When we talk about photographing behaviors and events as they unfold, we think in terms of being “reactive”, or shooting on the fly. In a studio setting, we are “proactive”, we make decisions about pretty much every characteristic of the photo before it is taken. My goal with wildlife photography is to be more “proactive” and make as many choices before the action begins as possible, so I am not fumbling with settings when the good stuff goes down!
The beauty and power of lightning has fascinated me since I was a kid. So it should probably not have been a surprise I would end up in Florida, the lightning capital of the United States. My home lies in an area that has received the distinction of being called “Lightning Alley”, with more strikes per square mile recorded annually in the corridor from Tampa to Titusville than anywhere else in the US, the second most world-wide!
Despite having the possibility of lightning nearly any day of the year, it’s still a difficult thing to find and photograph successfully. It’s also an extremely dangerous thing to photograph, it’s by far the number one cause of weather related deaths in my neck of the woods. These tips and techniques will help keep you safe, while helping you get a crack at capturing those bolts out of the blue!
On many social media sites, for various reasons, we are seeing a high degree of censorship and banning for anything consider “Mature”. Regardless of your personal feelings on the matter, for those of us producing fine art nude or boudoir photography it’s becoming increasingly difficult to share our uncensored work over the internet. Here is a quick tip on how to create a frosted glass effect that nondestructively blurs only the parts of your image you choose, to satisfy the interweb censors and people parts police.
About a year ago I started trying out other genres of photography as a way to jump out of my comfort zone, reshape my style, and give my creativity a kickstart again after some pretty tough personal challenges and dark times that nearly ended my career. For whatever reason, after a few shoots I found myself drawn to model photography. Beyond the initial shock of having to work indoors while not spending almost all my day in swamp water, the biggest surprise of all was how much I enjoyed the challenges of working with people, lighting, and in the studio setting. Specifically, the sub-genres of boudoir, fine art nude, and erotic photography, which are about as far away from my original bird photography roots as you can get!
This article is a collection of do’s and don’t for photographers interested in working with models in these styles of photography, from the lessons I’ve learned collaborating with both professional models and photographers. Remember also, this is written by a photographer for other photographers, but it in no way diminishes the role of the model in also maintaining a professional relationship and standards. Rather, it acts as a guideline for the photographer in this realm. While many of the concepts apply to models as well, that is for another article (stay tuned!). There’s immeasurable value in just listening and developing a rapport with the people you work with to make sure you are acting professionally in their eyes, and they in yours. I hope this article is a way to help you do just that!
I have a new article published today on Photofocus, titled “How to Enhance Your Photos With Textures – Part 2: Blending”. Here’s a sneakpeek… ” …” Check out the rest of the article at this link: How to Enhance Your…
I have a new article published today on Photofocus, titled “Wade Right In: A Nature Photographer’s Guide to Wading to Get the Best Shot”. Here’s a sneakpeek… ” …” Check out the rest of the article at this link: Wade…
Many of us love the experience of creating photos, but have a habit of stockpiling those photos on a mishmash of drives and cloud storage, where they remain unseen by ourselves or anyone else. Sometimes guilty of this myself, I long ago stopped printing my work. With web based portfolios, social media, cloud file delivery, and all my customers and audience online, why bother? Over time, I got rid of all my printers, outsourced everything and generally avoided anything to do with putting ink on paper. I’m sure I am not alone in this, how many of you out there haven’t printed anything in a long time, or have never printed anything at all?
Recently, I had the opportunity to to select one of my favorite photos, and have a print made of it by ArtisanHD. When the piece arrived and I opened the box, it all came flooding back. Just how cool it’s to see your work big on the wall. This wasn’t about ego, it was about seeing the product of creativity and effort, reliving the memory of making that image, and rediscovering just how much I love photography. In this article I’ll explain how printing your work can make you a better photographer, through my experience of having a large print made of one of my favorite photos.
In photography a texture image or “texturing” is used to enhance or accent some part of the image in your digital darkroom. Although they can help you create eye-catching works of art, textures also can be very easy to overdo. In this article I’ll explain my process for adding textures to my photography, using Adobe Stock and Photoshop, to create more impact, transform the mood of the image, or improve on the composition.
Curves layers are one of the most misunderstood, yet more powerful adjustments you can make. Our images are all made up of pixels, which each have values for color and luminosity. With Curves adjustments, we can remap the pixels’ values for these, changing them to be brighter or darker, or changing their color. In Skylum Software’s Luminar you can add multiple curves filters, and make each layer target very specific parts of your image. This will give your images more depth, dimension, and beautiful color.
I have a new article published today on Photofocus, titled “Photographer of the Day: Neil Edwin Sinadjan”. Here’s a sneakpeek… ” …” Check out the rest of the article at this link: Photographer of the Day: Neil Edwin Sinadjan
I have a new article published today on Photofocus, titled “The Life Cycles Approach to Wildlife Photography – Part 2: Capturing the Complete Picture”. Here’s a sneakpeek… ” …” Check out the rest of the article at this link: The…
I have a new article published today on Photofocus, titled “Photographer of the Day: Johann Walter Bantz”. Here’s a sneakpeek… ” …” Check out the rest of the article at this link: Photographer of the Day: Johann Walter Bantz
Every chance you have with a wild animal in front of your lens is an opportunity not just to capture split-second moments of action or behavior, but to also learn more about its life story. The things this creature does daily to survive and thrive in an often harsh world. As photographers, we are storytellers. By telling an animal’s tale through your photography, you reveal one of countless stories being played out as part of a greater whole within the place this animal calls home. Not just the story of an animal, but also a family, a species, an ecosystem, and a planet.
In this article, I’ll share tips on creating wildlife photography through capturing life cycles and histories, all those intimate moments that help define the lives of wild animals. Wildlife photography from a life cycles approach not only gives structure and purpose to your photography, but also adds to the broader knowledge about these creatures, necessary to understand and protect them. Every time you create a wildlife photo, you can help educate others about the general awesomeness that is nature, and the specific awesomeness that is this animal. Pretty cool when you think about it that way! (Have I mentioned I truly love what I do and this is one of the big reasons why! )
If you would like to experience a beautiful vision of a vintage holiday, look no further then this image, “GMC Christmas” by Dawna Moore. Part holiday cheer, part nostalgia, it’s a warmly lit scene featuring Christmas decorations along with a nice slice of Americana. Beyond these elements, the composition and lighting are excellent, from the technical choices with aperture to create the starbursts on the Christmas lights, to the balance of complimentary colors with the reds and greens. The portrait orientation of the photo helps simplify a busy scene, placing the focus on the wreath and letting your eye travel throughout the frame to take in all the detail.
I have a new article published today on Photofocus, titled “Photographer of the Day: Mark Meyer zur Heide”. Here’s a sneakpeek… ” …” Check out the rest of the article at this link: Photographer of the Day: Mark Meyer zur…