Sigma 4.5mm F2.8 EX DC HSM Circular Fisheye [REVIEW]
While full frame sensor camera have enjoyed the use of fisheye lenses for a century, the newly created APS-C sensor cameras have remained lacking. Use of traditional fisheye would work, but the entire circular area would be cropped.
Enter the Sigma 4.5mm fisheye. This lens is built for cropped sensors, giving them a full 180° field of view withing a single frame. To achieve this field of view, the front element protrudes from the front metal of the lens, giving it the typical fisheye look. There is a focus ring and a distance scale, plus a small switch for manual or automatic focus. Because of the short focus distance and the overall size of the camera, the nearest in focus object can be as close as .75”/`19mm.
With a lens like this, a whole new world of images becomes possible. Shooting objects close is an easy subject as well as circles. Shooting converging lines takes on a new dimension as well as the night sky (which is one of the original intentions behind the development of the lens; atmospheric photography). I have some sample images later in the post to give you more ideas of how this lens can be used as well as the quality of the images.
I took this lens with me and my Canon 7D on a six week trip to Asia covering photo tours in Nepal and Bhutan as well as a personal week spent in India. I want to thank BorrowLenses.com for the lend of the lens.
Features
First, some stats from Sigma’s own site.
- Lens Construction 13 Elements in 9 Groups
- Angle of View 180º
- Number of Diaphragm Blades 6
- Minimum Aperture f22
- Minimum Focusing Distance 13.5 cm / 5.3 in
- Filter Size (mm) Insertion-type gelatin filter into rear of the lens
- Maximum Magnifications 1:6
- Dimensions (Diameter x Length) 76.2 x 77.8 mm/3.0 x 3.1 in
- Weight 470g / 16.6oz.
Use In Real Life
The biggest aspect of this lens to get used to is the field of view. More than once my feet were in the frame (even with fellow DPS writer Jim Goldstein warning me of this danger) and at times I could see my hand while manual focusing, or just holding the camera comfortably. There’s a mental extra to add before pressing the shutter release and that is to check the circle edge for any signs of the photographer behind the camera.
While in the field, I found the lens as comfortable as any other to hold and transport. It comes with a rear lens cap as well as a hood and lens cap for the front. Because of the bulging nature of the front lens, the lens hood (felted on the inside to create a firm attachment with the lens when in use) is needed to hold a cap. Additional filters can be used with this hood attached (72mm) if a narrowed version of the spherical world is okay.
I did have an almost constant worry about scratching the front of the lens with it sticking out as far as it does (which is not much at all, but more than I am accustomed to). Therefor, the hood and lens cap remained on more than usual. A minor point.
Shooting with the lens is no different than shooting with any other lens. It opens to f/2.8 and can get seriously close to subjects. This helps as shooting with a fisheye point of view can be challenging. Getting close to the subject and helping it dominate the field of view, while still giving the viewer some place to ‘go’ in the picture, is even more exaggerated with this lens than with a standard wide angle.
Video with the lens can be interesting. Side moving objects go from small to large in the middle to small again and it can be a bit odd for some viewers. Images shot straight forward, backward or straight up give a good full view of the action. For some additional tips on shooting with this lens, I have written a post on Photo Tuts+ (and I’m sorry most of it is a Premium article, that wasn’t my choice) that describes 14 different scenarios when this lens would be useful.
You may be asking what that blue ring is around some of the images. It is flare caused by the extreme angle of the lens. It is normal and can be easily remedied which a circular crop.
Samples
Click on any sample to see a full sized view.
Shadows of Swayambanath Temple, Kathmandu, Nepal
Tengboche Monastery and Mt. Everest, Tengboche, Nepal
Window To The World, Jaipur, India
Bath Room Floor, Amber Fort, Jaipur, India
Taj Mahal, Agra, India
The Milky Way From Phobjika Valley, Bhutan
Looking Up, Paro Dzong, Bhutan
So Much Stone, Red Fort, Delhi, India
Patterns, Amber Fort, Jaipur, India
Picture Of A Picture, Phobjika Valley, Bhutan
Kathmandu From Dharahara Tower, Nepal
Weavers In Thimphu, Bhutan
Weavers In Thimphu, Bhutan
Rice Field, Punakha, Bhutan
Prayer Wheels, Paro Dzong, Bhutan
Swayambanath Temple, Kathmandu, Nepal
Dzokyos On A Himalayan Trail, Nepal
Khumbu Glacier, Lobuche, Nepal
Conclusion
The Simga 4.5mm Fisheye is a treat to use and produces some stunning images. While use of standard front mounted filters limits the overall coverage, the fact that the field of view is so large negates the effectiveness of most options (NOTE: Filters can be used in the rear area of the lens but this was not tested). This produces a freeing effect as the filter needs to be used, mostly, as is, greatly simplifying image captures and focusing the photographer on creative use.
The lens does take some learning before stunning images emerge, but that curve isn’t long. It’s important to give yourself some latitude when starting out with this lens as experimentation is key to finding out what works for you.
Get a price on the Sigma 4.5mm f/2.8 EX DC HSM Circular Fisheye Lens
Sigma 4.5mm f/2.8 EX DC HSM Circular Fisheye Lens for Sony Alpha Digital SLR Cameras
Sigma 4.5mm f/2.8 EX DC HSM Circular Fisheye Lens for Canon Digital SLR Cameras
Sigma 4.5mm f/2.8 EX DC HSM Circular Fisheye Lens for Nikon Digital SLR Cameras
Sigma 4.5mm f/2.8 EX DC HSM Circular Fisheye Lens for Pentax Digital SLR Cameras
Sigma 4.5mm f/2.8 EX DC HSM Circular Fisheye Lens for Sigma Digital SLR Cameras
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Sigma 4.5mm F2.8 EX DC HSM Circular Fisheye [REVIEW]
The One Question You Should Ask Yourself Before Taking Any Picture
While teaching photography I am often asked, “What do you think about when you take a picture?” This can be a hard question to answer. I’m not bragging when I say I’ve been shooting for 20 years and the art of creating images has become more reflex than quantifiable thought process. I don’t think a whole lot when shooting.
But one questions that does run through my mind, and is the closest I come to thinking before shooting, over and over again before pressing the shutter release is a question I deliver to those looking to improve their photography. That question is simply:
Why am I taking this picture?
The answer to this question often reveals a lot about not only what I’m looking at, but also whether or not I should take up the megabytes and time editing this scene later. Taking a look at some of the likely answers to this question, I want to stress that there is no ‘right or wrong’ in this method. It’s simply a technique to help you figure out what’s going on in your head. It is not a law, just a suggestion.
Because It Is Pretty
This is the most common reason for most images to be taken. The scene in front of us is pretty and we want to capture it, preserve it or share it. The problem here is not every pretty scene makes a great or even good photo. So often the scene in front of us is maybe out of the dynamic range of our camera (a problem solved by using HDR techniques and the march of progress in sensor development). Or maybe it’s a tremendous sunset partially covered by trees. The problem is our mind often interprets the scene in front of us in a way the camera never can.
These types of shots will often remain on your harddrive and not even make it to Facebook to be shared. You get home and look and sigh. “Meh” is often heard when looking at these shots on a computer screen when the magic of the moment has long passed.
It’s my assertion that a scene being labeled as ‘pretty’ alone is not sufficient reason to take a picture. It surely is reason enough to stop for a moment and enjoy the beauty of life. Just don’t forget that ‘beautiful scene’ doesn’t always equal ‘beautiful picture’.
Because It Evokes Emotion
Here now is a great reason to take a photo. If you feel stirred inside with any emotion, chances are the viewers of your image will be too. Emotion is something that connects us as humans and crosses language barriers. If the scene is emotion evoking, I would not hesitate to take a photo at the appropriate moment to try to convey that feeling on a computer screen later. It’s important to note you may not like the emotion being displayed, but that does not mean it won’t be a good photo.
Because It Tells A Story
Sometimes the space inside a frame has a whole story coming to life. Action, suspense, a life well lived. Any theme is fair game and the greatest photojournalists of our time have been masters at finding those stories. When they know just one image is going to be used in a newspaper article, it is important to make that image tell as much as it can. Look for these types of images especially while traveling.
Because It Is Instructional
Photography is a wonderful way to teach. Some of the ugliest photos teach the most important subjects. And not every Pulitzer Prize winning photo is perfectly lined up according to the Rule Of Thirds or with a histogram that is not a pixel overexposed. In fact, taking a photo of something that shows a technique or a different way of doing something will not make the cover of National Geographic, but it will serve a purpose and explain things 1000 times faster than writing about it can.
Because I Want To Remember This Moment
The beach. Hawaii. Umbrella drinks in hand. The love of your life beside you. Toes in the sand. A setting sun.
We’ve all seen this image shared by friends at one time or another. It’s a boring picture. The sun, looking Hawaiian orange, just before it sinks into the bluest ocean you have ever seen. And the sun is centered. So is the horizon. It’s boring for most of us.
But it doesn’t mean you shouldn’t take that shot. It is a great memory for you and every time you look at that sunset image you will be instantly transported back to the warm beach. It also doesn’t mean you need to share the image. That’s the key for images like this. Blow it up and put it on the wall in your office, but don’t force your friends to look at a ho-hum image, because they don’t have that memory come to life when they see it. Share the spectacular images when the lava rolls into the sea while saving for yourself the special, private moments that make you smile.
Conclusion
There are any number of reasons to take a photo. I’m not here to say “Never take a picture because it is just pretty!” But I do think it helps one improve their technique and artistic eye if conscience thought is given as to why an image is taken.
I should also note that about a quarter of the time I simply shoot from a gut feeling and that gut feeling in any photographer should never be ignored.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
The One Question You Should Ask Yourself Before Taking Any Picture
How To Use Zoom Blur To Add Action In Your Photos
Most of us own a zoom lens of one type or another. While I have no specific stat, I’ll say 98% of us do. It seems like a good number and might even be low.
With nearly all of you armed with this type of lens, let’s take a look at a fun way you can add action to your photos. The technique is actually quite simple but takes some practice to master. It is known as zoom blur; blur caused by activating the zoom feature on your lens while the shutter is open. NOTE: While the same effect can be achieved by physically moving your camera closer or further from a subject while shooting, we’ll stick with the zoom feature in this post.
There are three factors that are most important when using zoom blur:
- Where you start the blur (zoomed in or zoomed out)
- How much zoom travel
- How long you spend with the shutter open
Where You Start The Blur
Where you start has a big impact on the outcome of the photo. You can either start zoomed back or zoomed in. My preference is typically to start zoomed out and I’d suggest it for anyone starting out. The reason is it typically allows for the clearest image of the subject before the zoom blur is added. It also gives more of a feeling of the object moving away from the photographer. Here by example, are two different shots of the Memorial Stupa in Thimphu, Bhutan. First, going from zoomed in to zoomed out. (Click on each image for a larger version.)
This image is dominated by the golden frame around the statue as compared to the full stupa in which is sits. This is mostly due to the shutter length (1.6 seconds) and spending more time zoomed in than in transition. For a second example, this shot was started zoomed out and then, using a tripod, I zoomed straight in.
This shot was 2 seconds long and I allowed more time at the beginning to burn in the stupa image before zooming in. Allowing more time toward the main subject, versus time spent zooming, will allow your main subject to stand out more.
How Much Zoom Travel
Next, it matters how much you zoom while the shutter is open. For the shot above, I wanted the lights to extend all the way off the screen. But it didn’t quite work as too much light filled the screen for my liking, obscuring the stupa. Instead, I decided to zoom only part of the way in, hoping it would allow for more of the scene to be visible. I also started further zoomed in to see more of the base of the stupa.
I am also helped here by the center point of the zoom being lower than the brightest lights. This helps when the scene is brightly lit and the light can have a tendency to wash out areas of the subject. For instance, the statue in the center is not blurred because the zoom was fast enough to not let too much of its light be exposed.
BONUS TIP: Give It A Bit Of Movement
Especially when dealing with lights at night, adding in a bit of movement can give some interesting effects. For instance, in the examples below I panned slightly up or down to change the path of the blurring lights.
I will be the first to admit these images aren’t stellar, put-on-a-magazine-cover images. They’re about experimenting and having fun. At times though, with practice, zoom blur can produce some remarkable results as seen in the examples below from Flickr.
Copyright Ernst Vikne
Copyright Balamurugan Natarajan
Copyright Heather Wizell
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
How To Use Zoom Blur To Add Action In Your Photos
How to Photograph Fireworks Displays
Do you want to know how to photograph fireworks? With New Years Eve just days away I thought I’d refresh this article in which I give 10 Fireworks Photography tips to help you get started.
Fireworks Displays are something that evoke a lot of emotion in people as they are not only beautiful and spectacular to watch but they also are often used to celebrate momentous occasions.
I’ve had many emails from readers asking how to photograph fireworks displays, quite a few of whom have expressed concern that they might just be too hard to really photograph. My response is always the same – ‘give it a go – you might be surprised at what you end up with’.
My reason for this advice is that back when I bought my first ever SLR (a film one) one of the first things I photographed was fireworks and I was amazed by how easy it was and how spectacular the results were. I think it’s even easier with a digital camera as you can get immediate feedback as to whether the shots you’ve taken are good or not and then make adjustments.
Of course it’s not just a matter of going out finding a fireworks display – there are, as usual, things you can do to improve your results. With New Years Eve just around the corner I thought I’d share a few fireworks digital photography tips:
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1. Use a Tripod
Perhaps the most important tip is to secure your digital camera to something that will ensure it doesn’t move during the taking of your shots. This is especially important in photographing fireworks simply because you’ll be using longer shutter speeds which will not only capture the movement of the fireworks but any movement of the camera itself. The best way to keep your camera still is with a tripod (read our series on tripods and how to use and buy them). Alternatively – keep in mind that there are other non Tripod options for beating camera shake.
2. Remote Release
One way to ensure your camera is completely still during fireworks shots is to invest in a remote release device. These will vary from camera to camera but most have some sort of accessory made for them. The other way of taking shots without touching your camera is to use the self timer. This can work but you really need to be able to anticipate shots well and its very very hit and miss (read more on remote shutter releases).
3. Framing Your Shot
One of the most difficult parts of photographing fireworks is working out where to aim your camera. The challenge you’ll face in doing this is that you generally need to aim your camera before the fireworks that you’ll be photographing goes off – anticipation is key. Here are a few points on getting your framing right.
- Scope out the location early – Planning is important with fireworks and getting to the location early in order to get a good, unobstructed position is important. Think about what is in the foreground and background of your shots and make sure you won’t have people’s heads bobbing up into your shots (also consider what impact you’ll have on others around you also). Take note of where fireworks are being set up and what parts of the sky they are likely to be shot into – you might also want to try to ask some of those setting up the display for a little information on what they are planning. Also consider what focal lengths you might want to use and choose appropriate lenses at this time (rather than in the middle of the show).
- Watch your Horizons - One thing that you should always consider when lining up fireworks shots is whether your camera is even or straight in it’s framing. This is especially important if you’re going to shooting with a wide focal length and will get other background elements in your shots (ie a cityscape). Keeping horizons straight is something we covered previously on this site and is important in fireworks shots also. As you get your camera on your tripod make sure it’s level right from the time you set up.
- Vertical or Horizontal? – There are two main ways of framing shots in all types of photography, vertically (portrait) or horizontally (landscape). Both can work in fireworks photography but I personally find a vertical perspective is better – particularly as there is a lot of vertical motion in fireworks. Horizontal shots can work if you’re going for more of a landscape shot with a wider focal length of if you’re wanting to capture multiple bursts of fireworks in the one shot – but I don’t tend to go there that often.
- Remember your framing – I find that when I photograph fireworks that I spend less time looking in my viewfinder and more looking at the sky directly. As a result it’s important to remember what framing you have and to watch that segment of the sky. Doing this will also help you to anticipate the right time for a shot as you’ll see the light trails of unexploded rockets shooting into the sky.
4. Focal Length?
One of the hardest parts of photographing fireworks is having your camera trained on the right part of the sky at the right time. This is especially difficult if you’re shooting with a longer focal length and are trying to take more tightly cropped shots. I generally shoot at a wider focal length than a tight one but during a show will try a few tighter shots (I usually use a zoom lens to give me this option) to see if I can get lucky with them. Of course zoomed in shots like the one to the left can be quite effective also. They enable you to really fill the frame with great color. Keep in mind however that cropping of your wider angle fireworks shots can always be done later to get a similar impact in your photography.
5. Aperture
A common question around photographing fireworks displays is what aperture to use. Many people think you need a fast lens to get them but in reality it’s quite the opposite as the light that the fireworks emit is quite bright. I find that apertures in the mid to small range tend to work reasonably well and would usually shoot somewhere between f/8 to f/16.
6. Shutter Speed
Probably more important to get right than aperture is shutter speed. Fireworks move and as a result the best photographs of them capture this movement meaning you need a nice long exposure. The technique that I developed when I first photographed fireworks was to shoot in ‘bulb’ mode. This is a mode that allows you to keep the shutter open for as long as you hold down the shutter (preferably using a remote shutter release of some type). Using this technique you hit the shutter as the firework is about to explode and hold it down until it’s finished exploding (generally a few seconds).
You can also experiment with set shutter speeds to see what impact it will have but I find that unless you’re holding the shutter open for very long exposures that the bulb technique works pretty well.
Don’t keep your shutter open too long. The temptation is to think that because it’s dark that you can leave it open as long as you like. The problem with this is that fireworks are bright and it doesn’t take too much to over expose them, especially if your shutter is open for multiple bursts in the one area of the sky. By all means experiment with multiple burst shots – but most people end up finding that the simpler one burst shots can be best.
7. ISO
Shooting at a low ISO is preferable to ensure the cleanest shots possible. Stick to ISO 100 and you should be fine.
8. Switch off your Flash
Shooting with a flash will have no impact upon your shots except to trick your camera into thinking it needs a short exposure time. Keep in mind that your camera’s flash will only have a reach of a few meters and in the case of fireworks even if they were this close a flash wouldn’t really have anything to light except for some smoke which would distract from the real action (the flashing lights).Switch your flash off.
9. Shoot in Manual Mode
I find I get the best results when shooting in manual exposure and manual focus modes. Auto focusing in low light can be very difficult for many cameras and you’ll end up missing a lot of shots. Once your focusing is set you’ll find you don’t really need to change it during the fireworks display – especially if you’re using a small aperture which increases depth of field. Keep in mind that changing focal lengths will mean you need to need to adjust your focusing on most lenses.
10. Experiment and Track Results
Throughout the fireworks display periodically check your results. I generally will take a few shots at the start and do a quick check to see that they are OK before shooting any more. Don’t check after every shot once you’ve got things set up OK (or you’ll miss the action) but do monitor yours shots occasionally to ensure you’re not taking a completely bad batch.
Also experiment with taking shots that include a wider perspective, silhouettes and people around you watching the display. Having your camera pointed at the sky can get you some wonderful shots but sometimes if you look for different perspectives you can get a few shots that are a little less cliche and just as spectacular. Most of the best shots that I’ve seen in the researching of this article have included some other element than the fireworks themselves – whether it be people, buildings, landmarks or wider cityscape perspectives.
More Tips from DPS Readers
- “Find Out the Direction of the Wind – You want to shoot up wind, so it goes Camera, Fireworks, Smoke. Otherwise they’ll come out REALLY hazy.”
- “Also, I find that if you shoot from a little further back and with a little more lens, you can set the lens to manual focus, focus it at infinity and not have to worry about it after that.”
- “Remember to take advantage of a zero processing costs and take as many pictures as possible (more than you’d normally think necessary). That way, you’ll up your chances of getting that “perfect” shot.”
- “Make sure you are ready to take pictures of the first fireworks. If there isn’t much wind, you are going to end up with a lot of smoke in your shot. The first explosions are usually the sharpest one.”
- “Get some black foam core and set your camera to bulb. Start the exposure when the fireworks start with the piece of foam core in front of the lens. Every time a burst happens move the foam core out of the way. You will get multiple firework bursts in one exposure”
- “Another tip I would add to this is pre-focus if possible (need to be able to manually focus or lock down focus for good) before the show starts so other elements in the frame are sharp They did mention that you only need to focus once but its a lot easier to take a few shots before the show starts and check them carefully rather than wait until the show has begun and you are fiddling with focus instead of watching fireworks!”
Tell us your fireworks display photography tips in comments below. Don’t forget to tell us which city you’re in and what the fireworks are like there!
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PS: Got some fireworks photos to share with us? Head over to our forum where there are a few fireworks photography discussions taking place.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
How to Photograph Fireworks Displays
The Importance Of Preparation – An Interview With Michael Riffle
I missed out on getting the shot above but it wasn’t for chance of a fair warning. Over on Google+, Michael Riffle posted information about a photowalk at Alki Point in West Seattle for an upcoming full moon. He had the location and time dialed in and seemed to know what he was after. The photo above is what resulted from that admittedly lucky December evening in Seattle. More than just a great moon photo, the image speaks to the importance of preparation and planning in certain aspects of photography.
Michael was nice enough to submit to a short email interview and pass on how he planned for and took the shot. You can follow more of Michael’s inspiring photos via his Google+ account. Oh! And if you’re in Seattle and want to meet up for a chance at the next full moon on January 7th, check out this post and leave a comment.
The shot of the moon rising behind Seattle, perfectly framed between two buildings, was not by chance. Did you see this shot before? Or were you starting from scratch?
It’s funny, about the time I started thinking about whether or not getting this shot was possible, I came across an image that showed the full moon near downtown when viewed from this location (but not between two buildings). Obviously the moon in that photo is not in the exact position it is in this photo, but I knew the shot was theoretically possible and that I definitely wanted to put my own stamp on it. From there, I set about planning out the shot.
How did you figure out the best timing for a moon shot like this?
Three words: The Photographer’s Ephemeris (TPE). For a landscape photographer, this is an absolutely indispensible tool. I used TPE on my iPad to line up where the moon should be so it would appear directly behind downtown when viewed from the Alki area of West Seattle and searched for dates when the full moon would be rising near this location. As it turns out, only the three full moons, or so, clustered around the Winter solstice will work for this shot.
Once I got onsite, I used an iPhone app called Star Walk that superimposes astronomical objects with what the iPhone camera is seeing. You can use this to see the trajectory of the moon before it rises and try position yourself so that the moon is an ideal location to get your shot when it rises to the right height.
But all the technology in the world isn’t going to do you any good unless the weather cooperates, and in Seattle, the weather in the Winter months isn’t exactly reliable when it comes to ideal moon photographing conditions. To get this shot, I actually had to go a day earlier than I had planned because the conditions were forecast to be clear that evening, and miserable the next evening.
Were you able to set your exposure before the moon made an appearance or did you have to adjust on the fly?
As it turns out, I was able to set the exposure before the moon made an appearance, but I didn’t expect that to be able to. The horizon was quite hazy, and I honestly wasn’t sure I was even going to be able to see the moon, let alone know how bright to expect it to be! And the light of the setting sun was still directly on parts of the faces of the buildings in the shot, creating wicked glare off of the glass and the water. I spent my time before the moon appeared shooting the buildings and adjusting my exposure for the buildings, and adjusting the angle and polarizing filter to try to minimize glare off of the glass and water.
When the moon did appear, the haze on the horizon coupled with the fact that the buildings still had light on them, minimized the dynamic range in the frame and allowed the whole scene to be exposed correctly based on my pre-moon testing on the buildings.
In the shot, where were you metering for proper exposure?
I am reasonably sure I was using the center-weighted average metering mode, which meters the whole scene but gives the most weight to light levels near the center of the frame. I was shooting in aperture-priority mode and metered on the center of the scene in the shot. However, after initial metering I did manually adjust the exposure up or down until I achieved the exposure I wanted for the shot. I also bracketed -/+ 1 EV.
What post process was needed to bring about the final shot?
The scene was correctly exposed in a single exposure, but I blended 3 exposures (-1, 0, +1) anyway because I thought I could achieve better and more natural-looking contrast in post processing. The exposures were blended using the Enfuse plugin for Lightroom and adjustments were made in Lightroom, mostly to enhance contrast and details.
You have the advantage of living close to where you took your shot. Do you employ any tools when traveling for photography and anticipate a particular shot?
Before going anywhere, I search sites like Flickr for inspirational shots of the location and start forming ideas of where I’d like to shoot. From there, I use tools like The Photographer’s Ephemeris for planning shots based on sunset and sunrise times, moonset and moonrise times, angle of the sun relative to my subjects, and the position of the moon. And when on location, my iPhone and its many apps for showing tide information, meteorological information (i.e., weather forecasts, current conditions, sunrise/sunset times), and maps is quite useful for making decisions in the field.
Any other advice on moon photos or shooting in Seattle?
The moon moves faster than you think! If you’re planning on shooting the moon rising with items in the foreground, like buildings, be ready! It always seems to pop up when you’re not looking, and you’ll be shocked by how fast it moves relative to your stationary foreground. You have a very limited amount of time to get the shot you’ve been planning, so you have to be set and ready to go the second the moon appears.
As far as Seattle goes… just be ready for the weather to have different ideas than you have. 
Conditions are not often ideal, especially in the Fall and Winter months, and when they are, they can change (literally) with a moment’s notice. Waste no time getting your shot, pay very close attention to weather forecasts, and always be prepared to spend time shooting something other than what you necessarily had planned at a specific location.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
The Importance Of Preparation – An Interview With Michael Riffle
Learning about Exposure – The Exposure Triangle
Bryan Peterson has written a book titled Understanding Exposure which is a highly recommended read if you’re wanting to venture out of the Auto mode on your digital camera and experiment with it’s manual settings.
In it Bryan illustrates the three main elements that need to be considered when playing around with exposure by calling them ‘the exposure triangle’.
Each of the three aspects of the triangle relate to light and how it enters and interacts with the camera.
The three elements are:
- ISO – the measure of a digital camera sensor’s sensitivity to light
- Aperture – the size of the opening in the lens when a picture is taken
- Shutter Speed – the amount of time that the shutter is open
It is at the intersection of these three elements that an image’s exposure is worked out.
Most importantly – a change in one of the elements will impact the others. This means that you can never really isolate just one of the elements alone but always need to have the others in the back of your mind.
3 Metaphors for understanding the digital photography exposure triangle:
Many people describe the relationship between ISO, Aperture and Shutter Speed using different metaphors to help us get our heads around it. Let me share three. A quick word of warning first though – like most metaphors – these are far from perfect and are just for illustrative purposes:
The Window
Imagine your camera is like a window with shutters that open and close.
Aperture is the size of the window. If it’s bigger more light gets through and the room is brighter.
Shutter Speed is the amount of time that the shutters of the window are open. The longer you leave them open the more that comes in.
Now imagine that you’re inside the room and are wearing sunglasses (hopefully this isn’t too much of a stretch). Your eyes become desensitized to the light that comes in (it’s like a low ISO).
There are a number of ways of increasing the amount of light in the room (or at least how much it seems that there is. You could increase the time that the shutters are open (decrease shutter speed), you could increase the size of the window (increase aperture) or you could take off your sunglasses (make the ISO larger).
Ok – it’s not the perfect illustration – but you get the idea.
Sunbaking
Another way that a friend recently shared with me is to think about digital camera exposure as being like getting a sun tan.
Now getting a suntan is something I always wanted growing up – but unfortunately being very fair skinned it was something that I never really achieved. All I did was get burnt when I went out into the sun. In a sense your skin type is like an ISO rating. Some people are more sensitive to the sun than others.
Shutter speed in this metaphor is like the length of time you spend out in the sun. The longer you spend in the sun the increased chances of you getting a tan (of course spending too long in the sun can mean being over exposed).
Aperture is like sunscreen which you apply to your skin. Sunscreen blocks the sun at different rates depending upon it’s strength. Apply a high strength sunscreen and you decrease the amount of sunlight that gets through – and as a result even a person with highly sensitive skin can spend more time in the sun (ie decrease the Aperture and you can slow down shutter speed and/or decrease ISO).
As I’ve said – neither metaphor is perfect but both illustrate the interconnectedness of shutter speed, aperture and ISO on your digital camera.
Update: A third metaphor that I’ve heard used is the Garden Hose (the width of the hose is aperture, the length that the hose is left on is shutter speed and the pressure of the water (the speed it gets through) is ISO.
Bringing It All Together
Mastering the art of exposure is something that takes a lot of practice. In many ways it’s a juggling act and even the most experienced photographers experiment and tweak their settings as they go. Keep in mind that changing each element not only impacts the exposure of the image but each one also has an impact upon other aspects of it (ie changing aperture changes depth of field, changing ISO changes the graininess of a shot and changing shutter speed impacts how motion is captured).
The great thing about digital cameras is that they are the ideal testing bed for learning about exposure. You can take as many shots as you like at no cost and they not only allow you to shoot in Auto mode and Manual mode – but also generally have semi-automatic modes like aperture priority and shutter priority modes which allow you to make decisions about one or two elements of the triangle and let the camera handle the other elements.
A lot more can be said about each of the three elements in the exposure triangle. Check out other relevant posts on the topic at:
Note: this post has been updated since its original posting and republished for 2011.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Learning about Exposure – The Exposure Triangle
Travel Photography – Do You Ask Permission Before, After Or Not At All?
Traveling and photography go hand in hand for many of us. New sights are a feast for the eyes and those of use with strong photographic intentions love capturing the color and life we find on (digital) film for sharing back home. Or sometimes just for our own enjoyment.
One subject that comes up time and again for me as a photo tour operator is, “Do you ask permission when taking someone’s photo?” It’s one of the touchiest subjects in photography in general. Ask any seasoned street photographer and you will likely receive a resounding, “No”. Same goes for photojournalists. But most of us don’t fall into those two categories. Most of us are just out enjoying the world and aren’t looking to make a name as a world renowned journalist.
So there the question still lingers. For the average photographer, out on vacation (not on assignment), do you ask permission when taking someone’s photo?
My advice when asked? Yes, always. Most of the time. Except…. You see, it’s not black and white for me (my CCD only records in color). I try my best to ask for permission before shooting out of respect. For me it relates to the Golden Rule and I’d appreciate others asking my permission first if the lens were reversed. Whenever practical, yes, ask. I know, I know….it ruins the shot most of the time. But for me, being respectful of people I share the planet with goes further than bringing home that really cool shot (and unless I’m shooting for a Pulitzer, all the shots are just cool shots). I have found that asking for permission, while ruining one shot, will often lead to other shots that never existed before I said hello. Asking also leads to connection with people in the area I’m shooting, rather than treating them all as decorations that sparkle and amaze me. I also don’t mind taking people’s portraits (which often happens after asking for permission as people tend to pose) so it works both ways.
On the flip side, I do take a number of shots without asking, especially in crowded market situations. I take it on a case by cases basis and often ask after the fact, showing the subject the picture. This can also strike up a conversation leading to more knowledge than if I had never engaged. The cobbler pictured here in Bhutan, mending my boot, became far more animated and talkative after I asked for his image. Especially when his friend in across the street saw me taking the photo. It opened up conversation, eased the comfort level between us and lead to other shots.
Other times it is simply not practical. A stone mason at work high on a wall. Traffic police in the middle of an intersection. There are times when the subject is in plain public view and asking would either not be practical nor advisable. In those cases I try to make eye contact and wave a ‘thank you’ or simply walk on.
What about you? How often do you ask permission when traveling? Do you typically ask before or after and has it ever led to more than you anticipated? I’d love to hear your experiences in the comments section below.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Travel Photography – Do You Ask Permission Before, After Or Not At All?
Zoo Photography Tips
I recently took a trip to the zoo to do a test on a camera that I was reviewing and thought I’d share a few tips that I put into practice along the way.
Zoos are great locations to practice photography as they present us both with a great variety of subjects (both animals and the people watching them) but also with some real challenges. Some of the things you’ll need to overcome in getting great shots at a zoo include:
- Distance – the space between photographer and animal
- Moving Subjects – animals rarely stay in the one place for long
- Tricky Lighting – foliage and indoor/outdoor shooting can prove to be challenging
- Cages and Glass – while many zoos are improving in how they contain their animals and are giving them more natural surroundings the challenge of photographing them without the distractions of reflections off glass or grim looking bars both in the foreground and background add to the ‘fun’ of zoo photography
Zoo Photography Gear
What camera and gear will you need to get good photos at a zoo?
The answer to this question will vary a little from photographer to photographer depending upon their style, the type of shots that they want to take and the type of zoo that they’re visiting – however, a long zoom lens will almost always be handy to have attached to your camera.
Camera/Lenses – This means you’ll either need a DSLR with an attachable longer focal length prime lens or telephoto lens (something with an upper length of 200-300mm would probably be handy) or a point and shoot camera with a super zoom lens (probably a 10-12x Optical Zoom).
Also consider taking a macro lens if you’re lucky enough to have one. At our zoo we have a number of enclosures where they are handy (a butterfly enclosure for example).
Tripod – Also consider a tripod or monopod (depending upon the weather and how light it is, you’ll probably find that in some animal enclosures you’ll need to use slower shutter speeds which mean you’ll need the extra stability).
Lens Hood – the combination of shooting outdoors, having limited angles to shoot from (which means sometimes you’ll need to shoot into the sun) and that at times you’ll be shooting through glass means that a lens hood might be handy to have. I actually left mine in the car and as it was a bright day my images suffered considerably as a result.
Zoo Photography Tips
1. Points of Interest – Before you start photographing an animal ask yourself ‘what is it about this animal that interests me?’ What has drawn you to photograph it above other animals around you? Does it have great colour, is it in a humorous pose, is it about it’s expression, is it something about it’s surroundings? The reason to ask these questions is that they help you to identify potential points of interest for your image (something that will take your shot to the next level) and will help you to determine how to approach the shot.
2. Get in Close – as with many styles of photography, if you’re able to get close to your subject you create a feeling of intimacy with it and are able to capture details that you’d not otherwise have been able to see. Of course with animals in cages this is a challenge and getting close will almost always need to be done using a longer focal length (you can of course help a little by shooting for as close as you can get – without breaking any zoo rules). Tightly cropping the animal’s face or body helps you get shot with a real impact but also helps eliminate any distracting elements in the photo.
3. Focus on the Eyes – the eyes are the ‘window to the soul’ in portrait photography and a similar thing is true when shooting animals. Get the eyes in focus and in a prominent position in your shot and you’ll help create a more personal connection between your subject and the viewer of your image.
4. Get down Low - photographing an animal down at their level is another way of creating a sense of closeness and intimacy with your subject. This might mean you need to get down on your knees (and get a little dirty or look a little silly) but it will give your shots punch.
5. Eliminating Reflections – shooting through glass is a real challenge and something to avoid if you can. If you can’t get around it get in close to the glass, give it a wipe with a cloth (or your sleeve) to get rid of finger prints, find a spot that is less scratched than other parts, use a lens hood and/or your hand to try to eliminate any reflections and attempt to shoot at right angles to the glass. If you can’t eliminate reflections you might also like to try to work with them. Take a few steps back and incorporate the reflections of those watching the animals into the shot (hard – but if you get it right it could make for a great shot).
6. Shooting through Cages – there’s nothing worse than trying to shoot through the wire or bars of a cage. On occasions you’ll be able to find a wider opening (look for the bigger gaps around gates) but when you have to shoot through cages get up as close as you can to them, use a longer focal length, choose a wider aperture and wait for the animal to move back from the cage. In many instances when you do this you’ll not even notice the distraction of the cage at all. But what if you are using a point and shoot with no control over aperture? Try switching to portrait mode which is a mode that uses a wide aperture and should narrow your depth of field.
7. Shoot People – speaking of people – they also make a great subject when at the zoo. Don’t just focus on the animals but look for the wonderful reactions of those around you as they react to the animals (they can sometimes be more animated than the animals as they mimic them).
8. Look for Humorous Situations - animals do the funniest things. Keep your camera up to your eye for that moment when the monkey points at you, the giraffe picks it’s nose with it’s tongue (sorry – they do do it) or when the Emu pokes its head through the cage to steal something out of someone’s bag.
9. Treat Animals as Moving Subjects – to overcome the problem of your subjects always being on the move consider shooting with a fast shutter speed. You might like to switch to shutter priority mode at a fast shutter speed or let your camera do the work by shooting in ‘Sports’ mode. You can also help with this by shooting in continuous shooting mode so that when your subject is on the move you capture a burst of shots quickly one after the other.
10. Plan your day - I’m a fairly spontaneous kind of person but when it comes to photography have learned that it’s worth thinking ahead. When you get to the zoo get yourself a map and work out which animals will be on your hit list. Also note any feeding times that are publicised (these can make for some action shots). You might also like to find a zoo keeper to ask them what times certain animals are more active. Another good strategy is to head to the gift shop of the zoo and take a quick look at their postcards and picture books that might give you a little inspiration and a few ideas on good shooting angles for different animals.
11. Patience – occasionally you’ll stumble upon an animal in the perfect pose for a shot when you first see it – but in many cases you’ll need to wait for it. Once you’ve picked the animals you want to capture give yourself extended periods of time to camp out at their enclosures. This way you’ll hopefully see them in a variety of positions and with different expressions. This is what often takes your zoo shots to the next level.
12. Think About Context – the beauty of zoo photography is that you get relatively close to animals (something that is obviously difficult in the wild). The challenge is that the environment is not a natural one and that on many occasions there will be distracting elements in the background or foreground. Where possible try to shoot from angles where ‘natural’ looking elements are included (vegetation etc) – but where there are distractions you might like to try using wide apertures (small numbers) which narrow depth of field and throw foreground and backgrounds out of focus. Also try cropping with focal length (or later at home with photoshop).
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Halloween Photography Tips
With Halloween just a few days away I thought it was time to update our Halloween Photography Tips article with some new information and photos.
Photography Tips to Keep in Mind for Halloween
There are plenty of subjects around to photograph at Halloween ranging from the traditional jack-o-lantern through to people in costume, to trick or treat ‘treats’ etc. It’s a time of color, emotion and lots of interesting subjects.
The keys to capturing them are not that different from the normal keys to good composition in photography. As you photograph Halloween this year keep in mind some of the basics of good digital photography. I’ve selected the following tutorials that we’ve written before that should be helpful in your Halloween photography:
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Find Points of Interest
Before hitting the shutter ask yourself ‘what is the focal point (or point of interest) in this image?’ All good images have something in them that holds the attention of those who view them – learn more about focal points and how to enhance them here.
Rule of Thirds
One way of enhancing the composition of your shots is to place your points of interest inn smart positions. While the rule of thirds can be broken with great effect it’s a useful principle to keep in mind.
Fill Your Frame
Halloween is a time of drama and you can add to this in your images by getting in nice and close and filling the frame with your subjects. Whether it’s people or objects – getting in nice and tight will usually add punch to your shots.
Give Subjects Space to Look into
When photographing people one of the most effective compositional techniques is to use the space around their faces effectively by giving more room on the side of their face that they’re looking into.
Find Fresh Angles
I suspect that the day after Halloween that photo sharing websites will be filled with images of pumpkins that all look much the same. Make your images stand out by finding fresh perspectives to shoot from.
Photograph the Details
It’s easy to be distracted by the flashy parts of a time like Halloween but it’s often when you step back, take a look around and notice the smaller details that you find the ‘money shots’. Times like Halloween are filled with all kinds of smaller details and photo worthy moments including decorations, carving the pumpkin, people getting dressed in costumes, sleeping kids at the end of parties, bags full of treats at the end of the night, the ‘fangs’ in Aunt Marie’s mouth, before and after shots of parties, close ups of food etc
Group Photos
Halloween is a time that people gather together and it’s an ideal time to practice your group photo techniques.
Image by John Althouse Cohen
Candid Photography
Halloween parties are a great time to get your camera out for some candid photos of your friends and family having a great time dressed up in all manner of costumes. Check out these 11 candid photography techniques.
Shooting in Low Light
The type of images that come to mind when I think of Halloween are fairly dark and spooky ones – candles in pumpkins etc. After all, the real action of Halloween seems to happen after dark. As a result you’ll want to think carefully about the light sources for your shots.
To really capture the mood of these situations you’ll want to avoid the stark and bright light of flash photography (or will want to at least pull it back a few stops and diffuse it) and so you’ll need to switch off your flash and do one (or all) of three things to some extent (this is from our exposure triangle series of posts):
- increase your ISO – the larger your number the more sensitive your image sensor is to light and the darker conditions you can shoot in without having to slow down shutter speed. On the downside you’ll get more grainy/noisey shots.
- slow down shutter speed – choosing a longer shutter speed lets more light into your camera. On the downside you’ll see any movement in your shots blur (which might add to the spookiness of the image but could also ruin it). Consider using a tripod if you lengthen your shutter speed.
- use a larger Aperture – this widens the hole in your lens and lets more available light in. It will also lessen the depth of field in your shots. If you have a DSLR with a few different lenses is to use the ‘fastest’ lens you own as it will let you choose larger apertures. For example my f1.4 lens handles low light much better than my f4 lens.
Diffuse Your Flash
Another strategy that I’ve heard of some readers doing at this time of year is diffusing the flash on your camera with colored cellophane to try to lesson its impact upon your shot and also to give the light it produces a glow that might add to your shots – Red might be a good color to try. You’ll probably want to test this before the big night as getting the right density of diffuser will be critical.
Jack-o-Lanterns
Photographing Jack-o-Lanterns is particularly tricky as to get the full effect of the glowing inside the pumpkin is a bit of a tightrope walk between overexposing and underexposing due to the light and dark patches in the shot you take. Instead of just one candle inside it is probably worth using two or three to give a little extra light. Also take a number of shots at different exposures (exposure bracketing) and you should get one or two that give you the impact you’re after.
Got some Halloween Photos to Share? Post them we’d love to see them over at our Forum.
PS: here’s one more shot from one of our forum members who has submitted some amazing pumpkin carving photographs here:
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Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
9 Pet Photography Tips
This guest post on Pet Photography was submitted by Antoine Khater at All Day I Dream About Photography.
Pets fill very quickly their place in our hearts and families and we enjoy having their pictures framed on our desk or wall! However taking pictures of your best friend is not always easy. Pets, unlike humans, do not understand what we are trying to do and won’t just pose for the camera! Here are 9 tips that will help you help you get the most of your photo session
1. Use Natural Light
If possible always use natural light when taking your pet in picture. Avoid flash, as flash burst can, not only cause red-eye, but also frighten the animal. Instead try to go outside or, if it is not possible, in a room well lit by a large window.
2. Keep the Eyes Sharp
Having sharp eyes is important in any kind of portraits photography. As they say, “Eyes are the Window to the Soul” and pets eye can be very expressive. So make sure to focus on your pet’s eyes and keep the tack sharp
3. Go to Them
It is very important that you pet feels comfortable and at ease, so instead of forcing him to come to you go to him. Most important is to get down to his level; We all know how a dog looks when viewed from above, this is the way we always see them. Show us the way they see world! Sit on the floor or lie on your belly and remember to shoot from HIS eye level or below.
4. Give Value to their Character
You know your pet better than anyone else, and a successful picture is one that conveys the character of its subject. If you have a lazy cat show him yawning, if your animal is of a playful type show him in action performing his favorite trick.
5. Go Macro
Put on that long lens and fill the frame with your pet’s face and fur, close up shots often make beautiful animal portrait.
6. Surprise Them
One of the most difficult things is to let your pet hold still. An easy trick is to let him play quietly and, once you have everything ready, let someone call for him or whistle. This will surprise him and caught his attention and you will have a few seconds to capture him in a nice and alert posture
7. Schedule your Session
If you are longing for a formal pet portrait shot, try to schedule the photo session when you’re animal is somewhat sleepy or has just woke up it will be much easier to keep him still then. If you want a more dynamic shot then pick up a time when your pet is energetic. If he is sick it is better to just postpone it for another day.
8. Be Patient
Pet photography requires a lot of patience. No matter how excited your furry friend is, if you are patient enough, he will end up by relaxing and you will have the opportunity to get a decent shot.
9. Experiment
Take your time and enjoy the session, try different approaches, angles and compositions. Shoot a lot you will have time to worry about the results later.
You have a tip that I forgot to mention here ? Make sure to share it with us
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Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.