Mobile Photography

"Barrie photographer Don Komarechka spends hours on creating a single image of a snowflake.

As a photographer, Komarechka is more compelled by the natural world than the people in it. Water in all its forms — crystallized or moving — is a favourite subject."

"Photographing wildlife in Africa is a unique experience, but what I discovered about photography when I shot with professional wildlife photographer Gerry van der Walt, director of Wild Eye, and his team in Kenya this past September was surprisingly universal. Whether in the bush or in your own backyard, you can use these six tips anywhere, anytime. "

Time to take your favorite "Deal With It" GIF, and make a lenticular print

Win the chance to brush up your photography skills and experiment with new techniques as part of the Welshot Imaging Academy Lighting and Photographic Experience in London on 14-15 December. It will cover sunrises and sunsets and offer you the chance to hone your fashion photography, plus guidance from experts including Will Cheung and Eifion Williams.

After a number of years harnessing the power of photography in a way that has improved my entire outlook on life, I have wanted nothing more than to encourage other people to do the same. It doesn’t take much, just a little shift of perspective to get you seeing and in turn, shooting the world around you in a whole new light. And I can think of no better time of the year than this month to begin. Here are a few simple ideas to get you focusing on gratitude, one picture at a time.

Sometimes, it seems like technology has turned us all into "expert" photographers. Most smartphones come equipped with pretty good cameras, and Instagram lets us edit with the swipe of a finger.

In that context, Chris Maggio's images seem out of place. Maggio is a professional photographer, but his shots remind me of the pictures my parents took with their very first digital camera in the early aughts. In a way, they're remarkably forgettable. And that's what makes them fascinating.

A lot of people call some of the images I take 'consumer,'" he explains. "Why does that term have to possess such a bad connotation? I really love amateur photography, particularly in the rapid-sharing age of Flickr, and it's been a huge influence on me."

Maggio's pictures are more about telling stories and capturing strange moments than dramatic angles and colorful filters. In that way, he challenges us to think about what makes a good digital picture. One of his most popular projects, "Male Chef," consists of meals that appear to be completely inedible and unappealing. Others tell the story of people having fun in Tokyo, land use in America, or bizarre Craigslist postings.

By Joseph Eckert The idea of taking photographs at night can be counterintuitive to the novice photographer. After all, photography is an art, a craft, a technology that is wholly built on light. 

Night, of course, by very definition lacks the pervasive light of day, and therefore doesn’t seem like a good time for photography. In the broadest sense, this intuitive understanding of light and its importance to photography is absolutely correct. Night does represent a more challenging time to take pictures, because we lack all those wonderful photons barreling down from the sun and reflecting off everything interesting and into our waiting lenses.

Take a moment, tonight, or whenever you have a chance, and go outside into the darkness long after the sun has gone down. Really open your eyes and observe, noting all the differences, all the unique things that set night apart from day. It is as simple as the lack of sunlight, but infinitely more complex than that breezy statement would suggest.

Pay attention to the way the shadows have deepened and pooled, how colors are muted or rendered differently by the artificial light of streetlamps or the exposed bulb on your backyard porch. Notice how things feel, how significant just changing the time of day can be. That old oak tree that seems so friendly and comforting in the day can turn into a gnarled, malevolent specter at night. Or a car that during the day is simple and boring might become a gleaming chariot in the darkness. The possibilities are endless.

Bring the Right Gear

I’m not going to categorically deny that you can take great nightscapes with a compact digital camera. I will say that using a point and shoot is going to make getting that fantastic image of your dreams a lot harder.

I recommend the following:

• Tripod, sturdy but lightweight enough for you to carry around easily
• DSLR
• Remote shutter release
• Relatively fast wide angle lens (the wide angle part is optional, but what I recommend to get the most dramatic shots of the architecture and streets of your city)
• Lens hood (to reduce lens flare from outside-the-frame light sources)

If versatility is the name of the game, then the Lollipod is doing its best to win that game. A new product currently making the press rounds, the Lollipod combines the functionality of a tripod, monopod, boom, lighting stand and selfie stand into an extremely portable and easy-to-use package that will come in handy in a slew of different situations.

Of course, as with all "jack of all trades" products, it's going to also be a "master of none." But whether of not that will discourage you from giving the Lollipod a try really depends on what kind of shooting you typically do.

For the amateur who would like an all-in-one style accessory that is very light weight and can work in a variety of situations, the “funky” (as they call it) Lollipod could be a useful tool. The pro who carries around a gear bag that weighs as much as they do, on the other hand, probably won’t give the Lollipod more than a cursory glance.

If you find you fit into that first category (or you’re in the second category and you’re still interested) the all-in-one product offers the ability to securely lock down everything from your GoPro to your strobes to your cell phone.

And in case you’re worried that it doesn’t look very stable, it also comes with a basket of sorts (aka. the “stabilizing kit”) that you can attach to the bottom and load up with rocks to keep the setup from falling over on you.

It has almost become a custom to photograph the food we eat every day before we actually consume it. 

Desserts especially are privy to our ever-ready camera lens; ready to be snapped, edited with a slew of apps, and shared on Facebook, Twitter and Instagram.

Here are three examples of different variations of desserts in different lighting conditions, with lighting, styling and detailing tips provided, along with an additional mobile editing tip for further photo enhancement.

Pancakes and ice cream

Pancakes are a popular dessert, but also breakfast and brunch option. However, they can be difficult to photograph, as they are naturally not photogenic due to their flatness and lack of colour. With the correct angle and composition, they can really shine in any photo due to their much-loved reputation. Have you ever seen a photo of pancakes that didn’t get likes? 

Detail: turn the plate to a sideways angle to capture the full beauty of the many details on the plate. This centres the composition so the viewer’s eye is drawn to the middle portion of the photo, which is the ice cream resting grandly on a gracefully decorated pancake stack.

 

Styling: pancakes usually come beautifully styled on the plate, which saves you the trouble of arranging them so they look attractive. Things like chocolate sauce drizzled all over the plate and icing sugar sprinkled delicately on the pancakes add wonderful touches to the look of the photo so take note of these if you have them on your plate. Alternatively, fruits like raspberries and strawberries also act as great embellishments.

I was a little on the fence whether this video was good enough for the front page of Fstoppers or not. Although there is no technical information in this video, I think the final photos by Thomas Vassort are outstanding and should inspire us all to raise the bar on our commerical style shoots. I really love the aviation vibe Daniel Hechter went with on their Spring 2011 clothing campaign. It appears most if not all of these images were shot using natural light along with hot lights or HMIs which is probably a lighting style few of us have used. It also appears these were all shot on a regular old Canon DSLR (somewhat rare for campaigns like this).

The key to creating a good photo-based service is to fill a need that isn't being filled by any other app or website -- a task increasingly difficult as more and more players enter the market. Still, once in a while someone stumbles on an idea that is just the right mix of concepts a service really worth your while, and Exposure seems to be just that.

Exposure is for photographers who want a more meaningful and effortless way to publish their work - in the context of a narrative, instead of a feed or single photo on a permalink page.

Whether she’s a photographer by trade, or simply a novice who likes carrying around her bulky DSLR to capture the day’s events, from the artwork found in this morning’s latte to the New York City sunset out her office window (photography obsessives love sunsets), the Photography Obsessive is well, obsessed, with capturing everything.

"Photographer's often use the term "natural light" to describe any light that's a part of the environment like the sun, street lights or even a fire. In this tutorial, we're going to narrow the definition to light that comes from the sun.

Even with this definition, it's also important to understand that natural light comes in different forms, producing a variety of results.Many times light is the reason a photographer will create a picture. Sometimes it's the light, and what it creates, that is the theme of the photograph."

Feel the Subject:

If you need to create nature photography, you must have to personalize the experience before shooting. Choose your subjects carefully, photographs will profit from the subjects. Interesting subjects are what makes an interesting photograph, it reflects in your image. Look for the one which takes you by surprise. Your photograph will be surprising for others.

Seeing in Black and White:

Look beyond the colors, stop colors from blocking your vision. This process can be tough at the beginning, believe me even the masters found in tough in the beginning. Start evaluating the scene based on the subject and composition, avoid color to play a bigger role, think neutral. Master the art of Black and white Photography

"I’ve spent the past five years in the photo department of The New Yorker, carefully reading magazine pieces and then researching or commissioning photographs to accompany them. The stories, from music reviews to war reporting to fiction, are the impetus for our photographs. I was curious to ask the writers, whose work informs me, inspires me, and alters my perspective about subjects that were previously far from my thoughts, if there were photographs that had done the same for them.

In the spirit of Thanksgiving, here is a selection of eight writers on photographs that they are thankful for."

Since the technique was first pioneered around 200 years ago, photography has developed to a state where it is almost unrecognizable.

Start to See Photographically with these six easy steps by photographer Valerie Jardin. 

See the light

Play with def=”http://digital-photography-school.com/book/naturallight”>light and shadows. Be aware of the quality of light around you (hard versus soft light) and its effect on objects, buildings, etc. The more aware you become of the quality and quantity of light, the better you will be at harnessing it and making it work for you, no matter the time of day.

Express your vision with basic composition rules

There are many ways to express your vision and they all start with the decisions you make before you press the shutter.

Use focus point and depth of field

The obvious way to lead the eye of the viewer is by focussing on the subject and using the right depth of field so that there is no mistake as to where the eye should go. It only takes a fraction of a second to lock your focus and recompose. You have to put some thought into it and soon you will make quick decisions that will make your images stronger.

Using color

Just like using focus point to draw the eye, using color is another powerful compositional tool. Alternatively, because color draws the eye, it is also a reason to convert your color image into B&W to remove distracting colorful elements and make stronger images!

Negative space

The clever use of negative space makes stronger images as it puts more emphasis on the subject (positive space).

Steve Gosling Scottish Highlands Photography Workshop. Pro landscape photographer Steve Gosling will be holding a 2-day photography workshop in the Scottish Highlands.

Attendees will visit some of Steve's favourite spots in the Glencoe area and the event gives participants the chance to try out the Olympus OM-D camera and lenses as well as receive top photographic tips and advice from Steve Gosling. In addition, a discount voucher for Olympus gear will be given to all who attend.

The course runs from Tuesday 26 November 2013 - Wednesday 27 November 2013 and is priced at £100. Please note that accommodation, meals and transport are not included.

Learn how to shoot better photos of mountains with Robin Whalley. 

This can be a tricky one in winter as you need to ensure you remain safe at all times. Walking in snow is one thing but mountains tend to also be covered with ice and have erratic weather conditions. Before you set off, know your ability, wear the right clothing and take the right walking equipment including phone, compass and map. You should also carry a whistle which can be used to attract attention if you need help.

Now for the fun bit; camera equipment. Whilst I like to travel light in the mountains there is some equipment that I just wouldn’t be without:

• UV filters for the front of my lens. Not only does it protect the lens from the elements but it will cut the levels of UV which often high in the mountains, especially in sunny conditions.
• If it’s sunny and there’s snow around I also like to use a polarising filter. The polariser is a great tool to help control glare and light reflection from the snow. Take care not to over polarise a blue sky in the mountains though.
• The ND Grad filter is essential for reducing the contrast difference between the sky and ground. If I am travelling light I tend to just carry a 2 stop and 3 stop (0.6 and 0.9) wrapped in a filter cloth and placed in my pocket.
• Lens choice for shooting in the mountains is wide angle. A longer lens can also be useful for picking out details but a zoom will probably allow you to capture the best the mountain has to offer.
• When using longer lenses you need a tripod that can support their weight.

First comes hype, then comes the announcement, and last comes the post-release marketing. In regards to the Nikon Df, we've officially moved into the last of those three steps, and right on cue, Nikon has released three videos of big time photographers endorsing the Df by talking about their experiences shooting with it.

The three photogs in question are Joe McNally, Lynn Goldsmith and Bob Krist, and in the videos embedded here, each offer their unique view on the Nikon Df and what it feels like shooting with a modern DSLR that is trying its best to do justice to the F, F3 and FM/FE series Nikons of old.

Of course, this is an ad at its core, and so at times it seems a bit contrived even as the photos are speaking off-the-cuff. Still, it's interesting to get three perspectives on the Df from people who were all Nikon F-Series users in the past.

Advertisement or not, they can speak with confidence on how well the Df truly combined the two worlds of film and high-end digital. And even if you’re not interested in what they have to say about the Df, there’s some inspirational tidbits there that make the videos a worthy watch nonetheless.

So check out the ads above to see what these big wigs have to say about the Df, and feel free to let us know what you think afterwards by dropping us a line in the comments.