Photographing fireworks on New Years in cold climates

New Years comes this Saturday, and with it, across much of the U.S. like across much of the globe, that means fireworks displays. In much of the U.S., Canada, Europe and Asia, that also means cold weather.

Photographing fireworks takes planning and knowledge at anytime, but cold weather makes photographing fireworks even more challenging as we have to contend with both the cold which will sap the strength strength of your battery and can cause condensation to form on and in your camera and lens. Dressing for cold weather can also make it more difficult to handle your camera.

Here are my tips for photographing fireworks in cold weather.

Using photography contest judging criteria to help photographers self-assess

Many photographers struggle to create an insightful set of principles to self-assess their work. Getting a critique from trusted photographers is an excellent idea, but without regular in-depth, honest image critiques of their own work, photographers will have a tough time improving and growing.

I offer for consideration, using the criteria photography contest judges use to assess images, as the basis for photographers to develop their own workable, rational approach to self-assessment.

When I began to ask colleagues for assistance, by having them critically assess my work, I found that they typically zeroed into the technical aspects of my images. While there is little doubt the quality of focus, bokeh, color, exposure, lighting, composition, etc. are important, I knew that there were other issues that should be included in any image critique. Over the years I developed my own assessment checklist.

Interestingly to me, many years later, when I began to be invited to be on photography contest juries, I found that my list and the contests' guidelines for judging entries were essentially the same. Therefore, for photographers serious about improving their craft today, rather than struggle to create their own checklist, I suggest using the criteria developed by photographers to judge work in photo contests across the globe.

To chimp or not to chimp, that is the question

Had the Bard of Stratford-upon-Avon been writing about a renowned photographer rather than a prince, the famous soliloquy might have started, “To chimp or not to chimp, that is the question.”

Regardless of what the Bard might have written, that's a question I'm often asked.

In the early days of digital photography, as it began to supplant film photography for professionals and amateur enthusiasts, many photographers discovered a feature of digital cameras never possible with film cameras. It's the ability to review images immediately after making them on the small image display monitor on the back of digital cameras.

At that time, more than a few photographers seemed to constantly review their images on their camera's monitor screen. The practice became known as “chimping.”

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.

Avoiding Beginner Photography Issues and Mistakes Revisited

Travel photography requires versatility and knowledge of a variety of photographic genres. Beginners must be serious about learning the craft if they want to produce solid travel images. When engaged in travel photography, beginners have two major issues to overcome; a lack of confidence and a lack of basic photo knowledge.

It's hard to study and learn from practical experience when you have little confidence in your equipment. Often, when I'm leading photowalks or workshops I hear, “If only I had your gear.”

What makes a photograph great?

It seems to never fail, that in an exhibition of photographs, there are always one or two which stand out from the rest. Even though decisions are mostly subjective about how great an image is, most people zero into the same few images they consider great.

Invariably it's not one or two characteristics of an image that make it great, but a host of them, and how they work together. Contrary to popular belief, the qualities which make a great photograph aren't a secret of professional photographers and editors. Anyone who thinks about it, can figure it out.

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.

Travel portraits: family, friends, and interesting subjects

When traveling with friends and family, most travelers eventually want to get a nice travel portrait or two. Travelers often try to capture interesting portraits of a local inhabitants.

Sometimes the friend/family exposure is dictated by where and when you're there. Sometimes the “choice” of background and light is made, in part, to keep a famous background in the photo, to say, “We were there.”

Sometimes you can choose the time of day your photographing, the background, and the way your traveling companions are facing, thereby control how light illuminates your subjects but more often, locations and schedules dictate exposure details.

The place and time for portraits of local inhabitants is rarely in the traveler's control, but the photographer can often control their position to help set up the portrait.

Snapshots versus Photographs — Taking versus Making Images

Periodically I receive emails from travelers who compare travel photographs made by me and other professionals, with their own, taken in the exact same place, why theirs look so different from the professional shots.

They typically send me an example of their photography, although, invariably I already know why there's a difference. It's not that they don't have the technical ability or knowledge to shoot wonderful photographs. It's ordinarily their approach, their conception of their photographs and the process to make them. Simply put, it's the difference between a snapshot and a photograph.

When I'm out touring I don't merely “point and shoot.” I look for specific composition possibilities to show off the natural beauty, the architecture, history, landmarks, the general location, the culture of the location, etc., before me.

I take time to get away from the viewfinder to see and experience where I am, rather than immediately point and shoot at each scene or landmark I see. If your trip is always revealed from the narrow viewpoint of your camera's viewfinder or monitor, you'll miss far too much of the travel experience. You'll miss the fun of travel, much of the interaction with what surrounds you, and you'll miss the best photographs too.

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.

Basic Composition 001

The best photos taken are the photos which are carefully planned.

Even while traveling, when we’re often rushed, when we’re preparing to go to the next site, or the next destination, taking the time to plan the current photo will produce the best photo of the current scene.

Sure, planning each photograph means setting the proper exposure, getting the focus right, and ensuring other technical aspects of the photograph, such as white balance, are as desired, but making a great photograph goes well beyond that.

Making terrific travel photographs, or any photographs, requires a well thought out composition. Carefully select your precise image and its design, order and presentation of the image’s subject matter to grab the viewer’s attention, and help them understand the photograph’s story.

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.”

Focus, overcoming the "fuzzies" Part 1

Ansel Adams said, “There is nothing worse than a brilliant image of a fuzzy concept.” While I certainly agree with Adams’ sentiment, if your photo is out of focus, no one will care about your image.

Today’s digital cameras, whether expensive DSLRs or low end Point & Shoots all have remarkably accurate automatic focus capability, but sometimes, your image composition, or conditions which are a bit out of the ordinary, can defeat any camera’s auto-focus.

In Part 1, I discuss 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.

In auto-focus, the camera senses the difference in contrast between the edges of objects as seen through the lens. When the subject has sharp contrast differences, the camera will probably easily and correctly focus. If the edges of your subject are fuzzy, or aren’t clearly distinguishable from the surrounding background, the camera will have difficultly focusing, if it can at all. When this occurs, the camera’s auto-focus system will keep searching to find a clear sharp edge. This is sometimes called hunting.

Usually, in brightly lit conditions where the subject’s color makes it stand out from the background, auto-focus has little problem. If the light is dim, or the subject is similar in color to the background then auto-focus probably won’t work. Likewise, if your subject has multiple line patterns, it may have too many edges and the auto-focus system may not be able to decide on one to use, and therefore hunt. The same thing happens when there are many objects in the focus area.

Recently, at a forum I frequent, a photog new to his DSLR told us how he tried to take a photo of a coyote about 100 yards away. He was trying to understand why his photograph was out of focus. The problem was the image was monochromatic, with the coyote blending into the background. In addition, in the overall landscape the coyote wasn’t much more than a blip. The camera’s auto-focus really didn’t have a chance. The photog needed to manually focus in this situation.

Auto-focus has a number of methods or modes it uses to determine at what distance from the camera it should focus the lens to produce a sharp image. The modes have different names, according to the type of camera and brand. I’ll briefly discuss the major modes.

Face Detect:

The camera automatically detects the location of faces in the photo and focuses on them. If you’re taking a photograph of a single individual, or a small group of individuals in a single row, or “scrunched” together, I’ve found this mode works exceedingly well, especially on newer cameras.

The mode has difficulty when you’re photographing people of different complexions, and large groups in multiple rows or at tables, as they depend on depth of field and the photographer doesn’t control the actual point of focus.

Dynamic Area (No Frame):

The camera uses information from multiple focus points in a specific area of the image to determine focus. This mode is especially suited to continuous focusing, for action photographs. In this mode, the camera gets to choose the primary focus point in the focus area, not the photographer, which can be a problem.

Group Dynamic:

This mode is similar to the Dynamic Area mode. It uses multiple focus points in a specific area of the image to determine focus, but unlike Dynamic Area focus, the photographer chooses the primary focus point within the focus area. This mode is especially suited to continuous focusing, when shooting action photographs.

Closest Subject Priority:

In this mode the camera focuses on the closest object of significant size in the image. The problem with this mode is when the closest subject is not the main subject and the camera focuses on the wrong part of the image. I never recommend this mode.

Single Area:

In this mode, the photographer chooses which focus point among all the available focus points for the camera to set the focus. In some cameras, it’s always the center focus point. This is an excellent mode for portraits or any photograph in which your subject(s) are stationary.

For many amateur photographers, Face Detect mode can be extremely helpful in taking photographs of groups, as long as you understand its shortcomings.

I never utilize Dynamic Area focus due to its uncertainty, but do use its cousin, Group Dynamic focus, when I’m using continuous focusing for action photographs.

For stationary subjects, I use Single Area mode, and use the focus point which matches the location of where I want to focus in the photograph, or I use the center focus point (more often than not), focus, then recompose my image to get the precise composition of the image I desire.

Part 2 next week.

By Request: What do I do before my first photo of the day?

This article is most applicable for those using digital single lens reflex cameras (DSLR), but if you're using a Point and Shoot camera, or a film SLR camera, there are many relevant ideas in the article which apply to your camera too.

Before I use my DSLR, during a trip, or otherwise, I assume its settings are incorrect for the first shot of the day. I go through a 11 point checklist before I start each day's shooting, when I travel, or anytime I'm taking photographs.

Before I started this procedure I can't tell you how many great photos I thought I took before realizing that my meter method was wrong causing dark photos, or my ISO was too high causing graining photos unnecessarily.

You often don't get a second chance in photography, so you've got to take advantage of your opportunities when you get them.

Before running through the checklist, I do two additional things. The evening before, I recharge my camera's batteries (I use a vertical grip on my camera which uses two rechargeable batteries.) as well as my spare batteries. Next, I check my camera's sensor, to see if it's grimy, and clean it, if necessary. Don't wait to the last minute to check your sensor. Cleaning can take time. Moreover, since it's possible to damage your sensor during cleaning, you don't want rush the process.

When traveling I always take my cleaning kit. Zoom lenses draw air into DSLRs when the are zoomed in and out. Some dirt and dust is in the air almost everywhere. When you change lenses on a DSLR, even if you take precautions, dirt and dust can enter the camera and lodge on the sensor. Take my word for it, if you use a DSLR long enough, eventually your sensor will get dirty. That dirt will show up on your photos, and while you can normally "fix" the photo, you're better off eliminating the need to fix it.

My cleaning kit consists of:

• A Sensor Loupe which enables me to easily see any dirt and dust on the sensor.
• A Giotto Rocket hand air blower which is the first device I use to clean the sensor.
  
• An Arctic Butterfly brush which is the second item I use to clean the sensor, when necessary.
• The correct size Sensor Swabs and Eclipse cleaning solution which I use to clean hard to remove grime on the sensor. I follow the general procedures of the Copper Hill Method of sensor cleaning when using these products.
  

Most of the time, just using the Giotto Rocket will take care of loose dirt or dust. During a trip, I check out my photos on my laptop nightly, not just to see the photos themselves, but to see if I have a grime problem.

With a clean sensor, and fully charged batteries, I'm just about ready for the day's shooting, but before I start, I have to make sure I didn't leave the camera set strangely when last used. That might even be the prior evening. Here's my checklist for my Nikon D200:

1. My Nikon DSLR has 4 available groups of custom settings. I make sure that I have set the camera to the group I want to use.
2. I set the ISO setting to that desired, which is usually 100.
3. I set the White Balance to the setting appropriate for current conditions.
4. I double check that the image quality, size, and file type are correct.
5. I make sure that the camera mode (aperture priority, shutter priority, manual, programmed auto) is set appropriately. I typically use aperture priority. I never use auto.
   
6. I make sure that the metering method (3D color matrix, center weighted, spot) is set properly. I normally use 3D color matrix.
7. I make sure that my exposure compensation setting (used to alter camera's suggested exposure according to conditions) is appropriate.
8. I make sure that my auto focus (AF) area mode (single area, dynamic area, group dynamic, closest to subject priority) is set to the desired mode, which is generally group dynamic. I never use closest to subject priority mode.
9. I make sure that the focus mode (single, continuous, manual) is set as desired. Most of the time I set it to single. On some DSLR/SLR lenses you must also set the focus mode, as it can override the camera setting.
10. Many of my lenses have Vibration Reduction (VR). Some cameras use Image Stabilization. Both attempt to automatically compensate for camera shake. I make sure my lens VR settings are as desired. For example, the VR on my Nikkor 18mm-200mm lens can be turned on or off as desired, and either set to normal or active mode.
11. Finally, I make sure my shooting mode (single frame, continuous low, continuous high, self timer) is set properly. Most of the time, it's set to single frame. For sports it's often set to one of the two continuous modes, so I can just hold the shutter release button down, and let it continuously take up to 5 photos per second.
    

Your camera may use different terminology, and have different settings, but I think you can easily use this checklist to develop your own.

Have a great trip and take lots of wonderful photos.

Photographing through glass and Plexiglas

While traveling, we often run into challenging photographic situations: a helicopter or small plane flying over the glaciers of Alaska, a glass wall protecting the Pandas at the National Zoological Park, a glass display case containing a great work of art at the Louvre, or a striped burrfish behind the glass of the National Aquarium. You might even want to snap a more mundane photograph of people at work, behind a large, plate glass window.

Great photos can be crafted in each of these situation, but you must be prepared to meet the "glass challenge;" reflection and focus.

Reflections on glass can be a photographer's bane, but sometimes a friend. One of the biggest problems with reflections is our brain works so well that sometimes we don't even notice small ones, but the camera doesn't miss a thing. As photographers, when working through glass, we must make ourselves aware of these reflections, which sometimes can even be us, or our clothing.

When shooting through glass, some cameras have trouble focusing on the subject and attempt to focus on the reflections on the glass. This must be overcome.


In the above photograph of a tailor shop in the Olde City area of Center-City Philadelphia, I wanted to capture the whimsy of the window painting of a tailor at a sewing machine. That required me to focus at the window, and use a midrange aperture (f8) to create significant depth of field to keep the shop in focus behind the window. Fortunately, when I came by the shop, the sun was behind the buildings across the street, so sun and building reflection was at a minimum, however, I had to wait for traffic to move past the shop to eliminate their reflection.

1. If you can, don't use a flash. That will immediately eliminate its self-reflection. When you must use a flash, do not direct its light straight on or you will get a photo of the flash of light it produces. Move the flash head to an angle so the flash's reflected light bounces off the glass at an angle, not directly back into the camera's lens. If you're taking a photo through a display case, and have an "off camera" flash, try using the flash from above the case. Using a "fast lens," a lens which can open its aperture very wide, can mitigate the need for flash use.

2. Perhaps the easiest was to eliminate reflections and focus problems is to hold the camera as close to the glass as possible to avoid glare and reflections. If you can, use a rubber lens hood, if you have a DSLR, to seal out light, or if its a point and shoot camera, use your hands at the side of the camera to do the same. This also has the benefit of eliminating problems of dirty glass as you will be focusing past the dirt on the subject behind the glass. If you need a wide view, use a wide angle prime or zoom lens. This is a great way to photograph at an aquarium.

3. Sometimes you can't get very close to the glass, since you want a wider view of the subject behind it. If the light is from a single source, such as often found in a museum, or even multiple sources, stand to the side of the subject to minimize the reflections from the light and eliminate your reflection.
   

4. You can use a circular polarizing filter almost anytime you are shooting through glass, or water for that matter. Circular polarizers are necessary with today's through the lens metering (TTL) and auto-focus cameras. Linear polarizers, though more effective, generally render TTL and auto-focus ineffective.

5. If you're shooting through a window of a moving bus, or a helicopter there are several things to do. Use a fast shutter speed. That will help you negate the movement of the bus. Consider manually pre-focusing your lens, or if your camera has the capability, use continuous focusing. Try setting your aperture at mid-range which will lengthen the depth of field, making up for focusing inaccuracy. If your DSLR lens has vibration reduction (VR), use it, especially if it has active VR. If your point and shoot camera has image stabilization, use it. Get as close to the window as possible, without touching it, to eliminate glare and reflection from inside the bus. Try a trick suggested to me. Use the rubber end of a light weight toilet plunger. Cut a hole in it for your lens and use it to block the light from inside, with the lens close to the window.

   Some people suggest the use of a circular polarizer when shooting through the windows of a helicopter or bus. It definitely can help you lessen or eliminate the refections on the window glass, or helicopter's Plexiglas, but if you've ever worn polarized sunglasses while in these vehicles you already know that it will accentuate the stress marks in the Plexiglas or the spots in the safety glass. Personally, I wouldn't use one when photographing from a helicopter or bus.

   If you have the option, shoot through the open door of a helicopter, instead of a window. It will make it easier to get great photos. You can be buffeted badly by the turbulence with an open door, so be prepared for that.

6. If you know you're going to be shooting through glass, especially if you're in a moving vehicle or helicopter, wear dark clothing to minimize your reflection.

When shooting with available light, as I did for the photo above, there are times when a little reflection can be a good thing. By focusing on the window itself, I was able to capture the neon signs in this bar window, plus the reflection of the sky, and the buildings across the street, to add to the shot's context and make the photo far more interesting.

Enjoy the "glass challenge."