Through The lens

2008 Popular Photography Images of the Year Competition

2008-09-09T18:59:00.000-07:00

OFFICIAL RULES

1. ELIGIBILITY:
You must be 18 years or older as of September 12, 2008 to enter the contest. Employees of Hachette Filipacchi Media U.S., Inc. and members of their immediate families are not eligible to enter or win. The contest is open to both amateur and professional photographers.

2. CONTEST DEADLINES:
The Contest commences on April 23, 2008 and continues until September 12, 2008.

3. CATEGORIES:
Action/Sports
Architecture
Candid/Humor
People
Nature
Travel/Places

4. ENTRY FEES:
Single Entry: $10

4. PRIZES:
GRAND PRIZE
The Grand Prize winner will receive a 50" Panasonic HDTV, HD Camcorder, Blu-Ray DVD Player, Lumix Digital Camera, and an all expense paid trip to Ireland for two. The Panasonic Prize package will be set up or installed by firedog, Circuit City's highly trained professionals. The winner will also receive a SmugMug Lifetime Pro account with full customization, $500 of free prints/gifts from the SmugMug website, entry to exclusive 2009 SmugMug Workshop, a 3 year world membership from fotocommunity.com, as well as a X-Rite ColorMunki Photo.

CATEGORY WINNERS
The winners of each category will receive a new Panasonic Lumix Digital Camera, a SmugMug Liftetime free Pro Account, as well as a 2 year world membership from fotocommunity.com.

5. SUBMISSIONS
The competition is open to work produced from September 1 2007 - September 12, 2008. Entries can be submitted by uploading the image and making a payment on the www.popphotocontest.com website.

File specifications: submissions should be in JPEG format. This compresses the size of your file and should make for quick uploads. It's important to set your JPEG compression to maximum image quality (minimum compression) in order to prevent deterioration of image quality.

In Photoshop, saving your file via Save As, select JPEG for your image type, and put the quality slider to 12 (all the way to the right).

Filename should not have spaces i.e. "blue car.JPG" instead
"blue_car.JPG"
File must have the correct extension ().
Filename should not have slashes i.e. "women/child.jpg"
Filename should not have odd charachters i.e. "%$@#*()

Contest is open to amateurs and pros.

Employees of Sponsor, Hachette Filipacchi Media U.S., Inc., publisher of Popular Photography and Imaging magazine and popphoto.com web site ("Sponsor") and their immediate families are not eligible to enter or win.

Entrants name, address, email address, and category must be affixed to all entries.

6. JUDGING/WINNERS:
The judging will be done in two stages: The initial stage will be done by the Popular Photography & Imaging promo staff. The second stage will be done by a jury of outside experts selected by the editors of Popular Photography & Imaging. Entries will be judged equally on creativity, technical expertise and aesthetic value. Entries will be ranked in descending order. The decisions of the judges are final.

Winners will be notified via email or mail by October 19th, 2008.
Winners may be required to sign and return an affidavit of eligibility, grant of rights, and a publicity and liability release within 14 days of notification, or alternate winners will be selected (alternate will be next highest ranked entrant). By entering this Contest and/or accepting a prize, you agree to allow Sponsor to use your name, city and state, voice and image in connection with publication of your winning entry and for promotional purposes (except where prohibited), without review, notification or approval.

7. MISCELLANEOUS:
This Contest is subject to all federal, state, and local laws and is void where prohibited. Winners agree that Sponsors and Prize Contributors, including their parents, subsidiaries, affiliates, officers, directors and employees, shall not be liable for injury, loss or damage of any kind resulting from participating in this promotion or from the acceptance or use of any prize awarded. HFM reserves the right to verify eligibility qualifications of any winner(s). Sponsor, in its sole discretion, reserves the right to disqualify any person tampering with the entry process, the operation of the web site, www.popphoto.com, or who is otherwise in violation of the rules. Sponsor further reserves the right to cancel, terminate or modify the Contest if it is not capable of completion as planned due to, for example, infection by a computer virus, bugs, tampering, unauthorized intervention or technical failures of any sort. In the event of early termination of the Contest, winners will be selected from all eligible entries received at the time of termination in accordance with the judging procedures described above. In no event will Sponsor be responsible for any damages or losses arising out of access to and use of the web sites or the downloading from and or printing material downloaded from said site.

Sponsor is not responsible for lost, late, incomplete or misdirected entries. In the event of a dispute concerning the identity of a person submitting an online entry, the entry will be deemed submitted by the person in whose name the e-mail account is registered.

8. WINNERS LIST: A winners list will be available upon request once the January 2009 issue is released.

Sponsor: Hachette Filipacchi Media U.S., Inc., 1633 Broadway, New York, NY 10019.

Prize Contributors: Panasonic, Circuit City, FireDog, Tourism Ireland, Smugmug, fotocommunity.com

Guide to bird photography

2008-09-08T03:18:00.000-07:00

Introduction:

As many of you know by now, i am obsessed with bird photography and i can easily say that 99% of my shooting is birds. this obsession began about a year and a half ago when i took my first shot of a bird (a pigeon of all thing) and ever since that shot, i have spent most of my free time chasing birds and trying to get the best shots that i can of these amazing creatures. as time progressed, i have learned more and more about how to create a good image while at the same time, i learned that photographing birds is probably one of the hardest things a photographer can do and that in order to get better, you have to really push yourself to the limits (both physically and mentally). you see, in contrast to most photography genres, avian photography is affected by almost every variable you can think of. the clothing that you were, your physical location, the angle of the sun, the weather, the wind, the height of the grass etc.. all can have serious affect on what you can and will shoot.

Everything about bird photography is dynamic so the only way we can make sure that we do come home with a few good shots is by being ready and be willing to really walk the extra miles. and yes, often times you will have to do some crazy stuff to get the right shot like sitting in the blazing sun for hours, laying on the ice, crawling in the mud and even get into the river only to get a single shot of a bird that you have never seen before.

Even though it is hard to get the right shot and we often have to suffer for it, i can honestly say without a doubt that once you do it and get a chance to really see nature at its best, there is nothing better. i often find myself starring in awe at the sight of an amazing bird or just speechless when i see what these creatures do. so in order to save you some time or at least give you some idea on what it is like, i have decided to put together this guide.

Ethics!!!!!!!!:

There is a reason why i decided to open with this section. all too often we get so wrapped up with getting the shot that we forget that when we do any kind of wildlife photography, we are going into the home of the creatures we are there to shoot. another thing that we often forget is that birds are very sensitive and one bad decision can cause serious harm. for example, there is nothing more amazing than to shoot parents feeding their young but in order to get the shot, some people are willing to get very close to the nest which will often result in the parents leaving the nest and leaving the young ones to die.

As much as i love a nice image, i can tell you right now that no shot is worth disturbing the subject. always use common sense and do your very best to be invisible in the field. do your best to enjoy the birds without them knowing that you are there. in times of nesting or mating, stay as far away as you can so they can do what they need to do and even if you don't get the shot, at least you can enjoy the fact that nature remains undisturbed.

Gear:

I really hate to talk about gear but i do feel that it is VERY important in this case so i will make an exception. let me start with something that i am sure you all heard before: "reach is king". even though this line seems like a complete BS, it is actually very true in the case of bird photography. the main reason for this is because unlike humans or pets, birds are really skittish and will often disappear the second they see your shadow. another reason is because there is nothing better than seeing a full frame filled with a small bird which you simply can not do with a 24-70 or even 70-200 in most cases (no peter, a duck or a goose is not a good example). however, before you leave this thread cursing me for crashing your dreams of becoming the next Arthur Morris with a 70-200, let me give you hope again. there are many ways to overcome the lack of reach even though again, it is better to have the reach in the first place. by using good tracking skills, blinds and being patient, you can get VERY close to the subject. i recently shot some kingfishers in Israel from a blind and i swear that my 500 was WAY too long, a 70-200 would have been perfect!!!

now that we got the reach issue out of the way, lets talk about the more important items that can help you with your mission. the first thing that i will talk about is blinds. a good blind will allow you to become part of nature which in turn will allow you to get really close to the birds. there are many different kinds of blinds and the one you should choose depends on how far you want to go and what type of shooting you do. i personally use the kwikcamo blind which is just camo fabric you throw over yourself. this blind is VERY portable and flexible so you can use it while standing, sitting and even laying on the ground. another blind that i just started using is the doghouse blind which is just a camo tent that allows 2 people to sit in it and shoot through a window. this blind is fantastic if you plan on setting up and staying in the same place for many hours. another advantage to this blind is the fact that you are very comfortable in it because you can sit down with your tripod at a ready position.

both blind do really work and will allow you to get shots that you wouldn't be able to get if you are just standing there all exposed.

here is a shot i took from the doghouse blind:

another important piece of gear that i like to use is my bean bag and more recently the skimmer. the bean bag is a great cheap way to get a stable portable platform and will allow you to get sharp shots even when you are shooting from the ground, your car or even just shooting on a fence. the skimmer is a great little tool that allows you to do ground shooting while still allowing you to move freely on the ground. the reason why this is so important will be explained later but for now, here is a shot i took from the ground using the bean bag:

of course, there is also the matter of lenses, bodies, flashes, tripods, monopods and a thousand other pieces of gear but i will leave that to the gear section of this gear forum

Attire for the field:

this is a topic that is often overlooked but that i feel is of great importance so i wanted to talk about it here for a bit. what you wear can make or break a shooting session so it is very important to understand why you need to dress in a certain way.

i recently finished reading a book called Good Birders Don't Wear White and one of the the big things they talked about is the importance of wearing cloths that do not scare the birds away. for some reason, bright colors and white are not the colors that you want to wear while out shooting birds i personally try to wear olive/ camo colored shirts and even pants but i found that any dark color would work for the most part. another BIG thing that i found is that wearing a hat does in fact work. the main thing you want to do is to become part of the scene and wearing the right cloths will allow you to do that.

even more important than the color of your shirt is your comfort and safety. like we said before, bird shooting is very dynamic and you will quickly find yourself shooting in many different terrains and what works for one will not work for the other. for example, what you wear when you are shooting in the trails or woods is probably going to be very uncomfortable when you are shooting on the beach. also, it is important to dress for the weather that you are going to shoot in and be ready for anything that mother nature decides to through at you. i have shot in -20 temps here in Boston and even with gloves, tights and everything else you can think of, i was still very close to freezing so you can see why it is very important to be ready before you get to the field. always be ready for the worst and try to cover all bases. my bag now includes an extra wind jacket, a pair of gloves and a face mask just in case the temps do drop to crazy levels. no shot is worth losing your limbs for....

Know your subject!!!:

one of the most important things that i learned very quickly is that the only way to get the shots you want is by knowing the subject that you want to shoot. of course you can count on pure luck and get a great shot but for the most part, knowing your subject will allow you to increase your chances. for example, by knowing the terrain that herons normally like or the type of marshes a Northern Harrier frequent, you can know where to look for them and where to set up. also, it is important to understand the behavior of the particular bird because it will allow you to know how to predict what they are going to do next. for example, knowing that the Northern Harrier glides with the wind and can fly in reverse will help you predict where it is going to go next. knowing that a tern will usually stop on the spot mid air and start flapping its wings right before it dives into the water will allow you to time your shot and get the image that you want.

even though there is unlimited amount of information that you can read and learn, most of the basics can be found in any birds books/guides and can be easily found on the net.

Tips for better bird photography:

Like i said before, i don't think that i am a good bird photographer. however, i do try to read a lot about the subject and do my best to get better. along the way, i have picked up some very good tips from some great photographers and i thought that i would share them with you.

1) GO AS LOW AS YOU CAN GO!!!!!!!- one mistake that we often see is that people tend to shoot birds from a higher angle which in most cases really kills an image. there is nothing better in my own opinion than shooting a birds from eye level and in order to do that, you will have to go down to their level even though it means getting dirty.

here is an image where i was laying on the ground and managed to shoot from the birds eye level:

2) don't be afraid to get dirty- in order to get the shot that you want, you will often have to go into places that you normally wouldn't want to go in. however, once you get the shot, i promise you that even with all the mud and crap all over yourself, you will still be VERY happy.

3) got up early and get back home late- besides the fact that the lighting is best in the early morning and late afternoon, birds are also a lot more active in these hours and you will have better chance of getting a nice image instead of the usual perched bird. i know that getting up at 3am on a Sunday sounds horrible but again, i promise you that when you are out there at 5:30am with great light looking at a feeding bird, you will forget all about the lost sleep:

4) Don't be afraid to give and receive critique!!!!- not too long ago, i had a signature that caused quite a stir right here in these forums. the gist of the signature was that i would much rather get no feedback than a "great shot". the reason i said what i said is because for me, critique has been what made me get better. i know that sometimes we say "nice shot" because we are trying to be nice and give the poster some words of encouragement. this is all fine but we have to look and understand what the phrase "nice shot" can do to the very same person we are trying to help. a person can post a very avarage shot or even horrible shot and when we say "nice shot", the person can take it and think to himself "i did good, i am going to try to get more great shots like this one". instead of helping the person, we hurt them by not teaching them what they can do better and in turn, cause them to get stuck where they are. don't get me wrong, i do think that encouragement is good and should be included when you provide proper feedback. instead of saying "nice shot", we can say something like "that is a very nice picture but what can make it better is if you framed the bird on left of the frame and left some space for the bird to fly into. also, i think that a lower angle can really make this shot shine". now, the next time the poster will go out shooting and comes across the same bird, he will hopefully try to implement what you told him and guess what, the bird is in the right part of the frame and the angle is lower. i know that i posted MANY horrible shots and got tons of "great shot" posts. i will admit that i did not learn anything from the posts and instead, i had a sense that i am doing a great job. then, i joined an Israeli forum and when i posted the exact same shots, the images were ripped into shreds. instead of being offended, i decided to really try and understand the comments and guess what, my photography really started to get better. through the critique that i received from that forum, i learned about the importance of the low angle, the focus on the eye, fill flash, avoiding steel eye, proper exposure of white birds and many other great things that i would never have known unless somebody took the time to really give me honest feedback on my work.

so what i am saying is that if you really want to be nice and helpful or if you really want to learn and get better, always ask and provide the critique. of course, i have seen a few people that really didn't want the critique and that is perfectly fine. what i do now in every thread is ask for the critique and hopefully i will get it. however, don't forget that even when you do provide strong critique, you need to do it in a respectable way and make sure that you are talking about the image and not the photographer.

Photo Contest Emotional Appeal 2008

2008-09-03T01:09:00.000-07:00

Send us your favorite photo that expresses a human emotion: happy sad tired mad - or any other human emotion.
The Photo Contest Grand Prize Winner will receive a magnificent Tamron AF28-300mm XR VC (Vibration Compensation) Di zoom lens for a Canon or Nikon Digital SLR camera.

Plus, the winning image will be showcased in the Tamron Online Gallery in the Learning section of tamron.com with up to 20 of our favorites.

The contest is judged by professional photographer André Costantini and guest judge professional photographer Emily Wilson. Deadline is 11/30/08 to submit by mail or email.

For more details:

http://www.tamron.com/lenses/scrapbook.asp

2008 Land Between The Lakes Photo Competition

2008-09-03T01:05:00.001-07:00

The 2008 Land Between The Lakes Photo Competition is open to all photographers, of any age, who have submitted a complete registration form and entrance fee. If under 18, a signed permission form from his or her parent or legal guardian must be included. Members of the contest committee, contest judges and their immediate families including children, siblings and spouses are excluded.

What To Enter

All Photographs must have been taken in or of the Land Between The Lakes.
Photographs will be judged in the following 6 categories:
1. Mammals - Portraits and Behavior
2. Birds - Portraits and Behavior
3. Small World – Tight Close Up and Macro
4. Connecting People and Nature - People enjoying the LBL
5. Habitat - Landscapes and plant life from wild areas
6. Digitally Enhanced *
*Double exposures, digitally stitched photos and images containing any manipulated or added content should be entered only in category # 6.

You must declare on your entry form if your photograph is of an animal in captivity, such as Woodlands Nature Center, Elk & Bison Prairie or The Homeplace.
No pets or domestic animals will be accepted, with the exception of animals at the Woodlands Nature Center, Elk & Bison Prairie, The Homeplace or animals participating with people in outdoor recreation (for example, hunting dogs or riders on horseback). Please do not harass wildlife in an attempt to photograph it.

Manipulation of images, either film or digital, should be limited to conventional darkroom techniques or basic sharpening, cropping and removal of dust spots. Images should contain only the subject matter as originally seen through the viewfinder (except for the Digitally Enhanced category).

An entrant must hold all rights to a photograph. Photos previously published or pending publication or that violate or infringe upon another person’s copyright, are not eligible. Please do not infringe on the rights of property owners in an attempt to photograph animals.

For more information;-

http://www.lblphotocontest.org/details.htm

Ambience Photography Contest 2008

2008-09-02T23:18:00.000-07:00

Ambience Productions is dedicated to promoting creative talent on a global scale. Through our website and contests we showcase some of this talent and introduce the world to new and emerging artists, photographers and writers.

The Ambience Photography Contest 2008 is open to amateur and professional photographers of all ages, from all parts of the world. It is an online, global contest. All categories of photography are welcome; including post processing and computer enhanced images. Let your imagination run wild and those creative juices flow. Send us your best pics and we'll place them before our panel of judges.

Who knows? You just might be the winner of the 2008 Ambience Photography Contest!
Great prize money is on offer for our winners. Winning entries will be showcased on our site along with the entrant's bio. To commemorate your win, you will also receive a downloadable certificate which can be printed out and displayed on your wall for all to see.

For more information:-

http://www.ambienceproductions.com.au/photocontest.htm

Nikon Photo Contest International 2008-2009

2008-09-02T22:16:00.000-07:00

The Nikon Photo Contest International has been held by Nikon Corporation since 1969 to provide an opportunity for photographers around the world to communicate and to enrich photographic culture for professionals and amateurs alike.

"At the heart of the image" is not only the brand statement of Nikon Imaging Company, but it is also the theme for the 32nd contest, in which entries are invited in two categories. The first category is free subject and the second is entitled "My Planet," and entries to each category are accepted as prints sent by conventional mail or as JPEG images sent via the Internet. With this theme and these categories, we look forward to receiving expressive images from around the world that are true to people's emotions.

For more details kindly visit:

http://imaging.nikon.com/products/imaging/activity/npci/npci2008-2009/imgdata.htm

Retouching And Improving Your Photographs - Photoshop Makes It Possible

2008-08-18T21:39:00.000-07:00

Digital imaging and more specifically Adobe Photoshop as well as other image editing software have revolutionized photography. The advances in digital image manipulation now allow for unlimited possibilities in the area of improving photographs through retouching and restoration.

What types of improvements are possible by retouching photographs with Photoshop?

Blemishes
Embarrassing skin blemishes like acne or scars can easily be removed using the retouching tools available in Adobe Photoshop. You can learn these Photoshop techniques in minutes.

Damage to Prints
The benefits of digital imaging for restoring old damaged or worn out photographs are one of the best reasons to learn Photoshop. Once an old photograph is scanned it can be retouched to remove tears in the paper or water marks. You can also restore colors that have faded over time. Once you have retouched your image and it is like new again it will last forward because digital images do not deteriorate over time like prints.

Closed Eyes
This is one of the most common problems with group photographs. You finally got the entire family together for a family photograph including Aunt Martha only to find that she closed her eyes. Closed eyes are not a problem for a skilled user of Photoshop. You can easily open her eyes and no one will ever know.

Removing unwanted Subjects
Not only can you remove blemishes in Adobe Photoshop but another common use of Photoshop’s retouching capabilities involves removing unwanted people or objects. Old boyfriends can be forever removed from photographs quickly and easily if you know what you are doing.

Retouching photographs has never been easier than it is today. Photoshop and other photographic editing software applications have made it a breeze to open closes eyes, remove blemishes and scars, change colors, restore old damaged photographs and remove unwanted objects.

How to Shoot Wildlife Photography

2008-08-18T20:59:00.001-07:00

Professional Tips and Techniques

Wildlife subjects can be divided into two categories: wild and under human control. Pursuing both can produce wonderful images. Of course, there's nothing more exciting than capturing a spectacular image of a wild animal in its natural environment, but many times it's not possible to travel to exotic locations or spend days or weeks tracking an animal. What's more, many animals are extremely dangerous. Learn tips on getting great wildlife photos in the following article by professional photographer Jim Zuckerman.

How to Shoot Wildlife Photography: Close-up vs. Environmental

It's not necessarily desirable to always get full-frame head shots of wildlife - you can always take head shots in a zoo. Including the environment along with an animal gives a sense of place, and if the location happens to be spectacular then it becomes an integral part of the composition. Still, the subject should be significant enough in the frame to make a statement.

How to Shoot Wildlife Photography From a Vehicle

In many cases, a vehicle can gain a closer approach to a wild animal than a person can on foot. For example, most wildlife in national parks have grown accustomed to vehicles, and they know there's no threat.

Shooting from a vehicle can be done using a stable platform that attaches firmly to the driver's door when the window is rolled down. (These door mounts are available through various sources.) You can also use a burlap or fabric pouch filled with uncooked rice, beans or coarse sand. This actually is my preferred choice for shooting from a vehicle. I travel with it empty, but when I arrive at the shooting destination I'll fill it.

Finding Wildlife Subjects to Photograph

There are many options for locating wildlife - even if you live in the city. One technique is to try the Internet. For example:

One of my favorite macro subjects is frogs, and specifically poison dart frogs. These are brightly colored frogs that are poisonous in the wild but are not dangerous when they are kept in captivity (because their diet is altered). I especially wanted blue frogs because they are so unique. I did a search on the Internet and found several breeders of these frogs in the U.S., and one of them happened to be only 10 minutes from my home. I called him and made arrangements to photograph many of his creatures in exchange for photos.

How to Shoot Wildlife Photography the Right Way: Keep Things Steady

In addition to doing your wildlife photography in the best light, I strongly suggest using a tripod whenever possible. When photographing with a tripod is not possible, use a bean bag or some other stable support.

Image stabilization lenses, if you can afford them, go a long way to helping wildlife photographers get sharp pictures in low light. They minimize camera movement when you hand hold them, which in turn gives you more flexibility in your shooting. However, I would still recommend a tripod when it's feasible.

Virtually all the images on my Web site, with perhaps five exceptions, were shot using a tripod.

Digital Or Film.

2007-11-13T03:41:00.000-08:00

Having lost count of the number of people who have asked me: have you gone digital? I am always left wondering why its such a much-asked question. The camera is only a tool in which a photographer creates an image. His personal ability to create a unique image remains the same.

For many forms of photography, digital has long held obvious advantages, but for landscapes the resolution necessary to make larger prints just wasnt available. But things have changed and digital cameras are fast becoming the tools that most pros use.

Modern digital cameras are perfectly capably of matching the 35 mm film - the format which most landscape photographers begin with. But can they really match the large format film cameras? This is probably the greatest question that all photographers face.

Instant LCD feedback is digitals greatest gift and this enables the photographer to check exposure and composition of their image in the blink of an eye. While this is a big advantage, the hours spent in front of the computer processing the raw images have to be a hindrance. A landscape photographers time is best spent behind a camera not in front of a computer.

The pros and cons of digital photography will remain an issue for some time. At the end of the day a digital camera wont make a photographers images better. The same values we apply in our photography should remain regardless of which camera we use.

Good photography remains as elusive and as enticing as it ever was; going digital doesnt change this or make getting good images any easier. It brings technical advantages, and plenty of them, but the majority of photographic techniques never change. Good landscape images come from the photographers personal ability, not the ability of a camera. The camera helps, but the creative eye remains the same.

As a landscape photographer I am still hesitant to embrace digital photography and all the qualities that digital has brought to other professionals in different photography fields.

There are a few simple reasons that I still use a film camera:
The authenticity of my images could be questioned if I used a digital camera. It is often assumed that great digital images have been manipulated.
Too much time is spent in front of a computer.
Slide film produce stronger colours than a digital camera.

There are many advantages for changing to digital but Im going to stick with film; for the time-being that is. With time film cameras will be a thing of the past and all our images will be exchanged for the pixels. But, be wary - believing our work will be superior would be falling into a great trap. For me size matters, the larger I can print an image the better.

2007-07-06T21:20:00.000-07:00

Group f/64 was a group of photographers espousing a common philosophy. The group was created in 1932. The original membership consisted of:
Ansel Adams
Imogen Cunningham
Willard Van Dyke
John Paul Edwards
Consuelo Kanaga
Alma Lavenson
Preston Holder
Sonia Noskowiak
Henry Swift
Edward Weston
The term f/64 refers to the smallest aperture setting on a large format camera, which secures maximum depth of field, rendering a photograph evenly sharp from foreground to background. Such a small aperture implies a long exposure and the selection of relatively slow moving or motionless subject matter, such as landscapes and still life over action and reportage photography.

This corresponds to the ideal of straight photography which the group espoused in response to the pictorialist methods that were in fashion at the time.

Group f/64 published the following manifesto:
The name of this Group is derived from a diaphragm number of the photographic lens. It signifies to a large extent the qualities of clearness and definition of the photographic image which is an important element in the work of members of this Group.
The chief object of the Group is to present in frequent shows what it considers the best contemporary photography of the West; in addition to the showing of the work of its members, it will include prints from other photographers who evidence tendencies in their work similar to that of the Group.
Group f/64 is not pretending to cover the entire spectrum of photography or to indicate through its selection of members any deprecating opinion of the photographers who are not included in its shows. There are great number of serious workers in photography whose style and technique does not relate to the metier of the Group.
Group f/64 limits its members and invitational names to those workers who are striving to define photography as an art form by simple and direct presentation through purely photographic methods. The Group will show no work at any time that does not conform to its standards of pure photography. Pure photography is defined as possessing no qualities of technique, composition or idea, derivative of any other art form. The production of the "Pictorialist," on the other hand, indicates a devotion to principles of art which are directly related to painting and the graphic arts.
The members of Group f/64 believe that photography, as an art form, must develop along lines defined by the actualities and limitations of the photographic medium, and must always remain independent of ideological conventions of art and aesthetics that are reminiscent of a period and culture antedating the growth of the medium itself.
The Group will appreciate information regarding any serious work in photography that has escaped its attention, and is favorable towards establishing itself as a Forum of Modern Photography.

how to do Postcard Photography

2007-05-16T17:22:00.000-07:00

Postcard photography is the pursuit of the perfect scenic picture. Anyone can do it. I manage to make a living from this but it's really just about being in the right place at the right time.

How To Get Clear Pictures

I have been asked many times over the years how I get such deep blue skies and clarity in my pictures.

The answer is simple: I only shoot on exceptionally clear days with great visibility.

For the clearest air, shoot in winter. The views are crisp and sharp and distant mountains are distinct. From February to May, I'm madly visiting all my favorite places, building a year's worth of stock which I'll sell during the rest of the year.

As soon as I arrive at a location, I always check the weather forecast for the next few days. I only shoot in good weather. Many times I have stayed in a hotel room for several days before the weather was right.

I spend part of my time on "bad weather" days looking at postcard racks, skimming picture books, and exploring the area. When the weather breaks, I'm ready to get working.

Amateur vs. Professional

The one big difference I've observed between an amateur photographer and a professional is this: when both stop and look at a beautiful scene, the amateur will take one picture and move on while the pro will take many pictures of the same scene at varying times and exposures before moving on.

Of course, the professional has more time available. But the pro knows he or she must get the perfect exposure because their job is riding on it. It's really simple: if a pro doesn't bring back good, usable photography, they won't be asked to shoot again.

Research is key to getting the best shot. Look for a high viewpoint that combines several landmarks in a tight grouping. Plan on spending ample time at your viewpoint, to get the best exposure, light, and composition.

Images That Sell

I usually shoot every good scene in both horizontal and vertical formats. When I first started out, I shot mostly horizontals, and I lost out on a lot of vertical sales. The initial cost of the extra shot is more than offset by the increased sales.

Calendar company buyers appreciate photographers who have images representing all four seasons. In putting together their calendars each year, they like to deal with as few photographers as possible.

All the stock agencies that I deal with only want digital images submitted. I shoot now with a Nikon D200 camera, and my library of over 200,000 transparencies awaits to be scanned.

Most clients now want to see only digital images. I still sell a lot of film to my clients even though it's been less and less over the past five years. So there is still some film buyers out there and probably will be for the near future. I used to shoot with medium-format as, it turned out, size does matter! I still shoot film with my Nikon F5 and Hasselblad X-Pan.

Equipment

I've been asked many times by beginning pros if it's necessary to buy expensive (i.e. 'fast') lenses. In the case of landscape photography, I don't think so. Most of your pictures will be taken on a tripod, so a fast lens is not needed. Most of my landscapes are taken at F16, F22, or F32. The only exception is aerial photography where one or two fast lenses can come in handy.
One of the most important items in a photographer's equipment is a tripod. The larger and heavier the camera, the more a tripod is needed. To get great depth-of-field, which is important for landscape photography, a tripod is a "must."

As far as filters go, I use only one -- a polarizer. This is really a great filter and, when used properly, increases the color saturation of all the hues in a scene (not just the blue in the sky, as some people think). I have polarizers for all my lenses and take them off only when they aren't needed.

Favorite CitiesSan Diego is my favorite city to photograph. I find the beauty of the landscape to be mind-boggling, offering so many beautiful and varied places to photograph.

My other favorite cities to photograph are San Francisco, Boston, New Orleans, New York, Chicago, Montreal, and Vancouver. Along with San Diego, each of these areas has an ambiance that makes it unique. I have shot these cities over and over again and still look forward to going back and doing it another time.

How to Make the Best of a Bad Shooting Situation

2007-05-13T21:16:00.000-07:00

How to Make the Best of a Bad Shooting Situation

It was a rainy day in Paris. I was in the City of Lights, along with other members of the international photo press, for the debut of Panasonic's latest cameras. I was shooting with the new $349 (estimated street) Lumix DMC-TZ3, which the manufacturer bills as the perfect traveling companion-- pocket-sized but packing 7.2MP, a 10X zoom that starts at a wide 28mm equivalent, image stabilization, and a 3-inch LCD.
But for all that, it couldn't do anything about the rain. Every shot looked dull; even reflections on the wet pavement fell flat. Bad photos of Paris, it is possible? It seemed so.

Then Jerry Grossman of the trade paper, Photo Industry Reporter, held up the LCD of his camera. He'd taken a few images in Sepia mode, and the pictures looked much better than anything shot in color. There was a mass switch to sepia. Granted, not the most sophisticated solution, but it was an idea that helped turn this photo op around.

It's the kind of situation all of us face with our photography -- the weather, the lighting, or the subject may not be cooperating, or you don't have all the time or gear you'd like, but you still have to get good shots. What do you do? Get creative and find workarounds. Here are some solutions for situations that have the makings of photo disasters.

• The Situation:
You're suddenly appointed the party photographer.

The Problem:
All you have is a digital compact, and the tiny flash won't properly light -- let alone flatter -- the guests. Also, capturing tequila-fired red noses isn't going to get you invited next time.

The Solution:
Shut off the flash and switch to black-and-white mode. Yes, the ISO will go through the roof, but in b&w, the digital noise looks like grain. Sort of arty. And chances are, monochrome will be more flattering to all of the revelers.

• The Situation:
A friend asks for a spur-of-the-moment portrait.

The Problem:
Your subject has horribly blotchy skin.

The Solution:
High key. That is, overexpose the shot to drain the detail out of the skin. Digital cameras not only let you use the LCD to see how much overexposure is needed as you bracket (start at a half-stop and work up), but today's sensors also are very good at holding shadow detail while blowing out the highlights in a shot. Which is exactly what you want.

• The Situation:
Aunt Rhodie cooked a delicious roast goose that everyone wants to remember.

The Problem:
The bird doesn't look as good as you hope it will taste.

The Solution:
Shallow depth of field. Go with the widest aperture you can, and focus on that gorgeous sprig of parsley atop the carcass. That's about all that will be sharp. The rest of the image will have that soft, dreamy look so popular in the food magazines from which Aunt Rhodie gets her recipes.

Backyard Bird Photography

2007-05-10T18:36:00.000-07:00

Bird photography is one of the most challenging types of nature photography. Wild birds are often difficult to approach and they never stay in one place for long. Due to the small size and fast-paced behavior of songbirds, large telephoto lenses are often required, and expensive, fast-focusing camera bodies are usually needed. Fortunately, this is not always the case. Your own backyard can serve as a personal studio in which you can be in control of your subjects and obtain beautiful photos. This is one of the very few situations where eye-catching, close-up bird photography is possible without extravagant photo equipment. The following is a how-to guide to photographing birds in your backyard and these tips will help you achieve bird photos that you have always wanted to get, but never knew how.

Setting Up Feeders
The most important consideration in choosing a location for bird feeders is lighting. Most bird photographers choose direct front lighting for shooting their subjects. Birds have lots of color and fine feather detail and direct front lighting shows the beauty of birds in a brilliant manner. The most important thing to remember when considering lighting is to always point your shadow at the bird. This will ensure that your subject is evenly lit with no shadows.

When hanging feeders for bird photography, avoid placing them too close to your house or too close to the edge of the woods. Both these situations can block light and make it difficult to obtain stunning pictures. The best light for bird photography is early in the morning and late in the afternoon. By placing the feeders in an open area, you will have more opportunity with the best light. Be careful not to place the feeders in an area that doesn’t provide enough cover. I place my feeders about 15-20 feet from the edge of a wooded area. This gives the birds a safe area to travel to and from the feeders and provides a nice background in my images.

Fewer feeders produce more photo opportunities than many feeders. The idea is to create a food source that lots of birds are using. Choose one small feeder per food source. This in essence will create a waiting line for the feeder and force birds to perch and wait. For suet lovers, set up a separate feeding station. Digging a hole in the ground and “planting” a dead, moss-covered tree works very well for woodpeckers and nuthatches. Position the suet on the backside of the tree so it will not be in sight of the camera. Woodpeckers will often pause before and after feeding on suet, thus offering a few additional photo opportunities before departing.

Selecting the Ideal Perch
Perch selection is critical to the natural feel of your photographs. Perches should look natural and not “set-up.” Avoid manmade objects such as processed lumber, metal, or plastic. Instead, walk around your yard and find fallen twigs, small branches, raspberry or rose stalks, or wild plants bearing berries (winterberry holly or bittersweet work well). It’s very important to choose a perch that is natural for the species being photographed. Be very careful when positioning a pruned perch for photography. An obvious snipped or torn branch in a photo is not pleasing to the eye.

Think about the species that will be using each perch - you do not want to overpower the bird with a perch. For smaller birds, such as chickadees, goldfinches, and titmice, choose a thin perch, perhaps ¼ to ½ an inch in diameter. For larger birds, such as blue jays and cardinals, a perch of ½ to 1 inch in diameter will look pleasing in a photo.

Carefully position the perches close to the feeders. Remember, the fewer perches you have, the better. You want to ‘force’ the birds to land on a particular perch. Placing a perch one foot under or next to a feeder will provide suitable waiting space or a jumping-off point to the feeder for a hungry bird. It’s also very important to place the perch at the appropriate angle. A good starting point is to mount the perch vertically and then push it directly away from you at a 45-degree angle. This will ensure a profile of the bird. If you want a head-on shot position the perch at a 45-degree angle horizontal to your position.

Before you start snapping photos of birds, it’s important to look at your perch set-up through the viewfinder. What looks good to your eye may not look good through the camera. As you look through the viewfinder, make sure the background is a pleasing color, the perch is at a good angle, and there are no unwanted objects in the frame. Always keep an eye out for new and interesting perches and replace your perches often. If you use the same perch over and over, all your images will look the same.

Desirable Camera Equipment

Most birds that visit feeding stations are quite tame and will tolerate a human very close to their food source. A lens in the 200-300mm range (especially when combined with a digital camera or teleconverters) can produce frame-filling images with these cooperative subjects. Using a tripod will greatly aide in obtaining sharp images. It will also allow you to set the camera to a certain point on a perch so you will be ready when a bird lands. Always remember to pre-focus on the perch to cut down on the time it takes to obtain focus.

Being comfortable is also important. Sitting low in a lawn chair with your camera set up in front of you decreases your profile substantially and will allow you to photograph for extended periods comfortably. Movement is your biggest foe when it comes to birds. If you’re using a short telephoto lens, a bag blind or some camouflage material draped over yourself is also a good idea.
With a little strategy, backyard bird photography can be very rewarding. It is a unique form of wild bird photography and by following the advice above, you can be on your way to producing appealing, natural looking bird images. Do not be afraid to experiment with different perches and set-ups - the more variety you have with food sources and perches, the more species you will be able to photograph. You will be amazed by the interesting songbird images that you can produce in your own backyard!

What exactly is metering?

2007-05-05T20:57:00.000-07:00

In the segment on exposure, photo enthusiasts learnt about Canon's built-in multiple metering systems for its EOS AF 35mm SLR cameras and the right way to use them to achieve correct exposures.Metering modes like the multi-segment Evaluative, Partial and Spot, have their own unique way of reading the reflected light off the subject and then calculate the exposure based on the metered light readings.

Most photo enthusiasts will not face any problem understanding what the various metering systems are all about, more so if they are already Canon EOS camera users. But the newcomers, who have just started to learn about photography, may not understand them and know very little about what exactly metering is in photographic term.

Photography is all about using light. You use light to make photographs via the lighting available. The lighting can be from any sources like natural light, available light, artificial light or from studio strobes and flash guns.You need light to expose the film and to record the image you have visualised. The camera body controls the timing for the light to expose the film via the shutter button which triggers open the shutter curtains. And the camera lens controls both the aperture and the image quality by determining the amount of light required to enter and expose the film through the optical elements that also form and focus the image.

But how much light does one need in order to make a photograph? That will be determined by the camera's built-in metering systems or by using a hand-held incident light meter which is used to measure the amount of light that is reflected off or fell on the subject.Metering, then, is about measuring the existing levels of lighting so the right shutter speed or aperture values can be set to obtain the correct exposures - to let in the right amount of light needed to strike the film and form the image.

A meter reading can be something like this: 1/250 sec. at f/11 or 1/500 sec. at f/8.0. It has to be noted that to get the right meter reading for a given exposure, the camera's built-in metering system have to know what type of film speed is in use.For example, if an ISO 100 film is used, the metering system will calculate the exposure settings based on the current lighting situation to ensure the right amount of light needed to expose the film.

If an ISO 100 film is used to photograph a scene at dusk, the camera's built-in meter will recommend an exposure of 1/60 sec. at f/4.0 in order to get the correct exposure value. If the film used is an ISO 400 film for the same scene, the camera will then recommend the settings to be at 1/60 sec. at f/8.0. This too, will depend on which shooting mode the camera is set.All EOS cameras are designed to base their exposure readings on the shutter speed set by the photographer when used in the Manual Exposure or Shutter-Priority AE modes. If the camera is used in the Aperture-Priority AE mode, the exposure readings will be based on the aperture set by the photographer. The exposure will then be at f/4.0 with a shutter speed of 1/250 sec for the dusk scene when shooting with an ISO 400 film.

How To Photograph Smoke

2007-05-04T01:01:00.000-07:00

Here’s a pretty cool abstract photography article on how to go about photographing smoke. I don’t know what I’d ever do with this but you never know, it might come in handy one day. Photocritic.org interviewed Graham Jefferey, of Sensitive Light, and talked to him a little about how to get the smoke just right, lighting techniques for getting that really “cleanly” lit smoke, digital manipulation and some things that inspire him.
Graham points out that he doesn’t actually take photographs of smoke, he uses the smoke as a tool and his photographs are more about manipulating the tool in such a way he can capture and impressive photo. He uses different lighting techniques to capture those really cool an interesting effects.
If your into photographing absracts then you’ll find this article useful, even if your not playing with smoke. Check it out, it’s worth a look. If you have any thoughts or suggestions let us hear them.

Framing Your Photos

2007-05-03T19:47:00.000-07:00

A good argument could be made that one of the most frequently used if not popular digital imaging software tools is the crop tool. Not necessarily because people really want to use it, but because they have forgotten to frame their shots properly before snapping away. Granted, it is easy enough to crop away unwanted areas after the fact and thereby make them look like they were well composed in the first place, but unless you have a high-megapixel camera and have remembered to shoot at high resolution, cropping can put severe limitations on the size at which your photos can be presented onscreen or in print without looking jaggy.
Here are some well-framed photos.

If you don't intend to run full-screen slide shows for friends and family or print out any enlargements, then the limitations of cropping won't worry you. But if you'd like to retain as much flexibility in your images as possible and avoid having to bother with cropping, then here are a few easy-to-remember things to think about.

First, if your photo is going to include people, take a moment to reflect on what you'd like to have in the photo before you request that your subjects hold still. Once they are standing still and holding a smile you'll be under pressure to get on with it and will likely spend less time thinking about image composition.

Second, look for both natural peripheral (side) borders that might frame your shot nicely and for objects near the sides of your shot that might be distracting. Think of it like this: While fitting the full trunk of a tree into your border might look great, including the public trash can in your shot of a cathedral probably won't.

Finally, with the above in mind, try to ensure that you are getting just the right amount of foreground and background.

There is no hard and fast rule for specific amounts as they will change according to what kind of photo you are taking. But here are some general guidelines:

The horizon should usually be above the middle of the photo.

In people shots, foreground should be minimized, while in landscape shots more foreground can lend better perspective.

Likewise, don't allow too much additional space on either side of your subjects in people shots.

These tips should help keep you from having to use your crop tool too often. Happy snapping!

IMPROVING YOUR PHOTOGRAPHY

2007-05-03T19:11:00.000-07:00

Composition

In a recent "Photography Talk" column, I discussed developing an awareness of light and its relationship to the subjects in your photographs. Light and shadow become integral parts of composition when skillfully incorporated, and should be your first consideration before setting up to make a photograph. When lighting conditions have been evaluated and the camera position chosen to take best advantage of the light/subject relationship, the next step is composing the photograph.

Composing a photograph is essentially an editing process — deciding what to leave in and what to leave out. There are basic accepted criteria for good composition that, when applied, will help you achieve visual harmony or dynamic tension. Faithfully following all the "rules" of composition will not necessarily culminate in a good photograph. The rules are intended more as guidelines than strict dogma, but they will help you design well-balanced images that are pleasing to the eye. While it may be the subject that initially attracts viewers to stop and look at an image, it is the artistry of composition that holds them there.

Here are some of the basic elements of effective composition:

STRONG FOCAL POINT

It is usually best to have one main subject as the focal point because a photograph can successfully tell only one story. The main subject can be one object or several, and you may decide to include a secondary subject. But make sure nothing detracts from the focal point. Lacking a strong center of interest forces the viewer to search for something to observe, eyes seeking a resting place. Always give the focal point sufficient prominence in the composition so that all other elements are subordinate. Even if the focal point is small, it can be given prominence by composing empty space around it.

RULE OF THIRDS

The exact center of any composition is not a satisfying place for the viewer's eye to come to rest. With the main subject placed in the center, the viewer is less likely to explore the rest of the photograph. In fact, it is preferable to keep the viewer's eye moving. To create movement in your photographs and to avoid the static bull's-eye composition, use the rule-of-thirds guidelines for off-center placement of the main subject. It is the traditional way to create a well-balanced composition and has been used by artists for centuries. To apply the rule of thirds, imagine the scene in your viewfinder divided into thirds both horizontally and vertically, similar to a tic-tac-toe grid laid over the scene. Place the main subject and other important elements of your composition along the grid lines or at the points where the grid lines intersect. Employing the rule of thirds not only helps avoid symmetrical composition but also provides a pleasing proportion of space around the main subject to prevent distracting tension between the focal point and the edge of the frame.

A common compositional faux pas occurs when the horizon is positioned directly through the middle of the frame, bisecting the scene. Utilizing the rule of thirds, the horizon is placed near one of the grid lines. This will lower or raise the horizon in the frame and give emphasis either to a dramatic sky or an interesting foreground.

SIMPLICITY

The best way to present a clear message in a photograph is to keep the composition simple. The fewer elements you have to work with, the easier it is to design a pleasing image and control the viewer's eye movement. There are several ways to simplify a composition, but the primary method is to move in closer to the main subject. Photojournalist Robert Capa said it best: "If your pictures aren't good enough, you're not close enough." Whether you physically move the camera position closer or zoom in optically, getting closer allows you to fill the frame with the subject, paring the composition down to its essential components. It removes visual distractions from the edges of the frame, eliminates superfluous elements and defocuses the background. Shallow depth of field helps to isolate the subject from a busy background by blurring objectionable clutter, and may even create soft pools of complementary color behind the subject.

LEADING LINESAnother compositional technique to create energy and movement in a photograph is the use of leading lines. Whether they are graceful curves or dynamic diagonals, all lines should lead the viewer's eye to the focal point. But be careful with the use of leading lines. They can also work against you by directing the eye away from the subject or, if the line divides the photograph in two, leading it right out of the image.

A few other factors to consider when refining your compositions:

• Let the lines in your composition decide if the scene should be shot horizontally or vertically. If the scene presents long vertical lines, compose vertically to take full advantage of them. When presented with strong horizontal lines, use a horizontal camera orientation. This plays to the strengths of the composition and also will help to avoid wasted space at the edges of the frame.

• Be aware of white or light areas in your compositions. The viewer's eye will always go to the brightest part of a scene, so eliminate any bright spots that will pull attention away from the main subject.

• Look for repetition of shapes and textures. Patterns create rhythm and motion in a composition.

• Compose boldly using sweeping diagonal lines. Long horizontal lines can be static and visually boring. Conversely, diagonal lines add visual energy. Change camera angle to pivot prevailing lines so they don't run parallel to the top and bottom edges of the frame.

• Try using a wide-angle lens. Compose for a foreground, middle ground and background with overlapping compositional elements to create a three-dimensional effect in a two-dimensional photograph.

Obviously, I am only able to scratch the surface of composition basics in this space. There are many other techniques that can lead you to visual harmony. And then there's the other side of the coin — how to successfully break the rules of composition to create dynamic tension. But it is important to know and practice the basics before deviating from them. After they have become second nature to you, begin to experiment. It's okay to break the rules, but do so knowingly and intentionally. When you know and understand the basics of good composition, you will be free to roam the spatial relationships within your viewfinder.

What is shallow DOF

2007-05-02T18:21:00.000-07:00

Shallow depth of field is often used to isolate a subject from its surrounding environment or to make it stand out. Shallow DOF in most cases is a great way to highlight your main subject and get rid of any distractions in the background.

There are a number of things you might like to try. I’ll start with the easy ones:

Positioning of Subject

One of the easiest things you can do is position the subject you’re wanting to photograph as far away from any objects behind them as possible. If they are standing right in front of a wall you’ll probably end up with it in focus no matter what else you do - but if they’re standing 100 meters in front of that same wall it’s going to be a lot more blurry. Of course this will only get you so far - you’ll need to do some of what’s coming next as well.

Aperture Priority Mode on your camera

Aperture Priority Mode is a great way to control depth of field as it will ensure your images are well exposed. This mode lets you choose the Aperture (the size of the hole in your lens) and tells the camera to choose all the other settings. This semi-auto mode is a great way to control depth of field as it will ensure your images are well exposed. For shallow depth of field and nice blurry backgrounds choose a large Aperture (the smaller the number the larger the aperture).

Try taking a few shots at different apertures and see how it affects the background of your shots - this is the best way to learn how to get more creative control in your shots. Zoom LensesI’m not sure what lens most of us use for the portraits. Many zooms will have different maximum apertures at different points along the focal length spectrum. For example if it’s an 18-55mm kit lens it will have a maximum aperture of f3.5 at 18mm and a maximum aperture of f5.6 at 55mm. Many see the bigger aperture at the 18mm end of the range and think that that would be the best focal length for blurry backgrounds.

The problem with this is that 18mm is a very wide angle and for portraits it can mean you need to get in really close to your subject and it could distort their facial features (not really desirable). Instead I find that shooting at the 55mm end of the lens is best. This means you can stand further back (making your subject more at ease and pushing your background even further away from your camera). You’ll probably still get nice blurry backgrounds if you use the fastest aperture available.

The other good thing about zooms is that they enable you to really fill up your frame with your subject which can give it more prominence and your background less. Get a New LensThis is an ‘easy’ solution in some ways, but hard if you don’t have the budget. Different lenses have different maximum apertures. Those with larger ones are called ‘faster’ and one of the impacts of having a fast lens is that you can make your depth of field smaller (another is that you can shoot in lower light situations without needing the flash).

A good option for Canon DSLRs is the Canon 50mm f/1.8 lens. It’s very fast, it’s a good focal length for portraits and it is one of the most affordable lenses Canon make.Now Guys, please share your shots that you think define the shalow DOF, we will judge them and award the best shot out of all. This is a small weekly competition in other words you may say.

Through The Lens

2007-05-02T04:17:00.000-07:00

In less than a decade, the advances of imaging technology have nearly outstripped our ability to define them, let alone in understanding how they are redefining photography. For most photographers, the vicarious realm of film has always been less a representation of life than it is an affirmation of it. We trade our days to exist in a state of moments, venturing through the lens in an effort to define them. Like others who live by the lens, the relevance of film in my life was not unlike my home - safe and uncontested. I grew up with it. It nurtured me. The camera gave me a direction in life. But the feelings I had experianced over the invasiveness of digital technology with respect to the film medium was akin to watching the house burn down - I seemed able only to stand by and regard it all with a sort of induced chagrin.

So for myself, the only questions that remained were, what next? How could I justify acknowledging something that would make me feel as though I'd sold out? Was I so utterly entrenched with the uneasiness that comes from change that in being contrary I felt above it all?The answer, I found, was to reckon with it and to relearn my craft by embracing the additional perspectives that this astonishing technology afforded me. And while it may be argued that digital has already usurped films dominance, the moments we define will still be done - as always - through the lens...This group is about the art of the shooter and the subjects that matter most to them. Opinions are encouraged, debate is invited, but flaming is forbidden. Tech help is important, but the study of technique is more interesting. Conversations and messages regarding a photographer's passion for the art, real and surreal are most welcome. Stories about and for the quest of the perfect shot would be fine. Words in praise of a mentor would be better still. Whatever level of interest, passion or convention, regard this group as a haven for your art.

Photographing the birds

2007-04-25T22:24:00.000-07:00

Bird photographs are notoriously difficult to take. Although you love seeing the birds hopping about at your backyard feeder or are thrilled with the sight of a Bald Eagle perched on a snag at the refuge, you're not happy with the photographs that you take. Here are some tips for taking better bird photos.

First of all, make sure you get close enough to the bird so that it is not just a teeny speck in your photograph. But how the heck do you get close without scaring the birds? One solution is to use a blind where you can sit and photograph the birds without them knowing you are so close. Obviously, your house is a huge blind. Is there a shed or garage window near the feeders? If you feel that the birds will see movement in the windows, keep the draperies just open enough for your camera.

Be sure the windows are kept clean. And if you still are not quite close enough to that feeder, try moving the feeder closer to your "blind." Another existing blind is your car. Many birds are used to seeing cars and will allow one to get much closer than they would let a person on foot. One photographer I know will position his car near a shallow pond filled with waterfowl. He'll drape a towel over most of the window, leaving just enough uncovered for his camera.

Have a tent in the attic collecting dust? Use it as a photography blind but be sure to set it up at least a day or two before you're planning to take the perfect photograph so the birds will get used to it. Or there are various portable photography blinds that you can build. Check the blue box to the right for link to free plans.

When photographing birds in a blind (other than your house), go into the blind and expect to be there quite awhile. Bring plenty of film, your camera, notepaper and pencil, as well as perhaps a drink and snack. Remember you might be there for a hour or two.

Being cautious creatures, the birds will flee as they spy you going into it. You'll have to wait a bit for them to forget your presence or for other birds to move into the area, foraging for food. I've heard of a trick: get a friend to go with you to the blind. After a minute or two, have the friend leave and go home. The birds, or at least some of them, will assume that the blind is empty.

The Equipment

When taking photographs of birds, be sure to consider the type and speed of the film you will be using.

Depending how you will be using the photographs, you can use either slide or print film. It is much easier to get additional prints for your friends and family from print film negatives vs. slides. Slides will give you a wonderful color saturation, more so than print film. Use the slowest speed film you can manage and still get the type of images you want. Faster film is great for lower light situations as well as for freezing action, such as birds flying or moving around quite a bit. But the faster film will more grainy photographs that are less sharp and have less color saturation. Use the longest lens you have or can afford to get the bird as large as possible in the photograph.

Digital cameras have been on the market for several years now. If you are considering getting a digital camera to photograph birds, get one that has the longest zoom length as possible. Teleconverters are available for these digital cameras as well. I prefer using digital cameras for shooting birds for two purposes, one you have access to unlimited media at the fraction of actual cost of films and other stuff and it gives you excellent control on speed and DOF as well. You can change the ISO speed within seconds in low light condition or if you want to capture the action of birds at a faster speed.

Secondly, most of the digital cameras are available in crop factor ratio which means they multiply the focal length of your lens with the crop factor ratio. e.g, Canon has 1.6 crop factor ratio in its 20D, 10D, 30D and 350D cameras and hence using a 400 mm lens it actually gives you a 400*1.6= 640 mm focal length that is an excellent focal length for shooting birds. You can get a teleconverter to extend the focal length for less money usually than buying an additional lens. Try to use a tripod to get sharper photos. If you're without a tripod, try resting the camera on a window sill, car door, or other stable object. If your existing lens just doesn't get the birds close enough, try placing your focused camera on a ledge nearby where you expect the birds to come. Focus it, adjust the settings then leave it there. Watch from afar. When you think you have the perfect photo, use a remote control to trigger the shutter. Digital cameras are a great way to shoot wildlife birds, because you can try and get the results intantly and hence can keep on trying. Similarly most of the cheap lenses now are available in cameras to the focal length of 300 mm and that is an excellent range when multiplied by the digital camera crop factor to shoot the birds.

Digital camcorders are also an option. You can slowly play the movies, freeze a frame and print off that one image onto paper or display it on the web.