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We've all heard the saying, "A picture is worth a thousand words." And if we didn't believe in the power of images to communicate, we wouldn't spend so much time capturing and sharing them. But photographs don't happen in a vacuum. There's the photographer, who interacts with the subject and their surroundings. That's where the trouble with photography comes in—managing the effects we as photographers have on our subjects and their environment, whether they are ancient historical sites, natural wonders, people or wildlife.
The topic is huge and filled with controversy, but I'd like to share with you some common ethical problem situations that arise in travel and wildlife photography, and provide some perspective on how you may want to address them on your own adventures.
There is no better way to portray animals than at eye level. It’s true for birds but even more true for large mammals. One of the best parts of my yearly trip to lead photo safaris to Alaska, where we photograph Alaskan Brown Bears (also called Grizzly Bears), is that we can photograph them from the ground, at eye level.
Every experienced photographer knows and fears lens flare. Most often, we associate it with those horribly distracting 'stars' of light we see through our viewfinder and in our images when shooting into the sun. But not everyone knows that lens flare doesn't only affect those shots—it is part of every image we capture. So knowing how to reduce its effect is a valuable tool in many shooting situations.
High-dynamic range imaging (HDR) is the fastest growing and perhaps the trendiest new technique in photography. By combining several images with different exposures the photographer can capture scenes which are beyond the dynamic range of their camera. The trick is that HDR scenes not only can't be captured in a single image, they also can't be fully displayed or printed in their native form. That means additional processing is required to turn the photo into one which can be used.
For most photographers, capturing the image is only part of the fun. Sharing your photos is at the heart of your enjoyment—and if you're a professional—your business. There is no lack of photo-sharing services of all sizes and shapes. And as an early advocate of digital photography and inveterate technology, I've used quite a few of them over the last 10 years. But I've finally found a system that works really well for me, and solves the problems I've found with the others. I wanted to share with you some of what I've found comparing online services, and hopefully give you some ideas for ways you can share and sell your images online more effectively…
I can't imagine a more perfect morning than the one we chose to go ballooning over the temples in Bagan, Myanmar on our recent photo safari. There was a soft breeze, only a few clouds, and the temperature was perfect. As the sun rose over the mountains in the east, it lit up the first of the literally thousands of temples and pagodas on our route with a golden light that made their historic brick facades glow.
Indoor photography is always challenging. But standing head and shoulders above the rest in difficulty is the challenge of photographing large indoor events well. Rare is the well-lit auditorium, cafeteria or high school gym. Even most college sports venues aren't lit well enough to make life easy. In this article, I'll give you some tips on how to record events indoors effectively, whether they are your kid's sports, a concert, an exhibit or tradeshow that you need to chronicle...
We all know that the best parts of the shooting day are around sunrise and sunset. But you don’t have to stop when the Sun goes down. Star trails are a really fun way to make some unique images and squeeze a little more photography into your photo safari or vacation. Star trails used to be exclusive to film cameras. The high noise found in long exposures of early digital cameras made digital star trails a mess.
With the advent of full frame D-SLRs a few years ago many pros and amateurs alike were excited to be able to go back to the familiar "35mm" perspective and focal lengths on their lenses. Long limited by technology to APS-C size (about 2/3 the size of 35mm) sensors digital was finally able to go toe to toe with film. But the initial cameras cost nearly $8,000, putting them out of the range of most photographers. But the newest crop of full frame models have brought the costs down to a fraction of that. So should you go back to full frame with your next camera purchase? We'll take a look at some of the models and pros and cons...