SLR Photography Guide - June Edition 2015

50

description

A digital magazine for photographers. Featuring student images from our Online Photography Course over at http://www.slrphotographyguide.com/online-courses.shtml

Transcript of SLR Photography Guide - June Edition 2015

ComposingWildlife Photography

2015 ISSUEJUNE

GUIDEPHOTOGRAPHYSLR

http://www.slrphotographyguide.com/online-courses.shtml

THANKS FOR CHECKING OUT SLR PHOTOGRAPHY GUIDE

JUNE EDITIONDIGITAL PHOTOGRAPHY MAGAZINE EDITOR TANYA PUNTTISLRPHOTOGRAPHYGUIDE.COM

2015

cover photo © Diane Coleman Ljungquist (USA)Photographed in ScotlandISO 400 | focal length 34mm | aperture f/11 | shuer speed 1/200

in this issue

Student image © Shiannon Corcoran (Australia) ISO 100 | shutter speed 1/250 | aperture f/5.6

Student image © Kathi and Kevin Manley (USA)Out in the wild wild west of America lies remnants of the historical trek across the new country. This old wagon lies abandoned and broken, deep in the forests of central Arizona.Kathi took the image, Kevin worked on post processing. Canon EOS Rebel T3 camera | aperture f/5 | shutter speed 1/125 sec | ISO 800 | focal length 75 mm

Student image © Kathy O'Toole (Australia)

Student image © Amanda Franklin

Our best tips for photographing wildlife and birds

1. Think background!

It doesn’t matter what you photograph, always look at the background when first It doesn’t matter what you photograph, always look at the background when first looking through your rear view. Make sure the background compliments and doesn’t distract from the main subject. Things to look out for are trees, branches or power lines sticking out from the head or cutting through the body of the subject.

Often it’s just a matter of photographing from a slightly different angle. Keeping this in mind may save you hours of post editing later on.

© Tanya Puntti

Wildlife Photography

It’s important to also consider the lens you are using and how it works in tandem with the aperture setting. For example, f/4 on a wide angle lens will result in the distant background having some form to it, even when shooting in close distance to the subject. Chances are, you won’t totally blur the background with a wide angle lens. However telephoto lenses such as 200mm onward, will blur the background. Keep in mind, even with a telephoto lens, the further away your subject, the less chance of background blur.

Point being, always consider your background before taking the shot. Point being, always consider your background before taking the shot.

2. Large birds move slower than smaller birds

When first starting out in wildlife photography, practise on larger birds. They When first starting out in wildlife photography, practise on larger birds. They usually require a much slower shutter speed. Their size makes them easier to focus on initially, and they take less erratic flight paths. Better still, position yourself so the wind is behind you. Birds taking off and landing into the wind are much slower in speed.

© Tanya Puntti

3. Capture action shots

With so many photographers capturing wildlife nowadays, simple portraits often don’t cut it. Take time to watch and know behaviour patterns. Capture them running, flying or preening themselves. Set a fast shutter speed and be ready for that decisive moment.

© Tanya Puntti

4. Study light and learn how to best use it to your advantage

Chances are many of your favourite images come down not only to subject choice, but also the quality of light and the direction it’s coming from. Personally I love backlighting. There’s nothing more stunning than a dark background with sunlight shining through the wings of a bird.

© Tanya Puntti

5. Overcast days

Don’t let overcast grey skies and backgrounds keep you indoors. These are often my favourite times for wildlife photography. Use spot metering with a +1 or +2 exposure compensation and forget about the background.

© Tanya Puntti

6. Lower your viewpoint

Get down on the same level as the subject. To achieve a foreground blur, use a telephoto lens with a low aperture number (narrow depth of field). This also works well with birds wading in water or walking through grassland.

© Tanya Puntti

7. Don’t overlook subjects in your backyard and neighbourhood

Working regularly in one place, such as your backyard or a local botanical garden has its advantages. Not travelling too far allows you to shoot more often, which in turn means you’ll have a greater understanding of your subject’s behaviour patterns.

© Tanya Puntti

8. Be persistant!

Many presume nature photographers are patient, they’re not, they’re just persistant! I watched this tiny bird come into my backyard for a couple of weeks until one day she looked directly at me while perched on a perfect piece of grass. I ended up taking hundreds of photos, but this was the one I was waiting for.

9. Break the rules

I recently visited a Wildlife Photographer of the Year Exhibition and noted that many did not play by the rules when it came to composition. Generally speaking, they are there for good reason. However don’t be afraid to throw the rule book away and go with your gut feeling as well.

10. Back up your very best images to three separate hard drives

One thing I’ve learned over the years, is that when it comes to wildlife photography, you get no second chance at that perfect shot. Animals don’t do re-takes!

Written by Tanya Puntti - http://www.slrphotographyguide.com

© Tanya Puntti

Student image © Waseem Khan (India) ISO 100 | aperture f/5.6 | shutter speed 1.6 | AV mode with canon 18-135 lens

PLAYING WITH FOCAL POINTS

Student image © Melissa Kougl Zoske (USA) I incorporated my photography assignment with my blog post, that's set to go out tomorrow. I'm killing two birds with one stone and really enjoying this course. Thank you so much!http://melissazoske.com/20-positive-things-to-change-your-focus-in-life/

Student image © Betsy Wallace Taylor (USA)

Student image © Andi Cody

Student image © Albert Munoz (USA)

Student image © Joanne Spiegel-Klausner (Canada)shutter speed 1/1600 sec | aperture f/3.5 | ISO 100

(student profile)

http://www.bobbyberenson.comhttps://www.flickr.com/photos/love2dive

Bobby Berenson doesn’t post very often to our private facebook group (students Bobby Berenson doesn’t post very often to our private facebook group (students only), but when he does, images of his underwater world simply astounds members and enlightens their imaginations. Here we share with you how Bobby got started in underwater photography.

Cuttlefish during a recent trip to West Papua or better known as Raja Ampat. It was taken using an Olympus E-M5 with a 9-18 lens, ISO 200, 1/100, f/8.

Bobby Berenson

Boxfish - Olympus E-M5 manual 1/60 ISO 200 f/9 Subsee +5 diopter

How did you first become interested in photography?

I became interested in underwater photography during the early stages of my diving I became interested in underwater photography during the early stages of my diving career. I figured that I would probably take trips and that it would be fun to photograph fish. I purchased a system through the diveshop and back then it was film. Digital cameras were just starting to evolve but I don’t think that manufactures were producing underwater housings for them. So back then it was all 35mm film and you would shoot a roll of film and take it to a store for processing. If you wanted to, you would tell the clerk to increase the amount of color. Then you would end up throwing all the prints away because they came out blurred or were filled with throwing all the prints away because they came out blurred or were filled with backscatter from the particles in the water. Later on, I took the scuba photography class with a buddy who had purchased one of the first underwater digital systems. Because of the disadvantage for me having film I used the knowledge of learning how to place my lights in a way to light up my subject and to reduce the amount of backscatter and as to what angles are the best to shoot.

What do you enjoy most about being a photographer?

This is a difficult question to answer. I like to take my camera out and just shoot This is a difficult question to answer. I like to take my camera out and just shoot pictures. I wish that I could just go somewhere and shoot, but that is hard because of time restraints. I love looking at other photographer’s pictures and I try to shoot using their angles whenever possible. Since most of my pictures are taken while diving, I enjoy showing people what I see and then with my involvement with the aquarium, I can expand the explanation of my picture. When I go on trips, I like to photograph everything, whether it is crowds of people on the streets, buildings, etc. I am one that thinks that a person doesn’t have to be in every picture.etc. I am one that thinks that a person doesn’t have to be in every picture.

What’s your favorite photograph that you’ve taken and why?

I don’t have one favorite picture because that is always changing. The one that I I don’t have one favorite picture because that is always changing. The one that I like now is the one used as my cover picture on my Facebook page. I am always looking at what other people use and I know that some gear is reasonable for me to use. I always say that this will be the last camera and next thing you know; I have sold on Ebay to purchase new gear. I do use items that can actually be used on different systems so all I change is the camera and housing. I had been using an Olympus E-M5 and had become pretty familiar with it and I was getting into using diopters. I have a +5 and a +10 diopter. I became good with the +5 and then using diopters. I have a +5 and a +10 diopter. I became good with the +5 and then it was time to use the +10. I was once out on a morning dive and shooting everything. Not being too excited, I came up to a flat fish called an English Sole. I love to get as close as possible and get their heads, especially the eyes. I have never had problems getting close to these fish so it was no big deal. Well when I took this picture and it flashed on my screen my eyes got so big with enjoyment that I became so anxious to finish my dive because I needed to download. My editing that I do is very minimal. I usually will sharpen and maybe add some editing that I do is very minimal. I usually will sharpen and maybe add some contrast or saturation but that is it.

Olympus E-M1 12-50 lens | 1/160sec shutter speed | ISO 200 | aperture f/8

How has our photography course helped you?

When I purchased my first full frame DSLR camera, a Nikon D-60 and housing from When I purchased my first full frame DSLR camera, a Nikon D-60 and housing from a friend, I always shot in auto. I had been using point and shoot and I had even purchased one of the first mirrorless cameras on the market. I wasn’t too happy with what I had and when my friend said he had just purchased a new system, my reply to him was that I would buy his old camera and housing. He got me into shooting more in manual and then using different shutter speeds and f stops. It was then I also saw an ad for your online photography course on my Facebook page and the price wasn’t much. I figured it would be a great way for me to put page and the price wasn’t much. I figured it would be a great way for me to put pictures out there.

What plans do you have for the future of your photography?

I have a website but it needs to be totally redone. With the way my photography has improved over the years, redoing my site is a good thing.

Any other thoughts you’d like to share with us?

New students are always signing up for this program and I have suggested it myself New students are always signing up for this program and I have suggested it myself to others. I read comments from new members and it seems that putting a picture out there for others to see is difficult for some people. We were all there at one time. One of the best learning tools is to use constructive criticism. I am a member of other underwater photography groups on Facebook and when I look at some of their pictures, I have a hard time. One thing I do is to check out their settings and camera gear to see if that can work for me. With the digital age, just keep on shooting and have fun.have fun.

Student image © Mary Francis (USA)50mm focal length | aperture f/2.5 | shutter speed 1/125 | ISO 200 | natural window light

Student image © Karen Olsen Fuji X100 camera | ISO 100 | aperture f/3.6 | shutter speed 1/125

Student image © Bobbie Avery (USA)aperture f/5 | shutter speed 1/200 | ISO 400

Student image © Fiona Fuller (Australia)Pushing myself to use my nifty nifty lens. aperture f1.8 | shutter speed 1/100 | manual focus

Student image © Jenna Ward (UK)aperture f/8 | 1/100 sec | ISO 1000 | 55mm focal length

Imagine returning to childhood, no longer weighed down with the stress and responsibility of being a grown up. Rediscovering a time when imagination took you to faraway lands. A time where you could be anyone or anything you wanted to be.

A child’s imagination is always filled with possibilities. It is Karen’s passion to A child’s imagination is always filled with possibilities. It is Karen’s passion to bring that imagination to life in a very vibrant and visual way through her digital artwork. After discovering a child’s interests, this artist sets out on photographing all the elements needed to put together a surreal digital artwork that captures the adventure and imagination of the child.

Recently Karen recreated an award winning Story Art piece entitled ‘Floating Recently Karen recreated an award winning Story Art piece entitled ‘Floating High’. This digital art piece scored Gold at the Victorian AIPP Epson Awards 2015. We went behind the scene with Karen to discover how she was able to bring this stunning piece to life.

Behind the Scenes of Story Art

Floating over Lavender Fields, created by Karen Alsop - www.storyart.com.auScene photographed at Red Hill Lavender Farm - http://redhilllavender.com.au/Hot Air Balloons provided by The Toy Workshop - http://www.thetoyworkshop.com.au/Children styled by Billy Lidz Boutique - http://www.lovemybillylidz.com

“When I create a Story Art piece, I always have the finished image in my mind. I set about bringing all the elements together. The first step is always the background scene.” Karen shared.

Karen needed to locate a lavender field in full bloom for this scene. Red Hill Lavender Farm and Distillery turned out to be the perfect location. On the afternoon of the location shoot the sun was setting at the bottom of the hill of lavender. The light and landscape was exactly what Karen had in mind.

“The background plate that I photographed at Red Hill was not however the final product. A lot of editing work went into giving it a more cinematic feel.”

The next step in this creative process was to photograph the hot air balloons. Although the balloons at first glance may look like full size vintage balloons, these were actually models provided by ‘The Toy Workshop’. Each balloon was photographed individually in studio lit to match the sunset in the original scene.

Once all the elements are finalised, the finishing touches can take as long as 20 hours in post production. Editing includes a method of painting onto the image digitally, dodging and burning to create a more defined dramatic look and adding shadows and light to bring realism to the artwork.artwork.

“I love creating scenes full of adventure, epic tales cinematic in nature. Though there are countless hours involved in creating one image, the end result is extremely fulfilling.”

Karen then photographed the children in studio. The idea was to make the models look like they were leaning over the basket of the hot air balloon. To replicate this Karen put each child into a basket and had them lean over the edge while a wind machine created the windswept look.

The children were also photographed against a green screen background. This assists Karen in extracting them out of the original shot and placing them into the final image.

Karen Alsop is available to travel worldwide for digital art commissions. Visit her website to view more of her spectacular work. www.storyart.com.au

Q & A Tidbits from inbox messages and email

1. Geraldine Vogt this past month wanted to know what was the best way to find the sweet spot for a lens without being given a run around by Google search.

Answer: The best site to find sweet spots for lenses is over at Answer: The best site to find sweet spots for lenses is over at hp://www.photozone.de/Reviews/overview When looking up a specific lens, make sure you click the 'Next' buon and view the second page of informaon. From there you will find a graph that looks similar to this image below. What this graph tells you, is that this parcular lens works sharpest at f/5.6

2. Another asked, why are all my indoor shots always blurred?

ANSWER: 99% of the me blurry indoor shots are due to your shuer speed being too slow. To increase the speed, either set a lower aperture number or higher ISO. If you don’t already own a lens that goes to f/2.8, then I recommend purchasing a 50mm prime. They can be picked up quite cheaply nowadays and are fast for indoor / low light photography.

3. James Leon asked, how do I get both the moon and a foreground tree 3. James Leon asked, how do I get both the moon and a foreground tree in focus?

ANSWER: Images that have both sky and foreground subject in focus, are usually done via two exposures (one for the moon and one for the tree) blended together into a single photo.

4. Sally Fairchild asked, what’s the difference between a dedicated 100mm macro lens verses a telephoto?

Dedicated macro lenses are created for high detail close up image quality. Dedicated macro lenses are created for high detail close up image quality. A 100mm macro is a prime lens that is designed to focus closer to the subject for 1:1 macro. Simply put, a macro allows you to get physically closer to the subject and sll focus on it.

by Peta Heffernan

My floang fruit seems to have aracted a bit of interest, and why not, it's something fun to do on a rainy day.

Your camera must be on a tripod and in the exact same posion for both shots.First you need to set up your food. I sliced the banana then threaded the sliced First you need to set up your food. I sliced the banana then threaded the sliced pieces onto a skewer and spaced them apart, as per pic. For the next part of the banana shot, you will need 2 trusty, steady handed assistants.

One person will hold one part of the banana, with the skin just resng on the plate as per photo. The other person will hold the skewered banana as close to the other half as possible. Take your shot.

Now remove banana and plate and take a second shot of the empty table. That's Now remove banana and plate and take a second shot of the empty table. That's it for the photo taking.

Now to the fun bit, well more fun, cause the playing with food is fun too!!Load pics to photoshop. The plain table photo will be your boom photo, the banana the top photo. Open a layer mask of the banana pic. Select a brush and you will now erase all traces of the skewer and the hand holding the banana. Make any necessary lighng adjustments and ta-da, you have a piece of floang Make any necessary lighng adjustments and ta-da, you have a piece of floang fruit.

The orange was much easier as I set that up on tooth pics, no need for shaky handed assistants and much less to erase in Photoshop.

How to create floating fruit

Student images © Peta Heffernan (Australia)

© Haibo Chi - Pano 2014 Finalist - Kingfisher

Did you know our online photography course

now comes with downloadable cheat sheets?

"If you haven't taken advantage of printing the cheat sheets, I strongly suggest you take time to do so. These alone are worth

the price of the course." ~ John Smith (student)

Check out our online photography course over at

http://www.slrphotographyguide.com/online-courses.shtml