Years ago, I opened a box of Kodacolor II film and removed a thin, folded strip of paper. It contained a set of illustrated instructions for basic photography. One illustration, in particular, still sticks out in my mind. It was a photographer standing with his back to the sun while taking a picture of a model.
Indeed, conventional wisdom tells us to always keep the sun at our backs when taking a picture. This is a pretty good rule to follow for most subjects — especially if you don’t want important details lost in deep shadows. Always following conventional wisdom, however, will usually result in conventional-looking photographs. For a change of pace, why not try shooting directly toward the sun on a bright sunny day.
Including the sun in landscape photos is nothing new. But, aside from a few cameos, the sun rarely makes an appearance in photos of flowers. This could be due to a simple matter of logistics. It’s not that easy to compose the sun in the same shot with a subject that’s low to the ground. It’s much easier if you’re shooting at dawn or dusk when the sun is low on the horizon. Personally, I prefer the morning when the ambient light is rising instead of dropping.
It’s something that usually isn’t given much conscious thought, yet it’s like that one obscure ingredient that can make or break a recipe. Its effects aren’t as obvious as your choice of aperture or shutter speed, but nevertheless, it is just as important. What I’m referring to is perspective.
Contrary to popular belief, your perspective is controlled by your viewpoint — not the focal length of your lens. The only reason the perspective of wide-angle and zoom lenses is so different from normal is because they “view” drastically more or less of the scene. Focal lengths ranging from the mid-teens to the early twenties can provide dramatic landscape views. This is great if you want to include a very close foreground and a background that might be miles away. Sometimes, however, a scene might call for just the opposite kind of perspective. Continue reading →
The middle of winter can be a little depressing. The five-day forecast might show such a long stream of dull, dreary days that it makes one wonder if the weatherperson forgot to update the map. In the Northeast, it can seem as though the entire world is in hibernation. Everything is lifeless. Nothing is in bloom. On overcast days, you might feel like you’re living in a black-and-white movie. Then, of course, there’s the unforgiving cold. Continue reading →
The groundskeepers were a bit perturbed, but I was ecstatic.
Four inches of snow had fallen the day before. This wouldn’t be particularly noteworthy except it was April 8, 2003. These four inches brought the total amount of snow received in the New York area to just under 50 inches, placing the 2002-03 winter among the top 20 snowiest winters in the city’s recorded history.
As beautiful as winter is to photograph, it also can be burdensome for you and your equipment. Certain precautions are required that no other season demands. Creativity takes a backseat when you’re cold and wet and thinking only about going home to enjoy a nice warm bowl of soup.
We’ve all heard that dressing in layers is the best way to go. You have the ability to add or remove articles of clothing as the temperature fluctuates. But what about your lower body? Jeans are probably the worst type of pants to wear, because they can freeze if they get wet and denim is often stiffer than other materials. Wool pants are warm, but I prefer to wear long underwear with nylon ski pants that stay dry even in the wettest conditions.
Years ago, I referred to the out-focus parts of an image as, well, the out-of-focus parts of an image. Nowadays, it seems as though there’s a specific name for everything, and bokeh is the name for the aesthetic quality of the blur in the out-of-focus parts of an image produced by a lens. It has also been defined as “the way the lens renders out-of-focus points of light.”
After viewing several You Tube videos, I’m still not 100 percent sure how to correctly pronounce bokeh, but I can tell you it was popularized in Photo Techniques magazine in 1997. The word began showing up in photography books in 1998.
Perhaps the only thing that really matters is how to use it to enhance your photos. Continue reading →
If there was such a thing as a Super Bowl season for nature photography, it would have to be autumn. Perhaps the best thing about this time of year is that there are no bad days for a shoot. Fall foliage is one of the few subjects in nature that look good in virtually any type of lighting or weather condition.
Colorful foliage and bodies of water are a great combination. Look for reflections along the shorelines of lakes and rivers. I used to think that sunny days provided the best reflections, but as you can see from the images above, stunning results can be obtained in cloudy conditions as well. Although purely a personal choice, I prefer shooting fall foliage on overcast days. However, there is one important thing to keep in mind: a gloomy white sky won’t add much to your photos. In fact, it can be distracting. In the overcast shot, I zoomed in tight to crop it out—placing the emphasis on the multicolored tree line. Continue reading →
Overcast light, direct sunlight, high angles, low angles: there are probably as many ways to photograph flowers as there are flowers themselves. However, if the flowers are the sole subjects of your shot, each image might not look radically different from the others. If you’re tired of the ordinary and you want to create something truly unique, try a totally different approach.
Photography is all about light, so it stands to reason that if you drastically change the light, you will drastically change the look of your photo. One way to do this is to shoot indoors under artificial light. You don’t need a studio or any special equipment to do this.