"National Audubon Society Guide To Digital Nature Photography"
Part Four: Light on the Land
Part Four of the "National Audubon Society Guide to Digital Nature Photography" by Tim Fitzharris discusses ways in finding photographic potential in landscapes, using good perspective in making these landscapes quality shots, and tips on how to take breathtaking reflections of landscapes through the use of water. It is helpful to recall this section while in the field taking landscape shots so that your able to use the landscapes full potential in making a beautiful scene.
When taking landscape photos, Fitzharris describes some things to look for that can help in finding photographic potential in landscapes. The first thing to look for is color. Remembering back a few chapters that red is more attractive than yellow, you should look for the color red, or hues of it, in your landscapes. By focusing your attention on some sort of color scheme, or the color red, you can make shot have a feel to it making it more appealing. The colors must work together in harmony in order for the picture to be a complete success. Clouds are another extremely important aspect of landscape photography that can add so much to a photo. Sunrises and sunsets are never as exciting without clouds. Clouds can be used as a subject, to fill the bleak blue sky, and to add color and definition towards the landscape. Interesting weather such as fog or falling snow can also add to the beauty of the landscape. The last incredibly obvious but important thing to look for is wildlife. Unfortunately you can not use wildlife as an indication of a good landscape but they can add to the composition of a landscape very well. Also, you have to be cautious that there are no human artifacts, such as a telephone poles, that are in the way, making your landscape look terrible.
One incredibly important aspect of landscape photography is the power of perspective. (The idea of perspective is difficult to explain so if you do not understand what I mean, well sorry.) In order to create good perspective you need to think of how to use the landscapes features in making three dimensions. By using size cues one can see how big something really is or how far away something really is. Having something that is both in the foreground and the midground makes it easier to tell how far away things are in relation to the size of the object in the foreground. Obtaining good perspective is one of the most important yet difficult tasks that takes careful thought and practice, so do not be discouraged if you don't pick it up right away.
By using lights' natural ability to reflect off of certain surfaces, such as water, you can make some really cool reflection shots. Fitzharris describes, once again, that sunrise and sunset are the best times to obtain the right angle of light refraction as well as adding color to the shot. Also, it is helpful to have a tripod in case you need to change angles to get the reflection shot you want. Fitzharris also discusses the proper attire you may want to wear when taking reflection, such as neoprene chestwaders, in case you need to actually get in the water to capture a specific shot or angle. One other thing to keep in mind is the time of day; Fitzharris points outs to avoid getting too much wind on the water, shooting at dusk and dawn are the best times, because this is when it is most likely to be still.
This chapter is an important one to know, but you also must know the previous chapters and what is discussed previously to really capture the perspective you want. Knowing how to spot photogenic landscapes, how to create good perspective, and also the powerful use of bodies of water to create reflections are all important things to keep in mind when taking quality shots. This chapter helped me think of new ways to look at nature through the camera, as well as new ways to take shots.
Tuesday, November 16, 2010
Thursday, November 11, 2010
National Audubon Society Guide to Nature Photography: Part Three
"National Audubon Society Guide To Digital Nature Photography"
Part Three: Adventures with Wildlife
Part Three of the "National Audubon Society Guide to Digital Nature Photography" by Tim Fitzharris discusses 'adventures in the wild'; examining such ideas as getting closer to wildlife, capturing wildlife in action, and composing portrait shots of wildlife.
The first chapter in part three involves being able to get close to the subjects while keeping both ourselves and the animals safe. Fitzharris explains that it is easier to take shot of animals that are less spooked by our presence, whether it is because they are used to human interaction (for example, at wildlife reserves or parks) or because they don't find humans as threatening (for example, if they rarely have any human interaction). In order to take good shots of our subjects, we must also make sure that we do our homework on the subject. It would be helpful to know where the subject is found, so we are able to locate them easily and hopefully predict where they're going to be, what they're going to be doing, etc.
In this chapter, Fitzharris also discusses specific strategies to use when shooting wildlife. You may want to photograph subjects that will be weary of you, so the use of a teleconverter lens will become helpful in this situation. To get close, you may have to use some of the stalking strategies he discusses--keeping low to the ground and moving slowly and quietly when the subject is not looking at you. However, if you are going to get close to them, make sure you don't intimidate them or back them into a corner where they feel trapped. You should allow them to have an escape route so that they can leave if they're feeling uncomfortable. By staying calm and low, you seem less dangerous and confrontational, so they mostly likely won't feel as threatened by you. He also discusses blinds in this chapter, which can be useful in hiding your presence and take shots of unsuspecting wildlife. Fitzharris gives examples of some different types of blinds you can use or make, such as vehicles, trees, tents, and wearing camouflage.
The second chapter talks about how to capture wildlife in action, using what we've learned in the previous chapter about getting close to the subject. In addition to researching about the subject and their habitat, its also beneficial to know the seasonal activity of the subject. Fitzharris gives good examples of what time of the year it would be better to see different kinds of wildlife action. There are a variety of these kinds of actions, from yawning, to howling, to fighting, to courtship displays, which can make each photograph more appealing. Along with this information and knowledge, it is also important to have a schedule, be on time, and be prepared, so that you have what you need for each different scenario.
Other helpful tips from this chapter include having a steady camera, with a tripod that is sturdy and low to the ground. Make sure they you are comfortable when you set up, since sometimes you have to be patient and wait in order to get the shot you are looking for. When shooting subjects, don't worry about taking a lot of shots; the more you take the more likely you will be to capture a good one. This relates to being prepared and making sure that you have enough memory by bringing an extra memory card. This chapter also discusses how to make a stage or setting for your shot. Once you hove your subject you must get in the right position and angle, with the right lens and zoom, to get a good setting or background. By picking your angle and position you make sure that the subject is completely in the frame with good lighting and good focus. Remember to be patient (but ready)and try and observe the subject for a pattern in their behavior so you can guess what they will do next.
The last chapter in this section describes useful tips in taking portraits of wildlife. Most often then not, telephoto lenses prove extremely important in taking wildlife portraits. With the extra distance you can take close up shots of wildlife without getting to close. It is also important to build your scene usually with a foreground, midground, and background. The best portraits are the ones that are well thought out having a good subject that is most impressive. The expressions on the subject must be clear and in focus in order to capture feeling and emotion in each shot. Being able to relate to the emotion of the animal can make the shot more appealing.
Part Three: Adventures with Wildlife
Part Three of the "National Audubon Society Guide to Digital Nature Photography" by Tim Fitzharris discusses 'adventures in the wild'; examining such ideas as getting closer to wildlife, capturing wildlife in action, and composing portrait shots of wildlife.
The first chapter in part three involves being able to get close to the subjects while keeping both ourselves and the animals safe. Fitzharris explains that it is easier to take shot of animals that are less spooked by our presence, whether it is because they are used to human interaction (for example, at wildlife reserves or parks) or because they don't find humans as threatening (for example, if they rarely have any human interaction). In order to take good shots of our subjects, we must also make sure that we do our homework on the subject. It would be helpful to know where the subject is found, so we are able to locate them easily and hopefully predict where they're going to be, what they're going to be doing, etc.
In this chapter, Fitzharris also discusses specific strategies to use when shooting wildlife. You may want to photograph subjects that will be weary of you, so the use of a teleconverter lens will become helpful in this situation. To get close, you may have to use some of the stalking strategies he discusses--keeping low to the ground and moving slowly and quietly when the subject is not looking at you. However, if you are going to get close to them, make sure you don't intimidate them or back them into a corner where they feel trapped. You should allow them to have an escape route so that they can leave if they're feeling uncomfortable. By staying calm and low, you seem less dangerous and confrontational, so they mostly likely won't feel as threatened by you. He also discusses blinds in this chapter, which can be useful in hiding your presence and take shots of unsuspecting wildlife. Fitzharris gives examples of some different types of blinds you can use or make, such as vehicles, trees, tents, and wearing camouflage.
The second chapter talks about how to capture wildlife in action, using what we've learned in the previous chapter about getting close to the subject. In addition to researching about the subject and their habitat, its also beneficial to know the seasonal activity of the subject. Fitzharris gives good examples of what time of the year it would be better to see different kinds of wildlife action. There are a variety of these kinds of actions, from yawning, to howling, to fighting, to courtship displays, which can make each photograph more appealing. Along with this information and knowledge, it is also important to have a schedule, be on time, and be prepared, so that you have what you need for each different scenario.
Other helpful tips from this chapter include having a steady camera, with a tripod that is sturdy and low to the ground. Make sure they you are comfortable when you set up, since sometimes you have to be patient and wait in order to get the shot you are looking for. When shooting subjects, don't worry about taking a lot of shots; the more you take the more likely you will be to capture a good one. This relates to being prepared and making sure that you have enough memory by bringing an extra memory card. This chapter also discusses how to make a stage or setting for your shot. Once you hove your subject you must get in the right position and angle, with the right lens and zoom, to get a good setting or background. By picking your angle and position you make sure that the subject is completely in the frame with good lighting and good focus. Remember to be patient (but ready)and try and observe the subject for a pattern in their behavior so you can guess what they will do next.
The last chapter in this section describes useful tips in taking portraits of wildlife. Most often then not, telephoto lenses prove extremely important in taking wildlife portraits. With the extra distance you can take close up shots of wildlife without getting to close. It is also important to build your scene usually with a foreground, midground, and background. The best portraits are the ones that are well thought out having a good subject that is most impressive. The expressions on the subject must be clear and in focus in order to capture feeling and emotion in each shot. Being able to relate to the emotion of the animal can make the shot more appealing.
Monday, November 8, 2010
National Audubon Society Guide to Nature Photography: Part Two
"National Audubon Society Guide To Digital Nature Photography"
Part Two: Essential Skills
Part two of the "National Audubon Society Guide to Digital Nature Photography" by TIm Fitzharris discussed the essential skills needed in order to take quality shots. With these skills, I am able to look at something I want to take a picture of and have to ability to create a shot that is visually appealing to an audience. The main essential skills that are discussed in this chapter are exposure, being able to read the light, depth of field, effects of motion, modifying natural light, and picture composition.
One of the most important skills to have is knowing how to correctly expose your shots so that they are not over- or under-exposed. Using the histogram feature on your digital SLR can prove beneficial in getting an idea of what exposure you will need for each shot. By checking the extremes of bright and dark on the histogram, you are able to see whether the shot has too much or too little light and adjust your exposure accordingly. To do this, there are different exposure modes you can set your camera to: aperture priority, shutter priority, and manual mode. Aperture priority allows you to control the amount of light that enters the camera (by changing the f-stop). Shutter priority allows you to control the amount of time that the shutter is open, while the aperture is chosen by the camera. The shutter speed also controls the effects of motion, by allowing you to either freeze the motion or blur it. This is done by either increasing or decreasing the amount of time the shutter is open. In manual mode, you are able to control both shutter speed and aperture. To further "tinker" with the exposure, you can use exposure compensation, to help compensate for scenes that are too bright or dark.
Another skill that is helpful is being able to identify what type of light setting you're in. When taking shots, you must have an idea of what type of shot you are looking to take and what type of light is required for this. For example, you can photograph something with a front light, back light or side light, depending on what you are trying to capture in your shot. Both the time of day as well as the weather are important things to consider when taking shots. Obviously, if you are taking sunrise or sunset pictures, plan your times accordingly, but Fitzharris points out that in general, overcast or cloudy days are the ideal lighting conditions.
An equally important skill is being to choose the correct depth of field, which again depends on what type of shot you are trying to capture. Depth of field is controlled by the aperture, with a smaller aperture meaning a greater depth of field and vice versus. Depth of field can be helpful if you are trying to capture a specific subject and make it stand out by creating a shallow depth of field that focuses mainly on one item (the subject you are capturing).
Being able to modify the natural light of the scene can be helpful in creating a more appealing shot, especially when certain lighting conditions are not ideal. To aid in this process, there are a variety of filters that can be used, depending on what you are wanting to change. The polarizing filter has the ability to reduce glare and makes colors pop. For example, when I was out taking pictures of subjects that are too bright, the polarizing filter was helpful in creating the shot that I wanted by reducing the glare. There are other filters that can be used to modify the lighting situation, such as the neutral density filter, the split neutral density filter, and the graduated neutral density filter. Other useful items to aid in light modification are the reflectors and flashes (either on the camera or off).
One of the most important skills necessary when setting up and taking shots is being able to design the picture space, or the composition of your photos. There are seven things to remember when composing the elements of your picture: red is more attractive than yellow, large draws more attention than small, difference draws more attention than conformity, jagged lines are more striking than curved ones, diagonal lines are more attractive than vertical ones, sharpness is more attractive than blur, and light is more attractive than dark. Lastly, he talks about the center of interest and where to place it, pointing out that putting the center of interest in the middle of the frame is rarely a desirable place. By using the rule of thirds, you can place your center of interesting in a more appealing place that will be visually pleasing to your audience.
Part Two: Essential Skills
Part two of the "National Audubon Society Guide to Digital Nature Photography" by TIm Fitzharris discussed the essential skills needed in order to take quality shots. With these skills, I am able to look at something I want to take a picture of and have to ability to create a shot that is visually appealing to an audience. The main essential skills that are discussed in this chapter are exposure, being able to read the light, depth of field, effects of motion, modifying natural light, and picture composition.
One of the most important skills to have is knowing how to correctly expose your shots so that they are not over- or under-exposed. Using the histogram feature on your digital SLR can prove beneficial in getting an idea of what exposure you will need for each shot. By checking the extremes of bright and dark on the histogram, you are able to see whether the shot has too much or too little light and adjust your exposure accordingly. To do this, there are different exposure modes you can set your camera to: aperture priority, shutter priority, and manual mode. Aperture priority allows you to control the amount of light that enters the camera (by changing the f-stop). Shutter priority allows you to control the amount of time that the shutter is open, while the aperture is chosen by the camera. The shutter speed also controls the effects of motion, by allowing you to either freeze the motion or blur it. This is done by either increasing or decreasing the amount of time the shutter is open. In manual mode, you are able to control both shutter speed and aperture. To further "tinker" with the exposure, you can use exposure compensation, to help compensate for scenes that are too bright or dark.
Another skill that is helpful is being able to identify what type of light setting you're in. When taking shots, you must have an idea of what type of shot you are looking to take and what type of light is required for this. For example, you can photograph something with a front light, back light or side light, depending on what you are trying to capture in your shot. Both the time of day as well as the weather are important things to consider when taking shots. Obviously, if you are taking sunrise or sunset pictures, plan your times accordingly, but Fitzharris points out that in general, overcast or cloudy days are the ideal lighting conditions.
An equally important skill is being to choose the correct depth of field, which again depends on what type of shot you are trying to capture. Depth of field is controlled by the aperture, with a smaller aperture meaning a greater depth of field and vice versus. Depth of field can be helpful if you are trying to capture a specific subject and make it stand out by creating a shallow depth of field that focuses mainly on one item (the subject you are capturing).
Being able to modify the natural light of the scene can be helpful in creating a more appealing shot, especially when certain lighting conditions are not ideal. To aid in this process, there are a variety of filters that can be used, depending on what you are wanting to change. The polarizing filter has the ability to reduce glare and makes colors pop. For example, when I was out taking pictures of subjects that are too bright, the polarizing filter was helpful in creating the shot that I wanted by reducing the glare. There are other filters that can be used to modify the lighting situation, such as the neutral density filter, the split neutral density filter, and the graduated neutral density filter. Other useful items to aid in light modification are the reflectors and flashes (either on the camera or off).
One of the most important skills necessary when setting up and taking shots is being able to design the picture space, or the composition of your photos. There are seven things to remember when composing the elements of your picture: red is more attractive than yellow, large draws more attention than small, difference draws more attention than conformity, jagged lines are more striking than curved ones, diagonal lines are more attractive than vertical ones, sharpness is more attractive than blur, and light is more attractive than dark. Lastly, he talks about the center of interest and where to place it, pointing out that putting the center of interest in the middle of the frame is rarely a desirable place. By using the rule of thirds, you can place your center of interesting in a more appealing place that will be visually pleasing to your audience.
Thursday, November 4, 2010
National Audubon Society Guide To Nature Photography: Part one
"National Audubon Society Guide To Digital Nature Photography"
Part One: The Right Equipment
Part one of the "National Audubon Society Guide To Digital Nature Photography," by Tim Fitzharris, describes the basic information needed in moving toward being a professional nature photographer. He has good examples and feedback that are very helpful in making me a better photographer. I learned some extremely beneficial information about what kind of equipment I should posses, why that equipment is important, tips in the field and where I should go to have good photo taking opportunities.
The first chapter explains why the digital (SLR) cameras are beneficial in producing professional quality photos and also have many other benefits that are superior to other cameras. Digital photos are easily managed and last essentially forever, assuming that you don't lose them. For nature photography, their speed and accuracy is essential in getting good shots of moving subjects. Fitzharris also describes a few good tips on what type of camera bodies to buy, giving examples of different specifications you may want depending on your intent. He also explains that, depending on your subject, you will need different lenses to get the best picture possible. For example, if you want to shoot close up shots of bugs, a macro lens would be the best lens to use.
In the next two chapters, Fitzharris does a good job describe two other important types of equipment; tripods and super-telephoto lenses. In the section on tripods, he explains the significance and importance of using a tripod to produce quality photos, suggesting its almost as important as the camera itself. He gives tips on which types of heads to use, whether it be the gimbal type (which works well with the super-telephoto lens) or a basic type, such as the ball and socket head. He also explains that when purchasing a tripod you should keep in mind that the lighter the tripod the better and make sure it is tall enough and fits you and your needs.
The chapter on super-telephoto lenses was a section that taught me a lot about the importance of focal length in nature photography. In nature, there can be dangers or rules about being too close to certain subjects. Super-telephoto lenses are desirable because you can take quality photos with out being too close. When buying super-telephoto lenses, make sure you get one that is weatherproof, with vibration reduction and an auto focus to manual switch, which are all helpful when trying to get quality shots.
The next chapter focuses on important knowledge about working in the field. He emphasizes how important it is to have the right gear when working in the field so that you're able to be as efficient as possible. For example, a professional camera vest with quick release flaps and pockets are helpful in order to change your equipment quickly in order to capture shots. Having a vest would be very helpful for me because I struggle having to carry my extra lens and gear in my pockets. He stresses that we need to be prepared for any situation or photo opportunity that arises. A few things you may want to bring while in the field are duct tape, for a quick fix; reflectors, to change lighting; a plastic bag to cover your camera in case of rain; and a cell phone. The following chapter was similar, but was focused on working in the field in a cold, winter setting. It talks about everything a Montana boy knows about clothing and what to wear to keep warm. Layers! One useful thing I learned was to keep extra batteries and to keep them warm, since they diminish in the cold.
The last chapter of this section describes where to go during specific times of the year for great photo opportunities. It talks about some very obvious places, like North America's National Parks and the Grand Canyon, but it gave a good explanation of why certain times of the year are better for lighting, color, and subject matter. The one that I wanted to go to was Maui, Hawaii in December because it sounded like a incredible place to visit to take photographs.
Part One: The Right Equipment
Part one of the "National Audubon Society Guide To Digital Nature Photography," by Tim Fitzharris, describes the basic information needed in moving toward being a professional nature photographer. He has good examples and feedback that are very helpful in making me a better photographer. I learned some extremely beneficial information about what kind of equipment I should posses, why that equipment is important, tips in the field and where I should go to have good photo taking opportunities.
The first chapter explains why the digital (SLR) cameras are beneficial in producing professional quality photos and also have many other benefits that are superior to other cameras. Digital photos are easily managed and last essentially forever, assuming that you don't lose them. For nature photography, their speed and accuracy is essential in getting good shots of moving subjects. Fitzharris also describes a few good tips on what type of camera bodies to buy, giving examples of different specifications you may want depending on your intent. He also explains that, depending on your subject, you will need different lenses to get the best picture possible. For example, if you want to shoot close up shots of bugs, a macro lens would be the best lens to use.
In the next two chapters, Fitzharris does a good job describe two other important types of equipment; tripods and super-telephoto lenses. In the section on tripods, he explains the significance and importance of using a tripod to produce quality photos, suggesting its almost as important as the camera itself. He gives tips on which types of heads to use, whether it be the gimbal type (which works well with the super-telephoto lens) or a basic type, such as the ball and socket head. He also explains that when purchasing a tripod you should keep in mind that the lighter the tripod the better and make sure it is tall enough and fits you and your needs.
The chapter on super-telephoto lenses was a section that taught me a lot about the importance of focal length in nature photography. In nature, there can be dangers or rules about being too close to certain subjects. Super-telephoto lenses are desirable because you can take quality photos with out being too close. When buying super-telephoto lenses, make sure you get one that is weatherproof, with vibration reduction and an auto focus to manual switch, which are all helpful when trying to get quality shots.
The next chapter focuses on important knowledge about working in the field. He emphasizes how important it is to have the right gear when working in the field so that you're able to be as efficient as possible. For example, a professional camera vest with quick release flaps and pockets are helpful in order to change your equipment quickly in order to capture shots. Having a vest would be very helpful for me because I struggle having to carry my extra lens and gear in my pockets. He stresses that we need to be prepared for any situation or photo opportunity that arises. A few things you may want to bring while in the field are duct tape, for a quick fix; reflectors, to change lighting; a plastic bag to cover your camera in case of rain; and a cell phone. The following chapter was similar, but was focused on working in the field in a cold, winter setting. It talks about everything a Montana boy knows about clothing and what to wear to keep warm. Layers! One useful thing I learned was to keep extra batteries and to keep them warm, since they diminish in the cold.
The last chapter of this section describes where to go during specific times of the year for great photo opportunities. It talks about some very obvious places, like North America's National Parks and the Grand Canyon, but it gave a good explanation of why certain times of the year are better for lighting, color, and subject matter. The one that I wanted to go to was Maui, Hawaii in December because it sounded like a incredible place to visit to take photographs.
Thursday, October 28, 2010
Igor Siwanowicz
I recently found a photographer by the name of Igor Siwanowicz on photo.net, who has a good collection of macro photos. He has a wide array of photos in his portfolio including bugs, reptiles, people, landscape, as well as some digitally manipulated photos that are quite impressive. These shots are not only well done but are of things and places that I have never seen before, making them all the more appealing. There is no biography filled out so I don' know much about him and only some of the pictures have information on what type of camera or lens he used.
After a project in a class where we had to make a bug collection, I became interested in bugs and how cool they really are when you look at them up close. I found a praying mantis and thought it would be cool to take macro shots of it but never got the chance. When I saw his photos of praying mantises it made me want to find more here in Montana and take photos of them. Also there are plenty of spiders that live around here to take photos of as well. This portfolio was truly inspiring and will hopefully further inspire me after winter when the insects come back out.
Here is one of my favorites from Igor Siwanowicz's portfolio:
References:
http://photo.net/photodb/user?user_id=1783374
After a project in a class where we had to make a bug collection, I became interested in bugs and how cool they really are when you look at them up close. I found a praying mantis and thought it would be cool to take macro shots of it but never got the chance. When I saw his photos of praying mantises it made me want to find more here in Montana and take photos of them. Also there are plenty of spiders that live around here to take photos of as well. This portfolio was truly inspiring and will hopefully further inspire me after winter when the insects come back out.
Here is one of my favorites from Igor Siwanowicz's portfolio:
References:
http://photo.net/photodb/user?user_id=1783374
Thursday, October 21, 2010
Outdoor Photographer- September 2010
Rephotography-Keeping a visual record of changes within a landscape
In the Outdoor Photographer magazine, September 2010 issue, an article by Bill Hatcher describes what rephotography is and why it is not only appealing to photographers but to scientist as well. Rephotography or repeat photography shows us a visual changes over time. The changes can be of any kind such as urban sprawl, natural disasters or some less obvious changes that have happened over time.
Rephotography has become very popular over the years when it comes to science and documentation. Numbers and statistics can be effective in science but visual examples of change can have more of an effective way to document either long term changes or quick aftermath of a natural disaster. Hatcher uses the recent volcanic eruption in Iceland as an example of this technique. Possibly the most well known example of rephotography is the documentation of receding glacial ice. The USGS has documented the glaciers receding all over North America.
This is a fun and intersting aspect of photography that might be helpful in conservation efforts and management plans on the areas of change. Photographers travel all over the world to remote locations to take unique photographs that may prove helpful in documenting changes all over the planet.
Florida Explored
In the Outdoor Photographer magazine, September 2010 issue, an article William Sawalich tells about a photographer named John Moran who lives in Florida and will not leave for anything. John Moran is a nature photographer that fell in love with everything Florida and has dedicated his life to photographing the various ecosystems, flora and fawna.
John says he likes to get difficult shots that involve getting down and dirty. He tells about some of the important things in taking nature photography such as lighting and patience. One of his other passions is inventing camera gear that he can harness to a canoe.
In the Outdoor Photographer magazine, September 2010 issue, an article by Bill Hatcher describes what rephotography is and why it is not only appealing to photographers but to scientist as well. Rephotography or repeat photography shows us a visual changes over time. The changes can be of any kind such as urban sprawl, natural disasters or some less obvious changes that have happened over time.
Rephotography has become very popular over the years when it comes to science and documentation. Numbers and statistics can be effective in science but visual examples of change can have more of an effective way to document either long term changes or quick aftermath of a natural disaster. Hatcher uses the recent volcanic eruption in Iceland as an example of this technique. Possibly the most well known example of rephotography is the documentation of receding glacial ice. The USGS has documented the glaciers receding all over North America.
This is a fun and intersting aspect of photography that might be helpful in conservation efforts and management plans on the areas of change. Photographers travel all over the world to remote locations to take unique photographs that may prove helpful in documenting changes all over the planet.
Florida Explored
In the Outdoor Photographer magazine, September 2010 issue, an article William Sawalich tells about a photographer named John Moran who lives in Florida and will not leave for anything. John Moran is a nature photographer that fell in love with everything Florida and has dedicated his life to photographing the various ecosystems, flora and fawna.
John says he likes to get difficult shots that involve getting down and dirty. He tells about some of the important things in taking nature photography such as lighting and patience. One of his other passions is inventing camera gear that he can harness to a canoe.
Thursday, October 14, 2010
Yellowstone Photo trip September 25-26 2010
On September 25th, we left RMC to visit Yellowstone National Park for two days to take pictures with the class. Here are a few of my favorites from the trip.
Camera: Nikon D60
Lens: 18-55mm
ISO: 400
Exposure Mode: Aperture Priority
Aperture: F8
Shutter Speed: 1/160
Exp +/-: +0.3
Camera: Nikon D60
Lens: 18-55mm
ISO: 400
Exposure Mode: Aperture Priority
Aperture: F9
Shutter Speed: 1/80
Camera: Nikon D60
Lens: 18-55mm
ISO: 400
Exposure Mode: Aperture Priority
Aperture: F11
Shutter Speed: 1/125
Camera: Nikon D60
Lens: 55-200mm
ISO: 400
Exposure Mode: Aperture Priority
Aperture: F13
Shutter Speed: 1/50
Camera: Nikon D60
Lens: 55-200mm
ISO: 400
Exposure Mode: Aperture Priority
Aperture: F8
Shutter Speed: 1/1250
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