Advanced Photographic Challenges


If you have the basic composition skills, there are certain subjects that are hard to photograph poorly. But there are also many tough-to-shoot subjects, such as sunsets, landscapes, and environmental portraits. The following sections discuss some of the tools, techniques, and approaches that will help you handle the more challenging photographic subjects.

Figure 5.28. Reed Hoffmann: "To get this sunset over Badlands exposed properly, I underexposed what the meter told me and used the LCD on the back of the digital camera to get it just right." (Photo by Reed Hoffmann)


Shooting the Sun

Sunrises and sunsets have their place in the pantheon of photographytheir presence in a picture evokes both emotion and the passage of time. The problem with photographing the sun, however, is that it's extraordinarily bright.

The light meter inside your camera functions as a thermometer that measures brightness instead of heat. When you point your camera at a subject the light meter evaluates the brightness and darkness of the photo you're about to take and sets the camera's shutter speed and f-stop accordingly.

The problem is that most light meters are sensitive to very large areas of brightness, such as the sun. When a large portion of the viewfinder is filled with a bright area or object, the meter sets the exposure as if the entire image were bright. Anything less bright will appear to be a silhouette.

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Generally speaking, the more expensive your camera, the more accurate your light meter will be. This is a key point because automatic exposure settings depend on the accuracy of the light meter. Expensive professional cameras split the incoming light into different areas and evaluate each area individually, which prevents something like a bright sun in one corner of your picture from ruining the overall exposure of your photo.


Figure 5.29. Many of today's cameras offer various metering options that are well worth taking the time to explore. Even some of the compact cameras offer options such as this one with its center button that enables several ways of metering for your photo. (Photo by Reed Hoffmann)


Most meters focus on the center of the frame. Consequently, if you want to take a photograph in which the foreground is properly exposed and the sun appears as a bright spot in the sky, first point your camera at something that is not the sun or illuminated by intense sunlight, and press your shutter release half-way down. Then, without letting go of the shutter release, reframe your shot to include the sun, and press the shutter release all the way down. This will force the camera's light meter to measure the nonbright area of the image and set the shutter speed and f-stop based on that meter readingresulting in proper exposure of the darker foreground area. This technique works well for any shot in which one area of your image is much brighter than another, and you want to ensure proper exposure of the darker area.

Figure 5.30a. This is how the meter in the camera read the scene at Yosemite Falls. (Photo by Reed Hoffmann)


Figure 5.30b. Forcing the camera to underexpose a full stop darkened the surrounding trees and let the clouds and water stand out. (Photo by Reed Hoffmann)


Water World

At least 70 percent of the earth is covered by water, so it's no wonder that water often ends up in photographs. Water, as well as glass, chrome, and other shiny surfaces, reflects light coming toward it. A tool called a circular polarizer is a filter that can be attached to the front of a camera lens to modify the way light enters the lens. If you turn it just so it will eliminate the reflection, allowing you, for example, to photograph water without a mirror image of the clouds and sky above.

Figure 5.31a. This picture was shot without a polarizing filter. (Photo by Reed Hoffmann)


Some photographers insist on using circular polarizers any time a body of water pops into the frame, but that seems too dogmatic to me. Like any tool, a polarizer is best used sparingly and when called for.

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Circular polarizers work well with other reflective surfaces too, allowing you to photograph through a window instead of just capturing a shot of yourself in front of the window. They're also good for skies because they can be used to increase the contrast between sky and clouds.


Figure 5.31b. The same picture shot with a polarizer. The sky looks darker and the light brown stems stand out more dramatically against it. (Photo by Reed Hoffmann)


Figure 5.32a. Polarizers can also be used to reduce glare and reflections. In this photo, no polarizer was used, and the reflections are obvious. (Photo by Reed Hoffmann)


Figure 5.32b. With a polarizer filter attached, the reflection is gone. (Photo by Reed Hoffmann)


NOTE

Water is the archenemy of most electronic equipment, doubly so with salt water. With the exception of some water-resistant cameras, water should be kept away from your photographic gear. Use clean, dry cloths to wipe down your gear if it gets exposed to salt water, followed with a wipe-down from a slightly damp cloth (water only) and then another dry rub.


Remember to treat water like a subject; positioned properly it can define an image, but if it takes up too much of the frame it can drown out everything else.

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Waterfalls are a special subset of water photographs. Shoot them, or any moving water, at a slow shutter speed with your camera on a tripod; the result is a dreamy scene with magically flowing water.


Figure 5.33. Slow shutter speeds can create the feeling of motion, like this shot of a stream at 1/15 second. (Photo by Reed Hoffmann)


Shooting with a Long Exposure Time

There are many subjectsfrom waterfalls to fireworksthat when photographed with a long exposure can make an interesting picture. However, setting your camera to take a photograph with an exposure longer than a second requires a few tools and techniques.

First, you'll need a solid tripod or other nonmoving surface on which to put the camera. Tripods are best because they can be adjusted to capture your image perfectly, but a sandbag or other object will do.

If your camera offers a remote trigger function, by employing either a cable or a wireless remote, use it. Nothing ruins a long exposure shot like fumbling for the shutter release and shaking the camera.

If your camera doesn't have a remote release, set the self-timer and then keep your hands off the camera until it's taken the picture.

Figure 5.34. This 66-second exposure was done on a tripod in the middle of the night during the Leonid Meteor shower, in Missouri. The meteors didn't show up, but the moon silhouetted against the tree still made a nice photo. (Photo by Reed Hoffmann)



The Sporting Life

The running of the bulls in Pamplona, the Tour de France finish line in Paris, the Olympicssome sporting events are worth a trip in and of themselves, and they're perfect opportunities for sports photography.

One of the best things about photographing sports is that so much is happening. Team sports have jerseys with vivid colors, there is often fast action, and there's usually plenty of lighting availablefew sports are played in the dark.

The most common mistake in sports photography is improper shooting distance. Most of the great sports shots are up close and personal. When you watch a game on television, glance at the sidelines now and then. When a ball goes out of bounds, you'll notice a group of people who scurry out of the way of the action, cameras in hand. These sports journalists have access to the field, and photograph with long telephoto lenses. They're also down on the field because sports photography shot from a bird's-eye view is rarely interesting. Try to do the same. Bring your telephoto lens to a sporting event, and get as close to the action as you can.

That's not to say that a good wide-angle lens won't bring home the bacon. Some wide shots, especially in events such as marathons with numerous competitors, can really be brought to life with a wide-angle lens.

When shooting fast-moving sports, you can choose whether you want a blurred image or freeze-frame by how you adjust the settings on your camera. Many people shoot sports with a fast shutter speed, freezing the image in place, but the resulting picture can feel static and devoid of action. A freeze-frame shot works perfectly for a basketball slamdunk or the moment when one of the Pamplona bulls tosses someone into the crowd. But it doesn't work as well for car racing.

Blurry shots convey motion, but if there's nothing but blur the photograph loses all meaning and becomes abstract. It's a great idea to make sure that something in a photograph is in focus, and that should be the athlete's face or the object that's the center of attention.

Figure 5.35. A telephoto lens and good autofocus system will help you get more worthwhile sports photos. (Photo by Reed Hoffmann)


Figure 5.36. Wide-angle lenses can also be used effectively with sports, but always look for a unique perspective. (Photo by Reed Hoffmann)


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Pan your cameramove it horizontallywhen taking a photo to create background blur while keeping the subject in focus. For a good pan, simply set the camera to a slow shutter speed, point the camera directly at the moving subject and turn your body to track the action while you press the shutter release. Moving the camera will blur the background, but if you can keep the center of your viewfinder on the moving subject, the subject will be sharp.


Figure 5.37. Panning means shooting at a slow shutter speed while following the subject with your camera. If you get it right, you should have some sharpness in the subject, with the rest of the scene a blur. (Photo by Reed Hoffmann)


NOTE

Be very safety conscious if you're going to participate in the sport you're photographing. If you want to shoot rock climbers, take courses at your local climbing gym, for example. Don't get in the way of the athletes or you can hurt them, or yourselves.


Figure 5.38. When shooting on vertical surfaceswhether rock, ice, or a buildingmake safety your priority, and always safety-tie your cameras and lenses. (Photo by Reed Hoffmann)


Making Panoramas

In the days when film ruled the earth, panoramic cameras were either bulky medium-format devices or systems that used multiple frames of 35mm film to produce a single super-wide image.

Today, even most digital point-and-shoots have a panorama mode that enables photographers to shoot multiple frames that they later stitch together using photo software to create a panoramic image. The pictures from these cameras can look strange, since each frame is exposed differently; more expensive cameras try to match up the exposures while the images are being saved to the digital media card.

Figure 5.39. This panorama shot at Glacier National Park was stitched together from five frames. (Photo by Reed Hoffmann)


Succeeding at Safari Photography

Many photographers dream of the classic photographic safari, the end-all and be-all of travel photography. But the specialized photographic needs of such an adventure are considerable. When you're spending all day on the veldt trying to get a shot of a hunting predator, you and your gear must be up to the task.

An African safari is very dusty and very, very bumpy. Not only is it uncomfortable when you're on game drives, but also when you're in transit, which can last for hours.

Your safari camera bag should tightly seal against dust and have lots of cushioning for the bumps. Carry a few large, thick, industrial-type garbage bags to slide your camera bag into to minimize its exposure to dust. Don't change lenses in the field or leave your camera body open except in clean, nonwindy places. If possible, have two camera bodies availablekeep a wide angle on one and a telephoto on the other.

Figure 5.40. Giraffe and baby sharing a quiet moment together. (Photo by Bill Durrence)


Many people make the mistake of thinking that all they need is a telephoto lens, but often the guide vehicle pulls up close to the animals; they're used to having Land Rovers in their midst. A 70-200 mm lens and a teleconverter is usually all that's needed to shoot on safari, though a 300mm lens can also come in handy.

Forget about using a tripod when you're in the vehicle; it can't be set it up. A monopod (a big stick with a camera screw mount on one end) will work sometimes, but the best bet is a beanbag. Bring a two-gallon freezer bag and fill it with dried beans when you get there. When you leave, give the beans to the guide.

You should bring along bandannas for covering your mouth, and some items to trade with the locals. Pencils are great (not pens, since you can always sharpen a pencil and when you're out of ink, you're out of ink). Paper and kids' books are also popular.

Remember, on a safari you are wealthy beyond measure to most of the local people. Be kind, respectful, and generous.

Don't forget to bring a power strip and a 220-volt converter. There should be at least one outlet in your tent. If necessary, plug the converter into the wall outlet, plug the power strip into the converter, and plug everything you need to charge into the power strip.

Finally, bring a head-mounted flashlight, like those used by climbers and hikers, for night trips to the bathroom, though you may not be allowed to leave the tent at night, due to the presence of wild animals.

Figure 5.41. While on a safari, don't forget to also acquaint yourself with the local people. (Photo by Bill Durrence)



Photographing Animals

Even if you're not on safari, you're likely to encounter animals during your travels. Animals make terrific subjects and they're often more agreeable to photographic intrusions than people are. It's usually best to photograph them at their eye level (this works well with children too).

Figure 5.42. Not all wild-animal photography has to be done in the wild. This shot of a coyote was taken through a fence at the Arizona-Sonora Desert Museum outside of Tucson. Careful choice of background and use of a zoom lens makes it look as if it was shot in the wild. (Photo by Reed Hoffmann)


An animal portrait is best when it shows the animal in its environment, giving a sense of place, experience, and action (Figure 5.43). It's one thing to see a photograph of a bull grazing in a field, but another to see him running toward the camera. Naturally, your own safety, and the safety of the animal, should always be your first concern.

Figure 5.43.


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Sun shining between tall buildings produces shafts of light most any time of day that can be visually striking in photographs, while glass structures can function like giant reflectors (Figure 5.44, next page). Watch for the contrast between light and dark, and the dramatic interplay of light, to create powerful images of cities and people.

Figure 5.44. It would be only natural for a visitor to New York City to go home with a photo of Trump Tower, considering the popularity of the TV show "The Apprentice." (Photo by Reed Hoffmann)



Capturing Cultural Icons

When traveling in foreign countries, you'll be surrounded with icons of culture and heritage. Look for the features that make regions uniquethe lochs of Scotland, the canals of Venice, the castles of Spain.

When photographing these locations, pay attention to what's in the background of your picture. Take care to eliminate anything that distracts from the ambiance of the shot. A modern car among windmills in Holland clashes with the old world atmosphere you're trying to capture.

On the other hand, that may be exactly what you're after; a shot of people dressed in traditional ceremonial garb while chatting on cell phones captures a cultural event at the same time it illustrates the changes in that culture's traditions.

Figure 5.45. Power lines and a satellite dish certainly take away from the quaint feel of this old European town. (Photo by Reed Hoffmann)


Shooting Indoors

When traveling, you'll often find yourself photographing inside buildings, frequently under artificial light. The light indoors is both dimmer than outdoors, and it's a different color. Every light source gives off a different tone: Fluorescents are greenish, tungsten light is yellow, and so on. When shooting film, you'd use either an indoor or outdoor film, depending on where you were photographing, or your pictures would end up looking like an old TV with the color adjustment out of whack.

In the digital era, you simply change the white balance of your camera to match the type of light. Check your manual, most cameras use a standard set of symbols to signify the different lighting types.

Figure 5.46. With digital cameras you can change white balance with the flip of a menu item. You can even create a custom white balance for the particular light in which you're shooting. (Photo by Reed Hoffmann)


Bring a tripod if you're going to shoot inside buildings. Lower light levels in most indoor spaces call for a slower shutter speed.

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Many professionals carry high-end lenses, with aperture settings in the f-1.2 to f-1.4 range, specifically for shooting indoors under low light. A lens with a 1.4 f-stop lets in twice as much light as one that's f-2.8. An f-1.4 lens can make all the difference when you're handholding a shot, but want to avoid a blurry imagebecause the amount of light it takes in enables you to use a high, movement-freezing, shutter speed.


Figure 5.47a. This old city street is shot with a daylight white-balance setting. The streetlights make it appear too yellow-orange. (Photo by Reed Hoffmann)


Figure 5.47b. The image should have been shot with the incandescent white balance setting, giving it this look. In this case, however, the photo was shot in RAW format, allowing the photographer to later make the change to incandescent. (Photo by Reed Hoffmann)





Blue Pixel Guide to Travel Photography, The. Perfect Photos Every Time
Blue Pixel Guide to Travel Photography: Perfect Photos Every Time, The
ISBN: 0321356772
EAN: 2147483647
Year: 2005
Pages: 79
Authors: David Schloss

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