Photo Tripods

To get good shots of animals and birds, you will have to learn to be quick in setting up and framing your shots. Waiting until you get out in the wilderness to learn these tricks is not a good idea. What I found to be very helpful was practicing on my cats and on birds in my yard or local parks. You learn to anticipate their behavior and react fast to get the good shots. Here are some tips on how to get the best shots of animals and birds in the wild.

Practice taking shots of moving targets. Learning how to pan moving targets will allow you to take dramatic photographs with a sense of speed.

Keep your camera handy and set up for unexpected encounters. Make sure you have fully charged camera batteries and plenty of film or memory.

Before you go into an area, read up on what kinds of animals and birds are commonly found there. Learn all you can about these animals and birds. This will help you know where to look to find them and what kinds of behavior to expect.

Learn to walk and move quietly and practice freezing your position so that your presence is not startling or threatening to the animal.

Learn to be observant of everything around you using all your senses. With a little practice, you will gain the ability to be aware of small movements, unusual colors or sounds, even smells that can tip you off to the presence of an animal or bird even when they are well camouflaged. I cannot believe how many times I’ve watched people walk right by wildlife without noticing them. Hiking with an awareness of your surroundings enhances your experience immeasurably.

In the wild, telephoto lenses are basically a must. This brings you in a little closer without scaring the animals. The use of a tripod is not always mandatory, if you have enough light you will be able to shoot at a fast shutter speed to eliminate shake. Some telephoto lens have vibration reduction technology but are considerably more expensive.

When you photograph animals and birds, make sure the focus is sharpest on their eyes.

Shoot small animals from a lower angle.

The best times of the day for viewing and photographing wildlife are early in the mornings and just before dark. This is when wildlife is usually most active and the light is the most dramatic.

Try to keep the sun at your back so that the light falls directly on your subject.

Using all these tips will help you improve your nature photography. The very most important thing is practice, practice, practice and don’t forget to enjoy yourself!

Street photography is an approach to photography rather than a location, although the streets are the usual place that it happens.

“When I saw the photograph of Munkacsi of the black kids running in a wave I couldn\’t believe such a thing could be caught with the camera. I said damn it, I took my camera and went out into the street.\” Henri Cartier-Bresson

Alternatively it is refered to as no rules photography. The plethera of equipment (tripods, lenses,filters,lights etc etc) associated with \”serious\” photography is left at home, or better still in the camera store. Its just too heavy and bulky to cart around, takes way too long to set up and by the time it is set up the moment is gone.

Street photography is shooting from the hip.

Likewise the rules of photograph, the f stops, the shutter speeds, the rule of thirds etc etc are left in their dust jackets on Amazon shelves. By the time all the technical considerations are taken into account, the birdy is in another country.

Thank Canon, Nikon, Fuji et al for point & shoots.

It is just the camera and the photographer with their enthusiasm, intuition and open mind.

Street photography can be and often is: Out of focus; a tilted horizon; a soft focus.

Street photographers are optimists, for them the glass is always half full. They go out on a photo shoot with no plan in mind secure in the knowledge that this wide world of ours will provide. A subject, a situation, a scene will present itself all they have to have is the presence of mind to capture it when it does.

Street photography can be and often is: Odd things in the foreground; no central focus; odd crops.

Street photographers see the usual, the every day with fresh eyes. The reflection in a rain puddle, the colours in a crowd, the balance of a negative space. Their minds are open to all the stimuli that they see and they curse the days when they leave their camera at home.

Street photography can be and often is: very busy; a tilted perspective; upside down.

Street photographers are not only on the streets, they are at weddings,school concerts, next to you on the train. They look a lot like tourists, its their favourite cover but they are one without the big flash. It was left at home, the available light will do.

Street photography can be and often is: under exposed; blurred; suffering from vertigo.

Street photography is, what all photography is, a snap shot.

What shines through is the photographer, his/her interpretation of the scene, what they see in the situation, their reaction to the stimuli, the art they see in the every day.

Technicians take technically correct and often pretty pictures.

Visual artists, whatever their medium, create images that stimulate the mind, the heart and validate the human condition in all its guises. Because, after all, pretty is in the eye of the beholder and consequently very subjective, whereas art speaks to all who are prepared to listen.

Using a telephoto lens to get in close to the action or sneak up on a subject from a discreet distance is terrifically exciting, and can yield great pictures. But the high magnification of long tele and zoom lenses accentuates the effects of camera shake caused by your inability to hold the camera and lens absolutely still. The effects of wind, moving or shaking floors, residual vibration from camera mirrors flipping up just prior to exposure, atmospheric haze, and heat waves can also add problems.

Cold, tired, been drinking stimulants (coffee, tea, or cola)? They add to your problems. Avoid them all if you can and don’t despair.

When handholding your camera and lens, start with a fast film, ISO 400 or higher. This will allow you to use higher shutter speeds (1/1000 sec and above) and minimize the effects of shake in a variety of lighting conditions. Use the proper stance: arms closely tucked into the body, elbows partially supported by the chest or abdomen, lens and camera balanced by the left hand and arm.

Practice supporting and focusing the camera with your left hand, aim the camera slightly above the subject, take a deep breath, let the view drop to the proper composition while exhaling, and gently press the shutter.

For support, find a fence post, parked car, or folded jacket. Lean on it or rest your camera on top of it while shooting. If you have such a support, a 1/30 second exposure isn’t an impossibility, even with a 500mm lens. You’ll be using slower shutter speeds more often than you’d like. The minimum shutter speed rule of thumb for hand-holding a long tele or zoom lens is this: Slowest safe shutter speed = 1 over the lens focal length.

For example, if you’re shooting with a 500mm f/4 lens, the limiting shutter speed for a handheld shot would be 1 /500 second at the correct aperture for a good exposure. This rule applies to a properly-braced photographer standing on solid ground.

Chest braces, rifle stocks, and similar devices aren’t as practical as a lightweight monopod or tripod. A monopod is easy to carry, and you can set it up just about anywhere.

It won’t allow you to set shutter speeds as slow as you can get away with using a tripod. But it will let you shoot safely—that is, without a serous risk of image-softening shake—at speeds two or three steps slower than you’d have to use if you were shooting handheld. That may make it possible to shoot in lower light, and/or to use a slower, finer-grained film.

Get a monopod that can be raised to your eye level, is quick and easy to set up. If you shoot a lot of verticals, you may want to add a good swivel ball head for maneuverability.

A tripod is the best device for insuring minimal effects from vibration with a long tele or zoom lens. With a sturdy one, you can use slower shutter speeds and lower ISO-higher resolution films. If you own a shaky tripod, tie a three to five pound weight to the center column for added stability.

Physically long teles should have tripod-mounting collars to attach the lens at the proper fulcrum to the tripod rather than the camera. You can also use a secondary support for the camera like Bogen’s Long Lens Support. This telescoping brace attaches to most tripod legs via a universal clamp at one end and a swivel ball head for the camera at the other. The brace makes it more difficult to change camera position, but it considerably lessens the effects of vibration.

If you’re on shaky ground, tripods won’t help. They’ll actually transmit the motion right to the lens and camera. It’s better to handhold the camera if you can set a reasonable shutter speed, and let your body damp the vibration.

Atmospheric haze and heat waves can’t always be eliminated, but using a haze or polarizing filter can help cut through the haze and increase color saturation and contrast. Also, use your lens hood, or shade the lens, to minimize the possibility of flare.

Few techniques in photography require more expertise and skill than the successful use of a long tele or zoom lens. If you want to become more proficient, practice, practice, practice!

Did you ever put your flash unit in manual mode? Did you ever manually turn on the flash when taking a day time outdoor photo? For many the answer to both questions is “no”. For most amateur photographers flash is just a solution for taking photos when there is not enough natural light. Although a legitimate use of flash photography there is much more ways to efficiently use flash. In this article we will cover the various types of flash units available, the different scenarios under which they can be used, the advantages of using flash to achieve better photos and the common mistakes people do when using flash photography.

As with any other technology knowing how it works behind the scenes and what your options are can help in better utilizing it for your advantage. Flash photography has been around for more than a hundred years. It started with a dangerous and manually controlled technology that used a powder that was lit by either fire or electrical current. These flash solutions were both dangerous and hard to use since the flash was not automatically synchronized to the camera’s shutter. Modern flash units use an electronic flash tube that is synchronized with the camera’s shutter. When turning the flash on the photographer does not need to worry about flash timing – the camera takes care of it automatically.

There are two types of flash units: Internal and External. The internal flash unit is built-in to your camera. It can be controlled through the camera’s menus. Some low end cameras only allow the use of their built-in units. Some low end cameras and all high end cameras also allow the attachment of an external flash unit. External flash units are either attached to the camera’s body through a dedicated slide-in slot or are connected to the camera using a cable. They vary in strength – how much light can they generate for how long – and in mechanical characteristics – can they be tilted or skewed or are they fixed in relation to the camera’s body. Regardless of the connection type external flash units are electronically connected to the camera and are synchronized with the shutter.

When setting your flash unit to automatic mode the camera fires the flash in scenarios where not enough light is available. Many times the camera will make a wrong judgment and will either fire or not fire the flash when the opposite was needed. Also in some scenarios the camera will not be able to tell that firing the flash will actually result in a better photo. One problem when using a flash is washed out photos. When the flash is too strong or the object is too close to the camera the result is a washed out photo there are not enough details and the object appears to be too white or too bright. Another problem is a photo with too many details: in some scenarios the flash can create artificial shadows and lights which result in a photo that includes details that are exaggerated relative to their appearance in real life. For example when taking a photo of an older person skin wrinkles and imperfections can look much worse than they really are in real life.

It is important to know the limitations of the flash unit. Any flash unit has a certain amount of light that it can generate. Usually this amount can be translated to an effective range for using the flash. When trying to take a photo with the object too far – more than the flash unit range – the object will appear dark. When trying to take a photo with the object too close to the camera the object will be washed out or too white. It is important to know your flash range and make sure that your object is within that range.

If you need to take a photo with your objects not within your flash unit range it is better to turn off the flash completely and use a tripod with long exposure. Using the flash in such scenarios can fool the camera into setting a high shutter speed which results in a photo darker than a photo taken without using the flash at all.

In some scenarios the camera will not automatically fire the flash although using the flash would have resulted in a much better photo. One such scenario is taking a photo during day time when the object is shadowed. For example if the object is wearing a hat the hat can block the light from the object’s face or when the object is lit from the side the object’s nose can block the light creating a shadow. In such scenarios the flash unit can be set to “fill in” mode. The flash will be fired to fill-in those shadowed areas but it will not be fired strong enough to wash out the photo.

Another scenario is when the sun is behind the object. One example is taking a photo on the beach against a sunset. If taken without a fill-in flash the result will most likely be a silhouette of the object. If taken with a fill-in flash and the object in range the result will be a clear photo of the object against a sunset.

In conclusion your flash unit can be a great tool. Although for many using the flash in automatic mode is enough for the more sophisticated photographer who wants to achieve higher quality photos understanding and experimenting with the flash unit can yield great results. Following some simple rules such as making sure objects are within the flash unit range and using fill-in flash when shadows can appear on the objects is easy and significantly improves your photos.

When it comes to buying a tripod there are a few things that need to be looked at and checked out. All tripods will come with a replaceable head or a fixed head. Some of the tripods on the bit more expensive side will come with a replaceable head that allows the photographer to select the size of the head that will fit your camera. Some of the tripods that are great for amateurs come with a fixed head and in compact style for easier use and carrying ability. Most tripods that have the fixed heads will come with the tilt and pan handles.

Tilt and pan heads have two different handles attached to them from the sides or bottom. One is used to move the camera up and down and the other is used for the side-to-side direction. These types of heads are vital to the movie industry and anyone wanting to take mpegs with a digital camera. The ball and socket heads work well with still photography and it is needed for a firm locking and an easy give for the use of one or more camera that may need to be changed during photo shoots.One of the most popular types of tripods are tabletop or mini tripods.

It is quite simple to mount a camera on to a tripod; all you need to do is screw the camera on it. Yes, it really is that simple! Tripods are used to keep your camera steady and extremely still. In the photography world there is an unwritten rule of thumb on when one should be used, 1/focal length s. For an example if you have a 200 mm lens, the slowest speed that you should use without a tripod is 1/200 s. Anything over that your camera should be mounted on a tripod for a more clear and steady picture.

Tripod:

In order to successfully take a good photo, it is important you use a tripod. Tripods will result in sharp, clear pictures. Photographers who do not use a tripod will often experience blurred images.

Prepare:

Take plenty of batteries and film for your camera. Don’t rely on finding stores, it might be difficult to locate supplies on location. Even worse, you may loose precious time or keep others waiting while looking for supplies.

Shoot:

Take multiple shots, so you can guarantee the outcome of your pictures. Experiment: Adjust your camera settings, different lighting, different camera angles. Try to find what works for you.

Groups:

If you are taking a picture of a group indoors, and conditions are fairly dark, there is danger that the people near you will be overexposed and the people further away will be a little in the dark. If you can arrange the group so that they are all equidistant from the camera. That way there will be an even spread of light.

Lighting:

Avoid direct sunlight, as this can alter natural coloring. A bright but overcast day is perfect. Get up early and shoot the sunrise in the best location. Scout the area the day before or during the dead time during the high noon sun. During midday if you have to shoot, try using a polarized on the lens. Use the filter only at a 90 degree angle from the sun. You must open up approximately 1 to 1 1/2 stops or more sometimes in order to compensate for the diminished light coming through the filter. Meter a gray card and open up from that reading.

Also use the polarized lens at sunset for some great effects on landscapes. The best time to take the majority of night shots is shortly after the sun has set. This allows a small amount of natural light to work with. Set your camera’s resolution at or near its highest setting (largest file size). The last thing you want is a grainy photo. In the majority of instances it is usually best to have the sun behind you when you take a picture. But watch out for shadows your own and the subjects.

Framing:

Look for ways of naturally framing a shot. Framing accentuates the main subject. Fill your frame!

Closeups:

Move in close. When first starting out you will be surprised at the difference moving closer to the subject will make. Handheld close-ups are often blurry or overexposed. A tripod is essential for taking good close-up shots, especially smaller items. An image stabilizer in the lens is a huge bonus because it means you can handhold the camera in lower light conditions and not have blurring occur in the final picture.

In this article, I shall provide a list of the digital camera key features that you should think and know about. Here’s a summary of what to look for:

1.Resolution

Resolution determines how sharp your image will be, how much you can enlarge a photo before the pixels start to becomedistracting, and how much you can crop a photo and still be left with adecent image that you can enlarge and manipulate.

2.Lens

The lens is the eye of your digital camera. Look for the following in your lens:

•You’ll want good-quality optics that focus a sharp image on yourcamera’s solid-state sensor. The best way to gauge the quality of the lens is to take a test photo or two. A vendor’s reputation or lab tests in magazines are other ways to evaluate a lens.

•The lens also needs enough light-gathering power to let you shoot inreduced light levels. A camera’s light-gathering capabilities are measured in something called f-stops.

•The magnification power of the lens (how large or small an image appears to be from a particular shooting position) is another factor. A digital camera’s lens magnification can usually be varied by zooming in and out to make the image larger or smaller.

•A related factor, the zoom range, is another key characteristic to look at. Where magnification tells you only how large or small theimage can be made to appear, the zoom range tells you the differencebetween the two. As I mention under the discussion of generalcamera categories, some lenses have only a small zoom range, say 2:1,whereas others have a longer range, up to 12:1 or more (which meansthe image size can be varied up to 12X).

What’s the difference between magnification and zoom range?

Magnification deals purely with how large or small an image appears to sbe. For example, one lens may extend from a 28mm (35mm equivalent)to 85mm (35mm equivalent) magnifications, a 3:1 zoom range. Another lens might go from 35mm to 105mm (both 35mm equivalents) and also qualify as a 3:1 zoom range optic. However, the second lens would provide more relative magnification.

3.Storage

The kind and amount of removable storage is another key feature. The more storage space you have for photos, the more pictures you can take before “reloading” your digital camera. Most cameras use CompactFlash, Secure Digital, or other electronic “film” media.

4.Exposure controls:

Except for the least expensive models, all digital cameras include automatic exposure controls that adjust the amount oflight reaching the sensor based on the lighting conditions of your subject. If the illumination is low, an auto exposure system uses a wider lens f-stop or exposes the sensor for a longer period of time. If there is a lot oflight, the exposure system reduces the amount of light reaching the sensor. Cameras with more versatile automatic exposure controls let you specify what type of exposure to use. For example, when shooting action, it’s often preferable to use the shortest shutter speed possible to freeze the motion and to adjust the size ofthe lens opening instead. Conversely, if you want a lot of your image to be in sharp focus (say, objects very close to the camera and very far are both important), you may be able to choose an exposure mode that favors maximum depth of field. You probably want a digital camera that can handle several different exposure modes and lets you set exposure yourself.

5.Focus controls

Most digital cameras also have an automated system for sharply focusing your images. Some are more versatile than others, and many cameras also let you focus manually to ensure that the subject matter you want to emphasize is the sharpest.

6.Viewfinders

Digital cameras generally have four ways to let you preview and compose your images prior to exposure. The color LCD panel on the back of the camera shows you the same image that the sensor is capturing. The LCD is often hard to view in bright light, so digital cameras also may have optical viewfinders that let you see a non electronic version ofthe frame. More-advanced cameras might include a second LCD (EVF) in the camera, where it is shielded from the glare of the surrounding light. Single lens reflexes (SLRs) let you see an optical version of the picture through the same lens used to take the photo.

7.Other equipment, other features

Finally, as you choose your digital photography gear, think about accessories, such as tripods, filters,add-on lenses, external electronic flash units, scanners, printers, and additional stuff. Even the storage media you use to archive your photos, such as CDs or DVDs, can all be important.

Most people don’t want to mess with their digital camera’s settings. The rest of us may not understand what they are for and what they can do. Camera manufacturers realize this and are making it easier to take great photos. It is done through a feature called scene modes. Scene modes are mini-programs designed to automatically adjust your camera’s settings that are best suited for the situation. By merely twisting a knob or pushing a button a few times, you are able to quickly and easily adjust your camera to get a great shot nearly every time.

Here are some of the more common scene modes and what they do:

Backlight – eliminates dark shadows when light is coming from behind the subject or when the subject is in the shade.

Beach/Snow – this mode is used when photographing beach, snow and sunlight water scenes. Exposure times and white balance are set to help prevent the scene from becoming washed out looking.

Fireworks – shutter speed and exposure are set for shooting fireworks: pre-focusing and the use of a tripod is highly recommended.

Landscape – this mode is used to take photos of wide scenes. The camera automatically focuses on a distant object.

Macro – is used to take close-up shots of small objects, such as coin, flowers or insects. The lens can be moved closer to the object than in other modes. The use of a tripod is highly recommended.

Night Scene – is used when photographing night scenes – what else? Slow shutter speeds are used. You’ll need that tripod again.

Panning or Action – this mode will “freeze” the action of the subject while blurring the background to give the feel of motion or speed.

Panorama – is used to take a series of shots from one point and “stitch” them together with software to make a wide angle scene.

Party Mode – is used to take photos in a dim lit room. Exposure and shutter speeds are adjusted for room brightness. The camera must be held very steady in this mode.

Portrait – this mode automatically focuses on the subject and puts the background slightly out of focus.

Sports – is similiar to action modes. Fast shutter speeds “freeze” the action. Best shots will result when taken in bright lighting conditions and when you are pre-focused on an area.

Sunset – is used to take photos of sunsets and sunrises. This mode helps keep the deep hues in the scene.

Some cameras have as many as 20 different scene modes. Some modes will automatically adjust the size of your photo for on-line auction. Some are supposed to take 10 pounds off the subject. Regardless of how many scense your camera has, always read the instruction manual. Each manufacturer has their own terminology. By understanding and using scene modes, you will get a great shot every time.

Photography is an art, and therefore there are no set rules for getting the perfect pictures. The following tips, however, will help to improve your photographic style, experiment, and get great pictures on a regular basis. Whether your subject is a child, a pet, or nature, try some of these tips on your next photographic foray.

1. Get on Their Level – With a live subject it is important to get at eye-level before taking the shot. For children and pets this may mean kneeling, squatting, sitting or even lying down to get on the same level as your subject. While it is fun to experiment with different angles, you will have much greater success if you look your subject in the eye.

2. Fill out the Frame – Photographs are more powerful and interesting if the subject fills out the frame. Many photographers make the mistake of being too far from the subject. It is best to zoom in close enough the that the subject reaches or goes just beyond the edges of the photo frame in your view finder. This allows the viewer to see more detail and expression, and prevents the background from taking over the photograph.

3. Get a Little Closer – When you think your shot is set, try taking a few steps closer. Get in closer to your subject will show detail and emotion that add interest to your photographs.

4. Simple backdrop – When photographing a specific subject be aware of what is going on behind them. You want to choose a backdrop that will not distract or obscure the look of the subject. Choose plain color background or simple natural greenery with few accents to really highlight your subject.

5. Use the Flash – Most people think that outdoor photos never require the use of a flash, but that is not the case. When the sun is at its brightest, can be the time when it casts the most shadow. Adding a flash on an already sunny day can even-out the shadows cast by wrinkles, strange angles, or other people. Just make sure that your camera flash is close enough to the subject to be effective.

6. Watch the Light — Light is one of the most important factors in photo taking. When you get ready to take a shot, pause for a moment to take accounting of where the sun is and what shadows may be obscuring the view. You don’t want your subject squinting into the sun, nor do you want the light so bright behind them that it makes the subject look dark in comparison.

7. Go Vertical – Don’t get stuck in a rut. Many pictures would look better if you just turned them vertically. There are certain subjects that lend themselves to a vertical framing such as lighthouses, the Eiffel tower, or a beautiful tree. Try going vertical with some less likely subjects to see the difference it will make.

8. Get out of the Middle – Another common mistake photographers make is to put the subject of the photograph directly in the middle of the frame. This technique is usually not the most pleasing to the eye. Instead shift your subject to one of the four corners of the frame so that it is prominent, but not center stage.

9. Steady does it – Make sure the camera is steady when you are taking photos. A steady camera will prevent a blurry photo. If you are not the best at holding steady consider using a tripod to get a clear shot.

10. Shoot Away – If you really want to get better pictures, take more pictures, more frequently. With a digital camera it is no longer a waste to snap away. Feel free to take a lot of photos of the same subject, just varying the angle, lighting, or backdrop. Experimenting will allow you to find the tricks that work best for you, and will ensure that you will have at least a few great shots of each subject.

All of us had the experience of shooting photos just to find out they look blurry or too soft. In almost all cases the reason for that is camera movement. When the camera moves while the shutter is open the result is a soft or blurry photo. Usually camera movements are small and for that reason in high shutter speeds the camera does not have an opportunity to move enough. However in some scenarios such as slow shutter speeds or high zoom values even the tiniest movement will result in a blurry photo.

Most photos are taken when the camera is held in your hand. The hand is an unstable platform and tends to move quite a bit. Moreover new digital cameras are smaller and lighter than ever before and are much harder to keep stable. Another cause for camera movement is aggressively pushing the shutter button which in return moves the camera. It is always better to squeeze the shutter button very slowly to prevent the camera from moving. Choosing the right camera for weight, grip and shutter button sensitivity is a recommended way to minimize camera movements in the future.

As a general rule photos that are taken with slow shutter speeds or high zoom values should be taken using a more stable platform than your hand. A stable platform can be anything that is stable: a table, a shelf, a chair or a newsstand in the street. However the platform that is considered the most stable and professional is the tripod.

There are many types of tripods and they vary in size, weight, price and other features. The most important criteria when choosing a tripod is to pick one that will be easy to use. For example if you are traveling consider a tripod that is easy to carry and lightweight otherwise you will end up leaving the tripod in the hotel room while missing great photo opportunities. On the other hand if you take photos in a studio consider a heavier professional tripod.

Another important feature to consider is the tripod’s height. Many tripods can be locked at any height up to a maximum. Ideally you would want a tripod that extends to your height allowing photos to be taken from the same angle as your eyes as if they were taken by hand. Many portable tripods extend to a waist height or less. In these situations the tripod will be put on a raised platform or the photos can be taken from a low angle.

In cases where a tripod is not available but a stable platform is needed you can improvise by using many other available platforms around you. For example you can place the camera on a table when taking a photo or if you’re outdoors you can use a newsstand, a tree to lean on, a fence or anything else that is stable enough.