Photography Tips Guide

Posts Tagged ‘Nature Photography’

Great rainforest photography is like all nature photography. You get the best results when you concentrate on nature and light, not on technology. Yes, you need a decent camera, and you must know how to use it. But results in rainforest photography are not about the price tag on your camera. If you have a tripod, and a camera that allows you to adjust the aperture and shutter speed, you are set to go.

I make my living from nature photography, including a lot of rainforest photos, and I have never relied on the latest equipment for my work. Great rainforest photography is simply about finding an eye-catching subject, in good light, and having a creative eye for composition.

Note: The following tips are for photos of rainforest scenes, not for close-up photos of leaves, fungus etc.

Rainforest Photography Tip #1: Choose a subject. As they say in the classics, “It’s a jungle out there.” In the rainforest, you are confronted with foliage, branches, roots, rocks, vines…in your face and all around you. A really good rainforest photo requires structure, to make some visual sense of all that clutter. Look for something that is immediately eye-catching – a big tree that dominates the trees around it; a root system that leads the eye; a waterfall or stream; in short, something that you can build a composition around.

Rainforest Photography Tip #2: Use the best natural light. The mistake almost everybody makes at first is to take their rainforest photos on a bright sunny day when they are in the mood for a walk. Wrong! In full sunlight, the rainforest becomes a patchwork of light and shade that is impossible to expose properly. What you need is a cloudy day, when the light is much more even. Misty weather adds even more atmosphere to the rainforest, and can add a mysterious character to your rainforest photo.

Do not use a flash. The flash illuminates the scene with flat, white light, eliminating the gentle play of natural light and shade that gives the rainforest its character. Always use the natural light.

Rainforest Photography Tip #3: Carry a tripod. Taking your rainforest photo under a heavy tree canopy, on a cloudy day (see rainforest photography tip #2), means the level of light will be very low. You may be shooting at shutter speeds as slow as one or two seconds. You will always need your tripod, and it is best to avoid windy days so that the scene is as still as possible.

Rainforest Photography Tip #4: Use a wide-angle lens (or a zoom lens, zoomed back to its widest angle). The wide angle lens has several advantages for rainforest photography. Firstly, it exaggerates the sense of perspective in a photo, creating a sense of three dimensional depth. Viewers of your photo will feel like they are looking not just at a rainforest, but into it. Secondly, the wide-angle lens has a naturally wide depth of field. With so much detail all around you, it is important that you can keep both the foreground and the background in focus.

Rainforest Photography Tip #5: Stay on the path. There are some practical reasons for staying on the path when bushwalking. You minimize the possibility of getting lost, injured, or fined by some over-officious park ranger. The people who run the national parks are not stupid. They know what you want to see, and design their trails accordingly. Sticking to the path will not rob you of any great photo opportunities.

In terms of rainforest photography, you are able to create some distance between you and the foliage around you. It is much easier to photograph a tree when you don’t have the branch of another tree in your face. By staying on the path, you can get a clear view of your subject, without interference. You can even use the path as part of the composition in your rainforest photo. It is an excellent way of inviting the viewer to join you on your walk in the rainforest.

So there you have my five rainforest photography tips. Notice they concentrate on light and creativity, not on fancy techniques or equipment. You can make great improvements in all your nature photography this way, regardless of what type of camera you have.

From wide open spaces to rugged mountains, rolling meadows to dramatic coastlines they all play an important part in the nature of landscape. However, with such a view it is often hard to appreciate the beauty because there is nowhere for the eye to settle and concentrate on.

Why not take a fresh approach to nature photography and concentrate on part of the view and take time to consider color, shape and texture to really appreciate the finer features of the scene.

Enter the world of close up photography that lies just beyond the familiar but so rich in detail and beauty. If we look through our close up lens with an open mind, imagination and childlike curiosity there are many close up photography opportunities for us to consider.

As nature photographers we can take this concept further, for example that distant bright yellow patch becomes on closer inspection a riotous stand of broom flowers. Closer still we see clearly the intricate detail in each flower and seedpod that we can record in our close up photography.

Now go really close, look at the seedpod with its gossamer covering of fine hairs and we start to appreciate how things fit together. Whilst this is not a scientific approach it provides a raw and basic understanding, offers enlightenment and lets us become an integral part of nature. So by going close up and concentrating on a small part of the whole we have simplified our close up photography subject, made it basic, powerful and memorable,.

There is no need to go far, finding close up nature photography opportunities should be seen as a journey of the soul, inner vision and contemplation rather than visiting a far off place. Often the deeper we look into our close up photography subjects the more rewarding they become. Without hesitation they reveal their treasures allowing us time to admire their quality. With this awareness the nature photographer with a passion for close up photography is indeed privileged.

Appreciating that all these parts form an important relationship with each other makes it is easier to understand that the whole is made up of many unique parts and like pieces of a jigsaw they combine together to create a complete picture. Indeed, only by appreciating the significance of the smallest parts of our surroundings can we can start to make sense of nature as a whole and incorporate this awareness into our close up photography.

Emotion and drama and be found in often overlooked close up photography cameos, like a delicate flower growing defiantly in a boulder crevice, its tenuous grip on life dependent on the sustenance from the crevice debris. Yet it lives on year after year, testimony to its determination and resilience. It is this inter-action that is so enduring and compelling that makes these interesting subjects perfect for nature photography.

As a close up photographer getting close up to nature allows a greater understanding and appreciation of the beauty of the natural world. For example a cold clear winter day with breathtaking crispness can be ideal for close up photography, in these conditions there are magical patterns in snow, frost and shimmering icicles. Ice patterns make perfect winter close up photography subjects; they literally capture a moment frozen in time. Depending on the prevailing weather conditions some have smooth curves whilst others show harsh jagged lines providing creative close up photography opportunities.

Early morning in spring and summer can be a wonderful time to find close up photography subjects. Flowers and grasses covered with dew or fine rain make fascinating close up photography studies, the fine hairs hold onto droplets of water almost defy gravity. In the right conditions there may be insects that after a night’s inactivity have become encrusted with minute droplets. Butterflies make excellent close up photography subjects and look stunning covered in dew as they sparkle like a myriad of jewels.

Light quality plays an important role in our close up photography, if it is too harsh the increase in contrast will actually block out the very close up detail we are trying to photograph. It is far better to have diffused light that occurs with high thin cloud cover. It provides a much softer quality of light and allows the detail, texture and nuances to be clearly seen and recorded in our close up photography. Color also influences our interpretation of the subject, vibrant colors like red and yellow for example suggest dominance and power, whereas muted tones like grey and browns convey basic, earthy and tranquil feelings.

So, if we approach our close up photography with childlike wonder and a renewed vision the natural world is undoubtedly a beautiful place. To fully appreciate it requires a little time and an inquisitive mind, it will reward you with the knowledge that even the simplest of things can bring satisfaction, contentment, harmony and inner peace.

The exposure of a digital photograph is affected by the camera’s aperture, shutter speed, sensor ISO rating, and of course the amount of light in the scene being photographed. An incorrect exposure will turn an otherwise well composed wildlife image into something mediocre and at worst completely ruin a shot.

All digital cameras have an automatic exposure setting, so it may seem that exposure is something that is best left up to the camera. It’s certainly true that in some situations your camera’s automatic exposure system will produce properly exposed shots, but there are also many situations where it will not.

Automatic exposure systems only tend to work well when a scene and the subject animal consist mainly of mid-tones. This is because automatic exposure averages out the exposure of the scene as a whole, achieving an overall exposure equivalent to if the scene was a uniform mid-tone grey. Since virtually no real world scenes consist of purely mid-tone grey, this can mean that your wildlife photos may end up incorrectly exposed if you rely purely on your camera’s default exposure settings.

Scenes that consist of mainly very pale colours will come out underexposed (such as a pale animal in the snow) and scenes with very dark colours will come out overexposed. Furthermore, pale animals against dark backgrounds may be overexposed and dark animals against pale backgrounds may be underexposed. Animals with pied markings such as puffins or magpies will usually have their white areas overexposed. Therefore it is often necessary in wildlife photography to adjust your camera’s default settings to correctly expose your shots.Exposure Settings

Prosumer and DSLR cameras have three main light metering modes available:

* Multi-Segment or Matrix – this is a camera’s default automatic exposure mode. This divides the image into a number of segments and averages out the exposure for the scene as a whole. This mode can work well for frame filling close-ups of animals and for wider shots of scenes consisting of mainly mid-tones, but as explained in the previous section, this mode will often produce incorrectly exposed images when the scene has significant areas of extreme light or dark.

* Spot Metering – in this mode the camera bases its exposure value on a single point in the image (usually the centre of the image, but this point can be adjusted on most cameras). This is a useful mode for wildlife photography as it often can enable you to achieve the correct exposure for the subject animal. Spot metering should however be used with care as the light readings can vary significantly depending on where you point the camera – it is best to choose a point on your subject that has a mid-tone.

* Centre-Weighted – like multi-segment metering this takes an average of the scene as a whole, but in this mode more importance is given to the centre of the image in the averaging process, meaning that the camera tries to ensure the centre of the image is correctly exposed. This is another good setting for wildlife photography that unlike spot metering is less sensitive to variations in scene brightness. As centre-weighted metering still uses as form of averaging it can still however produce incorrect exposure if the centre of the image contains extremes of light or dark.

If you find your camera’s metering doesn’t produce good results for a given scene (e.g. when your subject animal is very light of dark) you can use the manual EV Compensation (Exposure Value Compensation) setting on your camera to adjust the exposure it will use. For example, without EV compensation a spot-metered or centre-weighted picture of a white swan is likely to come out underexposed (as the camera tries to achieve a mid-tone grey for the swan’s white plumage). By setting your camera to a positive EV Compensation (you may need to use a little trial and error to find the exact amount of compensation required) you’ll be able to get a picture where the swan’s plumage is exposed correctly.

Another trick you can use to get the correct exposure is to use the exposure bracketing function on your camera. In this mode the camera takes three shots at different exposure settings, one at the camera’s recommended exposure, one slightly underexposed and one slightly overexposed, increasing the likelihood that one will be correctly exposed. It should be noted that as bracketing takes multiple exposures it is not particularly suitable for shooting animals in action since the animal is likely to move between exposures making each bracketed shot different, and unless you are very lucky, the best exposed shot might not be the shot with the animal in the best position.Checking For Correct Exposure

You may be tempted to try and check the exposure of a picture after you have taken it by viewing it on your camera’s screen. While this may give you rough idea, it is not very reliable as a screen’s brightness can vary and the ambient lighting conditions can affect how an image appears on the screen. A far more reliable way of assessing exposure is to look at your camera’s histogram. The histogram is a graph showing the distribution of tones from light to dark in an image. For most shots you want a bell shaped histogram with the majority of pixels towards the middle of the graph, although this does not necessarily hold true for pictures that have significant light or dark areas.

Another feature most cameras provide for checking exposure is an image playback mode where the massively overexposed parts of the image flash on screen. Massively overexposed means a region of an image is so overexposed that it has gone to pure white – this is referred to as clipped or burned out.

Overexposure to the point where significant portions of the image are clipped is something you should avoid at all costs in your digital photography. Once a portion of an image is clipped all information in that part of the image is lost – nothing can be done in tools like Photoshop to recover it. It should be noted here that it is fine to clip specular highlights, for example caused by the sun reflecting in the animal’s eyes, but clipping large areas of detail should always be avoided.

The problems associated with clipping mean that it is generally safer to slightly underexpose a digital image than it is to overexpose it, as this will retain more detail in the highlights. Underexposed images can be corrected easily in tools like Photoshop, but if an image is significantly underexposed the corrected image will have an undesirable grainy texture called ‘noise’. Slight overexposure can also be corrected in Photoshop but only when clipping hasn’t occurred.

The world of photography has been changed forever by the arrival of digital cameras. Millions of people are getting involved in photography for the first time, thanks to the economy and convenience of digital photography. But the question is still often asked. Which is better: film or digital?

I use film, but if someone asks me whether they should buy a film camera or a digital camera, I almost always recommend digital. The answer is not so simple if someone asks me which is ‘better’ – film or digital?

The answer comes down what you mean by ‘better.’ Photography is many things to many people, so the merits of the medium depends on what you expect to get out of it.

In my business (a nature photography gallery), the single most important criteria is the quality of the printed photograph. For me, film still provides superior quality enlargements, even though darkroom printing has all but died out. These days, I get a high-resolution scan from the original film, and print my photos digitally. This process gives me a better quality enlargement than a print from a digital camera. I am talking about BIG enlargements here – A2 and sometimes larger.

So why do I recommend others to switch to digital photography (if they haven’t already)? Simply because not many people make their living selling framed photographs. Let’s face it, how many of us will ever print a photo larger than 8×12 inch (20x30cm)?

These days, in fact, how many of us ever get around to printing our photos at all? The day of the photo album has passed. Today most photos will only ever exist as digital files. We can share them in emails, insert them into websites, use them as screensavers…for many people the idea of actually printing a photo is little more than a novelty.

So in the age of digital photography, what does film has to offer? Well, not much, except for the high cost of developing and printing (don’t forget you have to pay for each exposure, even the bad ones). Then there is the long delay between taking the photo and seeing the result. Finally, if you want to use your photo for any practical purpose, you will probably have to scan it to turn it into a digital file anyway.

So, is digital photography ‘better’ than film photography? In the modern world, which demands speed and convenience, yes. With your digital camera you can take all the photos you like at no real cost, and see the results instantly. You don’t have to pay to print photos you don’t want, and you can simply delete your unsuccessful images from your camera.

That’s not to say digital photography is perfect; far from it. I have already mentioned that your digital files are not as good as film for very big enlargements, but there is more to it than that. The quality of a digital print is a little ‘flatter’ than a photo printed from film. It may have plenty of colour and detail, but in ways that are hard to explain, it lacks the illusion of three-dimensional real life that you can get from film.

In the past, most digital photographers would laugh at me for suggesting such a thing. I suspect that was because after investing a small fortune in their new technological treasure, they were reluctant to admit that their new toy was not perfect in every way. Today, however, even the most committed digital convert seems willing to admit that the digital revolution has, for all its advantages, brought with it a level of compromise in quality.

Is there a solution? Of course there is, and it is called software. Whichever editing program you use, it is quite easy to ‘tweak’ your photos to a standard that is as rich and three dimensional as a photo printed from film. These programs have become a fact of life for many photographers, but not everyone likes to use them or even knows how to. Then there are the grumpy old purists (like me) who feel that a well-exposed photo should not require enhancement to bring it up to standard.

So where does all this leave us? Is digital better than film? For my purposes, no. For your purposes, most likely yes. If your priority is not large, high quality prints, there is really very little reason to stick with film (other than nostalgia).

If you are shopping for a camera (SLR or compact), make it a digital. Just as important, take the time to learn how to use it. Photography is still about focus, aperture, shutter speed, composition and lighting. The digital vs. film debate means nothing if your camera is always switched to auto for taking snapshots. Oh, and get to know your computer…you’re going to need it.