Why can't I get paid to do this?

By a stroke of luck my blogging assignment was extremely easy this week. I brought up my yahoo browser and there was an article about photoshopping a photo of Demi Moore, that went extremely wrong. Just so everyone knows I don't follow fashion photography and I know that this has nothing to do with nature photography, but I thought this article was fitting since we are discussing editing photos in class.

In the photo part of Demi's left hip seems to vanish, while her clothing remains in the place where her hip should be. I have to agree with the sentiment of the article, how could such a blunder go unnoticed? Especially on the cover of a magazine when I'm sure whoever was involved in the editing made a ton of money. I guess I just find it amusing more than anything. It also teaches the lesson that if you're going to manipulate your photos make sure you pay attention to what you're doing. Trying to manipulate and remove objects can create gaps or holes in your photo that can ruin an image, regardless of the type of photography you're involved in. I've posted two different links covering the same topic below, if you're in the mood for a little amusement.

www.boingboing.net/2009/11/17/demi-moore-is-ralph.html or omg.yahoo.com/blogs/a-line/demi-moores-w-cover-worst-photoshop-ever/306?nc

My Pick

My favorite images of the day were used for other assignments, so I was kind of left with this one. Not to say I don't like it, but I liked others more. This one I shot with the macro setting on my point and shoot camera. I like how it shows depth and how it's framed. The red branch draws your attention and the focus draws you back and down to the main subject the water drops which point down to the yellow branches that lead you back upward to the red branch it forms a kind of circle brining you back to the main subject the water drops.

Rule of Thirds

I took this photo trying to adhere to the Rule of Thirds. I used the landscape setting on my point and shoot camera. Vertically I tried to line up the larger rock in the left third, the closer bush in the right third and the background in the middle third. Horizontally I tried to get the smaller rock and leaves in the lower third while catching the bushes in the middle third and leaving the upper third for the uninteresting background elements. I think it came out alright for what I was trying to do.

Detailed Close Up

This is probably my favorite photo that I took this afternoon. I shot this picture using the macro setting on my camera. I thought about using it for my "red" assignment, but it was the best close up I had so here it is. I really liked the detail of the flower and how it stands out against the dreary background. The water beads add an extra element to it's beauty as well.

Blurred Motion

I used my macro setting for this blurred image shot. I may have cheated by using my own motion to create the image, but I was having a heck of a time finding anything else and the only good image of blurred snow and rain I had I used for other assigned tasks and I didn't want to double dip. I shot the bark of the giant willow near the campus entrance and just panned upward. I think it created an interesting abstract photo, that leaves you wondering what the heck it is.

Panning

I had to stray from nature topics to capture my panning image. I walked towards Poly Dr. and caught this SUV as it drove by. I think I did a fairly good job capturing it with the sports setting on my point and shoot camera. It turned out pretty good everything is blurry but the SUV which is still fairly focused. I like the added element of rain/snow blur and how you can make out the driver in the vehicle because he has an awesome hat.

Hyperfocal

I shot this photo from the entrance to Rocky's campus. I used the landscape setting on my point and shoot. I like how everything is in focus but still hazy because of the snowfall, fog and clouds. These trees really stand out due to their size and greenery with a bleak surrounding. I was hoping to capture the rims more in the background but you can barely make them out giving a ghostly feel to it. The photo has a depressed appearance to it making you wish that you weren't there and believe me I didn't want to be.

Silhouette

So, I didn't get any good photos of a silhouette but I was able to capture this cool shadow of a tree in a puddle near the cafeteria. I used my macro setting for this shot and was also lucky to capture a large raindrop hitting the water adding a nice ripple. I like this photo because it brings together a bunch of not so amazing subjects and makes them more interesting than they would be on their own.

Reflection

To get my reflection shot I used the water that was captured on the strange statue in front of the library. I used the normal camera setting on my point and shoot to capture this image. The combination of water on top of the brown metal and lighting made for a decent reflection, allowing for some good detail of the trees bark. It's not the most pleasing image, but I couldn't find a nicer reflection anywhere else on campus.

Red

For my red photo I shot this two toned leaf. I only have a point and shoot camera so I wasn't able to adjust my aperture or shutter speed manually, so to capture this image I used the macro setting on my camera. I thought it was a cool looking leaf because of how it was split down the middle between red and green. I was trying to show how it stood out against the other leaves on the plant.

Nature Photographers

I didn't have anyone or anything specific to look up today, so I just typed 'nature photography' into google. The first thing I found was www.naturephotographers.net an online nature photography magazine. It's kind of like Walmart it has everything under one roof. There are articles discussing gear, techniques and locations to shoot. It has an online store to buy gear and weekly contests.

The photo I posted is the current weekly winner. Sorry the image is tiny I had to copy a thumbnail because they won't let you copy the larger images. The photo was taken by John Williams from Battle Ground, WA. He shot it with a Nikon D80 with a Nikon 50mm f/1.8. Dave won't like this, but it is actually a combination of three photos two at 2 sec at f/16 and one at 1/8 sec at f/13. He didn't say why he used two photos at the same setting. How he achieved it is beside the point because it's a nice photo(s) and you should go to the site and get a better view than the thumbnail I posted here. There are galleries with tons of other photos to get lost in for awhile as well.

Nature Photographers is a cool website with a lot of useful information and reviews. They also offer tips and online courses to further your knowledge and abilities as a photographer. If nothing else it has a lot of cool pictures from various photographers to peruse.

Teleconverters for Macro Photos

Teleconverters are a great way to get a little closer to your subject in you viewfinder without having to spook them off by being close to them physically. You can maintain your lens' focusing range while magnifying the view of the image. A 500mm lens with a 1.4X teleconverter becomes a 700mm getting a tighter frame around your subject, from further away. It's great for shooting skiddish animals or insects. It comes at a cost of about 10% image quality for a 1.4X and 20% for a 2X teleconverter. The image quality problems usually occur around the periphery so if you keep this is a blur it shouldn't matter.

Heligimbal

After watching Disney's "Earth" in class I became interested in the heligimbal cameras used to shoot them. I've seen the BBC's "Planet Earth" series (actually I own it) and it is simply just amazing how they can zoom in on a subject from miles away without disturbing them and capture the scene in such great detail.

Heligimbals are cameras mounted to the bottom of a helicopter. The technology was first developed by the military and it uses a gyro-stabilized system which neutralizes the helicopters vibrations. The camera is controlled by a joystick from within the helicopter.

The BBC and Disney used the cineflex V14HD heligimbal with sony HD cameras. The system weighs about 95 lbs and is less than 15" in diameter. The gimbal is rated for wind loads up to 200 knots (230 mph) and doesn't significantly change flight characteristics. The V14 has a 360 degree continuous panning ability, 165 degree tilt, and +/- 45 degree roll. The system is designed around an integrated camera, Sony's CineAlta HCS-1500 which can achieve a resolution up to 1920 x 1080. It can utilize Canon and Fujinon's HD zoom lenses. An embedded Sony RM-B750 Remote provides access to all the cameras functions through a touch screen interface. Built in microprocessors sample data over 2500 times a second with an instantaneous feedback loop and motor control system that removes vibration. Automatic heaters warm the motors in cold environments and the system can function at 20 below and up to 120 degrees Fahrenheit. I couldn't find any prices for the system because the company wanted you to contact them for further information, in that regard. I did however find the costs for renting one in FL. They rent for $3,500.00 a day, $24,500.00 a week, and $98,000.00 for a month plus a $1,500.00 deposit.

Heligimbals are out of my price range, especially since I don't have a helicopter to mount it to, but I will continue to enjoy watching them at work in movies and documentaries. It is an amazing technology that can achieve things other cameras are incapable of, from views impossible to reach by any other means than in a helicopter.

Nature's Mystical Mirrors

Capturing reflections on still water is one of the most beautiful and dramatic forms of landscape photography. When setting out to shoot reflections keep in mind that you may have to get into the water to capture the image from the best angle possible. So bring along some fishing waders and a waterproof tripod or an old one you don't care about. Know where you're going as well. Take reconnaissance walks to find good locations before you haul out your camera equipment. The best time of day for reflections is in the morning right before and after sunrise, so knowing where to set up shop before hand can put you in the right place at the right time. You don't want to be fumbling around in the dark for a spot that may turn out to be a poor one, so do some homework before hand. Look for places with wind barriers to keep the water calm during your photo shoot, these natural features like logs, exposed rocks and sandbars can also be incorporated into your photo. If you are shooting in shallow water lower the camera position so that the sand or gravel underwater doesn't blend into the reflection.

To shoot reflections you will need to utilize filters to capture the details of the shadows and highlighted areas. A polarizing filter should be used to darken the sky as much as possible which will result in the pool giving a more distinct reflection. A one-stop split neutral density filter can further reduce the brightness of the sky and bright landforms, bringing greater detail to the whole frame. Check the histogram to make sure it is centered and within 80% or less of the total width. A two-stop split neutral density filter may be needed to darken very bright skies or snowy mountains. If this is the case your reflection may be too bright as well, while the middle remains dark. Placing a one-stop split neutral density filter over the reflection while keeping the two-stop filter over the sky and snowy mountain will bring the shadow area in the middle within your cameras sensor range. This is called the filter squeeze just remember to angle your filters with your landscape and reflections.

The Power of Perspective

Portraying depth in photos can be difficult, but it is what makes landscape photography captivating. A camera can't take in the whole view like our eyes can, making it hard to capture the overwhelming beauty of a landscape. Using features of similar sizes like trees or animals can help put the size of your landscape into perspective. It is best to arrange objects (size cues) from largest to smallest and on diagonal plane that lead up to the image's center of interest. Using wide angle lenses can increase the perceived distance between your size cues creating a feeling of deep space, while telephoto lenses do the opposite by narrowing in on the cues. Position your camera close to your camera, until you find the best height and angle to capture the image you want. Use a slow exposure and wide aperture to capture all the detail within the frame. Take your time because trial and error will eventually lead to your ideal image and remember to use a cable shutter release so you don't bump your camera system during the long exposure.

Overlapping elements in your photo can create striking images or if done poorly can ruin them. Choose subjects with contrasting colors, different line directions and varying brightness and shapes. Utilizing sidelight accentuates shadows and helps bring out size cues and textures. Shooting in hazy situations like fog or dust can bring out the detail of close objects but will obscure distant ones. With all this considered it is best to look for five planes within your landscape photo. First the foreground with interesting details and size cues to set up perspective. Next comes the midground with well defined size cues leading towards the main feature of the photo. The feature plane shows the main subject of the image. The cloud plane is the forth, look for big puffy expressive clouds. The sky forms the fifth plane and depending on the time of day can vary in color. Capturing all of these planes will create an image projecting an endless deep space.

Finding Photogenic Landscapes

There are ten things to consider when searching for the perfect landscape, it's not always possible to find them all in a single setting, but utilizing a few can create striking images.

Color is the single most important aspect to consider when photographing landscapes. A strong color such as red helps to create great images that stand out to a viewer. Subtle color harmonies can also yield great pictures, such as cool hues from a foggy seascape.

Clouds make the difference when photographing landscapes, preferably ones that are near the horizon and above your main target. During the prime lighting of sunrise and sunset clouds turn an array of different colors creating a more dramatic and dynamic image. Clouds can also help make photographing at midday possible by diffusing light from the sun.

Calm atmospheres are great for capturing detail. The slow shutter speed used for landscapes makes shooting difficult in windy situations, creating blurry images. Still moments allow you to capture all the detail of the surrounding area such as wildflowers, grasses, pools of water, etc. The best time of day to find these ideal conditions is 30 minutes before and after sunrise.

Falling snow, fog, mist and haze give landscapes a moody energy and give added features to the landscape.

North and south camera angles at sunrise or sunset, depending on your location, will yield a wonderful side lighting upon your landscape. This brings out detail and color more effectively than other lighting angles.

When you find your target landscape check the eastern and western horizons to make sure they are clear of light-obstructing landforms. The time of day is important here, if the eastern horizon is clear take photos in the early morning. If the western horizon is open shoot at sunset.

When photographing landscapes don't forget the small details. Utilize features like rock formations or plants and place them in the foreground, this adds depth and gives scale to the scene.

Knowing when the moon will be present in the sky can add an extra element to your landscape. Capturing the sun in an image creates problems with contrast and will require a lot of editing to create a satisfying image.

Still waters can create amazing images by allowing you to reflect landscapes onto water. Capturing these reflections requires you to have the right angle and sometimes means getting into the water, so be prepared with waders or a swimsuit.

Shooting landscapes with animals is a rarity. It is best to concentrate on the landscape and pray an animal waltzes into your scene. The best opportunities arise when you are shooting wildlife. Take a moment and a few steps back to capture the whole scene.

The final thing to remember is to keep human artifacts out of the image. These features can ruin a beautiful scene, but shooting in national parks and forests can limit this problem since they have less human influence than most places.

Wildlife Portraits

To get a great portrait of a wild animal you don't want to take a wide angle lens along, rely on your telephoto lenses. Telephoto lenses are ideal because you can keep your distance from the subject and give you enough power to narrow in and capture the intimate detail that you are after. The distance allows you to photograph natural behavior instead of taking shots of the animal reacting to your presence and is safer when shooting dangerous animals.

There are three areas of the photo to consider when shooting wildlife; the foreground, midground and background. All three must blend together around the main subject of the picture to create a harmonious image. Things in the foreground should be well out of the depth of field or else they can appear distracting. Foreground elements should blend with parts of the mid or background. Out of focus grasses, branches, flowers or some aspect of the animals environment make up the foreground. The midground is mostly your subject but should also contain some of the grasses, branches, flowers or whatever environment the animal is in. The midground is in focus with the foreground and the background blurry around it. The background being out of the depth of field should contain colors that blend well with the two front layers. Slightly out of focus elements of the environment in the background help create harmony with the mid and foreground.

Who you are taking photos for will determine how you choose your subjects. If you are shooting solely for yourself and want to shoot every living thing you see that is fine, but if you are trying to sell your photography you need to be more selective with your subject. Choose vibrantly colored animals or large and impressive ones, they have more sale value. Pictures displaying dramatic behavior are also coveted. Basically try to capture unique or compelling photos that bring new light to old subjects.

When shooting wildlife portraits you want to use a fast shutter speed to capture the animal and prevent blur caused by movement. You also want to focus on the animals face, in particular it's eye which should be wide open, clearly illuminated and show a small twinkling of natural light.

Photographing group portraits of wild animals presents problems since there are many subjects to capture. Having a main subject and using the other animals as support can work well unless you are shooting two creatures. With two animals try to shoot ones that are around the same size and are engaged in similar behavior.

When lighting a wildlife portrait the standard is to utilize early morning or late afternoon front lighting. This low light will illuminate your subject and won't blow out your picture with too much light.

All these things will help create a more stunning image of the wildlife you are trying to capture a portrait of.