Planet Photography               

Yesterday saw some excitement among our Nikon readers with the launch of the new Nikon D800 DSLR – but also announced yesterday were 3 new lenses from Canon. The main one of interest is the EF 24-70 F/2.8L II USM. Version I of this lens has always been a popular choice with photographers for quite a few years so an update is a logical one.

The main updates included:

• More durable body
• Smaller Size (only slightly)
• Redesigned Optics
• New Zoom Lock lever to prevent damage in transit

Unfortunately the update didn’t bring any Image Stabilisation to this lens – something that will disappoint many.

The new Canon EF 24-70 F/2.8L II USM will retail when it becomes available in April for $2,299.

There is some speculation around that this update is a precursor to a full frame DSLR announcement from Canon shortly. Time will tell.

Also of interest is Canon releasing two wide angle primes with Image Stabilization.

They are the EF 24mm f/2.8 IS USM and EF 28mm f/2.8 IS USM. These updates to older prime lenses are said to add up to four stops to shooting with them. They both have Ultra Silent Motors and new aspherical lens elements.

The 24mm F/2.8 IS USM will retail for $849 USD and the 28mm F/2.8 IS USM will cost $799. Both will be available in June.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Canon Update 3 Lenses including EF 24-70 F/2.8L II USM

With the announcement of Nikon’s new D800 DSLR yesterday came a short film shot on the D800 that shows off some of the D800′s video shooting capabilities. The film is called ‘Joy Ride’ and was created by photographer – Sandro.

The film showcases the D800′s ability to shoot in some tricky lighting conditions and situations (fast moving motorbikes, low light etc). Here it is:

Also released by Sandro today was a behind the scenes video. It doesn’t contain a heap of technical info by will give you a feel for how it was shot.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

View a Short Film Shot on the New Nikon D800 DSLR

It has been a while since I have posted anything to this web log. I think of a log as an ongoing written record of events, the passing of time. Since last September, my life has been full of these daily events but I haven’t been recording them. I have been busy with a variety [...]

Didja ever wonder?

You got the gear. You got the lights. You got that shiny new megapixelbeast of a machine.

You even have one of those latest doohickeys that everyone is drooling over.

You know the one. Yeah… it’s sweet.

But where are you going with all that stuff?

Are you off to make photographs?

Why?

Seriously… why?

Is there a reason for the images you are making? Is there a strong desire to make those images? Is it something you have been thinking about for a long time? Was it a sudden desire to go out and record something on a bunch of pixels or a roll of chemically smeared acetate?

I think most people spend more time thinking about what stuff they have and what to do with it instead of what can be made with it.

A photograph.

A single ‘click’ in the vastness of space and time and the continuum that I have no idea how to describe, but hell it sounds sooo good to say.

Continuum.

A moment frozen forever.

And why did we want to freeze that moment?

Because we have the gear that makes it freeze better than those point and shoot moment-in-the-continuum freezers? Is it because we spent all that lunch money on the great glass that it seems NECESSARY to make images? Any damn kind of images… before our spouse finds out that we have spent all that lunch money on some ‘toy’.

“Dear, an f1.2, 50MM lens is not a toy. It is a highly refined optical unit that helps me with freezing the anomalous entities of position, time and motion in the continuum. … … Besides, EVERYONE who is cool has one…”

Yeah, that’ll work.

And I don’t really think of that as a great reason to make a photograph.

So what is the direction? Where is your map?

I am not sure you need a map, but I can tell you that without one the journey to becoming a professional in almost anything you want to do becomes more murky.

Sure, we always hear of some kid who had, like, no idea what he was doing and simply “lucked” into a great position that he “amazingly” milked into this sweet career.

Bullshit… the “luck” and the “milking” were part of the plan – even if the plan did not exist overtly.

We all get moments to grab that luck ticket, and turn it down. We all have a chance to wring the wonderful from the chances we are given and most of us don’t. We just don’t.

If you are wondering where I am going with this whole thing, believe me – I gotta map. It just has a lot of scribbles on it.

And reading through those scribbles is hard.

Kinda like figuring out where we are going with the gear… and where we are going with our photography.

It is changing – the whole thing is changing.

Nikon just released news of the upcoming D800, a full frame monster with 36+MP. That is right into the medium format range. That is a pixel peeper’s nirvana at a price that makes it a little over prosumer. Not much, just a little.

So now we will have the option of creating files that will choke the shit out of our current machines, and the cycle starts anew: new camera, new computer, new storage, new cards, new this new that new new new.

What about photography?

Is it new now? Or better because we can capture a gazillion bytes of info at 16Bit. Or 24Bit… 32Bit (hey – you know it’s coming).

Will we use this “new” thing to make something “new”?

Sadly, we will most likely not. We will continue to make what we currently make but with a lot sharper edges and great shadow definition.

Perfectly exposed crap.

What if we had a map to where we want to be? A guide. A pamphlet. A napkin with faded pink marker… whatever.

Where would your map lead you?

B&H? (Hey, yeah – everytime I go to NY I drop in to see and play and touch…. wooohooo.) But that has nothing to do with photography.

It really doesn’t.

What about the images… and the imagery you want to take?

Is it real people working? Is it high fashion skinny models in impossibly expensive wardrobe? Is it impeccably styled still life or exquisitely designed architectural masterpieces?

Is it the simple moments of our lives?

What if we had the map first and then we packed for the destination. I think that is a far better way to think of it.

If I were moving to Anchorage, I would take some warm clothes. I would invest in a parka and some gloves and maybe electric underwear. I would learn all there is about living in cold weather, and how to maintain my vehicles and stay alive in case of disaster.

My map would take me there and my bags would be full of the stuff I needed  when I arrived.

If on the other hand, I was moving to Key West, I would probably not spend a nickel on parka’s or spend a moment looking up how to live in cold weather.

I would instead be looking up all the bars that serve Corona on tap (priorities!!!) and packing my bags with shorts and Hawaiian shirts and sun screen.

Right bags for the right place.

Because I knew where I was going.

Recently I spent an entire day at the studio cataloging and listing all the stuff I have. Lots of it was purchased over the last couple of decades. I own 3 camera stands. I use only one. Occasionally. I own giant, heavy, bigass Norman packs. I use Profotos and Dynalites mostly. And even they are too powerful for what I want to do.

I have 4 view cameras and a full darkroom x3 – and it is in the garage.

I have a map to where I am going and it doesn’t require that stuff. It did when my map included it, but not now.

Wasted investment now… and over time it is not hard to swallow. But spending a lot of money on stuff that is not going to be needed when you get to your destination is just foolish.

When I was done with my re-arranging and packing I realized I had packed two separate “kits” – one that is perfect for most of what I do these days – still life, environments and people. And a backup kit for larger setups of the previous three genres.

I know now what lenses I really want (need) and what I don’t need (but crave cause I am a human photographer and damn that 85MM 1.2 is sweet…).

I have set out to make my photographs, and I have ‘packed’ accordingly.

I know where I am going with my work. I know where I want to end up. I can see, hear, and taste the place I want to be as a photographer in the next few years. It is real and palpable to me. I have created my vision of what that world will look like. And I got the coolest walking stick you have ever seen…

How about you?

Have you created a map for your photography? Where you are going with it? What you will need along the way? What you will need when you get there?

Where “there” is?

Great travellin’ with ya all.

See ya along the trail.

(For those of you wondering about my camera choices here is the skinny: I am currently using some very old glass that I love, but also am aware that they may stop working at any time. I have backup funds to cover that eventuality, but I am also thinking that if I am to switch systems, this may be the time. The Nikon D700 really appealed to me on a visceral level… that is I love the way it feels and molds to my hand. I also love Nikon’s skin tones and shadow transition handling.

So I will either go with a Canon 5DMKIII with 24, 35, 50, 100 and 200 primes. Or a Nikon D800 with the same configuration. I am moving away from zooms. I like the feel, weight and speed of primes.

I haven’t made a decision on that move yet, but will keep you apprised when I do. The thing is, the brand doesn’t alter my map, travel or destination.

It’s just gear.)

A review by Marianne Gilhuus.

For the first time ever I have a camera bag that does not make me look like a photo geek! (Or, to be honest, for the first time in my life I have a real camera bag, with room for more than just one camera)!

It is a beautiful leather bag (available in several beautiful different colours), which can be used/worn at any occasion. A great bag for combining shopping or having a coffee with friends, and photo shooting. And as the bag won’t give away that you are carrying a camera, it is ideal for a female street photographer!

For me it is a small drawback that the strap is too short to carry it across my chest. However, that is what makes it look more like a purse than a camera bag. I did not think much about the missing strap whilst photographing, but when doing longer photo walks it got quite tiring on the shoulder (not being able to ”distribute” the wight across my back). It does help, though, that the zipper can be opened from both sides of the bag, making it possible to alternate the carrying between the shoulders. One thing I love about this bag is its ability to stand on the ground without falling over, having four ”legs” underneath. It makes it easy to place beside me, being on the train or in a cafè

The bag has inner padding, and three removable dividers making it easy to adjust. For me it has the ideal amount of space: I have room for my camera Nikon D90 with a 18-105 mm lens attached, and an extra nikkor 50 mm, my wallet and my keys (i love the extra small pocket). And still there is room if I want to bring a flash or my Canon G7. As I have just moved to Melbourne, where the weather is changing all the time, it is perfect to have additional space for a scarf, an umbrella or even a small rain coat! For those with the need of room for several lenses and flashes etc, this bag might be a bit too small, though. Extra pockets on the outside of the bag are ideal for an iPhone or your lens cover, filters, batteries or memory cards. The back pocket has room for more, but filling it up might be felt against your body whilst carrying the bag. For me, though, being a stranger in the city, this was the perfect place for a map of Melbourne!

Check out the Pompidoo range at http://www.pompidoo.com.

Marianne Gilhuus

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

The Perfect Camera Bag for the Female Street Photographer

Two weeks ago today we launched the third eBook in our popular Photo Nuts eBook series – Photo Nuts and Post: a Guide to Post Processing. It has received some wonderful reviews since launch and we’re excited to see so many of our readers using it to improve their images.

Win a DSLR, iMac or Photoshop and iPad

Today I’m super excited to announce that anyone who buys our new Guide to Post Processing eBook during it’s launch will go in the draw to win one of three amazing prizes to help them improve their photography.

3 prizes? Why 3 prizes I hear you ask?

The reason is simple – dPS readers are all at different stages of learning and come with varied needs, gear and challenges. As a result – we’ve chosen 3 prizes that will hopefully meet a range of reader needs. The winner gets a choice of one of the following:

• a Canon 60D DSLR with 18-135mm lens – worth $1180 USD
• a 21.5 inch Apple iMac (2.5 GHz Quad-Core Intel Core i5 with 500GB Hard Drive) – worth $1199 USD
• Adobe Photoshop CS5 and an iPad 2 – worth $1200 USD

So whether you need a new camera, computer or post processing software and iPad – we’ve got you covered.

The Competition

Anyone – anywhere in the world – who purchases a copy of our Photo Nuts and Post eBook before midnight on 21 February goes into the draw to win one of the iMac, DSLR, Photoshop/iPad prizes. This includes anyone who bought the eBook in the last two weeks. The price will also go back to its non discounted price on 21 February.

FAQs

Based on past competitions – I know there will be two questions asked again and again – so here’s the answers spelt out:

• what if I already purchased Photo Nuts and POST? – you’re in the draw and don’t need to do anything else
• is this open to all international readers – yes, everyone. We’ll ship the computer to you anywhere at our cost

So Here is the Deal in a Nutshell

Buy Photo Nuts and POST before 21 February and you get:

• 33% off the eBook – worth $29.99 but for a limited time just $19.99
• An Entry into the DSLR, iMac, Photoshopt/iPad giveaway
• Plus (and most importantly) you’ll come away from reading the eBook with some great knowledge and skills to help you improve your post production of images.

  As this post goes up you have 2 weeks to take advantage of this offer – so don’t hesitate and pick up your copy of Photo Nuts and POST here today!

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Buy our New Post Processing eBook and Go in the Draw to Win an iMac, DSLR or Photoshop!

If you ever had to shoot in a confined space you know that getting your light in the place can be challenging .Limited space, cabinets and shelves all join hands in eliminating good lighting placements.

Photographer Allen Mowery put together a DIY Super Clamp that allows mounting your strobe on almost every semi-open door or shelf.

We have featured two similar products before, a DIY Clamp and the Nasty Clamps, each with its own merits. This design uses a controllable pressure clamp which I can see useful when the need to mount larger weights rises.

Here is a video describing the use of the clamp, followed by a link to the DIY guide on Allen's blog.

read more

Last week I bought a pair of cycle shoes. I've been cycling indoors in my running shoes for seven years, but last week a group of the Regulars talked up their superior rides thanks to their cycle shoes. And then I was all, not-uh, no way...I want to be the fastest in this class of stationary bikes! So I bought cycle shoes. I woke up yesterday morning singing the I-have-new-cycle-shoes-yea-yea-yea song and left to the gym.

Then a funny thing happened: I couldn't get the shoes to clip into the bike pedal. I tried to make it look like I wasn't trying, but I sat in the front row just sliding my feet up and down the pedal, like I was trying to Moon Walk on a bike.

Must be the pedals, the girl behind me said and offered to switch bikes with me. AND NOW I'M BEING MORE NOTICED. After a few more failed attempts, the girl next to me offers to help. No, no, I say, I'm just gonna wear my running shoes instead. She gets off her bike and grabs my foot to help get it clipped in. Then the instructor puts on her wireless mic and asks if everything's alright with my new shoes. Just.what.I.wanted. I whisper to my Cycle Shoe Helper, ...it's okay...please, stop...lemme just switch my shoes... but she ignores me. Apparently she's the valedictorian of shoe helpers and will not give up unless she gets an A+.


I'm mortified because CSH is thumping my foot into the pedal (and all I could think was how I wish I shaved my legs) and the instructor isn't starting class until all is well with my adventures in cycle shoes...when...click! They're in. I thanked CSH profusely and started on my purportly superior ride.

Sitting at home, I can't help but think CSH did me right. And not just because she helped me, but, rather, because she didn't give up helping me. I literally asked her to stop because I was embarrassed of admitting: 1. I didn't know what I was doing; and 2. I needed help. I wanted to go back to what I knew, what was comfortable because it didn't require change or assistance.

I'm glad she didn't give up. She taught me a lesson and if my family, friends, or fellow photographers tell me they're going to go back to what they know, back to what's comfortable instead of changing for the better, I won't let them. Because once they're clicked in, they'll be riding toward their goals.


© Jasmine Star. This post cannot be republished without permission. Stealing makes me sad.

This Month in Photo of the Day: Animal Pictures

Elephants roam the Serengeti under a stormy sky in this photo by Michael “Nick” Nichols, who sent dispatches from the field as he shot a story for National Geographic magazine.

See more pictures from Michael "Nick" Nichols's Project: Serengeti Lions, part of an ongoing series documenting the work of photographers in the field.

See a 360° panorama of elephants »
See more pictures of elephants »

There has been chatter on the interweb for what seems like ever, surrounding the the new offering from Nikon. Here it is, finally, for you to lust after! Nikon D800 & D800E  $2,995.00 and it’ yours!

Will you be cashing in and picking one of these cameras up? Comment below!

Here’s the feature list.

Nikon FX-format CMOS sensor with 36.3 effective Megapixels
Native ISO 100 to ISO 6,400
Manipulate light to your advantage
Shoot broadcast quality video
Comprehensive high-fidelity audio recording control
Live view output on external monitors
Integrated image sensor cleaning system
EXPEED 3 image-processing engine
Advanced Scene Recognition System
Time-lapse photography
Advanced Multi-CAM 3500FX autofocus sensor module
Versatile AF-area modes
High-precision, high-durability shutter
High dynamic range (HDR)
Don’t miss a moment
3.2 inch, 921k-dot LCD monitor
Lightweight yet durable construction
High-speed CF and SD dual card slots

Let’s have that all explained.

Nikon FX-format CMOS sensor with 36.3 effective Megapixels
With a huge 36.3 Megapixel full-frame CMOS sensor your photos will have more detail than ever before. The sensor is 35.9 X 24 mm – producing such incredible detail, that the Nikon D800 can render textures and nuances equivalent to high-end medium format cameras. Define every eyelash, every line in tree bark, and every shimmer of light. You can now savour the exceptional depth in your photos and enlarge them as big as A1 posters at 200dpi.

Native ISO 100 to ISO 6,400 – expandable to the equivalent of ISO 50 to 25,600
High-resolution, studio-quality images shouldn’t be restricted to the studio. The Nikon D800 sets a new benchmark for high-resolution DSLR cameras, with clean and crisp images across a wide ISO range.
Flexibility like this opens up new imaging opportunities for still photographers and cinematographers. Even at high ISO settings, the camera’s intelligent noise reduction systems manage noise without sacrificing fine details, giving the nikon D800 the edge on its competition.
The difference can even be seen in low-contrast subjects such as hair and grass textures, which are often essential elements of cinema as well as high-resolution portraits and landscape images. High image quality at higher ISOs also means that you can shoot still images handheld more confidently, knowing that fast shutter speeds will reduce blur.

Manipulate light to your advantage
With the Nikon D800, our engineers have combined high-resolution performance with a wide ISO range – making many photographers dreams a reality. New methods have been employed to manipulate light transmission to the sensor’s photo diodes, delivering crisp, brilliant images with significantly less noise.

Shoot broadcast quality video
Many filmmakers require the highly mobile, lightweight and compact advantages of a DSLR in order to cover large events, make documentaries, music videos or movies. For these professionals, the Nikon D800 is ready to create incredible cinematic experiences.
The Nikon D800 is capable of shooting full 1080p HD video in either FX or DX modes – yours to choose depending on your creative intentions. Combined with the processing power of the new EXPEED 3 processor, you can shoot broadcast quality video at 30 frames per second.

Comprehensive high-fidelity audio recording control
The Nikon D800 is designed for crisp stereo recording with a built-in external stereo microphone input. Attach the compact ME-1 Stereo Microphone to record clear sound while significantly reducing mechanical noise. An external headphone jack enables you to effectively monitor and control audio in isolation.

Live view output on external monitors
While shooting movies you can now simultaneously check the video feed on an external monitor using an HDMI connection, in addition to the camera’s TFT monitor. For those who need the purest video output for professional quality editing, you can now record uncompressed movie live view footage directly to an external storage device via HDMI interface.

Integrated image sensor cleaning system
Ever experienced the frustrations of dust reaching your cameras image sensor? The Nikon D800 automatically prevents this. Employing Nikon’s new Integrated Dust Reduction System the sensor self-cleans itself with four resonance frequencies to vibrate the optical low-pass filter and shake dust away. There’s also no need to worry if you’re shooting landscapes at low shutter speeds – you can set the self-cleaning sensor onto manual to prevent any camera shake.

EXPEED 3 image-processing engine: speed, versatility, and high performance
To process the Nikon D800’s huge 36.3 megapixel full-frame CMOS, Nikon engineers have included the new EXPEED 3 image processing engine so you don’t have to sacrifice speed for the privilege of incredibly high-resolution photos. From image processing and card recording to image playback and image transfer, EXPEED 3 manages massive amounts of data at faster speeds than the acclaimed EXPEED 2 processor. Even with specialised processing features like Active D-Lighting and highISO noise reduction, capture speed is not affected. EXPEED 3 is so powerful that it handles data-intensive tasks such as Full HD video recording at 30fps with ease.

Advanced Scene Recognition System with 91K-pixel RGB sensor
Nikon’s revolutionary Advanced Scene Recognition System, introduced with the flagship Nikon D4 camera, is also employed in the Nikon D800. At its core is a 91K-pixelRGB sensor that meticulously analyses each scene with fine resolution. The RGB sensor can recognize your scene’s colours and brightness with unprecedented precision then use that information to implement various automatic controls and give you more natural-looking results.
The real breakthrough, however, is that the sensor can detect human faces with startling accuracy when shooting through the optical viewfinder. Along with face detection, detailed scene analysis is utilised to support more accurate auto-focus; auto exposure and i-TTL flash exposure results in a diverse range of compositional and lighting situations. The improved subject tracking is most noticeable when using 3D-tracking, which can maintain a focus on moving subjects smaller in size than with previous generations.

Time-lapse photography
Capture a variety of scenes and subjects at a breathtaking pace. The Nikon D800 lets you set intervals and frame rates in order to dramatically relay slow-moving activity at dramatic speeds. The Nikon D800 allows you to shoot time-lapse photography with replaying rates from 24 times to 36,000 times faster than normal. Time-lapse photography files can be saved as a movie file.

Advanced Multi-CAM 3500FX autofocus sensor module
Accurate AF detection is crucial for extremely high-resolution still images in every situation. The 51 sensor points in the Nikon D800’s AF sensor module work down to -2 EV (ISO 100, 20°C/68°F), the approximate physical limit of human visibility through an optical viewfinder. For even more powerful detection, you can rely on the camera’s 15 cross type sensors in the centre to detect both vertical and horizontal lines when using any AF NIKKOR lenses of f/5.6 or faster. What’s more, AF can be activated with eleven focus points in the centre with open aperture of f/8, which is a big plus when you combine a telephoto lens with a 2.0x teleconverter to shoot distant subjects.

Versatile AF-area modes
Whether it’s a still life, a portrait, a landscape or a candid street scene, your subject matter varies, but its importance doesn’t. That’s why the Nikon D800 offers four AF-area modes, each specifically tailored to adapt to various subjects. Single-point AF is ideal when you need pinpoint focus on stationary subjects. Dynamic-area AF has three options (9-point, 21-point and 51-point) and is ideal for shooting moving subjects. The selected AF point and the surrounding points keep your subject in sharp focus even if it briefly leaves the selected points. 3D-tracking allows you to maintain focus on subjects that are moving erratically from side to side. Auto-area AF detects human faces and prioritises their sharpness for you — an ideal choice for candid photography.

High-precision, high-durability shutter
The Nikon D800’s shutter unit has been tested to well over 200,000 cycles of release to prove durability and precision. While the shutter unit is designed to run at a speed range of 1/8,000 to 30s, its intelligent self-diagnostic shutter monitor automatically monitors actual shutter speeds in order to correct possible variances that can occur over time.

High dynamic range (HDR)
The Nikon D800 can shoot two frames in a single shutter release, but at different exposures: one overexposed and one underexposed. The camera then instantly combines them to create an image covering a wider dynamic range. The range can be widened by up to 3 EV for different looks, all full of saturation and tonal gradation, while the smoothness of the edge where the two exposures meet can be adjusted for a more natural appearance.

Don’t miss a moment
The Nikon D800 is designed to respond immediately. Once the camera is turned on, it starts up in approximately 0.12 seconds* and your finger is in position for shutter release. Release time lag is minimised to approx. 0.042 seconds*, equivalent to that of the Nikon D3S. The Nikon D800 also has the ability to shoot continuously at 4 fps in FX mode, and 5fps in DX mode. (*Based on CIPA Guidelines)

3.2 inch, 921k-dot LCD monitor
The Nikon D800’s large and sharp colour LCD monitor delivers bright, crisp image playback with a much larger capacity for accurate colour reproduction. Using an anti-reflective structure, you can count on clarity equal to that of the D4, even under bright conditions. Moreover, if monitor brightness is set to “Auto”, the camera automatically adjusts LCD brightness according to the environmental lighting conditions measured by the ambient brightness sensor, allowing easy use of live view in both bright and low-lit places — very useful when shooting video and stills. The ability to magnify playback images up to 46x (Large-size images in FX format) is extremely helpful for spot focus confirmation.

Lightweight yet durable construction
The Nikon D800 has been designed to achieve better durability and lighter weight. The result is a camera approximately 10% lighter than the Nikon D700, yet just as rugged, weighing in at around 1,000 grams. A magnesium alloy construction protects the camera against accidental shock, and weather and dust sealing has been extensively applied and severely tested, making the Nikon D800 as reliable on the road as it is in the studio.

High-speed CF and SD dual card slots
Card recording speed is yet another crucial element of a smooth and productive shooting experience. The Nikon D800’s CF memory card slot is compatible with the latestUDMA 7. The SD card slot is compatible with SDXC (Secure Digital extended Capacity) and UHS-I. You can also use two cards simultaneously for a number of functions, such as recording JPEG and RAW data on separate cards, recording the same data simultaneously on two cards for backup.

What do you think? Tell us if this one “is for you” or not, below in the comments!

–Sime

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Nikon D800 and D800e announced

A Guest Post by Clayton McLaughlin

There are a lot of tutorials out there that introduce the practice of shooting timelapses with a variety of different cameras. All of which can help you get started. But as with any situation, I’ve found there are a few things that have helped me along the way that I never read in a tutorial online.

1. Use velcro to secure the wireless trigger

Using a remote trigger does two things that are important to timelapse photography. First the intervalometer built into a lot of triggers does the tiring work of taking photos at a regular interval. Second, it allows you to be hands free from the camera, reducing the dreaded camera shake. But if you just wrap the trigger around the tripod, or even just drop it once it’s plugged in, a stiff breeze will blow that wire around and shake the camera. Defeats the purpose of using the trigger and the tripod.

My solution. I put a piece of velcro on my tripod leg and the corresponding piece on the back of the remote trigger. The wire stays wrapped up in a twisty-tie to avoid long cords dangling in the wind or just asking to get snagged on my sleeve.

2. Bring a notebook

Or use your phone to take notes. Having something to take notes will allow you to write down camera settings for immediate use (switching from AP to Manual mode to grab settings via in-camera light meter) and for future use (reference for settings to avoid star trails for instance). Personally I use Evernote on my phone amp; sync the app across all my computers. This provides an (almost) always available database of information that I can utilize. Think of it as a photography diary. Every time I shoot I try to create a new note about something I learned. When I get in a rut, I just look back at my notes. This is a habit I picked up from playing golf and it’s worked very well for my photography.

3. Download Google maps to your phone

This tip will likely not apply to everyone in every situation, but I’m giving it nonetheless. If you plan on hiking to a spot, or you’re just heading to am unfamiliar area, download that region to your phone via Google Maps. Then if you lose service you don’t need to depend on the network to provide the map. GPS always works so you can find your way still. Here’s a quick YouTube tutorial: Google Maps Offline

4. Bring a Small Red LED flashlight

This is a night time tip. It’s obviously hard to see in the dark, and the little light that you do get from your camera will go away once you start taking the pictures. If you’re shooting the stars, then this little tool will be especially handy because astrophotography is generally at it’s finest when there is the least amount of light pollution. The red color is better on your eyes in darkness and it isn’t as noticeable to the camera sensor.

5. Entertainment

Unless you’re a professional that shoots 9 cameras at once, you will likely setup the timelapse and then have to wait… a long time. So be prepared to keep yourself entertained. For me this includes my iPod and a phone with full battery to play games, write blogs, check sports scores, etc. If you’re into crossword puzzles, bring several. Timelapse photography is a waiting game.

6. Keep everything warm during cold weather shoots

This includes you and your gear. Put on enough layers to make you sweat when inside. Then put on one more before leaving the house. You won’t be moving around much so put on enough to keep you warm as you sit still for hours. I would recommend buying hunting gloves that let you pull the fingers back so you can easily changes settings, etc.

As for your gear, buy the hand warmers that are available in every retail store and gas station in the country. Place all of your extra batteries in a pocket with this warmers. I gene

Further Reading:

An Introduction to Time Lapse Photography

How to Make a Time Lapse Video With Your DSLR

7 Tips for Shooting Better Timelapse

Interview with Ross Ching – Time Lapse Photographer

Clayton McLauglin is a Chicago based ‘digital junkie’, photographer, videographer and storyteller. See more of his work at his blog, on Flicker and Follow Clayton on Twitter at @augiecrazy8.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

6 Timelapse Photography Tips [You May Not Have Considered]

A Guest post by Jenika McDavitt from Psychology for Photographers.

“At all levels of income, the typical response is that one needs 20% more to be happy.” – Richard Easterlin

The photographer’s equivalent to Dr. Easterlin’s statement is probably “Whatever you charge for your work, the typical response is that you’re 20% too expensive.”  Like clockwork, I’ve been told my photography is too expensive at $75, $100, $300, $500, $1200, and $2000 price points.  But why?

Anchors Aweigh

First, photography is one of the worst victims of something called the anchoring bias: Our tendency to grab on to a certain number and weigh everything else against it.  Even if that anchoring number has been pulled out of the air, or is largely irrelevant to the situation, people will cling to it when evaluating everything else.  For example, a person from a small town might think taxis in their town are too expensive.  But a New Yorker who visits that small town will think “Whoa, these taxis are cheap!!”  It’s the same taxi and the same price – but reactions are different because the two people have a different anchor for how much a taxi “should” cost.

People are used to paying $5 for 50 prints at the corner grocery store and under $30 for a packet of school photos.  Thus, most people’s “anchor” for photography pricing is probably somewhere between $5-30.  So they wonder: Why would they want to lay down a hundred bucks, let alone two grand, for your services?
The hard truth is, no matter what you charge, you will always be too expensive to someone, especially those whose “anchor” is a grocery store.   You might as well price your work profitably, and in the meantime, work to “re-anchor” your potential clients to your price range.  Here’s how:

1.  Create your own profitable pricing list and stick to it

Don’t steal someone else’s pricing because it “looks right” – you need to understand exactly how you arrived at your numbers.  If you take your pricing from some other photographer, it’ll be harder to stick to your guns when clients pressure you to accept a lower rate.  When you feel desperate for work, one price grabbed out of the air won’t be much different than another.  Understanding your own overhead costs and profit margins helps you be firm, because you’ll quickly see what that discount would really cost you.  (If you’re struggling with setting profitable pricing, I recommend Easy as Pie by Alicia Caine.  My highest sale before buying that e-book was $500, my first sale after implementing my Easy As Pie pricing list was $4000.  Well worth the investment.)

2. Spell out to potential clients exactly why your services are worth what you charge

Most people understand why taxis in NYC are more expensive than in their hometown.  But many people may not see the difference between your photos and a mall studio, except that your photos are taken at a park.  (But since using the park was free, why would you be more expensive?)  Make sure your website describes in lavish, dazzling detail exactly what they will get from working with you.  Blog regularly about the experience clients receive, how unhurried and fun each session is.  I recently blogged a breakdown of the time I spend on each client (23-34+ hours), and potential clients told me they had no idea!

Make it clear how much effort you put in on their behalf, and what that means for their life and family.  Only then will they see how their previous price anchors don’t apply to your business.

3. Don’t count on the quality of your work speaking for itself

 
Too many photographers fall into the trap of counting on clients to perceive the high quality of their photographs and thus believe that their services are worth more money.  But consider: when you started in photography, I bet you were more easily awed by professional photographs.  Now, after putting in hundreds of hours taking and looking at photographs, I bet you have gotten progressively more picky about technical sloppiness.

Your clients are not photographers.  They are not going to immediately recognize soft focus, clipped highlights and shadows, Photoshop overcorrections, etc.  Some may honestly not see the difference between your honed skills and your neighbor down the street who just picked up a camera yesterday.  There needs to be a more compelling reason for them to pull out the checkbook.  You might make it a part of your regular blog conversation to post a few SOOC/post-processing comparisons, do a “year in review” and talk about how much you’ve grown over the year.  Even non-experts can appreciate jumps in quality when they see things side-by-side.

4. Don’t change prices too often

Your current prices are an anchor for past clients.  Wedding photographers are not aiming for repeat wedding clients (hopefully!), so they can raise their prices more frequently with less anchor damage.  But a mother who did her newborn session with you may be shocked to come back at six months and find that your rates have doubled.  It’s easier to set a profitable pricing list right now (which usually represents one significant jump), perhaps taking time to explain to past clients that in order to be around to serve them long-term you have made some adjustments, but that you value their business and look forward to working with them again. Then tweak only once or twice a calendar year thereafter.

If you set a profitable price list and find that you need to make an increase, consider keeping your session fee the same and adjust the prices of your products.  Session fees stick in people’s minds, so big session fee jumps can induce more sticker shock than nudging up the price of your canvases.

5) Don’t make this Mistake

People are not always explicitly aware that they have price anchors, or that they are using them to evaluate you.  They simply think “too expensive,” and move on.  Thus, it’s important that you make it clear to clients that you’re in a totally different category from mall studios or DIY prints so that they don’t simply think “photography” and grab on to their grocery store price anchor.

When you market to differentiate yourself, you may find it tempting to focus everything on YOU.  MY photography is better quality, I provide great service, MY business is better than their business, etc.  This is a mistake.  People don’t care about how great your business is if it’s not totally clear what’s in it for them. Ask them: Imagine what it would be like to have a relaxed, unrushed, 2-hour photography session where there was no stress, just family fun.  Imagine personal service, no waiting in lines, no hurry-up-and-decide pressure.  Imagine a professional retouching each image and ensuring that it looks beautiful.  Give them a clear picture of what they will get out of an experience with you. This will help them let go of those frustrating anchors and better see the value of your services.

Jenika McDavitt blogs over at Psychology for Photographers, helping photographers run smarter businesses through a savvier understanding of human behavior.  Wave hello on Facebook here!

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

How To Get Over Your Fears And Raise Your Prices as a Photographer

Unless you've been hiding under a rock, you've almost certainly heard that the ancient Maya long-count calendar rolls over in December this year. Along with spurring the release of a frenzy of apocalyptic books, this event is also helping spawn renewed tourist interest in Maya ruins. Not to miss out on the opportunity (and free publicity), Mesoamerican communities are hosting a number of special events to celebrate the historic occasion. And governments in what was once the Maya realm have funded a new wave of restoration projects at ruin sites.

So regardless of whether your driving interest is culture or history, art or archaeology, you may well be considering (if not yet planning) a photography trip to the Maya realm. If this is the case for you, please allow me to pass along a few pointers based on my experiences in the area.

read more

I'm sure it's no surprise, but I really didn't keep up with football this year. I know, I know...I'm sure I strike you as John Madden Junior, but throwing a ball, running, and smashing into someone else just isn't my thing. However, I played on a flag football team in college (Go Bulldogs!) and I was pretty intimidating. I can snarl and talk trash about yo mama like a legit linesman. Honest. I watched the Super Bowl yesterday and enjoyed a great game, although Half Time was my favorite part...duh. Can we please give it up for Madonna? Dear sweetbabyjesus, can I please look that good when I'm 52?!

Moving onto other things photography related, last week I photographed my best friend and JD decided to shoot behind-the-scenes video of me shooting. I have to admit watching the footage was painful (I'm much cooler in my mind), but I thought it'd make a different type of Shooting Star. These videos usually offer insight, but this one will offer a sneak peek into how I work.

Sidenote: The audio isn't that great. I should repeat that last part because I'm sure someone will USE CAP LOCKS on YouTube and tell me to use a wireless mic. Internet, I wasn't planning on the video...JD isn't a videographer...and it was windy. I get it. If we decide to put something like this together in the future we'll--of course--approach it differently, but I'm okay with our ghetto fab attempt for now.

If you disagree, I'll talk trash about yo mama.

In this installment of Shooting Star, I'll discuss Posing, but, more specifically...
*getting a subject warmed up at the beginning of a photo shoot with simple tips on how to position the body and arms.
*using a story to convey an idea or way I'd like to see the subject posed.
*talking and coaching from behind the camera to ensure the subject feels confident.



Happy Monday!




© Jasmine Star. This post cannot be republished without permission. Stealing makes me sad.

This Month in Photo of the Day: Animal Pictures

Meet Smasher—the male in the background. That's the name Steve Winter gave this youngster, cooling off in a watering hole in Bandhavgarh National Park, after he slapped the automated camera trap until it stopped clicking. Both tigers are thought to have killed people, and Smasher is now in captivity.

See more pictures from the December 2011 feature story “A Cry for the Tiger.”

See more pictures of big cats »

Thanks to Charles Tibbs for taking the photo.

Yeah… that’s me lookin’ all serious and cold leaning against the back wall of my studio. Fact is, it was a bit chilly that day.

Unlike today where it is pushing a bit over 70.

But the weather is not the subject here – it is the CreativeLIVE show I am doing in Seattle with the great folks up there in the PNW.

Yep – I will be doing a Creative LIVE show April 6, 7, 8, in Seattle and hope all of you will be watching. I will be blogging and tweeting the entire experience as well, but it is nice to know that some loyal fans are watching and having fun along with me.

Creative LIVE is a free, online, 3 day workshop. You can watch it from anywhere you are with an internet connection. Free…wait, I already said that… but still good to know.

We will of course be discussing… LIGHTING.

And the basics of lighting that I like to refer to as the ESSENTIALS.

So we decided to call it… wait for it… Lighting Essentials.

Pretty cool, eh?

My bud Charles Tibbs and I made a video for the trailer and you can see it here. I decided I looked too serious, so I did another one with my bud Megan, and it is black and white and I don’t look so serious… I dunno. Working on a blooper reel that is running about 2.5 hours now.

(hearing that the piano music is distracting… hmmm. Maybe I will remix it then.)

Now I am not going to go through all the f-stops and shutter speeds and how to take your flash off camera. I would recommend Zach’s great program for all that basic stuff. He covers it really well. I am going to be talking about the way that light interacts with subjects. How we can control that interaction and what it means to us as photographers to be able to light the shots we see in our head.

• I will be covering “Subject Centric Lighting” – something that is near and dear to me, as well as working with talent and light.
• Working on location with light.
• Using light to create a reality that doesn’t exist.
• Creating the most incredible, flattering, soft luscious light you can.
• How light and subject create what we see.
• Emotional light.
• And something I call “What to do when you don’t know what the $%#&^% to do.

It will be an amazing weekend.

In fact I think it will rank right up there with VJ Day, the Moon Landing and the last episode of Mash in importance to humanity.

This workshop is perfect for the photographer who wants to understand the finesse of light, and how working with a consistent understanding of what light does can translate into more creativity and comfort in working.

“Light does the same thing every time…” – Me.

It is our subjects that change. Their texture and shape and dimension and surface efficiency and color… all are part of our subject’s qualities.

Light is light… and how that light interacts with the subjects is what makes the photograph we see.

Subject Centric Lighting means we understand the qualities of our subjects, and how the light renders those qualities back to the camera.

Everything we do as a photographer is ultimately based on these properties of subject / light / capture.

And just as a pianist has to be sure that middle “C” is always going to be the note that is played when the key is depressed, we need to know that our light is consistent, and dependable.

Lighting isn’t a guessing game or an alchemist’s nightmare.

We can KNOW its properties, KNOW what to expect and begin to tame it to make our photographs.

AND THIS IS REALLY REALLY COOL!

I can have 6 photographers come to Seattle and be a part of the workshop experience.

You do have to do something to be in the ‘chosen’ 6 though.

And it is pretty easy. Really.

Sorta…

Make a 60″ (that’s sixty seconds) video of you telling me why you should be there and what you particularly want to learn. Don’t gush about how good looking I am (you will be disqualified for having terrible taste) or beg. No begging. It is not attractive and embarrasses me every time it happens.

Just make it fun. Make it you. Make it 60 seconds.

THEN – POST IT on YouTube, Vimeo, Viddler, Facebook, Flickr… wherever you like to post the videos you make.

And Tweet the URL to @wizwow / #creativelive.

We will find those videos and a team of highly experienced “choose a photographer for cool stuff” guys will choose the top 6 entrants based on enthusiasm, fun- factor, and overall “IwannacometoSeattle-ness”.

If you are chosen, the airfare and accommodations are your responsibility, but the workshop is on us.

Things to keep in mind: I am not a “sit on your butt” workshop guy. You will be ON camera and moving around and doing stuff – even shooting stuff – so you must be prepared for that.

DEADLINE:

As with all things there is a deadline… those videos must be up by March 1.

No later.

Period.

We will notify all the lucky folks who want to come out as soon as possible.

So that’s the scoop.

Me, wizwow (Don Giannatti), in Seattle on April 6, 7, 8, 2012 – at CreativeLIVE (www.creativelive.com).

Ohhh… this will be so fun!

…

Heh.

What can you do with a tripod? Well, you can stand stuff on it, your camera, lights, stuff.. But it’s a tripod, how do you innovate? What more is there to do?

UK Tripod conjurers, 3 Legged Thing decided to find out…

What’s on the 3LT menu?

• Carbon Fiber Tripods, Lightweight Travel Tripods
• Carbon Fiber Monopods
• Alloy Tripods
• Alloy Monopods
• Combination Tripod/Monopods
• Anodised Precision Ball Heads and Black Rapid R-Strap Compatible Release Plates
• Stuff (It’s not called that, but there you go) Bootz and Heelz and Budgie Smuglaz

So, I have Brian and Kirk here with me right now, Brian is a carbon fiber travel tripod that extends from as low as 125mm to over 2mtr tall – that’s the lowest shooting angle of any travel tripod I’ve ever heard of… Brian will happily muscle 8kg of gear on his anodised precision ball head (if you buy the kit, or the separate ball head, that is) Brian is as happy on three legs as he is on one, you can detach a leg and use it as a monopod. Brian has screw off feet that you can interchange with spikes… if that’s what you’re into!

I use a thinkTank roller, Brian easily slots into my bag when I’m travelling, or is as happy hanging from the side when I take all of my gear along to a shoot – very easy to erect, very easy to handle. You can see in the bag above, Brian is at the top under a RODE Videomic, second row from left is a Canon EF 70-200mm f/2.8 ISL, Canon EF 16-35mm f/2.8L, Canon EF 50mm f/1.4, Lensbaby, Hoodman Loupe, RODE Lav mic on top of Canon EF 24-70mm f/2.8 attached to a Canon 5DMKII, then to its left a Canon 30D + Grip, Sony NEX-5 with an SLR Magic 28mm f/2.8 and 430EX and 580EX flash units from Canon…

Brian (and all of his brothers) come with a 5 year manufacturers warranty, though, if you put Brian under a bus – you’re the idiot.

Brian is sexy and very functional – how do I know? I’ve been using a V1 Brian since he was born, now with his 2nd generation incarnation, there’s nothing but more love… One of the main reasons that I love this product, I mean.. a tripod is a tripod, right? Well, sure… But when you have a good team behind a product, it shows… Ideas I sent back after getting first generation Brian were taken seriously, ideas were chatted about, not just disregarded. These guys are innovating and it’s exciting to see that, in a market that is quite full, they stand out easily. Here’s Second Gen Brian as a kit – Legs and Head

Brian was picked up in England, he’s been to about 10 different countries and now lives back here in Australia with me – I couldn’t ask for more in a travel tripod. five out of five stars, 3LT… bravo

I also have Kirk who is a Mag Alloy cousin to Brian, he’s first gen “the original” and whilst I’m very happy with all of the second gen updates, I’m still equally happy with my first gen Kirk… He’s been to the beach (mmmm, sand and salt water) and he’s been a sturdy addition to my more ‘studio based’ shoots – when I need something that I can stand in his spot, whack something heavy on top and then add a shelf for my laptop when I shoot tethered – Kirk is my go to guy… Second Gen wise, go and have a look at Jack… Very well priced and a darn fine V2.0 if I may say so…

I’ve been using this gear for a while now and I’m very happy to tell anyone that asks about it – the build, the price and the plain awesomeness of 3LeggedThing as a company work for me.

Follow 3LeggedThing on Twitter or Facebook to find out more about what they’re doing.

Sime [ @gtvone ]

 

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

3 Legged Thing – The New Breed

Sometimes I have an opportunity to discuss other topics than photography. These times are rare, of course, but they do exist.

I thought it may be fun to post some of the other things that are interesting to me on Sunday Mornings.

Welcome to Off Topic Sundays, an excursion into the unknown.

“… and darkness fell across the land…”

First off. I received an email from someone in the business asking me to help create a ‘day of darkness’ by blocking all my content from the people who are stealing us blind.

I have no interest in that sort of thing. Not because I have no interest in IP protection. I most assuredly do.

But going dark for a day means nothing. They simply wait out the day while we go to the corner and hold our breath until we… breathe again.

Symbolically simplistic and professionally silly.

And I wonder how many would participate? We can barely get 2% of the photographers to join a professional organization. CL is full of “I’ll shoot it for beans” photographers. And I know too many photographers who would simply take advantage of the other photographers heartfelt, but misguided moment of ultimate-pouting.

I won’t be going dark.

Cello Madness:

Blending the sublime sound of the cello with the rhythm of the beat box… heh. Clever and well done.

“Appropriating” or “Ripping Off?” – a sure to be interesting interview

What may surely become a very controversial interview is Chase Jarvis and the ReMix King on “mixing” and appropriating art. Don’t miss it.

There’s a saying that you should understand. It’s “TALENT IMITATES. GENIUS STEALS.”
Now before your undies get in a wad, I’m not saying steal work and pretend it’s you’re own. More deeply, I’m asking a question. Do you want to understand and set free your most creative work? Then pay attention here. And mark my words: the REMIX is the single most important artistic concept of our time [Go ahead and read that again. And read all the way to the bottom if you want to win a Polaroid Z340 instant digital camera...]

Interview on Tuesday, February 7.

APE has a wonderful piece: “Still Images In Great Advertising – Jeremy & Claire Weiss”. It is an interview with two very talented photographers. Check it out.

On Sales

“7 Pain Free Sales Tips for Creatives” is a short piece that sort of spells it out, folks. A good read.

Design Matters

For the more geeky among you all, here is a good post on Modal Windows (popups). No, they are not Gregorian Chants version of a popular OS, but rather a contextual way of creating popups that are more interesting to the website user.

Each Sunday I will present some music that I love here. A sort of mini-concert.

Jazz First:

Keith Jarrett “Over the Rainbow” (my personal favorite song)

Don Ellis delights with the great, classically inspired “Pussy Wiggle Stomp” Heh.

One of my favorite drummers, Steve Smith, and his band “Vital Information”

And a Classical moment as well…

A section of Aaron Copland’s wonderful Clarinet Concerto for Strings, Harp and Piano

“Mmmmm… Chimichangas…”

We had our first annual Lighting Essentias (Essentials for Photographers) Picnic and Funfest last weekend. To say we had a blast is a very sad understatement… we had more than a blast – we made new friends and exchanged ideas and ate a lot of Mexican food. Thanks to all who attended – and we had people from every corner of the country – and I look forward to next year’s glorious meetup.

Till next Sunday.

In last months photography poll we asked readers about what mode they shot in most. Is it Auto? Manual or something else?

Here are the results (with over 72,000 readers participating).

  

Last time we did this poll (back in 2009) the results were similar – the only notable shift being that ‘manual’ back then was 25% and is now 30%. It took a few % from ‘Aperture Priority’ and ‘Program Mode’. Everything else was pretty steady.

Thanks to those who voted in this poll – don’t forget to vote in our most recent one too – Do You Have a Photoblog?

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

What Shooting Modes do Our Readers Shooting in Most? [POLL RESULTS]

This Month in Photo of the Day: Animal Pictures

A foot-long crayfish dodges a hiker fording a stream in Australia's Claustral Canyon. The color of these crayfish, called yabbies by canyoneers, remains a puzzle. In some streams they're orange. In others they're blue. The difference is due partly to water purity—the blue ones are found in the clearest water.

See more pictures from the October 2011 feature story “Deep Down Under.”

See pictures of scary freshwater animals »

Is there a place that you love to go shoot landscapes?

I’d love to hear about your favourite landscape photography destinations – particularly I’d like to hear any the following:

1. where is it (give us a country/state etc – remember our audience is global so don’t assume everyone will know exactly where it is)
2. why you like it
3. any tips you’d give to anyone planning a trip there (time of day, places to shoot from, challenges unique to the location)
4. share a photo you’ve taken there (share a link to your photoblog, flickr account or embed the photo if you’d like)

I’m looking forward to hearing about (and perhaps seeing) your favourite landscape locations!

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Do You Have a Favorite Landscape Photography Destination?

Have I mentioned how much I love photography and technology. Here’s a good case for mixing them together.

As you say previous on the Q&A with Uncornered Market, creating panorama’s can create some amazing images. I took their methodologies and applied them to some of my own panoramas, which do not cover 360 degrees all around. This method is more practical for those of us without fisheye lenses. Take a look at this tutorial if you are curious for a step by step on creating your own immersion panoramas.

You will need to click over to my blog to view the immersion panorama described in this demo because DPS does not yet support embedding the SWF file type. The image can be found at this post and a static version is shown here:

Title: Nepal Himalaya Panorama Exploration

Location: Mong, Nepal

To answer the question, “How did you make that?” I offer this post as instruction. It’s not magic and it’s something you can accomplish. I had the aid of a number of computer programs:

• Adobe Photoshop Lightroom
• Kolor AutoPano Giga
• Kolor PanoTour Pro

Additionally, the hardware I used included:

• Canon 7D camera
• Canon 28-300mm L lens
• Bogen 3021 tripod with ball head

Those are the basics. The other important piece of equipment was an alarm clock. I knew I needed to be up at least an hour before the sunrise in order to get dressed (it was a bit cold), grab a snack and find my location. I had scouted a likely spot the night before and I had taken nearly this same photo in 2008 while trekking. Scouting your location really helps when timing, as with a sunrise, is critical.

Get Ready

After getting myself out of bed and trudging up a small hill to the location, scaring a dzokyo with horns (it’s a cross between a cow and a yak) over a fence in the process, and after avoid his ‘cow pies’ (I’m not romanticizing this process enough, am I?), I set up my camera. Important in this step was to find a location with good visibility that would allow me to see over the roofs, but still capture the stupa in the middle of the village. Also important was good stability of the ground so I or my tripod would not slip.

My plan was to shoot the scene as a single swatch of panorama. I didn’t have the immersion viewer in mind when creating this, just a traditional super wide image for print. So I set up my tripod and made sure the base was level. I did this using the back of camera screen level that comes with the Canon 7D. If not, I would need a little level, like this one. This is an important step! If the camera is tilted, the longer your panorama, the less overall useable space you will have when it is leveled and cropped. Practice this at home so you don’t waste time in the field learning to get things level (and then become disappointed when back at home crying at your computer screen. Yes, I’ve done that).

Now with the base of the tripod level, I placed my camera onto it in a vertical orientation. I wanted a tall image and this would allow me to capture more scene. I also knew the timing would only allow for one pass. Once the sun was up, the lighting would change and I’d spend many aggravating hours on the computer trying to balance it all out if I didn’t get it in one pass.

Those steps in bullet form:

• Scout a location before
• Scare off large animals
• Set tripod on stable ground
• Level tripod
• Attach camera

Get Set

Camera on the tripod and the sky is getting brighter. I have a better idea where it will peek over the peaks. I start taking some meter readings and figuring out where I want to set my aperture and shutter speed. I already know I will set my ISO to 100 for the least amount of noise I can hope for. I then picked my focus point and locked it (turned off auto focus). Oh yeah, I also set my aperture at this point based on how much depth of field I wanted, doing this in conjunction with picking a focus point not completely to the horizon. I picked a point about 30 feet from me to focus on. This allowed me, at f/10, to have most of the scene in focus, which was going to include the fence, stupa and distant mountains. Plus my guest on this tour off to my side (who would later be begged, “Please don’t move!” when I shot frames with him in them). My closest object, besides some ground, was about 15’ away.

I did this in Manual mode so the exposure settings would not change. My settings ended up being 1/100th of a second and f/10. Going into the menus for my camera, I turned on the exposure bracketing and chose one step over exposed and one step under exposed. I locked my tripod’s ball head once all was level as I would be using the base swivel where the tripod met the head’s body to turn my panorama. I swung through the action a few times, making sure it was level in all spots. There are newer heads on the market, such as the Induro PHQ, which have levels built-in to help make this step easier.

Lastly in this step, I set my white balance (not required, but it makes post processing easier) and turned off my lens’ image stabilization because I was using a tripod. A couple more swings through to make sure I knew what I’d be doing. One more step was to turn my frame rate to high. This would allow the bracketing to shoot quickly and speed up the whole shoot. In these practice swings I timed myself to make sure I would have time to stop at each point, get my shots, and move while not causing blur from too fast a motion. I also wanted to complete my shot in less than a minute to make sure the lighting didn’t change too dramatically during the shoot.

Those steps in bullet form:

• Meter
• Switch to Manual mode
• Set Shutter Speed
• Set Aperture based on desired depth of field
• Turn off Image Stabilization
• Set focus and lock
• Check level throughout path of shoot
• Turn on high speed shooting mode
• Make sure camera is set to RAW (if desired. A note here: if you find your camera’s buffer can’t keep up with your rate of shooting, you may need to choose a smaller size RAW format if you can, or switch to JPEG)
• Breathe

GO!

I ratcheted my camera back to my start point on the far left side. I was on a hill and would not be making a full 360 degree sweep as the hill itself wasn’t exciting (and far too close). When the sun just started to top the left side of the peak, I started shooting, overlapping by about 30%, give or take. A robot like the Gigapan EPIC would have helped. Each stop produced three images as such:

Under exposed by a stop, at exposure and over exposed by a stop

Sweeping through my shot in just about one minute perfectly I checked the images on the back of my camera and breathed easy. The buffer had started to get full and I had to slow my shooting a half way through, but it wasn’t bad enough to effect the final image.

With the 117 shots secured (and later that night they were backed up to a second and third drive), I continued my tour while still contemplating how to merge them without spending hours on the computer when I returned home.

Those steps in bullet form:

• Wait for your moment to start
• Know your timing for the whole panorama if timing is critical
• Shoot!
• Breathe, again

Putting It All Together At Home

At first I attempted to use hugin to stack my images (each set of three shots makes a stack) and then create a panorama. The results were ok, but there was a LOT of manual work in aligning the images. I then was given a copy of AutoPano Giga to try out and it has created, for me, a boon in panorama processing. I will give a full review in the coming weeks, but for now I just want to show how I created this particular image and not get into all the nuts and bolts of the program.

My first step was to import the images into Adobe Lightroom and adjust the exposure settings. I did this for the middle shot, the one you see above. It has the widest range of light and I wanted to make sure I kept it looking realistic. I only adjusted the middle image, the one with the camera’s suggested exposure settings. After I did this and removed any spots, I also adjusted the image for clarity, saturation and the like, but not too much as I would perform more near the end of the process. This is a personal preference and your settings will vary.

With the one image edited to my liking, I then synced those settings with the rest of the images using Lightroom’s sync feature. Nice and easy. I then exported each image as a full sized JPEG. In later work, I will be using the DNG file type as AutoPano Giga can handle those and there will be less compression. All of those files went into one folder and it’s time to use AutoPano Giga.

This software is quite easy for basic shoots. After starting the program I imported all the photos by selecting “Select Images”. Once loaded the screen looks like this (click for larger version):

An important feature in this software is the simplicity with which I can create stacks. All it takes is a right click and then selection of the “Create stacks by N…”. This allows me to input that there are three (or any number) of images per stack. Now I don’t have to line them up or tell the program I was using bracketing for my shots. With the stacks created, I pressed the “Detect” button up top and AutpPano Giga does its best to align my images. Here’s the result, which appears on the right side of the screen.

Luckily there was not a lot of waste in this image because of taking the time to level the camera properly. AutoPano Giga aligns, color corrects, adjusts exposure and a few other items when performing this step. I will have more on the software in a full review later.

I output this as a PSD file to help preserve the image quality. This takes a while and makes a huge file (2GB). Patience is needed. I could also output to a JPEG to save time, but as I want to present my best work and make it highly zoomable, I chose the PSD format.

Opening the resulting file in Lightroom (in this case, Lightroom 4 Beta), I then crop the image and play with exposure to get it how I want it.

After adjusting the image, I exported the file as a .PSD file type, again to preserve as much detail as I can (and again, I will be using DNG files for the first compression in the future, but that also adds considerable time when processing multiple panoramas. At the very least, you will see the quality possible when using one of the faster methods given here). Opening the file in PanoTour Pro, I have a number of options to set.

On the right hand side are most of the important bits for this project (a review of PanoTour Pro will be forthcoming as well, after I have played with it more). The size is already set with the width of the image imported. I set the JPEG quality to 12 instead of 10. In the next tab, I set the projection to only be 300 degrees so it does not wrap around.

Lastly, I ticked the check box next to “Embed all data”. This enables the output to be a singular file, which can make for easier handling (and a higher file size).

All that was left was to upload the resulting .SWF file after I performed an export (the program has a facility to upload the resulting SWF file or files, but I wanted to check the results locally before spending the time to upload).

I encounter one small glitch while creating this file; my web service isn’t the fastest on the planet. The SWF file that resulted was about 125MB large. Normally not a problem but it slowed down the experience for many readers. So I went back in and cut the image size to 14,000 pixels wide in PanoTour Pro and decreased the compression to 10. This resulted in a file about 5.5MB large and much quicker to download. On that original post, I linked to the original file for those with patience, as the full detail is really incredible.

Those steps in bullet form:

• Import into Lightroom (or your editor of choice) and adjust as needed (but not too much)
• Export to DNG files, ideally
• Import into AutoPano Giga
• Create Panorama and export as PSD (Tiff would be another fine option, or JPEG if your space and resources are limited)
• Open in Photoshop or Lightroom or GIMP or … and crop. Make final adjustments. Export as PSD or simply save file
• Import into PanoTour Pro and set variables as needed
• Export as SWF file and upload to server (using the programs built-in FTP capabilities if desired)

On The Website

To make all this magic work on my blog, I had to install a plugin. The one I chose is called PanoPress and you can download it from their website. It’s an easy install and so far has not wreaked havoc on my site. Natively, WordPress, which is what powers my site, does not support SWF files in the sense of viewing panoramas like this. The best part of all this magic is the ability to choose fullscreen mode. Letting viewers fill their entire screen is something we photographers don’t often do and it can be intoxicating. PanoPress makes this magic work.

Conclusion

2000 words later…that’s it! I know it might seem like a lot, but with the choice of software this time around, I am very happy with the flow. I can also process multiple images in series (often setting my computer to pound through the large files while I sleep) and receive predictable results. I have more learning to do with the Kolor products to refine things and see if I can automate more of the mundane settings.

Also of note, I went through this process in both Lightroom 3 and Lightroom 4 Beta. I was far happier with the results in Lightroom 4 and they are what you see on the site.

I look forward to crafting more of these types of images (and have already started to, here) as I go back through old panoramas that I have taken and make them more presentable on the web. This process will not work for everyone out there (it can, though, be performed on a Mac or PC as listed and on a Linux machine without the Lightroom aspect) but it is my sincere hope that it helps more of you present your art in a dramatic way on the web.

If you have any questions, please let me know.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

How I Shot And Edited It – Nepal Zoomable Panorama

This Month in Photo of the Day: Animal Pictures

The golden light at dusk and dawn in the Kalahari is amazing and can enhance the mood of a scene greatly. On this particular morning in the Kgalagadi Transfrontier Park, the rising sun was filtered by an ancient forest of camel thorn acacia trees, with a herd of springbok gazelles in attendance to complete the scene.

(This photo and caption were submitted to Your Shot.)

See more pictures of animals »

This is a special workshop for only three students. It is on short notice, but there is a reason for that – and it will be explained at a later date.

Our focus will be on mastering images across a spectrum of genres. This workshop is for the serious photographer who wants to understand the finesse of light, and how to apply lighting and drama to their portfolio pieces.

We will look at the qualities of light, how to understand the medium, and what we can do with photographic tools to enhance and modify our light to make the shots we see in our head.

This is an intensive workshop and it is totally hands on. We get into theory, sure – but it is theory as it is applied.

Listen. See. Do.

That is how I teach, and I believe it is the best way to learn the intricacies of the photographic medium – lighting.

We will meet at 8AM Saturday for chatting and setting up our gear. We will be shooting in the big studio. You will be using a mixture of big studio strobes, smaller sources like speedlights, and we will do some natural light as well as the day progresses. Sunday will find us outside doing some location portraits, then we go back into the studio for head shots and beauty.

The cost is my regular workshop rate: $550. It includes a copy of my book (signed if you wish) and some more goodies.

There is NO signup form. I need you to email or call (602 814 1468) me to enroll. I only have one spot open, so be brave and get on it ASAP.

Thanks…

Now back to our regularly scheduled photographic discussions.

This week your challenge is to take and share an image that fits the theme of ‘Street Photography’.

I know that those two words send some people into a state of panic as they’re often associated with taking pictures of complete strangers on the street (like we wrote about yesterday when we interviewed Street Photographer Eric Kim) but you may interpret the theme any way that you wish.

You may choose to photograph people on the street – but you might also take a gentler approach – photographing wider street scenes, asking people to pose for you on the street, photographing elements on your local street (signs, buildings etc), capturing the movement of a street scene… anything you like – as long as its shot out on the street somewhere!

Once you’ve selected the ‘Street Photography’ image/s you’d like to share – upload them to your favourite photo sharing site or blog and either share a link to it or – embed them in the comments using the our new tool to do so.

If you tag your photos on Flickr, Instagram, Twitter or other sites with Tagging tag them as #DPSSTREET to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

Also – don’t forget to check out some of the great shots posted in the last challenge – Rule of Thirds challenge where there were some great shots submitted.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Street Photography: Weekly Photography Challenge

Previously we’ve covered the topic of shutter speed and looked at how increasing and decreasing it can have a significant impact upon the images we take – particularly if the subjects in those images are moving.

Today I’d like to take a brief look at a related topic – that of photographing moving subjects by ‘panning’.

Panning is a technique that can produce amazing results (if you perfect it…. or get lucky) but is also one that can take a lot of practice to get right.

The basic idea behind panning as a technique is that you pan your camera along in time with the moving subject and end up getting a relatively sharp subject but a blurred background.

This gives the shot a feeling of movement and speed. It’s particularly useful in capturing any fast moving subject whether it be a racing car, running pet, cyclist etc.

I’ve found that panning seems to work best with moving subjects that are on a relatively straight trajectory which allows you to predict where they’ll be moving to. Objects that are moving side to side are challenging and can result in messy looking shots as the motion blur can be quite erratic.

How do you do it?

• Select a slightly slower shutter speed than you normally would. Start with 1/30 second and then play around with slower ones. Depending upon the light and the speed of your subject you could end up using anything between 1/60 and 1/8 – although at the slower end you’ll probably end up with camera shake on top of your motion blur.

Position yourself in a place where your view of the subject will not be obstructed by anyone or anything else. Also consider the background of your shot. While it will be blurred if there are distracting shapes or colors it could prove to be distracting. Single coloured or plain backgrounds tend to work best.

As the subject approaches track it smoothly with your camera. For extra support of your camera if you’re using a longer lens or are feeling a little jittery you might like to use a monopod or tripod with a swivelling head.

For best results you’ll probably find that setting yourself up so that you’re parallel to the path of your object (this will help with focussing).

If you have a camera with automatic focus tracking you can let the camera do the focussing for you by half pressing the shutter button (depending upon it’s speed and whether it can keep up with the subject)

If your camera doesn’t have fast enough auto focussing you’ll need to pre-focus your camera upon the spot that you’ll end up releasing the shutter.

Once you’ve released the shutter (do it as gently as possible to reduce camera shake) continue to pan with the subject, even after you’ve heard the shot is complete. This smooth follow through will ensure the motion blur is smooth from start to finish in your shot.

If you have an older digital camera or one that is of a more entry level point and shoot variety you could also have to contend with the dreaded ‘shutter lag’ problem. Shutter lag is when there is a slight delay from when you press the shutter to when the picture is actually taken. If you experience shutter lag you’ll need to learn to anticipate the moment to take the shot and will definitely need to continue to pan well after you’ve taken the shot.

A variation on the Panning Technique

There are no rules with panning and you might also like to experiment with using your flash while panning. This slow synch flash technique will only work if the subject is close enough or your flash is powerful enough to have an impact – but will help to further freeze your main subject while giving the background the motion blur you’re after.
If you do use a flash you’ll want to test a variety of settings to get it looking right. In some cases you’ll probably need to pull back the strength of your flash by a half or a third.

Panning and Patience

If you’re going to try panning for the first time you should approach it with an experimental attitude. It can be a lot of fun but can also be quite frustrating. If you’re at a special event where you have fast moving subjects (like a car race etc) you’ll probably want to mix up your style of shooting. Don’t just use this technique all day – instead also shoot some shots at fast shutter speeds. This way you’ll end up with a variety of shots and will probably end up with some useful ones instead of just having a collection of blurry unusable ones.

If you want to practice panning (and it is something that you need to practice – a lot), head out into a busy part of your city and practice on passing traffic. That way you have a never ending supply of subjects.

Also keep in mind that it’s unlikely that your main subject will ever be completely sharp and in focus. This technique is about getting a relatively sharp subject in comparison to it’s background. Some blurring of your main subject can actually add to the feeling of motion in the shot.

Once you’ve practiced the panning technique share your results with us in our Forums.

Note: this post is a ‘classic dPS post’ that was previously published but has been updated for today. Also read about the technique of panning in The Art of Panning.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Mastering Panning – Photographing Moving Subjects

As we made our way there, he turned to me and said, You better not show off and act like a pretzel. Yes, that's JD. He imagines I'll act like an inanimate object just to show how cool I am in yoga class. We've been together for 13 years and I've never--not once--convinced him to attend a class with me. Ever. In fact, he makes fun of my gym-going endeavors. But for some reason, I invited him to find his inner chi with me...because, really, I'm usually the one stealing his chi on a daily basis.

I'll go with you if we can go to In-n-Out after.

I smiled. Here's where the story diverges. He said the smile indicated yes, I said the smile indicated you're crazy and I wouldn't dream of eating a burger and fries after a midday workout.

After successfully completing an hour workout, JD asked if I was ready for In-n-Out. Then I pointed out a very healthy vegetarian option located nearby and I just knew he'd looooove it. I added all those o's for emphasis. After some convincing (thanks to my days in law school), JD agreed to eat a grilled {soy} chicken sandwich.

I'm no longer gonna refer to myself as a vegetarian. After successfully convincing a carnivore to practice yoga and eat healthy in a single day, I'm referring to myself as an HERBIVORE. Because I'm all hard core and stuff.

Which leads me to another installment of Kisses and Disses...


This week's DISSES go to...
*The smell of BenGay...my bedroom smells like a high school locker room right now.
*The Santa Ana winds. There's so much dust in the air my car looks like a professional off-roader.
*Folding a fitted sheet...is it possible for it to end up as anything other than a rolled up ball?!


This week's KISSES go to...
*Yoga. For enabling me to show off...LIKE A PRETZEL.
*Fondue. I wish it were the base of the food pyramid...I could eat melted cheese for days.
*Bravo's Watch What Happens Live with Andy Cohen. And, yes, this proves my horrible taste in television, but I adore Andy and secretly wish we were friends in real life so he'd send me a bedazzled Mazel t-shirt.


© Jasmine Star. This post cannot be republished without permission. Stealing makes me sad.

If you thought that the physics behind light painting involves photon accumulation, advanced sensor technology and high end buffer management, you have it all wrong.

The truth of the thing, as Destin explains, is that light painting is done by cute girls throwing beads at boxes. OK, it does not, but Destin and daughter (and Wes Whaley) do a terrific job and explaining all this stuff in a fun and super easy to understand way. (Plus you get to see some of the most unique pregnancy photoshoots ever). Hit the jump to see the full video.

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This Month in Photo of the Day: Animal Pictures

A gray wolf rests at Wolf Haven International, a wolf sanctuary in Washington State.

(This photo and caption were submitted to Your Shot.)

See more pictures of animals »

Having lost his Nikon 10.5mm lens cap, photographer Stu Carlson used the bottom end of a Dr. pepper bottle to cap his lens.

"The lens cap disappeared and I hate to have my lens unprotected.  So I cut off the end of a Dr. Pepper bottle to use till I could order the right lens cap for it.  Quite by accident I had picked a perfect fit for this lens and since a replacement cap is not cheap and this is and it works and fits so well, I have not bothered to order the replacement cap.

While the bottle seems to provide some nice protection, I doubt that the 10.5mm tastes as good as the original content of the bottle.

read more

If you shoot street photography, you have most likely heard of California based photographer Eric Kim. He is so active in the social media and blogging world that it is virtually impossible to miss him and his big grin. Who is the person behind the Leica? I had the pleasure to ask him a few questions for the dPS readers recently and, without further ado, I am pleased to introduce you to the work of street photographer Eric Kim.

When did you start doing street photography and why?

When I first started shooting photography, I had a difficult time figuring out what type of photography I enjoyed the most. I tried everything—landscape, wedding, portraiture, macro, you name it.

However my defining moment was a day in which I was waiting at a bus stop. I saw a young man with horn-rimmed glasses reading a book while leaning on a pole. I felt the moment was so pure and genuine, and I felt the urge to take his photograph. Then the questions came to mind—should I ask for permission and was this “right?” Regardless I went with my guts and attempted to take his photograph (without his permission). My heart was pumping and adrenaline flowing, and I brought up my camera to snap a photograph. The second my shutter was about to go off, he stared right at me and I took the photo. I have been hooked ever since.

What is it about street photography that appeals to you the most?

What I love most about street photography is that it is extremely challenging—both in creating an image that is visually appealing and emotionally appealing. I am also as interested in the approach of street photography. After all, who takes a photograph of a stranger without his/her permission? But it is through this candor that you can get a sense of who that person truly is and what is going on in their mind – without asking for permission.

What gear do you use and why?

I currently shoot with Leica cameras for my street photography, as I prefer the small body, how quiet it is, and unthreatening it looks. For my digital work, I shoot with a Leica M9—but recently I have been shooting quite a bit of film on my Leica M6.  However one thing I would like to urge to the readers of DPS is to not get too caught up in the gear. Although I do shoot with one of the most expensive cameras out there, there is no reason you can’t take a great image with what you have—and even an iPhone!  Having said that, generally the smaller your camera is, the less scary it is to the average person and more suitable for street photography.

How often do you get out and shoot?

I shoot everyday. When I am out traveling I probably shoot close to five hours a day. When I am back home and resting, probably less—around two hours a day or so. The most important thing is that I always have my camera with me, and try to make the time to shoot whenever possible.

What are your favorite subjects and locations?

When I was an undergraduate in my university, I studied sociology and I consider myself first a sociologist and second a photographer. Therefore, in my photography, I am particularly interested in capturing the beauty and ills of society through my lens. Some themes in particular which interest me are the role of the presentation of self, gluttony (not just food but general excess), and the negative effects of wealth and capitalism. Therefore the areas I like to shoot in are generally urban and highly-industrialized areas. Some of my favorite places to shoot include Downtown LA, Tokyo, and Seoul.

Which were your best moments and your scariest ones, if any?

Whenever I am out shooting, I always shoot with a smile on my face. The response I generally get from my subjects while shooting is positive. Although I don’t ask for permission when I’m out shooting, I generally chat with my subjects after taking photographs of them. I compliment them on what I find beautiful or interesting about them—whether it be their smile, their flamboyant hat, colorful outfit, or the way that they walk with authority. After taking people’s photographs, it always makes me happy when I hear people say to their friends: “Oh my god, he took a photograph of me—he must think I am someone famous!” The best, is just a simple smile back.

My style of photography is much more aggressive and in-your-face than other street photographers out there- so I have run into a few negative incidents. However they are still few.

In Downtown LA I had an incident in which someone threatened to break my camera, and tried to grab my camera by pulling at my camera strap. I apologized and chatted with him afterwards, which helped him calm down.

Another incident in Toronto, I took a photograph of what appeared to be a male aspiring Asian pop-star wearing nothing but skin-tight leather leggings and a leather vest. I took his photograph and kept on walking, and he turned around and asked me if I took his photograph. I told him I did, and he told me to delete the image. I looked at the image and thought it was quite interesting, so I refused. He then started getting violent and started shoving me in the chest, spitting while he was talking, and threatening to call the cops. I stood my ground and told him to go ahead and call the cops—as I was doing nothing wrong by shooting in public. He pretended to call the cops, and then stormed off afterwards.

The most physical incident I have gotten into involved when I was taking photographs in Tokyo. I saw a guy who was around 6 feet 3 inches (I am around 6 feet tall) who was wearing a face mask yet smoking a cigarette. He looked pretty sketchy (he wore a doo-rag, had a menacing face, and a patch on the right side of his face) but I decided to take a photograph anyway. I then kept on walking, and then he ran after me, kicked me in the back of my camera bag. I was holding my off-camera flash in my left hand, and the force sent the flash flying to a wall opposite of us. The flash hit the wall, broke into a thousand pieces—batteries flying everywhere. He then gazed at me with menacing eyes, and I quickly bowed and apologized—and walked off quickly.

I don’t want to scare anyone from shooting street photography from the negative experiences I had. I have probably taken at least 300,000 street photographs—and these were probably the 3 worst experiences I encountered. 3/300,000 is a .001% percent of a truly negative reaction. You are probably more likely to get into a car accident. Regardless, it is important to always be prepared – because you can never predict with 100% accuracy what can happen on the streets. This comes with experience—but know when it is the best to stick around with an upset person and explain why you are shooting street photography and how to apologize. In other cases when people might not react well to what you have to say, quickly apologize and just move on.

Have you learned something interesting about human behavior from your street photography?

The first thing that always concerns people is the risk of getting yelled at or beaten up for shooting street photography. As a sociologist, I am particularly interested in the approach of street photography—and how people truly react when you take their photograph (without their permission).

The common understanding is that people absolutely hate it when you take their photograph without permission and will become aggressive. However in my experience, 99% of the people you take photographs of generally don’t react much or don’t mind when you take their photograph. In today’s society, people are generally non-confrontational and won’t react very much when you take their photograph.

What tips would you give someone who is just starting to experiment with street photography?

I would say the most important thing is to carry your camera with you everywhere you go. The best shots are in the places you least likely expect, and as Wayne Gretsky said, “You miss a 100% of the shots you don’t take.

Secondly, don’t be sneaky when you shoot street photography. Don’t shoot with a 200mm lens and shoot from a block away. Rather, use a wide-angle prime lens (35mm or 28mm on a full-frame equivalent) and get close to your subjects. If you get close to your subjects when you are shooting, it makes the viewer feel like a participant (rather than a voyeur simply looking in). I also feel with physical proximity comes emotional proximity with the people you are taking photographs of.

Lastly, shoot with the heart. Street photography (like other forms of photography) should be well-composed and framed. However in the end, a great street photograph needs soul—it should say something about humanity or challenge the viewer to see his/her life in a different way.

 

To connect with Eric on FB, Twitter, G+, etc. and learn about his upcoming projects and street photography workshops click here.

 

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Focus on Street Photographer Eric Kim ~ In your face with a smile!

I sat with Melanie in the corner of a dark restaurant. So much has changed in the course of our 15-year friendship, yet nothing has. She's still animated and slightly dramatic, and I still make fun of her and ask inappropriate questions. We met freshman year of high school and have been together through every high and low, break up to make up, and bad makeup. She's moving to New York for a bit next week and I don't know what I'll do without her.

We spoke about her therapist (all my friends have therapists...it's very Californian and I may just get one too so I can fit in and feel all cool) and the best way to approach the oncoming changes in her life.

So, my therapist asked where I see myself in five years...I really hated that question...how do I even know?!
What did you say?
I told her I've never been a person who thinks like that...it's just not me. Not now, anyway.
So it ended like that?
No, she rephrased the question and asked how I'd like to "feel" in five years.
To which you replied?
Secure. In five years I want to feel secure
That's a great word. Do you want the last bit of salad or can I finish it?
Then she said that if I wanted to feel secure, I needed to outline ways I could make it become a reality five years...and then start making them happen.

Whoa. I felt like I was having a therapy session (for free!) right then because it was just that simple. Sure, I might not know where, exactly, I want to be in five years (five years ago I couldn't even imagine my life would look like it does now), but I can attribute the emotional connections I want to experience. Once I do, I can ensure the same happens for me.

Mel, I said in between sips of my drink, I want to feel secure too. And challenged. And excited. And then we toasted to us. In five years.


A few weeks ago, Melanie asked if I could photograph a new headshot for her before hitting the streets of New York City. I'm only shooting weddings these days, but she reminded me of that one time she saved me in English Honors of sophomore year of high school...and I had to give in.



I don't wanna get all dinosaur, but RAWR.


Melanie, I hope you know how thankful I am to be your friend.


Happy Wednesday!


© Jasmine Star. This post cannot be republished without permission. Stealing makes me sad.

This Month in Photo of the Day: Animal Pictures

"Suddenly he just jumped in!" says photographer Michael Aw. Sarmin Tangadji, the Papua police officer who escorted the photographic team to where the sharks congregate, "was so excited to see them up close." Aw shares that excitement when it comes to diving with a dozen whale sharks: "You are sandwiched in, sharks ahead and behind, but you want to be there," he says. "They make eye contact with you and then charge by. It blows your mind."

See more pictures from the October 2011 feature story "Sharing With Sharks."

See pictures of sharks shot by our readers »
See pictures of ocean wildlife »

I had the chance to do some portraits of some of the talent we had at the LE Weekend Meetup. They were Briana’s dance company and all of them were delightful and beautiful dancers. The folks who came had a blast and I was simply stunned that so many people came so far to hang out with us.

We had photographers from NY / FL  / WA / CA / KS / TX and other far flung areas… we covered North America pretty well.

More shots from that weekend coming when I get them all in from the folks… wow, it was fun.

The first portrait was of Briana and done as a demonstration for one of the photographers who wanted to understand the large fill card and main light approach.

I took some of the other dancers to the lobby for a short natural light session. Natural light was my first love in photography, and going back to it is a choice and a joy.

The light in the foyer area was coming through an open door, and filling the bright walls. I used a couple of pieces of fome core for the main light, and set my ISO up to allow a faster shutter speed.

Next up was  Danica. She had this incredible hair and I wanted to get something I was seeing in my head. I moved her quite close to the doorframe for this shot, and used a fome core bounce card for the main light.

Miranda was sitting in the chairs on one of the walls of the foyer, and I simply loved the look. Placing her low in the frame gives the image some dynamic. At least, I like it and it is more a stylistic way I like to shoot these days.

It is always fun to get a chance to shoot some portraits. Between all the goings on that day, it was a welcome respite for me.

Since my review of the Sony SLT-A77 hit the screens of many Digital Photography School visitors it’s obvious the company has pressed the right buttons for people wanting to lift their photo game.

Now we have ‘son of’ … a model similar in many respects, at a lower price, but with many of the A77′s remarkable features. The review camera was supplied with the kit lens, a Sony f3.5/18-55mm.

The heart of the camera is the Translucent Mirror, marked by the model ID: SLT stands for Single-Lens Translucent.

Unlike a reflex mirror in ‘normal’ DSLRs that flips up and down to alternate between viewing and shooting, a translucent mirror is fixed in the light path to give an interrupted — and continuously live — view of the subject. One of a number of benefits is to reduce blackout time between shots; the SLT camera is also lighter and faster to use than ‘normal’ DSLR cameras.

Identified as an Alpha camera, this model can use any of the Sony A-mount lenses, as well as those from the Konica-Minolta range and compatible with Sony’s SteadyShot internal stabiliser system.

The body is made from polycarbonate material, differing from the A77′s magnesium alloy/plastic construction; the A65 body is 110 grams lighter than the A77.

The LCD screen tilts vertically through 180 degrees and can be rotated leftward 270 degrees from the position in which the LCD monitor is facing forward. An eye sensor switches the view between the turret finder and the LCD screen. The only demerit of the screen is that it’s not so easy to swing downwards when attached to a tripod: the A77 excels in this department.

Sony Alpha SLT-A65 Features

The CMOS sensor captures 24.3 million pixels, more than most amateur photographers would ever need, but allowing enormous capabilities to crop and extract detail from the images.

With a maximum image size of 6000×4000 pixels expect to make prints measuring 51x34cm at 300 dpi — or even larger if you’re using sophisticated upscaling.

Video? Full HD and 1920×1080 pixel resolution. I found that auto focus tracked any changes in camera-subject distance fairly quickly, while exposure variations were handled smoothly. Unfortunately, like the A77, you can’t shoot still images while recording video.

Much of the camera’s operation can be managed from the external controls; the mode dial gives access to Program AE, shutter and aperture priority as well as manual operation.

(insert A65 menu 1 to A65 menu 3)

To get access to such matters as white balance, image size, colour space etc you access the finder menus. And menus they are! Control upon control! An easier way to get to some of these is is to tap the Function button.

For the nervous there’s a handy in-camera guide that can lead you into the mysteries of how to capture the more challenging shots. Unfortunately, just as I was about to list these, the camera (a pre-production model) froze on me, reviving only upon my emptying the battery.

Useful in the LCD display is a digital level gauge, showing fore-and-aft and lateral levels, down to an accuracy of +/- 1 degree.

Burst shooting of stills can be made up to 10fps with continuous focus in play all the time.
In deference to those who would use the camera’s more auto modes, there is a range of ‘Picture Effects’ that give access to 11 different ‘tools and filters’ to edit your images and movies as you shoot; these include partial colour effects, toy or retro camera effects etc.

Added to this is a collection of scene modes, which includes macro, sunset, night portrait etc.
Sony’s remarkable Sweep Panorama (and 3D panos) feature is also in the kit: expect to shoot panoramas out to 12,416×1856 pixels in span, stitched in-camera while you wait.

The flip-up onboard flash has a guide number of 12 (metres/ISO 100), meaning you could successfully capture a subject at f4 at a distance of three metres … or, using an ISO setting of 400: lens aperture of f4 with a subject distance of 12 metres.

Auto focus gets maximum attention: the A65 has a new 15-point AF with three cross sensors. Tracking Focus maintains accurate focus lock on a moving subject — even if it is briefly obscured.

Sony Alpha SLT-A65 ISO Tests

Fairly clean, sharp and accurately coloured all the way up to ISO 3200.

At ISO 6400 a slight increase in noise but sharpness still OK.

At ISO 12,800 noise more noticeable. At ISO 16,000 noise well up.

Sony Alpha SLT-A65 Verdict

Quality: with the A65 I captured stunning, sharp, brilliantly colour-saturated images.

Why you’d buy the A65: 24 megapixel shooting and a 10 fps burst rate appeal.

Why you wouldn’t: you (still) want an optical pentaprism view … just like your daddy’s SLR!

I did have a hassle with the close proximity of the on/off lever and the control dial. Maybe it’s my big butter fingers.

It would be a tragedy if this baby ended up shooting family pics and snapshots. It’s too good!
Whoever buys it, my prediction is that this one will fly off the shelves: super specs, well-engineered and megapixels to burn!

Sony Alpha SLT-A65 Specifications

Image Sensor: 24.3 million effective pixels.
Metering: 1200 zone multi segment, centre-weighted, spot.
Lens Mount: Sony A-mount, Konica-Minolta AF mount.
Exposure Modes: Program AE, shutter and aperture priority, manual.
Effective Sensor Size: 23.5×15.6mm HD CMOS.
35 SLR Lens Factor: 1.5x.
Shutter Speed (stills): 30 to 1/8000 second and Bulb. Flash sync: 1/160 sec.
Continuous Shooting: 3-12 fps.
Memory: SD/SDHC/SDXC, Memory Stick Pro Duo cards.
Image Sizes (pixels): Stills: 6000×4000 to 3008×1688.
Movies: 1920×1080 (AVCHD) — (PAL: 50p/28Mbps/PS, 50i/24Mbps/FX, 50i/ 17Mbps/ FH, 25p/24Mbps/ FX, 25p/17Mbps/FH); 1440×1080 (MPEG4) — (PAL: 25fps/12M), VGA: 640×480 (25fps/ 3M).
Viewfinder: Turret 1.3cm (2.36 million); 7.6cm LCD screen (921,600 pixels).
File Formats: JPEG, RAW (Sony ARW), JPEG+RAW, MPEG4, AVCHD.
Colour Space: sRGB, Adobe RGB.
ISO Sensitivity: Auto, 100 to 25,600.
Interface: USB 2.0, HDMI mini, ext mic.
Power: Rechargeable lithium ion battery, DC input.
Dimensions: 132x97x81 WHDmm.
Weight: 543 g (body only).
Price: get a price on the SLT-A65 at Amazon – Sony A65 With 18-55mm Lens

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Sony Alpha SLT-A65 Review

It’s worth your while to click on the image above to be taken to the full sized 360 view of the Shah-é-Chéragh Mosque taken by Audrey Scott and Daniel Noll of Uncornered Market.com. As DPS evolves, we’ll be adding in the ability to see these immersion style Shockwave files on the blog, but for now, take a look at this example before diving into this post.

Daniel And Audrey have been creating these wonderful images for years. I’ve been a bit addicted to the far-flung locations they show and the amount of detail they can pack into a full spherical image (which looks fabulous in full screen mode). I recently contacted them to find out how they capture their images as I wanted to present my panoramas (not full 360) in the same manner. This post will explore how they capture what they do and will point you to some resources you can use to do the same.

In an upcoming post, I will dive a bit deeper into a slightly different style I currently use to create similar images.  But for now, on to the Q & A!

NOTE: I suggest subscribing to their blog as they post one of these images from around the world every week. Plus they have other great photography and travel stories on their site I think you will enjoy.

1 ) Starting with the photo shoot, list for us the equipment you use to capture your scenes.

Photo Shoot:

• Camera body (e.g., Nikon D300)
• Circular fisheye lens (e.g., Sigma 8mm f/3.5 EX DG Circular Fisheye Lens)
• Monopod Velbon RUP-43 (optional, we carry one)
• Panoramic tripod head (optional, we do not carry one)

 Post-processing:

• Your favorite photo editing software (e.g., Photoshop)
• Spherical panorama stitching software (e.g., Autopano Giga)
• Spherical panorama tour software (e.g., Panotour Pro)

2 ) You’ve captured hundreds of 360 panorama images while traveling almost full time. Can we get some technique tips that will help those learning the technique shorten their learning curve, please?

For the purposes of this Q&A, we’ll assume you are shooting with an 8mm circular fisheye lens.

 The shots: You will shoot in RAW format at least five images in portrait orientation – four images each at 90-degree angles to one another (think around a single axis), then a fifth shot overhead to be sure you’ve captured the entire sky or ceiling. If you are not shooting with a lens at least as wide as 8mm, you may need to take more images to be sure you’ve covered everything from a 360-degree perspective.

We take virtually all our panoramic photos without a monopod, tripod heads or other aids. After you’ve taken enough photos, you get a feel for properly aligning with the ground and horizon. An alignment trick: tie a string around a coin (or heavy item) and hang this from your lens so that you can be sure you are shooting at the same angle around the axis.

Exposure and focus: To ensure a consistent exposure, be sure you are in fully manual mode. As a general rule (there are exceptions), you’ll want to expose for the sky. Also make certain your lens is set to infinity focus. (There are exceptions to the infinity rule if the bulk of your subject and surroundings are close up, say inside a bus for example.)

 Subject area: Having some people or objects in the foreground can be useful to provide action or perspective. Because you are working with an 8mm lens, objects in the distance (e.g., mountain ranges) will appear especially far away, so they may not be as engaging in a spherical panorama as they might appear to the naked eye.

 3 ) After you have the images, run us through your workflow (on a high level as this isn’t a complete tutorial).

The workflow consists of two parts: 1) image stitching, and 2) creating the 360-degree tour.

 The stitch:

• Be sure that software settings are properly set at spherical panorama.
• Drop the five RAW images from the scene into a stitching software program in order to detect the control point (overlaps) between images.
• Examine the draft stitch. Adjust variables such as roll, pitch and yaw in order to correct for distortion and camera body angle.
• Render the stitched photos into a panorama. The output will be a flat .jpg file.
• Post-process the resulting .jpg file in your favorite photo editing software to tune exposure, contrast, saturation, etc.
• Use pixel clone/stamp to fill in the black/empty area at the bottom of the image.

Creating the tour:

• Take the post-processed flat panorama .jpg and drop the file into a 360-degree panorama “tour” software. We use Panotour Pro to create the flash-based tours you see on our website.
• Set your preferences, including logo/watermarks and button/user interface options (e.g., full screen) you’d like available on your tour.
• Render the flash tour. The resulting output will be a .swf file that you can upload to your website or blog’s media manager. More information on this Panotour wiki on how to format. WordPress users can also use PanoPress.

4 ) Which step is the hardest to master in this entire sequence?

Equally, subject selection and the actual shooting process. Not only are you concentrating to ensure that the photographs are properly exposed and aligned, but you must pay attention to people/cars/animals/etc. coming in and out of view. These can be wonderful in terms of showing action, but if they move too quickly, they may create “ghosts” (where heads, feet or body segments are missing) in the resulting stitched image.

5 ) Have you found any resources particularly useful while learning to create these shots?

We first became involved in 360-degree panoramas thanks to 360cities.net. The site has a tutorial for people getting started in panoramic photography, it offers inspiration in its collections, and it features the ability to host and serve panoramas.

6) What particular challenges have you had to face while creating these images while still on the road?

We have one camera body to shoot photos for panoramic photography (with our 8mm Sigma lens) and two-dimensional photos. Often, we’ll be in the midst of a scene that is wonderful for both types of shots, but we have to make a quick decision to shoot one over the other if the scene is quickly evolving. Many of our best panoramas have also been shot in less-than-ideal physical conditions including dust, snow, heat, moisture, so we have to continually mind the camera sensor as we swap out lenses.

7 ) Including shooting and editing time, how long would you say it takes you to produce one solid 360?

If all goes perfectly, the process can take as little as 20 minutes: 5 minutes for the shoot, 10 minutes for rendering/photo editing, and 5 minutes to create & test the stitched 360-degree panorama and .swf file tour.

8 ) For beginners who love to travel, which three areas of the world would you suggest as havens for producing 360 panoramas?

1) India – so much color, activity, wonderful markets and temples. Good for interiors and exteriors.

2) Andean South America – surreal landscapes (e.g., Salar de Uyuni salt flats in Bolivia), mountains, active indigenous markets

3) Middle East and Central Asia – for Islamic art interiors, bustling spice markets.

4 Favorite panoramas:

a) Disco Ball Mosque, Iran (awesome interior)

b) Petra By Night, Jordan (night, possibly our most popular panorama)

c) Udaipur Market (market action)

d) Crossing Thorong La Pass, Annapurna Circuit, Nepal (landscape)

Bonus Panorama in time for Valentine’s Day: Petronas Towers Fun (panoramic trickery)

Bio:

Daniel Noll and Audrey Scott are the husband-and-wife storytelling and photography team behind the around-the-world travel blog, Uncornered Market. More than five years and 70 countries later, they are still exploring the world, still taking panoramic photos…and still married. You can follow along with their adventures via Twitter, Facebook, Google + and by subscribing to their blog.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

How To Shoot 360 Degree Panoramas While On The Road – With Audrey Scott And Daniel Noll Of Uncornered Market

Wood worker Brian Grabski and photographer Josh Van Patter collaborated both photographic know-how and superb craftsmanship to create this beautiful piece of work. They then used it to shoot Fade around Lake Powell.

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I think of random ideas all the time. I'm a professional random idea thinker. If I got paid for all the random thoughts I thought, I'd be a millionaire. Or at least a thousandaire. Yesterday I bought a new pair of running shoes and then I decided to send all my other slightly used running shoes to Africa. Before check-out I already created the non-profit shoe organization IN MY MIND. I'm currently reading The Poisonwood Bible (oh my goodness, this book? Unreal...I can't put it down!) and the story details how most shoes were comprised of old tires or rags wrapped around feet for those living in poverty in the Congo. I know my shoes can do a lot of great things for those who don't have any, so instead of creating my own organization, I'm reaching out to ask if you know of a great place I can send my shoes.


Who knows...maybe this random idea will lead to something great! I also thought about wearing a prom dress to the grocery store, buying power tools because I love Home Depot, knitting a scarf I started two years ago, wondered what type of guy I'd date if I was really into comic books, soaking in a barrel of BenGay, and making a killer bean dip for the Super Bowl, but I suspect these random ideas will go nowhere.

Onto two not-so-random things:
1. TODAY is the last day for $99 Early Bird ticket prices for The Fix.
I'm hosting a 12-city speaking event and I sincerely hope our paths cross soon. Tomorrow the ticket prices go to $119.00, so hurry and snag a seat!
2. TODAY is the relaunch of EXPOSED Magazine.
Eeeek! Yes, the reorder has arrived and the store is back in action! For those who've supported, encouraged, and chest-bumped along the way, thank you. EXPOSED Magazine is a labor of love and if it helps people along the way, I couldn't be more thankful.


© Jasmine Star. This post cannot be republished without permission. Stealing makes me sad.

This Month in Photo of the Day: Animal Pictures

This snowy owl was captured during a snowstorm. Unlike most owls, which are nocturnal, snowy owls are diurnal—they hunt and are active both day and night.

(This photo was submitted to My Shot.)

See more pictures of birds of prey »
See more winter scenes »