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    Today’s Photo Of The Day is “Peacock Wing” by Hank Miller. Location: West Palm Beach, Florida.
    Photo By Hank Miller

    Today’s Photo Of The Day is “Peacock Wing” by Hank Miller. Location: West Palm Beach, Florida.

    Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

    The post Photo Of The Day By Hank Miller appeared first on Outdoor Photographer.

    Photo Of The Day By Hank Miller

    https://www.outdoorphotographer.com/?p=623994
    https://www.outdoorphotographer.com/blog/photo-of-the-day-by-hank-miller-2/

    Today’s Photo Of The Day is “Peacock Wing” by Hank Miller. Location: West Palm Beach, Florida.

    Today’s Photo Of The Day is “Peacock Wing” by Hank Miller. Location: West Palm Beach, Florida. Photo of the Day...

    The post Photo Of The Day By Hank Miller appeared first on Outdoor Photographer.

    Tue, 21 May 2019 14:46:40 +0000

    Today’s Photo Of The Day is “Bee Happy” by Dean Cobin. Location: New Jersey.
    Photo By Dean Cobin

    Today’s Photo Of The Day is “Bee Happy” by Dean Cobin. Location: New Jersey.

    “This is a single exposure with select focus on the syrphid fly, which mimics a bee, at a very shallow depth of field,” says Cobin. I was shooting images of the allium bloom when the fly decided to land.”

    Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

    The post Photo Of The Day By Dean Cobin appeared first on Outdoor Photographer.

    Photo Of The Day By Dean Cobin

    https://www.outdoorphotographer.com/?p=623991
    https://www.outdoorphotographer.com/blog/photo-of-the-day-by-dean-cobin-6/

    Today’s Photo Of The Day is “Bee Happy” by Dean Cobin. Location: New Jersey.

    Today’s Photo Of The Day is “Bee Happy” by Dean Cobin. Location: New Jersey. “This is a single exposure with...

    The post Photo Of The Day By Dean Cobin appeared first on Outdoor Photographer.

    Mon, 20 May 2019 14:42:09 +0000

    Create Dramatic Light With Backlight, Part 1

    Every photographer wants their pictures to stand out from others. One way to accomplish this is through the use of dramatic light. Rainbows, ominous clouds, storm light, vivid sunsets and more create dramatic conditions, but the frequency with which they occur is low.

    Another way to add dramatic light is through the use of backlight. Backlight creates eye-popping results and can be utilized more consistently and with greater frequency. It adds impact and intrigue to a photograph and its advantage is it can be made artificially either in the field or under controlled conditions via the use of flash. While Mother Nature creates spectacular backlight, it’s not essential to rely on her.

    Indoors: Backlight can be used in many ways. Studio photographers use it to separate subjects from a background. When a dark subject is photographed against a dark background, the subject and background blend in tone. But if a narrow beam of light is added from behind, a rim light separates the subject from the background. The subject’s outline takes on a glow that makes it discernible.

    Create Dramatic Light With Backlight, Part 1

    Depending on the size of the subject, it may be necessary to use more than one flash to create full separation. The key to backlighting in a controlled environment is to not go overboard unless a special effect is intentional. If too much is added, you run the risk of over separating the main subject. Additionally, the effect may spill over to other areas and create hot spots and/or overexposure. Bracket the amount of backlight by dialing the flash down or up or by varying the distance of the lights. Check the effect on the LCD of your camera to see what power ratio works best.

    While I primarily use indoor backlights for small nature subjects such as flowers and insects, they also work wonderfully if you’re into portraits. Incorporate a backlight to make the subject’s hair glow with a halo of light. They’re sometimes used to place a highlight on the top of the subject’s hair and other times to light the entire head from behind. Both are effective. To make the top of the hair glow, place a flash in a small softbox just above and slightly behind the subject’s head. The softbox softens the light, which produces less contrast. To fully rim light the hair, place a strong flash squarely behind the subject’s head and don’t use a softbox. Blonde hair requires less output than someone with dark hair.

    When I use backlights in the studio, I don’t aim them directly toward the lens. Direct light creates flare. I carefully aim the flash head toward the subject but slightly away from the camera. If the position of the backlight is such that it looks like it may flare the lens, I add a scrim to its side. This channels the light away from the lens, which reduces the risk of flare. Elaborate attachments can be purchased that accomplish this. I simply tape a piece of cardboard to the side of the strobe and make sure it’s large enough to not allow stray light to hit the front element of the lens.

    Create Dramatic Light With Backlight, Part 1

    Backlighting in the studio doesn’t have to be reserved for separating a subject from the background. It can be placed to add dimensionality and texture. I move the backlight so it becomes a partial sidelight to shape and add texture to the subject.

    In my mini nature studio in my basement, I create images of flowers and insects. I sometimes reposition my backlight to highlight specific portions of my subjects. If I move the backlight more to the right or left side of what I photograph, a sparkle or highlight can be placed on just its side. An additional backlight can be incorporated into the mix, which creates a halo on the backside of the subject. The effect can be very dramatic.

    When I photograph flowers, I like to show the translucency of their petals. The picture has more impact than if I make a basic recording. Because there are so many gorgeous images of flowers made every day, I strive to do something different. Its use can be very tricky based on a number of variables, so I suggest you bracket the placement of the backlight at varying distances. If the flower is light in tone, the backlight should be placed farther away. The thinner and more translucent they are, the farther back the backlight should be.

    Be sure to catch next week’s Tip of the Week that addresses backlight in outdoor settings.

    Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.

    The post Create Dramatic Light With Backlight, Part 1 appeared first on Outdoor Photographer.

    Create Dramatic Light With Backlight, Part 1

    https://www.outdoorphotographer.com/?post_type=how-to&p=624049
    https://www.outdoorphotographer.com/tips-techniques/photo-tip-of-week/create-dramatic-light-with-backlight-part-1/

    Every photographer wants their pictures to stand out from others. One way to accomplish this is through the use of...

    The post Create Dramatic Light With Backlight, Part 1 appeared first on Outdoor Photographer.

    Mon, 20 May 2019 07:01:39 +0000

    Today’s Photo Of The Day is “Tunnel View” by Zach Matthai. Location: Yosemite National Park, California.
    Photo By Zach Matthai

    Today’s Photo Of The Day is “Tunnel View” by Zach Matthai. Location: Yosemite National Park, California.

    Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

    The post Photo Of The Day By Zach Matthai appeared first on Outdoor Photographer.

    Photo Of The Day By Zach Matthai

    https://www.outdoorphotographer.com/?p=623987
    https://www.outdoorphotographer.com/blog/photo-of-the-day-by-zach-matthai/

    Today’s Photo Of The Day is “Tunnel View” by Zach Matthai. Location: Yosemite National Park, California.

    Today’s Photo Of The Day is “Tunnel View” by Zach Matthai. Location: Yosemite National Park, California. Photo of the Day...

    The post Photo Of The Day By Zach Matthai appeared first on Outdoor Photographer.

    Sun, 19 May 2019 14:34:48 +0000

    Today’s Photo Of The Day is “The Eye of the Hammerhead” by Kathleen Wasselle Croft. Location: Bonaire, southern Caribbean.
    Photo By Kathleen Wasselle Croft

    Today’s Photo Of The Day is “The Eye of the Hammerhead” by Kathleen Wasselle Croft. Location: Bonaire, southern Caribbean.

    “The hammerhead coral takes on many shapes,” says Croft. “It had an iridescent green core that attracts its prey.”

    Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

    The post Photo Of The Day By Kathleen Wasselle Croft appeared first on Outdoor Photographer.

    Photo Of The Day By Kathleen Wasselle Croft

    https://www.outdoorphotographer.com/?p=623984
    https://www.outdoorphotographer.com/blog/photo-of-the-day-by-kathleen-wasselle-croft-2/

    Today’s Photo Of The Day is “The Eye of the Hammerhead” by Kathleen Wasselle Croft. Location: Bonaire, southern Caribbean.

    Today’s Photo Of The Day is “The Eye of the Hammerhead” by Kathleen Wasselle Croft. Location: Bonaire, southern Caribbean. “The...

    The post Photo Of The Day By Kathleen Wasselle Croft appeared first on Outdoor Photographer.

    Sat, 18 May 2019 14:32:27 +0000

    Today’s Photo Of The Day is “The Beginning” by Max Foster.
    Photo By By Max Foster

    Today’s Photo Of The Day is “The Beginning” by Max Foster.

    “Waves crash onto the rocky shoreline of north Florida as a colorful sunrise brightens the sky,” says Foster. Location: Florida.

    Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

    The post Photo Of The Day By Max Foster appeared first on Outdoor Photographer.

    Photo Of The Day By Max Foster

    https://www.outdoorphotographer.com/?p=623917
    https://www.outdoorphotographer.com/blog/photo-of-the-day-by-max-foster-7/

    Today’s Photo Of The Day is “The Beginning” by Max Foster.

    Today’s Photo Of The Day is “The Beginning” by Max Foster. “Waves crash onto the rocky shoreline of north Florida...

    The post Photo Of The Day By Max Foster appeared first on Outdoor Photographer.

    Fri, 17 May 2019 14:11:32 +0000

    Z Series Firmware Version 2.0
    The Nikon Z Series Firmware Version 2.0 is available for the Nikon Z 7 (pictured) as well as the Nikon Z 6.

    Nikon has released Z Series Firmware Version 2.0 for the Nikon Z 7 and Nikon Z 6, which introduces three major enhancements to the company’s full-frame mirrorless cameras.

    The first is Eye-Detection AF for still photography, enabling the cameras to find and focus on human eyes. It’s available in both single-shot and continuous AF when the camera is set to Auto-area AF mode. You can further direct the system to track a specific eye in your frame.

    Z Series Firmware Version 2.0 also improves autofocus performance in low-light scenes. We’ve asked for clarification from Nikon on these improvements, as there is some ambiguity in the official press release (below), and we’ll update this post when we receive a response. Our current understanding is that the improvements to low-light AF performance are two-fold:

    The third improvement is the addition of auto-exposure tracking in continuous high-speed (extended) capture mode. Previously, exposure was locked on the first shot during high-speed continuous shooting (at 9 fps with the Z 7 and 12 fps with the Z 6). Now, in addition to continuous AF, continuous auto exposure is now possible.

    The Z Series Firmware Version 2.0 is offered as a free update and can be downloaded at: https://downloadcenter.nikonimglib.com

    For additional details, see the press release below.

    ###

    NIKON RELEASES THE NEW Z SERIES VERSION 2.0FIRMWARE WITH ENHANCED FEATURES AND PERFORMANCE INCLUDING EYE-DETECTION AF 

    Firmware Upgrade Brings Further Improvements to the Nikon Z 7 and Nikon Z 6 FX-Format Mirrorless Cameras by Adding Eye-Detection AF, Improving AF Performance in Low Light, and Adding Auto-Exposure Tracking to the Continuous High-Speed (Extended) Mode

    MELVILLE, NY (May 16, 2019 at 2:00 a.m. EDT) –Nikon Inc. is pleased to announce the release of firmware Ver. 2.0 that will further enhance the performance of its full-frame mirrorless cameras, the Nikon Z 7 and Nikon Z 6.

    Users will enjoy three main additional features following the Ver. 2.0 upgrade. These include:

    1. Eye-Detection autofocus (AF) for still-image shooting
    2. Extension of the low-light AF detection range
    3. Addition of auto-exposure (AE) tracking capability to the continuous high-speed (extended) mode

    These enhanced shooting functions will further increase camera functionality and performance and are a response to customer feedback for new and innovative ways to capture and create.

    PRIMARY FEATURES OF THE NEW FIRMWARE

    1)    Eye-Detection AF for still-image shooting

    The new firmware offers Eye-Detection AF functionality that automatically detects and focuses on human eyes when using the Auto-area AF mode in both AF-S and AF-C. When the eyes of multiple subjects are detected, the multi-selector or sub-selector can be used to select the eye upon which the camera should focus. This enables precise focus on the eye of the intended individual, even when looking through the Electronic Viewfinder. This function is applicable even when the subject’s face is partially covered by another object, or in the event when a subject is frequently changing their pose.

    2)    AF performance improvements in low-light situations

    The new firmware enables even faster autofocusing when capturing photos and video in dark or dimly lit scenes, for both stills and video. It will extend the AF detection range*1from −1 EV to −2 EV with the Z 7, and from −2 EV to −3.5 EV with the Z 6. In addition, the Z 6 will be able to autofocus with even darker scenes, as the available low-light AF detection range*1will be extended*2from −4 EV to −6 EV when the Low-light AF function is enabled.

    *1: With still-image photography in AF-S mode, ISO 100, f/2.0 lens, at 20° C/68° F.

    * 2: The low-light AF detection range will remain the same with the Z 7.

    3)    AE tracking in continuous high-speed (extended) mode

    With earlier firmware versions, auto exposure (AE) was locked with the first shot in a burst of high-speed continuous shooting at approx. 9 fps (Z 7) or 12 fps (Z 6) in continuous high-speed (extended) mode. Firmware Ver. 2.0 adds support for AE tracking in continuous high-speed (extended) mode, allowing the cameras to track exposure just as it does focus (AF tracking). This helps to ensure that all images captured with a burst of high-speed continuous shooting are in focus and exhibit optimal exposure, even when the brightness of the scene changes.

    The new firmware can be downloaded (free of charge) from Nikon’s Download Center at the following link: https://downloadcenter.nikonimglib.com.Users will be prompted to follow the instructions provided to successfully install the firmware.

    Nikon will continue to flexibly respond to the evolving needs of our users and offer next-generation imaging experiences that foster creativity. For more information on the latest Nikon products, including the Nikon Z series, please visit www.nikonusa.com.

    ###

    The post Nikon Releases Z Series Firmware Version 2.0 appeared first on Outdoor Photographer.

    Nikon Releases Z Series Firmware Version 2.0

    https://www.outdoorphotographer.com/?p=623948
    https://www.outdoorphotographer.com/blog/nikon-releases-z-series-firmware-version-2-0/

    Nikon has released Z Series Firmware Version 2.0 for the Nikon Z 7 and Nikon Z 6, which introduces three...

    The post Nikon Releases Z Series Firmware Version 2.0 appeared first on Outdoor Photographer.

    Thu, 16 May 2019 21:08:44 +0000

    composition in landscape photography

    There’s a magical moment in landscape photography when you find the right position, the subject is at the correct angle, bathed in perfect light, and, with your camera in hand, you capture “The Shot”—the perfect composition for the scene. These are the moments we all want to repeat, but for whatever reason, they are difficult to find. The more you learn about how much goes into creating such moments, the more you realize just how complex and involved they are to repeat.

    This is the “Art of Seeing.”

    I break the process of seeing down into three elements that I call the “creative trinity.” Subject, light and composition make up the trinity, and the fuel that fires it is timing.

    In this three-part article series, I’m going to focus on the one element that deserves most of our attention: composition. Composition is the arrangement of subjects in the scene. There are many techniques to apply when making a successful composition, and there are many so-called rules that you’ve probably heard, such as the “rule of thirds.” The rule of thirds is a very basic technique to help minimize the potential issue of a boring or static composition that conveys no movement. This is just the tip of the iceberg; there are many other compositional rules and techniques to use. I refer to the rules and techniques of composition as a vocabulary. If you learn the vocabulary of composition, you’ll then have the skills to use all the various rules and techniques in your favor.

    There are three basic skills you need to develop in order to successfully implement (and sometimes break) the rules of composition:

    Develop these three skills, and you will have the ability to create many great images.

    There’s no easy way to acquire all these skills, and each one has a steep learning curve. Sure, it’s possible that with no formal training, and your camera in “P” (program) mode, you could capture an amazing image that needs no post-processing, but the odds are low. If you wish to make this a repeatable process, then you will need to understand why your images were successful. Hopefully what follows will help clarify the concepts and inspire you to build on what you already know.

    The Vocabulary Of Composition

    If you’re new to the study of composition, a good starting point is to keep your compositions simple. Photography is an exercise in subtraction. When given the opportunity to eliminate, do it! One of the best ways to eliminate unwanted objects from your frame is to get closer to your subject. Later in this article, I will talk about “The Viewer’s Path” in detail. This is the path that leads your viewer to the subject. Help lead your viewer by omitting clutter from the path. Also, keep clutter away from the edges and corners of the frame, and be sure you have chosen your subject as the focus point.

    Simplifying a composition can be as easy as moving the camera by a foot in one direction or the other to prevent a foreground object from cluttering the scene.

    This image of a braided river in New Zealand was a very small part of the overall landscape. By eliminating the horizon, surrounding hills and farm lands, I made the river the focus and subject.

    To simplify even more, I recommend you first develop your compositional skills by photographing in black-and-white mode. Create compositions in black-and-white until you have a grasp on it, then add the color. To those new to photography, this should be a common practice. There’s no need to only shoot in black-and-white all day long, but when learning and considering composition, it’s a powerful way to help train your eye. I still occasionally go back to black-and-white to help me see composition while in the field. Tip: If you want to see your RAW camera files in black-and-white while in the field but keep the color data for later editing, simply change the “Picture Control” setting (or similar, depending on your camera brand) to Monochrome. This displays a black-and-white JPEG of the image in-camera but keeps all the color information in the RAW file.

    By moving very close to these two paintbrush flowers, I filled the frame with the flower and eliminated all distracting grasses in the foreground from view. My camera was about 18 inches from these small flowers that were only 14 inches tall.

    To help understand the complexity of composition, I’ve listed some ideas below. This list of compositional considerations is very helpful to me when I’m at any step of the process, from conceptualizing an image to setting up the tripod in the field to cropping on the computer. I have listed these compositional elements in an order that makes the most sense to me in the development of the image.

    Subject

    In this image, what do you think is the subject? Is it the canyon, the clouds or maybe the foreground rocks? My goal when capturing this was to show the scale of the place during soft, cloudy afternoon light when the contrast would be lower. This would help define all the features of the canyons below without hiding many of them in deep shadow. When the sun broke through at the last minute and lit up the distant clouds and canyon walls, the light actually overpowered what my original intent was. These things are never predictable, so I changed my composition a bit and included more of the sky to show all the great colors and textures in the clouds. Once I made this slight change, I believe it became more difficult to define the subject.

    The most important of the elements of a photograph is the subject. Many will argue that light is the most important, and for certain images that is certainly true. I maintain that the subject is the most important element, and that if the subject is compelling enough, it will engage the viewer—even in bad light. There are times “light” becomes more exciting than the subject, and when this happens, it’s best to take advantage of it.

    In this scene, the subject is the stream. The clouds were used to stage the stream in a wild and stormy setting, creating a bit more mystery. This method is not as obvious as the stream in this composition is a small part of the overall frame.

    Defining what the subject is in your landscape scene will help you to compose it, light it and portray it in the best possible way.

    With this in mind, finding the subject in landscape photography can be challenging, as it’s not always clear. Of course, if you’re shooting wildlife, then the subject is clear: it is the animal. But for this article series, I’m focusing strictly on landscape images.

    The subject in this scene is the clouds. This is a stitched panoramic of five vertical frames. The only way to portray the shapes of the clouds was to include a very wide field of view. A normal wide-angle lens would not have shown the beautiful lines through the sky and their reflection in the water below. It is actually a challenge to “see” this type of composition because it was not realized until after the five files had been stitched together. The only way to get close to visualizing a scene like this is to use your peripheral vision.

    The Viewer’s Path

    This is my favorite topic.

    A powerful element in landscape compositions is leading the viewer along a path of discovery, either to the subject or from it. It’s not necessary for all images, but when composing and post-processing most landscape scenes, it’s my guiding concept.

    The Viewer’s Path. In this image, I intended that the viewer would first look at the prominent trees in the foreground at the right of the frame, then the more distant trees in the left foreground, and finally arrive at the bright mountain peak to the right of center in the background.

    This is not done with arrows and dotted lines as we find on a highway leading us to our destination, but rather with subtle methods that a viewer might not even acknowledge at first. It’s more like a magic show, where the magicians entertain the audience without revealing their tricks.

    Humans will instantly and subconsciously find an order of importance while looking at anything the first time. The predominant attraction in any scene is brightness and contrast, followed by a few other stimulants, such as primary colors, eyes and then shape. This is an instinct left over from years of survival practices, when avoiding deadly creatures and staying alive was the priority. When you consider art and photography, you must realize that all viewers will have this very same reaction to your images. There is an order of discovery in all images, some longer and more involved than others. The order of subjects we view in any scene is what creates the path, leading the viewer from the first to the last. I must point out that the main subject can either be the first read or the fourth, depending on your ability as a photographer. As a landscape photographer, you are building this path in the hopes of giving your viewer a journey.

    This image has a slightly longer viewer’s path beginning at the top with the mountains and cloudy sky above and ending at the boulder in the lake. I intentionally waited for the little wave to break on the far right rocks. This was done to lead the viewer through the scene in a crossed pattern that requires a bit more time to discover.

    Aspect Ratio

    The aspect ratio of a photograph holds more power over our perception of an image than you might think. For example, what do you think of when you see a square image?

    We all know Instagram started out requiring only square images. Even though things changed and now they allow various aspect ratios to be posted within the square, what became understood fairly quickly is that square images were identified with Instagram. This was relatively recent, because prior to Instagram, all square images were associated with medium format cameras. Other associations were made in the industry as well, such as 4×5 from large format film and of course 3×2 from 35mm film. A recently adapted aspect ratio is 16×9, which is the shape of the modern display for television and computers. Of course, any of these aspect ratios can be created from any camera, so what is it that is so appealing about certain aspect ratios?

    The most widely used aspect ratio today is 3×2. This can be traced back to Oskar Barnack, who was employed by Leitz Camera back in 1925 to create the format for its new handheld cameras. Previously, there were only large plates, usually 8×10 inches in size. Why has this format stuck with the industry for almost 100 years and through the transition from film to digital? It can be attributed to the fact that it’s the closest proportion to the golden rectangle.

    Bold and sweeping horizontal lines lend themselves to a horizontal 16×9 aspect ratio.

    The golden rectangle is supposedly the most pleasing proportion in nature. The proportions of 1:1.618, or approximately 13×8, are used throughout human history. A few of the examples are the Great Pyramids of Giza, the Parthenon and Stonehenge. It’s said that the Mona Lisa was also influenced by the golden rectangle.

    Whether you believe in the golden rectangle or not, it can be a very useful aspect ratio. The most important part of aspect ratios is finding the one that is the best complement to your image. Whether you choose the aspect ratio before you find a subject or after is not important; all that matters is that you understand that it is a powerful tool to use.

    I have a few favorite aspect ratios for landscape images. For horizontal, they are 2×1, 5×4 and 16×9. For vertical, it’s 4×5. I do not always shoot for these aspect ratios, but they are usually on my mind when framing an image.

    Mount Cook in New Zealand’s South Island as seen from the air to show its grand height and glaciers made for a vertical 4×5 aspect ratio.

    Once I locate my subject and conclude how I’m going to lead the viewer to it, I begin considering the aspect ratio. Many scenes simply lend themselves to a particular one, but it’s easy to get lazy and compose with too much slop or wasted space around the edges. There are times when, in a hurry, it’s better to take advantage of the situation and capture the image with extra space for cropping in post-processing, but for most of the situations in landscape photography, there is plenty of time to consider the impact that an aspect ratio has on your image. The post-shoot crop approach can cause other issues, too—intruding and distracting things around the edges and a loss of precious resolution.

    In the next article in this series, we’ll consider additional compositional elements, including borders, shapes, line, arrangement and proportions, focus and the use of negative space.

    This three-part article series is excerpted from The Art of Seeing, an ebook by Marc Muench, available as a free download at muenchworkshops.com/ebook.

    The post The Art Of Seeing, Part 1 appeared first on Outdoor Photographer.

    The Art Of Seeing, Part 1

    https://www.outdoorphotographer.com/?post_type=how-to&p=623890
    https://www.outdoorphotographer.com/tips-techniques/nature-landscapes/the-art-of-seeing-part-1/

    In this three-part article series, we take a deep dive into the fundamentals of composing landscape photographs.

    The post The Art Of Seeing, Part 1 appeared first on Outdoor Photographer.

    Thu, 16 May 2019 17:52:29 +0000

    Behind The Shot: Diamond Beach, Southeast Iceland
    Photo By Michael Murray

    Our family drove an RV around Iceland’s Ring Road last summer. Having a moveable home base allowed us to see quite a lot of the fjord-tucked villages and vast coastline of the island. The RV also let us stay overnight near the locations I wanted to capture.

    I was most excited to shoot on Diamond Beach. This stretch of black sand sits at the mouth of the Jökulsárlón Glacier Lagoon. Ancient pillars of ice calve off the glacier and flow out to sea only to be pushed back to land by the North Atlantic current. The ice washes ashore in chunks that range in size from baseballs to Volkswagen Beetles. We parked the RV on the bluff above the water for the night. Though there were many tourists and photographers on the beach during the day, I was alone when I woke up for the summer sunrise at 2 a.m.

    For 10 minutes, I played chase with the waves. I’d plant my tripod, frame a shot and then retreat when a swell came in. I hadn’t thought to bring water boots on the trip. In fact, the shoes on my feet were a brand-new pair of hiking sneakers I had purchased the previous day as a vacation splurge. Even with a tethered release allowing me a couple feet of latitude, I couldn’t man my station long enough to achieve the white, wispy long-exposure look I wanted in the surf. That’s when I decided the shot was more important than the shoes. I allowed the next surge to fill my soles with arctic water. Now I was ready to work.

    A 0.8-second exposure rendered the “ghostly” sea churn I envisioned. A variable ND filter I had picked up just before the trip for shooting Iceland’s waterfalls allowed me to dial in the exposure timing without having to change my aperture value. I moved from berg to berg looking for clean, clear ice and balanced frames. A little bit of orange entered the sky. With an 18mm wide-angle lens, I had to stand within a foot of the ice to anchor it properly in the foreground. During one exposure, as I was locked into the viewfinder, a large wave shot an anvil of ice into my shin and sent my rig teetering toward the surf. I caught it just before the tipping point. After an hour of shooting, I drained the arctic water and black sand from my shoes and returned to the warmth of the RV. I changed out of my wet clothes, set up my laptop in the bunk—careful not to wake my slumbering family—and greedily reviewed my morning’s work.

    See more of Michael Murray’s work at natureindepth.com and on Instagram @wellframed.

    Sony a7R III, ZEISS Batis 18mm f/2.8, B+W Vario ND filter. Exposure: 0.8 sec., ƒ/16, ISO 160.

    The post Behind The Shot: Diamond Beach appeared first on Outdoor Photographer.

    Behind The Shot: Diamond Beach

    https://www.outdoorphotographer.com/?p=623887
    https://www.outdoorphotographer.com/blog/behind-the-shot-diamond-beach/

    Behind The Shot: Diamond Beach, Southeast Iceland

    Our family drove an RV around Iceland’s Ring Road last summer. Having a moveable home base allowed us to see...

    The post Behind The Shot: Diamond Beach appeared first on Outdoor Photographer.

    Thu, 16 May 2019 17:40:12 +0000

    Today’s Photo Of The Day is “The Blue Hills” by Valerie Millett. Location: Mount Ellen-Blue Hills WSA, Utah.
    Photo By Valerie Millett

    Today’s Photo Of The Day is “The Blue Hills” by Valerie Millett. Location: Mount Ellen-Blue Hills WSA, Utah.

    “The Blue Hills, in the northern and western portion of the Wilderness Study Area in Utah, are low mesas and barren badlands carved by erosion from blue-gray marine shales,” explains Millett.

    See more of Valerie Millett’s photography at valmillett.blogspot.com.

    Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

    The post Photo Of The Day By Valerie Millett appeared first on Outdoor Photographer.

    Photo Of The Day By Valerie Millett

    https://www.outdoorphotographer.com/?p=623812
    https://www.outdoorphotographer.com/blog/photo-of-the-day-by-valerie-millett-7/

    Today’s Photo Of The Day is “The Blue Hills” by Valerie Millett. Location: Mount Ellen-Blue Hills WSA, Utah.

    Today’s Photo Of The Day is “The Blue Hills” by Valerie Millett. Location: Mount Ellen-Blue Hills WSA, Utah. “The Blue...

    The post Photo Of The Day By Valerie Millett appeared first on Outdoor Photographer.

    Thu, 16 May 2019 14:38:11 +0000