted Metering
Center-Weighted metering uses approximately 13% of the center field of view to set exposure. This mode is best when taking shots where a more refined exposure area is required, but not so much that Spot Metering is necessary. This exposure method works best when taking group shots, or perhaps when a photographer wants to have a specific subject exposed with less regard to the entire field of view.
Spot Metering
Spot Metering is by far the most misused metering function. This metering method focuses on a very limited portion of the field of view; approximately 3%. When a photographer uses Spot Metering, especially when used in conjunction with a zoom lens, he or she sets the exposure to the very center of the field of view. This method of metering works best with portrait photography where the background is of little concern. Since this exposure setting is so specific, many photographers use gray cards to set the exposure to ensure the metering is set to a known standard.
Understanding metering is essential for the photographer. Although most camera do an excellent job setting the exposure levels, it is up to the photographer to predict the outcome and select the proper exposure setting for the scene.

Taking Baby Pictures

Perhaps one of the most challenging photography assignments to take on is photographing children. Overall, children can be quite difficult to work with, and who can blame them? After all, these little people are often dressed in outfits that although may be adorable in the eyes of the parent, the clothes may not be comfortable for the child to wear. There are the other factors as well, such as hot, bright lights, a strange environment, and strange people who make strange noises and point scary objects at them. Although some children seem to enjoy the experience, many find the experience unnerving. However, there are some preparation steps that you can take that may minimize the negative experience for the child and, in turn, produce more favorable results.
Communication
Just like any photo session, communication with the client is essential. Children often have a daily routine that consists of eating, playing and napping. At all cost, avoid scheduling a photo session around the child’s feedings. Not only will you have a fussy child to work with, you run into the very real probability that a mess will occur and your props will forever more require a healing brush during post-production. It is much better to schedule the photo session around the child’s play time. This way, the child will be in a better mood and the prints will reflect the child’s character.
Set Selection
It is best to discuss the set and prop selection with the client well in advance. Simplicity is often the best choice when working with children. Young children and toddlers see the props as toys. After all, to a child flowers are meant to be picked, books are meant to be read, and chairs are meant to be moved. Oftentimes, there are props on set that resemble toys and things to play with. If your set consists of balls and activity gear, then you may have a challenge at hand.
Set Familiarity
When it comes to set familiarity, there are two schools of thought. First, some photographers will say it is best to allow the child to become familiar with the surroundings before engaging in the session. The premise is that the child will be more cooperative if he or she does not perceive the set as a threatening area, thus becoming more comfortable. The second school of thought is to hit-and-run. Generally, this group believe that if a child spends too much time on a set he or she will become bored and may become less cooperative. The hit-and-run group are usually on a tight schedule and do not have the time or patience to deal with uncooperative subjects. You may find that allowing the children and their parents to spend some time alone on the set will usually produce better photographs than the latter.
Post Production
In addition to the standard levels, curves, and cropping that typically occur after a photo session, children oftentimes require a little more work. Consider applying Gaussian blur to soften the child’s skin, after all, a subtle blur suggests a degree of innocence. Pay particular attention to any scratches on the child’s face, especially around the nose and eyes. Children often scratch themselves and you do not want such blemishes to appear on the prints.
Working with children may be a challenge, but the rewards are plentiful. Parents cherish these photographs and they will often last a lifetime. Be patient and communicate with the client. The clients often know what they want, so work with them as much as possible to bring their vision to light. Clients who are happy with you as a photographer will likely become regular customers for years to come.

Tombstone Photography

It can be said that photographers are, in a sense, historical recorders. After all, photography is the art of capturing a very discrete moment in time and preserving that moment for as long as the photograph exists. Once the photograph has been destroyed, the moment can no longer be recreated. Take a moment to consider the photographs of historical significance we have seen at one point or another. Oftentimes, these photographs show scenes where people dress a certain way, or have a certain appearance that is no longer common in today’s society. Other photographs may show antique cars that were shiny and new in their common era, running on the streets that are common to us today. Other times, photographs like those of the Old West show daily business being conducted on the main street of a pioneering town. Unfortunately, there are very few photographs of how life was in the past, but there are still evidence of our history around us today.
One venue where these historical artifacts can be found lies within cemeteries. Cemeteries not only capture hand-carved stones from eras past, but they also carry an emotional attachment to the observer. Oftentimes, there are families who have few, if any, physical reminders of their relatives other than a marker in a family plot. Other times, the tombstones are reminders of periods where historical events are recorded in cemeteries that have become iconic reminders of our past. The photograph attached to this article is one such reminder. Taken in a public cemetery located in Salem, Massachusetts, the stones tell a story of those who were put to death as a result of accusations and persecutions of witchcraft during a dark period of American history.
Those who photograph tombstones are mostly interested in either the historical significance, or to record a chapter in a family’s history. For those who are pursue a historical interest, the cemetery provides an excellent opportunity to tie events to death records. For those who study military battles and campaigns, the cemetery provides a method to capture volumes of people who lost their lives. American National Cemeteries are arranged in meticulous rows where the shear numbers are staggering to comprehend. Other times, cemeteries in small towns and along back roads have been forgotten by most and are generally restricted to a period in time when a development was rather small and the town has either overgrown the usefulness or failed to thrive.
Others who are interested in tombstones may find these resources invaluable for constructing genealogy profiles. My father spent several years developing a family tree that brought our family back to Belgium in the early1600′s. During his research, he located a family marker that was photographed and placed on a distant relative’s website. The family marker became the cover photograph for book he had printed and bound for our entire family…a true family treasure.
Photographing cemeteries and tombstones is interesting and historically significant. For those who pursue these iconic memorials, they have become treasures that not only depict historical events, but common families who occupy geographical settlements. For those who have lost their loved ones, tombstones offer a way to pass along family ties to their heirs. Whatever your interest, by photographing and preserving the images in itself is a significant contribution to our history.

Camera Modes And What They Mean

This is what modern DSLR camera controls look like to those unfamiliar with modern cameras – By HOLLOMAN AIR FORCE BASE

It’s unfortunate the number of people who get a high-end DSLR with a decent kit lens, set the selector switch on Auto and that’s as far as they ever advance in photography. To me that’s a tragic waste of potential, both of the hardware and the operator.
Part of the reason that more people don’t experiment with their camera settings is they have grown increasingly complicated over the years. Those of us in the business a while have acclimated to the complexity gradually; for people new to photography camera controls have to seem daunting in their complexity.
Today I’m starting a series designed to take some of the mystery out of camera controls and encourage you to take over from the computer and fiddle with the dials. It doesn’t help the cause that almost every camera manufacturer has a different way of saying the same thing and sometimes the control labels vary between camera models of the same manufacturer! I’ll use the designations from Canon and Nikon, you may have to translate for your brand. Let’s start with the mode dial on top of the camera.
Auto and Auto-Assist
Every camera comes with an auto mode, almost always labeled with green letters or logo. It will be a green rectangle on most Canon models or a little camera symbol with AUTO printed above on Nikons, just in case you didn’t get what the green camera meant. On some Canon cameras, you’ll also find CA, which is Creative Auto, the differences are pretty minor.
In auto mode your camera is doing all the work. Reading the scene, selecting the aperture, shutter speed, ISO and, in most cases, doing the focusing as well. The auto setting turns your sophisticated DSLR into a point and shoot.
Program Mode
Program mode is designated by the “P” symbol on both Canon and Nikon cameras. In Program mode, the camera is still selecting the shutter speed and aperture, but leaves many of the other settings, such as ISO and focusing, up to you. I use program mode if I’m in a hurry or shooting a quickly developing scene. Once I’m sure I have a couple shots that are good, then I’ll get creative and take over more of the camera controls.
Shutter Priority
On Nikon cameras, that’s the “S” setting, on Canons it’s “Tv” and don’t ask me where Canon got that because it doesn’t make any sense to me, either. In Shutter Priority mode, you select the camera’s shutter speed and the computer selects the optimum aperture. This is very convenient for fast moving scenes, like sporting events, where you can select a shutter speed like 500th of a second, fast enough to freeze most action shots.
When you adjust to the S or Tv setting, one of the other dials on the camera will then become how you set the shutter speed, which will show up on the display in the camera viewfinder. Which dial becomes active will depend on your camera brand.
Aperture Priority
On Nikon it’s the “A” setting, for Canon it’s “Av”. On this setting you select the aperture or f-stop and the camera picks the corresponding shutter speed. As with shutter priority, one of the other wheels or buttons becomes how you adjust the f-stop.
Manual Mode
M on both brands. This setting will enable two other buttons and wheels to control shutter speed and f-stop independently. Some camera models may still be selecting the ISO and white balance for you, for others, you’re in control.
Bulb
The B setting on Canons, but for many Nikon cameras you have to set the camera to Manual mode, then set the shutter speed to BULB. This setting is for long exposures where you open and close the shutter manually. Usually used in conjunction with a tripod and remote operating switch of some kind.
This is hardly exhaustive, but it’s a start.

Five Tips For Assignment Photography

This was the only glowing thing in the sky at 6:45 this morning, so I used the extra time to grab some stock images.

This morning I was reminded of one of the less glamorous aspects of assignment photography and that’s waiting around. You do a lot of that in photography. Paparazzi wait for the famous to make an appearance and they’re always fashionably late, court always runs long (unless you step away to use the bathroom), brides almost always run late (not like you can start without her) and events like rocket launches frequently get rescheduled. Press conferences are notorious for being canceled, rescheduled or moved.
My plan today was to cover the launch the NROL-15 Delta IV heavy from one of the local fishing piers and get a time-lapse of the rocket trail with the crowded fishing pier in the foreground. As is typical in photography, things did not go as expected. The launch window was three hours, starting at 6:31 am local time and they ended up using all but 15 minutes, launching instead at 9:15 am.
By the time they got around to actually lighting the candle, the visuals for the launch had changed dramatically. The fishing pier shot was gone by an hour after sunrise. Liquid fuel rockets without solid rocket boosters are notoriously dull. There’s no grand vapor trail to scribe an arc toward the heavens, just a glowing spot of fire which is largely lost in the bright sky. I had to find another angle and there was no telling how long I had as the launch team kept resetting t-zero.
I’d like to tell you this morning was different, but it’s actually pretty typical. Over the years I’ve learned a few tricks that help me adapt to the fluid nature of assignment and event photography.
Take Pictures of Your Surroundings
Take pictures of your surroundings and people who happen to be around. It’s a great way to pass the time and, occasionally, you get photos that will be saleable as stock photography. Some caution should be exercised as clients will sometimes try to claim any shot you take during the contract period, not just those relevant to the subject.

Sunrise is a great time for relaxing images but not, apparently, for rocket launches.

Scope Out Alternate Angles and Locations
Courthouses are famous for having someone walk out to the podium 30 minutes late and announce that the press conference has been moved to another location. If you have scouted the location while you were waiting, then you should have a list of alternate locations ready in your head.
Last minute changes gripe the people who showed up early because they can lose their front row perch.
Take a Folding Chair
Make sure you have a folding stool strapped to your camera bag or slung over your shoulder. I’ve learned over the years not to count on having a chair and learned the hard way not to trust public benches, particularly on fishing piers!
Take a Travel Mug With Coffee or Tea
When assignments run long there will be a great temptation to walk over and get coffee waiting for an event to start or subject to appear. I guarantee you’ll miss shots some day walking away from the scene. Take your travel mug with you, but go easy on the fluids.
Know Where The Bathrooms Are Located
Go before you dash out the door is expected, but also know where the nearest bathrooms are located. If you’re sure you have enough time, better to go when you know you have the opportunity than try and wait it out.
Take a Snack
I have a granola bar and box of raisins in my photography vest and there are many times I could have sold them for good money. Another trick, if you have time, is write down the number for pizza delivery places in the area. Most times you can get them to deliver to a location like the front steps of the courthouse if you leave a credit card number as a deposit.
Just make sure you give the delivery person a good description as there may be many people who try to impersonate being you to the driver.
Location photography is all about preparation and being prepared to wait.

Change Your Perspective

Creating interesting photographs does not need to be difficult. Oftentimes, the difference between an interesting shot and a boring one is a matter of perspective. There are many times when a straight-on head and shoulders shot is appropriate and well-deserving for your intention. However, straight-on shots are not very exciting. Straight shots tend to become quite mundane and your viewers will quickly find excuses to escape from the drudgery of seeing Uncle Harold from the same angle over and over again. Sometimes, all it takes is a little change in altitude to make your shots more interesting.
Shots from Below
Shooting from a lower perspective creates an exaggerated appearance of extreme height to your subject. As seen in the attached photograph, my wife, who is of average height, takes on a towering appearance over the camera’s point of view. The photograph was cropped just above the horizon to create an absence of sense of scale. Since there is no visible horizon, the clouds become the background, which aids in the effect.
Shots from Above
Just as the shots from below create an extreme sense of height, the shots from above create a unique sense where the absence of height becomes the focus. When shooting from above, it is important to reduce the amount of vertical objects around the subject. In fact, using horizontal objects, such as benches and platforms, will help to offset the image. From this angle, the subject should be instructed to look upward slightly, but be careful to maintain a natural pose. The subject should look up slightly, but no more than if they were looking at the top of a picture frame hanging on a wall.
Visual Effects
To enhance variations to perspective, use an extreme wide-angle lens whenever possible. By introducing width, the subject takes on an omnipotent appearance. If you do not have an extreme wide-angle lens at your disposal, consider experimenting with photo editing software to create unusual effects. Although I am not usually an advocate for modifying photographs, these techniques do occasionally have their place as long as they are not used to deceive an unwitting viewer.

Keep or Crop

It is amazing how attached we become to our photographs. It doesn’t matter if you are a professional photographer or a hobbyist, cutting elements from a composition can often be a difficult task. Call it photographer’s pride, or perhaps just a bit cautious, but removing elements from an images takes a keen eye and decisiveness. It is time to set aside your fears of shredding your photographs. With digital media, cropping does not need to be permanent. You can try different variations to include and remove distracting elements, or bring more focus to the intended subject rather than the fragments that were cut off during the initial composition. In some applications, such as Photoshop, you can use the crop tool to actually increase the usable space and add a border to your photograph.
Preserving your photographs involves backing up your data before you begin editing. The most efficient way to back up your data is to use compact discs. With CDs being so inexpensive, there is no reason not to burn your images to Cd before you work with your images. This includes the bad pictures. Remember back when processing photographs involved dropping off a canister at your favorite processor? Maybe not, but trust me, that was how it was done. After waiting a few days for the prints to come back, or longer if you used mail order processors, you received your images and the negatives. Most people threw the negatives in a box and forgot about them, but the negatives were the originals and could be used to reproduce the prints at any time. Copying your original images to a CD before editing is like working with negatives where the original is preserved for as long as you maintain the CD. After you have successfully backed up your images to a CD, copy the photographs you want to edit to your hard drive. It is not advisable to work off the CD since it will generally be much slower and the changes will not be able to be written to the CD.
Once you load your images into your favorite photo editing program, look at the image and try to recreate in your mind the composition you wanted to capture. Oftentimes, you may notice distracting elements after you see the full-scale image on a screen. Use the cropping tool to remove those elements that serve little purpose to the photograph. Sometimes, these elements may include people, objects, or dead space. A good rule of thumb to use when deciding what to eliminate is to recognize what it is you focus your attention to in the photograph. If you don’t look at certain elements, then remove them. If you feel you have cut away too much, then you can always revert back to the original image you have stored away on the CD.
Cropping also enables you to be more creative with the image size and shape. Although most processors restrict you to the standard sizes, home processing allows you to crop your images to custom sizes. There are not restrictions to the size and shape beyond your imagination. Of course, if you prefer to remain loyal to the standard sizes, most editing applications have an option where you can preserve the aspect ratio and uniformly crop the image without reducing the size of the print.
The photograph in this article was cropped to remove distracting elements. The original photograph had cars to the right and an intersection to the left. The top portion of the image contained a building that was visible, but had no bearing on the image. What is left is the stone statue in a small park near a hospital outside Mobile, Alabama.

Protect Your Gear

Protect your gear in stormy weather - photo by NASA

As fall approaches, this is a good time to start thinking about protecting your gear from winter’s eventual assault.  The season for snow, salt, rain and a general assault of the elements will be upon us.There are a few cameras that are designed to tolerate the rigors of the elements better than others.  Cameras like the Canon 1D, 7D, and the 40D are designed with internal alloy armor and weather seals to provide greater native protection from the elements.  In Nikon that would be models like the D3S and D300S. There’s a reason the weatherized models cost more.  Magnesium-alloy internal shells protect the internals and environment seals protect from dust and dirt.  It takes a lot of engineering and attention to fit and finish to get environment seals up to the standards of professional photographers.
Even with the extra protection, it’s not generally a good idea to to put too much faith in your cameras weather seals.  Anything beyond a light mist and you’ll want to look at some kind of supplemental protection.
Several companies make inexpensive and disposable plastic sleeves for DSLRs.  The OP/Tech brand is the most widely available with the features most photographers prefer.  The plastic sleeve type covers are also available with a flash pocket.  There are even models that not only cover your camera and flash, but do double duty as flash diffusers.  These disposable sleeve type covers are the type I see most often on photography assignments.

It’s always a good idea to have one pocket of your camera vest dedicated to various types of disposable plastic bags and covers, including a disposable rain poncho for yourself.  If there’s room for a small roll of gaffer tape, all the better.  If none of those options are available, a plastic grocery bag and gaffer tape can provide temporary relief, if you can handle the giggles and teasing of your fellow photographers.
Besides a disposable poncho for emergencies, you’ll want a heavier duty poncho for stormy conditions.  Something in between the thin plastic disposables and the military and hunting style ponchos which are really hot and heavy.  This model by Stormtech is roomy but breathable.  There’s enough room inside for your vest, camera and monopod, plus the hood is large enough to shield your face.  Avoid the gray color as it’s harder for drivers to see you, something you’ll appreciate if your fellow photographers push you out into traffic when trying to jostle for position.

I particularly like ponchos because they allow you to sit down and stay sheltered if you have to wait, and you almost always have to wait.If you want something with a little more custom fit for your camera, you can opt for a model like Vortex Media which are made from heavier material, and there are even larger models for extended outdoor work by Canon and others.  They are more difficult to pack around and will not conveniently fit in a vest or jacket product.  Though most models will protect better in extreme weather conditions. Waterproofing doesn’t have to be limited to plastic bags and rain covers, you can also select from a host of reasonably priced camera bags made out of waterproof material, like these models from Case Logic.
For the ultimate protection there isn’t much that can compete with Pelican cases but those are more for transport than trying to work in a wet environment.  Hauling them around is a chore, but when it comes to protection, Pelican products are the gold standard.
With all the protective options available today at prices less than $5.00 USD, there’s no reason your camera and photo equipment should be at risk from a cloud burst or salt spray.

Wedding Photographer’s Survival Kit

Posted by chris on September 5th, 2011

The most stressful photography job there is - photo Ziko van Dijk

The most stressful photography job imaginable is wedding photography.  There’s a reason most photographers who have been doing it for years charge a lot of money.  Not only is it stressful at the time, it can be really stressful after the fact when it comes out that you missed the shot of the bride and her Aunt Mable, who passed away shortly after the ceremony, and the last moment of them together has been lost forever and it’s all your fault.  How do you feel about wedding photography now?
Still, someone has to shoot all those weddings and, imperfect as you may be, you may be called upon to be that person, either as the primary or second shooter. The time to develop survival habits for wedding photographers is before you ever get near accepting a paying job.
Over the years I did wedding photography as a sideline job, I built up a box of stuff, much of it totally peripheral to photography itself, that I carried to every single wedding.  I called it my “sanity box” because the items in there saved my sanity and someone in the wedding party nearly every time.
Shot Sheets
I had laminated shot sheets for every wedding and wore them around my neck during the crucial after-the-ceremony shot fest.  Sure, it looks dorky, but would you rather look dorky or miss one of the critical wedding shots?  You’d be surprised, in the heat of the moment, how often you forget which group you just shot.
If you’re lucky enough to have an assistant, their job will be marking the shot sheet and corralling the next group.  Put the shots with older people and kids up front.  You don’t want old people standing around getting sore feet waiting on you and keeping kids in line is like trying to herd cats.  Get their shots done first and send them on their way.
I also made spare shot sheets for the DJ at the reception, so they knew what was coming and in what order.
Stain Sticks and Shout Wipes
Those were always in my sanity box.  Every single time the bride or one of the bride’s maids will get something on their dress by the mere act of walking from the chapel to the garden.  Nothing can diffuse a stressful situation and make you look like a hero than being able to say, “I got that.”
I also carry a roll of paper towels, alcohol wipes, a pair of scissors and a lint roll.  All for the same class of emergency.  You’d be amazed how much spilled champagne a paper towel can blot up.
A Padded Hanger
For some reason this frequently gets forgotten by the alterations place.  There’s nothing like the moment of panic when everyone discovers the cheapo plastic hangar for the dress shot.
A Spare Bow Tie
Another thing that used to gripe me was how fast the groomsmen would want to get out of their tuxes.  You can’t wait 15 minutes to get through the formal shots?  Really?  More than once one managed to lose their tie between the church and grassy lawn.  So I carry a spare.
Hair Spray and Disposable Hair Brush
Somebody’s hair is going to lose it, I’ll guarantee. The last thing you want is one of the wedding party running off to get a brush, comb or hair spray.  Much better to just pull it out of the sanity box and get your shots.  Unwrapping a brand new hair brush from the wrapping spares you any questions about where it came from.
Trial Size Everything
I carry a trail size of just about anything stocked at the store.  Deodorant, toothpaste, mouthwash, a spare tooth brush, disposable razor, shaving gel, baby powder, and dental floss.  I actually fixed a flower arrangement with dental floss one time.
A Stapler and Double Sided Tape
I’ve fixed hem lines, cuffs, and trousers with a standard office stapler and double sided tape. Sometimes the ribbons on a flower arrangement just won’t want to cooperate, so out comes the tape.
When you’re shooting a wedding, you don’t have time to screw around or chase things.  Anything you need has to be right there, right now and the only person you can count on to have what they might need is you. Not your job?  Totally right.  But it’s your time and your career.  Just imagine how much work you’ll have as the second shooter when every time a crisis pops up you can say, “I got that.”

Top Tips For Better Holiday Pictures

Is this how your family holiday photos come out looking?

The holiday seasons are approaching and that means it’s time to review the holiday photo basics.  Unless you really like your computer to be loaded with distant shots of uncomfortable looking people, time to shake up the holiday photo sessions.
Get In Close
If you can see your subject’s feet in the frame when they’re standing up, you’re back to far.  Get in close.  When you think you’re close enough, move in even further.

The number one amateur mistake in holiday pictures is taking them from the other side of the room.  It’s okay to cut off part of their body, just make sure you break the picture at the right spots.
For humans put the frame line at mid-thigh and for the upper body arms between the elbow and shoulder.  Keep the frame line off joints like knees and elbows.
Take Many Shots
This is the digital age, you’re not paying by the picture anymore.  Most people have been conditioned by the process and results to hate family photos and do their best to put on a fake smile for two seconds, then sprint away as fast as dignity and social grace will allow.
But the best pictures will frequently happen when people have gotten past the initial discomfort and start interacting with one another.
How I sometimes captured those moments was to tell people to stay right where they are while I get something from my camera bag.  Instantly everyone relaxes and starts chatting.  Kneel down by your camera bag and start shooting.  After I’ve gotten five or ten shots of the group candid, then they catch on I’m not really getting anything out of my bag.
Turn Off The Flash Indoors
You can’t always do that, but whenever possible, get as much natural light on the scene as possible and turn off the camera flash if you can still get a decent shot.
Try to get people to move over by a window and get as tight to the window wall as you can.  You don’t want the window in the picture most times, you just want the delicious natural light.
On-camera flash units are harsh, flat and unflattering.  For those times you absolutely can’t avoid using the built-in camera flash, spend $10 dollars and get yourself a pop up flash diffuser.
Turn On The Flash Outdoors
I realize it seems counter-intuitive but give it a try.  While the pop up flash can be harsh and flat, it makes a great fill flash when shooting outdoors.  Try to find a spot with some open shade, turn the camera flash on and use it fill outdoor portraits.
Shoot First, Pose Shots Later
Better to shoot first, even if the subject is too far away.  If you get a good shot you can crop out the background later.
Especially with kids, you’ll get the most natural poses and reactions if you just let them interact with each other and their presents and not try to get them to hold up the sweater Aunt Martha got them.
Shoot the candid moments first and the Vanna White pose with the present moments later.
Have Fun
The most important thing to remember is your best shots will happen when everyone is having a great time.  If you pull out a camera, it sometimes interrupts the moment.  So just keep the camera in your hand or next to you as much as possible.  Batteries are cheap, leave it on.
That way when those moments happen you can grab the camera and shoot instead of waiting.

Basic Five Point Studio Lighting

Basic five point studio lighting adds two kickers to the lighting mix

For this article I needed a studio and the assistance of a full time studio photographer, so I turned to Karl Leopold at imagesforever.net down in Melbourne Beach, FL. Karl was gracious enough to help out with this article and lend his expertise.
Last time we covered basic three point studio lighting today we’re going to kick it up a notch and add two more lights, called kickers, and see what difference that makes on lighting our subject.
Our gear:
A key light – Usually a softbox or umbrella. For this shoot we used an Alien Bees 800 in a Fomex rectangular soft box.
A fill light – Our fill is an Alien Bees 800 in a 48 inch Octodome.
A hair light – The hair light is an Ultra 1800 fitted with a grid screen on a boom.
Throughout the shoot we used only a single modeling light on the Fomex soft box.
We’re adding two Alien Bees 400s in softboxes placed off axis on either side of the subject. We’re going to use them two different ways: One is to gain further separation from the background by pointing them at the subject at -2 stops to match the hair light. The other is we’re going to switch to a white background and flip the kickers around to blow out the white background shooting them at +2 stops relative to the key.
First we used a light meter to verify we were hitting f/11 at the subject, then we maintained a consistent distance to the subject the old-fashioned way, with a string to the center of the key soft box.
All the lights are on PocketWizard Plus remotes and the transmitter on my Canon 7D was a PocketWizard MiniTTL. The lens was a stock Canon 28-135mm zoom set my closest eyeball approximation to 85mm.
All camera settings were manual unless otherwise stated, we used 1/125 of second for a shutter speed through the entire series.
I did minimal post processing adjustments on the pictures so you can see the difference in the lighting. Standard color correction and cropping is all that was done.
Our basic set up was Rembrandt lighting at a 3:1 ratio between the key and the fill,.

The kickers really help separate the light subject from a dark background

The photo with the dark background has the kickers pointed at the subject, which helps separate the light jacket from the background. You can see in the pattern of the background that we’re getting some back scatter off the white jacket from the kickers. Not a big problem in this case because there’s so much separation with the contrast.
In the second photo with the red jacket we flipped the kickers around, bumped up the power settings and used them to blow out a white background. If you look closely you’ll notice I should have raised the kickers up a little higher. You can see some gradient in the white background because the kickers are too close to the floor.
Raise them up to about shoulder height on the subject, bump the power up to full and blaze away.

Using the kickers to blow out the white background - We should have raised them up a bit

Tips For Better Fireworks Photography

Three or four good bursts usually yield decent results – By parapente 1

All around the U.S. people will be heading out this evening to watch fireworks displays, so this seems like a good time to review the basics of taking fireworks pictures.
First, when scouting out locations to set up, keep in mind that closer is not always better. In fact, some of the best shots are taken from far enough away to get both the fireworks and surrounding countryside in the picture.
You’ll need some gear to do this right:
- Tripod
- Remote shutter release
- A small flashlight
- A camera with a “B” or “Bulb” setting
- Your external flash
A note for Nikon owners that your top dial may not have a “B” setting. With many cameras of that brand you first put the camera in “S” or Shutter Priority mode and then spin the shutter speed dial until the display says Bulb. On most Canon’s there is a “B” on the top dial.
Leveling a camera in the dark is always a trick. If your tripod doesn’t have built-in bubble levels, you can purchase one that mounts on the hotshoe for less than $10.
Arrive early enough to find a good location and level your camera. Then you’ll want to take a couple test shots, even if there’s nothing to see.
Start out at f/11 and leave the shutter open for 30 to 45 seconds. Tweak the f-stop and shutter speed until you’re getting pictures where you can make out countryside and lights but the sky is still black. You may have to tweak those settings after the display begins as some displays can be quite bright.
Once the display starts, leave the shutter open long enough to get three or four good bursts, then check the results. If you’re up close with a really bright display, you may need to go as high as f/22 or start shortening up the shutter times. Normally I get good results at either f/11 or f/16, depending on the lens.
After you have a couple good shots, you can experiment with getting some subjects in the foreground, either as silhouettes or you can manually fire your external flash to fill them in.
The main thing is, don’t forget to enjoy the display because you’re taking pictures. Leave the camera for a couple minutes and just enjoy the show. If you’re like me, you get so absorbed in your work that you lose track of everything else and, before you know it, the show’s over.

Building Your Photography Kit

Building Your Photography Kit

An investment in great lenses will be your first big expense in building your photography kit – by Canon

Unless you’re fabulously wealthy, you’ll most likely be building your photography kit a little bit over time. At each step along the way you’ll want to add the components that are going to give you the most bang for the buck.
First Invest In Glass
You need a good camera, not a great one starting out. The first place you want to sink your important money is lenses. Glass does influence your camera choice to a certain extent as you’ll want to match your lenses to your sensor size.
Some lenses are built specifically for full-frame chips and others for APS-C, or crop sensor cameras. While there are some that perform equally well on either chip size, it’s more typical for photographers to sell the glass with the camera if they’re changing sensor sizes.
A Decent Tripod
Next will be a good quality tripod. You want one that’s lightweight and sturdy, but you don’t have to start out with an expensive set of carbon fiber sticks.
Along with the tripod you’ll want to invest in a remote trigger, preferably one that also functions as an interval timer.
A Good External Flash
How much you spend on this will be determined by whether you plan to shoot pictures for money or as a hobby; with the caveat that most professional photographers started out as hobbyists.
You can spend a lot of money on an external flash like a Canon 580 EXII, which is the top of the line when it comes to an external flash, or you can start out with something more mid-range, like this Sunpak. Personally, I’d save buying the really expensive kit until you can deduct it as a business expense.
Whatever external flash you start out with can always become a fill light later.
Wireless Flash Triggers
After the external flash, you’ll want to get a set of triggers so you can experiment with moving that flash off the hotshoe of the camera. If you want truly pro caliber wireless triggers, look at PocketWizard  or a less expensive set like these Pixel Kings.
Once you have your wireless triggers, then you can experiment with different types of flash umbrellas and softboxes.
While it’s easy to be envious of photographers with a car load of fancy equipment, keep in mind they didn’t buy all that at once. They invested a little bit at a time over the years.

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