Secrets of photographing birds in flight: Part II

Travel to destinations to view wildlife in their native habitats is getting more and more popular. Images of flying birds are among the most coveted photos for “wildlife travelers,” because making photographs of flying birds is both challenging and satisfying.

In Part I, I discussed my secrets for shooting birds in flight covering such issues as: location, lighting, exposure, photographer's clothing, best lenses, RAW vs. JPG and more. In Part II below, I discuss my secrets about composition, focus, handholding, and using tripods and monopods.

Secrets of photographing birds in flight: Part I

Travel to destinations to view wildlife in their native habitats is getting more and more popular. Images of flying birds are among the most coveted photos for “wildlife travelers,” because making photographs of flying birds is both challenging and satisfying.

Over the years, I've learned a few secrets about wildlife photography, and how to make great images of birds in flight. I'd like to share what I've learned, which may help you make wonderful photos of flying birds for yourself.

Intro to Night Photography: Cityscapes — Focus, Noise, Exposure, Effects

At night in a city, virtually any city, the scene before you changes dramatically. In some locations the architecture and spirit of the city is merely enhanced, shown with a different, though recognizable look.

In other locations, the city at night transforms into a new place, sometimes brighter and more adventurous, sometimes more alive and mysterious.

Either way, making images of cities at night can allow you to often capture a “new city” with a different life than it has during the day. Making photos at night has its own challenges, but it's still subject to the same set of constraints as daylight photography; aperture, shutter speed and light sensitivity. The difference is, these constraints often push you and your equipment “to the edge,” compared to photographing the same city during the day.

Last week I discussed night photography trade-offs and constraints, the potential of star trails at times, and the equipment needed to produce high quality night photography in cities.

This week we'll get down to the nitty-gritty of actually making our night cityscapes. We'll talk about focus, noise and camera settings

Intro to Night Photography: Cityscapes — Constraints and Equipment

At night in a city, virtually any city, the scene before you changes dramatically. In some locations the architecture and spirit of the city is merely enhanced, shown with a different, though recognizable look.

In other locations, the city at night transforms into a new place, sometimes brighter and more adventurous, sometimes more alive and mysterious.

Either way, making images of cities at night can allow you to often capture a “new city” with a different life than it has during the day. Making photos at night has its own challenges, but it's still subject to the same set of constraints as daylight photography; aperture, shutter speed and light sensitivity. The difference is, these constraints often push you and your equipment “to the edge,” compared to photographing the same city during the day.

Nikon begins taking D750 returns for free flare banding fix

If you own a Nikon D750, by now you've probably read about the confirmed reports that many D750 owners have a problem with lens flare in images, under specific conditions, due to the D750 itself. At certain angles, an ugly dark band shows up across the top of images, separating lens flare from the edge of the frame.

On December 29, 2014 Nikon acknowledged the problem and stated they were working on it. Then on January 9th, Nikon announced they planned to offer free D750 inspection and servicing, including all shipping costs, of the D750's light-shielding components and would adjust, as necessary, the AF sensor position which apparently is the major cause of the dark banding problem.

Nikon announces free repairs for D750 flare banding problem

If you're a Nikon user, you might have been following the stories about the confirmed reports that D750 owners have been reporting about a problem with lens flare in images, under specific conditions, due to the D750 itself. At certain angles, an ugly dark band shows up across the top of images, separating lens flare from the edge of the frame.

On December 29th, Nikon acknowledged the problem and stated they were working on it. This morning Nikon announced that starting at the end of the month, they will inspect and service at no cost D750's light-shielding components and adjust the AF sensor position. (See story update below.)

Understanding and Achieving Image Focus and Sharpness: Part IV

Image sharpness depends on multiple factors including focus.
While it's true an image can't be sharp unless the subject is in focus, the converse is not necessarily true, that an image which is in focus, will necessarily be sharp. Image sharpness is fundamentally controlled by focus, but there are other important factors which enable in-focus images to be sharp.

In Part I we looked at how modern digital cameras autofocus (AF), and what factors influence AF systems' ability to focus quickly and accurately.

In Part II, we discussed choosing the best focus mode for a particular subject, manual or autofocus, or using them together, as well as single versus continuous focus, all to achieve a solid focus for a variety of situations common to travel photographers.

In Part III, we got to the nitty-gritty of using autofocus and manual focus, including looking at the different AF area and tracking modes, and focus locking methods.

In Part IV, below, we discuss photographer focus technique, and other factors which enable photographers to make sharp images.

Understanding and Achieving Image Focus and Sharpness: Part III

Image sharpness depends on multiple factors including focus.

While it's true an image can't be sharp unless the subject is in focus, the converse is not necessarily true, that an image which is in focus, will necessarily be sharp. Image sharpness is fundamentally controlled by focus, but there are other important factors which enable in-focus images to be sharp.

In Part I we looked at how modern digital cameras autofocus (AF), and what factors influence AF systems' ability to focus quickly and accurately. In Part II, we discussed choosing the best focus mode for a particular subject, manual or autofocus, or using them together, as well as single versus continuous focus, all to achieve a solid focus for a variety of situations common to travel photographers.

In Part III, below, we'll get to the nitty-gritty of using autofocus and manual focus, including looking at the different AF area and tracking modes, and focus locking methods.

Understanding and Achieving Image Focus and Sharpness: Part II

Image sharpness depends on multiple factors including focus.

While it's true an image can't be sharp unless the subject is in focus, the converse is not necessarily true, that an image which is in focus, will necessarily be sharp. Image sharpness is fundamentally controlled by focus, but there are other important factors which enable in-focus images to be sharp.

In Part I we looked at how modern digital cameras autofocus (AF), and what factors influence AF systems' ability to focus quickly and accurately.

In Part II, below, we'll discuss choosing the best focus mode for a particular subject, manual or autofocus, or using them together, as well as single versus continuous focus, all to achieve a solid focus for a variety of situations common to travel photographers.

Understanding and Achieving Image Focus and Sharpness: Part I

Image sharpness depends on multiple factors including focus.

While it's true an image can't be sharp unless the subject is in focus, the converse is not necessarily true, that an image which is in focus, will necessarily be sharp. Image sharpness is fundamentally controlled by focus, but there are other important factors which enable in-focus images to be sharp.

In this multi-part series, we'll discuss what it takes to make a photograph look sharp. We'll look at how to successfully focus your camera on your chosen subject, and how to make your well focused image actually look sharp.

In Part I we'll look at how modern digital cameras autofocus (AF), and what factors influence AF systems' ability to focus quickly and accurately.

Tips to capturing aquarium images while traveling

There are amazing public aquariums for travelers to visit for hours of great enjoyment and learning. Some house more than 10,000 colorful and interesting wildlife species.

Photographers in public aquariums encounter a myriad of challenges; fish in constant motion, darkness, dirty glass walls, water which washes out even the brightest colors, and general bans on tripods, monopods and flash use.

Here's my public aquarium photography tips to assist in capturing great images from your visit:

Focusing your DSLR even while wearing glasses

According to the Vision Council of America, about 75% of US adults use some sort of vision correction. About 64% wear glasses, and about 11% wear contact lenses exclusively, or part time with glasses the remainder of the time.

It seems safe to assume that the same percentages apply to photographers in general, including travel photographers, and those on vacation.

Unfortunately, many photographers who wear glasses seem to have difficulty focusing their DSLRs and composing their images due to their inability to see the image fully in their camera's viewfinder, “edge to edge.”

Fortunately, for most photographers who wear glasses, there are both equipment solutions and techniques to help with focusing and image composition.

We need to start with the photographer's glasses. Prescription lens glasses are either single-focus or multiple-focus. Multiple-focus lenses can be bifocals, trifocals, and progressive lenses. Of these, the most difficult to use while photographing are trifocals and progressive lenses.

It's not sharp! Are you sure it's in focus?

One of the most asked questions I receive by email is, “My close-up photos are sharp, but the ones taken from 25 feet away or longer aren't. Do I have to have my camera focusing fixed?”

Many photographers expect that if a camera has focused properly, all their photos will look sharp.

Let me dispel that idea immediately. It's not true.
Sharpness is, to a large extent, in the “eye of the beholder.” While one person may consider a photograph sharp, another person might not. Don't ask me to define sharpness, I can't. Nikonians tried, but personally I think its definition (below) is gobbledygook.

Lenses for Travel Photography - Part V (Lens qualities and characteristics in purchase decisions)

This week in Part V of my seven part series about lenses for travel photography, I discuss what qualities and characteristics are important to consider when choosing lenses for travel. The series is primarily meant for SLR and DSLR camera users, who can attach a variety of lenses to their cameras to support their creativity, and suit the needs of their photographic opportunities.

Unfortunately for anyone purchasing lenses, there are a myriad of lens qualities, specifications, and characteristics which should be considered. Even if you’ll be purchasing nothing but the absolute best quality pro lenses, you will be weighing choices and making compromises.

You’ll have to decide the relative importance of specifications and characteristics for you photography to make your lens choices. This article should help you familiarize yourself with what you need to consider, and why, when purchasing your lenses.

Lenses for travel photography - Part II (Important Specifications)

This week in Part II of my seven part series about lenses for travel photography, I’ll discuss important lens specifications you should keep in mind when purchasing or choosing lenses for your travel. The series is primarily meant for SLR and DSLR camera users who can attach a variety of lenses to their cameras to support their creativity, and suit the needs of their photographic opportunities.

Among the important lens characteristics you should understand are:

• Focusing and sharpness
• Largest aperture and for zoom lenses when applicable, the range of the largest aperture at the full range of the lens’ focal lengths
• Magnification
• Focal Length
• Special Features such as Vibration Reduction, Focus Limit Switches, Extra-low Dispersion (ED) elements, special lens coatings, and no lens extension
• Potential problems such as focus softness in corners, vignetting (light falloff), chromatic aberration, and distortion
  
  

Night Photography: Overcoming the Obstacles, Reaping the Rewards

In last week’s article, Night Photography: Pushing the Limits, Understanding the Obstacles, I discussed some of the difficulties encountered in Night Photography.

In this week’s article, I’ll discuss how to overcome those problems to produce wonderful night images which help tell one’s travel stories.

When it’s possible to use one, the tripod is absolutely the best tool for photographers to make great night photographs. A well-chosen tripod with a quality “head” can enable photographers to hold their cameras motionless to create high quality night photographs.

Night Photography: Pushing the Limits, Understanding the Obstacles

Photography at night has plenty of obstacles, but is also full of rewards for travel photographers.

Many locations have interesting sights and looks during the day, and a whole host of different sights and looks, and another atmosphere in the evening. Las Vegas many interesting photographic opportunities during the day, but it seems as though it’s at night that Las Vegas really comes alive. The night photography opportunities in Las Vegas are almost limitless.

Another location with great night photography opportunities is the “La Ville-Lumière” (The City of Light). While Paris, France, was originally given that nickname due to its fame as a center of education and thought during the Age of Enlightenment (eighteenth century), its early adoption of street lighting (In 1828, Paris began lighting the Champs De Elysées with gas lamps. It was the first city in Europe to do so.), and its use of electric light beginning in the 19^th century for street lighting and later to illuminate monuments established the nickname forever.

Photographing from boats and ships

I don't know about you, but I like cruising. I've been on large ships and small. I also enjoy canoeing and rafting. Taking photographs from any of these craft can be a real challenge.

Viewpoints can be highly limited. On a ship you may be far above the water's surface. In a zodiac or raft, you're right at the water. Water can change light conditions, and its movement can affect the photographer's ability to capture the image desired.

The photographer's ability to transmit the scale of the image is often impared in water shots as the frame of reference relevant to the photograph's viewer is missing or unfamiliar. In addition, the environment of being in a boat or on a ship can be hostile to your photographic equipment, and taking photographs.

Getting my camera ready for the day's travel photography

While traveling, or for that matter, during any photo shoot, for a variety of reasons, photographers may vary any number of major camera settings which control exposure metering, focus, shutter mode, etc. By the end of the day, one’s camera’s settings may be significantly different than when the day began.

The next morning, it’s likely we won’t remember how the camera’s settings were left at the end of the prior day. That can result in  photographs which need extensive retouching and repair, totally blown shots which can only be discarded and missing great shots all together.

At some point this happens to everyone, but it is avoidable.

Focus, overcoming the "fuzzies" Part 2

In Part 1, I discussed how auto-focus works, and many of the modes of auto-focus found in today’s camera’s. In Part 2, I’ll discuss how to use auto-focus, difficult auto-focus situations, and when to manually focus your camera if it has that capability.

A not so famous photographer said in 2007, “Out of focus photographs give me a headache.”¹

Visiting the National Zoo’s panda exhibit where the glass wall separating visitors from the bears has a zillion finger prints and other dirt, travelers notice their photographs of the Pandas are out of focus, but the fingerprints on the glass are “sharp as a tack.” Seriously, wouldn’t that give you a headache?

When I first started pursuing photography seriously, auto-focus wasn’t even a dream, but today, auto-focus is the standard, and on most cameras, in most situations it does an outstanding job, more quickly, and sometimes better than photographers can do for themselves. Please note the use of the phrase, “in most situations,” and the word “sometimes” in the previous sentence.

If you want your photographs consistently to be in focus, care and thought must be given to the process.

For good auto-focus the photographer must be cognizant of how auto-focus works. For stationary subjects, the general technique used when auto-focus is difficult is called, “focus and recompose.”

Utilizing your knowledge of how auto-focus works, you allow the camera to find the ideal “focus” for your photograph, then, after locking-in the focus, compose, or rather “recompose” the image to that desired. This is only possible if your camera permits manual focus lock. Most auto-focus cameras utilize the shutter release button to lock the camera’s auto-focus when the button is pressed halfway down. As long as the button is not released, the focus will be locked, and remain locked until the photograph is taken by pressing the shutter release all the way.

We already know, to auto-focus, the camera must find the edges of your subject on which to focus by sensing the differences in the scene’s contrast. For difficult to focus stationary subjects I use single area focus and directly point to an edge or line on the subject. If that won’t work, I’ll focus on another object, equidistant to the subject of the photo. I lock the focus and compose my image, all the while holding the shutter release halfway down, then when ready, take the photo.

Sometimes, if conditions permit, I close the aperture of the lens to the extent possible to lengthen the depth of field, to better ensure good subject focus. That can have negative results, however, if it brings into focus, objects you would rather have out of focus to make your main subject stand out.

For subjects in motion, such as birds, I suggest using continuous group dynamic focusing. This allows the camera to use multiple focus points to auto-focus, so if the subject moves for a moment, away from the photographer’s primary focus point, it will remain in focus while the photographer pans the camera to keep composing the image as photographs are taken. This mode, allows the camera to more easily find those elusive edges for focusing on moving objects. A method to assist you focus on a moving subject, such as a bicycle rider, is to prefocus on something which is stationary and equidistant from where the rider will be going across your field of vision.

Sometimes, the camera’s auto-focus can be fooled into focusing on the wrong subject. The National Zoo’s Panda exhibit mentioned above is a perfect example. At zoos, we want to take photos of animals behind glass or chain link fences, but our cameras often auto-focus on the glass or fence. In that situation bring your camera as close to the barrier as possible, such as in between the links of the fence. This brings the fence or wall too close for the camera to focus on it, so it ignores it, and focuses on the real subject instead.

If you have manual focus available in your camera, there are times it’s the best focus method to use. For macro or close-up shots, night photography, portraits where I generally focus on the eyes, fireworks, low light or distant landscapes, I manually focus my camera.

A final thought. For many landscapes, I concentrate my focus on the foreground of my image, and let the focus be what it may for the rest of the photo. This is the way our eyes generally focus on outdoor scenes, and is a very natural look for landscapes, where the background focus is a bit soft.

¹Completely frustrated with a lens that was “back focusing” while traveling in Los Angeles in 2007, when reviewing photos taken earlier in the day, which had to be re-taken, I said, “Out of focus photographs give me a headache.”