Recently, while I was in Salt Lake City I had a chance to work with Sigma’s 17-70mm F2.8-4 DC Macro […]
Learning how and when to use different settings and options for image capture is one of the most important parts of becoming a stronger photographer. There’s no setting or camera function that’s going to be perfect for all situations, while is exactly why there are so many options. For example, every DSLR offers a couple variations on Autofocus for either a Single-shot or Continuously tracking autofocus.
Each has it strengths and purposes, and even with that, there’s still times when switching the lens to manual focus is the best way to ensure that your chosen subject and focal point is sharp in the image. In this piece, we’re going to look at three photos of seagulls to briefly explore and explain the reasons why to choose one type of AF or manual focus over the others.
A year ago I purchased a 24 megapixel Sony NEX-7 to use as a backup camera during a trip to Belgium, Germany and France. I carried Sigma’s 19mm and 30mm f/2.8 prime lenses. The quality of the photographs amazed me every evening when I downloaded the day’s take. Those results made me carry my “big boy” Canon 5D Mark 2 less than I’d originally planned. The professional quality coupled with it’s touristy—amateur look, I was never questioned in museums, cathedrals, gardens or when I was doing street shooting.
One way to create eye-catching imagery is to break the rules. When you shatter these rules, you stop people in their tracks! One of the first rules of portrait and fashion photography I learned was to NOT use a wide angle lens when photographing people. I was told this would distort their features and be unflattering to the model. But what if you use the wide angle on purpose to distort and exaggerate a scene? Then it creates visual interest and impact. Now your images stand out and become memorable.
Many times in my career I’ve had to work in locations I’ve never seen before. During that time I’ve had maybe 20 minutes to figure out where I’m going to set up my session. Whether I’m teaching a workshop/seminar or even with my new clients, it certainly gets my adrenaline working. This article is about the steps I take to make this successful.
First and foremost, the placement of my subjects has to do with the light as always. I’m driven by the quality of light available to me as well as the direction and location of where the light is coming from. Sometimes I will actually test out the light before photographing if possible so that I can see for myself what it looks like on the subject. I’m always looking for the light that will be the most pleasing for my client.
Most of my portrait work is all about photographing young children and their families. In most cases I have been working with these families for years. This session I’m about to share with you is one of my most recent.
Whether the age group of the children is between 3-5, or a more adult family like these three children ages 10-17 with their dogs, it’s always a challenge to come up with new ideas and expressions that tell some kind of story and reflect where they are in their lives. Most of my sessions are about documenting a certain time in my client’s life. With this family, Charlotte, who is now 17 is a senior in High School. My task is to create a senior portrait for her along with photographing the whole family and each individual child.
Shooting a portrait at high noon can be an intimidating thing for many of us. The light is harsh, contrasty and unflattering. Furthermore, the light in the scene creates unsightly overexposed highlights and deep underexposed shadows. The ‘dynamic range’ of this scene is too much to capture all of the tones in a single frame.
Of course, it’s easier to just avoid high noon for portraits, but sometimes the situation is unavoidable. Don’t worry! You don’t need to bring tons of flashes or studio strobes on location or any expensive equipment to save the shot!
When our camera reads the light in a scene, its trying to give us an ‘average’ or middle grey exposure. […]
Just four short weeks ago Fedex showed up at my door with a shiny new Sigma 18-35mm f1.8 Art lens. […]
Macro lenses are for making pictures of bugs, watch parts, coins, jewelry and other tiny stuff. Right? Well not necessarily. Recently one of my model buddies wanted some beauty photographs that mimic Cover Girl makeup ads. We gathered one Friday morning at my studio and went to work. I set up an evenly lit white background using V-Flats while Hope had her makeup done by Kristen White.