Small Considerations, Creative Photography Tips, and More Wheelbug Photos

Creative Photography Tips

Surprise surprise, I'm back again! This week I'll be talking a bit more about achieving creative insect photographs.
So if you don't like bugs, look away. Because I do. (If you missed it, this article also talks about improving the artistic elements of your photography.)

Wheelbug nymph, late instar

1. See Eye to Eye

Like I've talked about previously in my article, "How to take Great Pet Photographs with a Smart Phone," perspective is important in photography. Particularly when photographing subjects that are shorter than you, it's important to bend down and shoot at eye level. The last time I checked, most insects are shorter than even me, so getting your knees dirty is important here. 

The subject's eye, in clear focus, in a photograph allows the viewer to make "eye contact," and thus feel more connected to or invested in the photograph. If you don't believe me, try it. Do a google search for animal photography. Are you more attracted to photos in which you can clearly see the animal's eyes, or not?

Wheel Bug, late instar nymph

2. Know your diagonals

This is a trick I often see portrait photographers use. To make a static shot more dynamic, tilt your camera and shoot at an angle. The strong diagonal line of the wooden railing in this shot adds drama and movement to a photo that is, quite frankly, otherwise quite boring. The new angle forces the viewer's brain to reevaluate the subject and examine it more closely, resulting in a viewer who is much more engaged with your work.

Also notice here the eye contact the insect is making with the viewer.

Yup, more wheel bugs

3. Patience is a virtue

Particularly in nature photography, some of the most striking images come from simply waiting until something fantastic happens. I followed several of these nymphs along wooden railings through a forested area of a local park. Finally, this scene happened. If you've ever watched a wheel bug, you know that they have quite interesting behaviors. When threatened, they rear up on their hind legs and splay their front two legs out. These two guys (girls?) ran into one another and got startled.

I used the flash in this photo because I realized that I needed a fast shutter speed to freeze the action of the two insects in the setting of the dim woods. As a downside, you can see the "flattening" effect the flash has on subjects - which is why I don't normally use it.

So, what do you think? Will you try any of these tips?

If you enjoyed this post, you can find me here on Tumblr or follow me here on Bloglovin'. In addition, you can utilize the snazzy sidebar items to subscribe via email or RSS feed. Check back every Friday for a new article!

Thanks for reading!

Pluses and Minuses: Exposure Compensation (Advanced Photography Part 1)

Advanced Photography Part 1: Exposure Compensation

So, you've read all of my Photography Basics series, but want more? Well, I'm here to help. This week's topic will be exposure compensation.

What is exposure compensation?

Exposure compensation is a feature you should find on most "pro-sumer" and advanced digital and film cameras. It allows you to make manual adjustments to the exposure time, separate from the aperture and shutter speed adjustments.

The button usually looks something like this:

Exposure compensation will allow you to either add or subtract time from an exposure. Usually, the increments are -0.3, -0.7, -1, 0, +0.3, +.07, +1, etc. The negative values shorten the exposure time (decrease light, increase shutter speed), while the positive values will lengthen the exposure time (more light, slower shutter). Make sense?

Okay, so when would I want to use exposure compensation?

Advanced digital cameras have complicated computers inside of them that calculate the exposure for us, eliminating the need for manual calculations for each shot. However, sometimes these computers make errors - and exposure compensation can be used to correct them. It also can be used to achieve different artistic effects in images.

White or Black Subjects

Many automatic exposure calculators have difficulty with white or black subjects, such as these egret chicks. All-white subjects, particularly against darker backgrounds, are often overexposed by automatic readings. This means you may end up with a completely white subject - not desirable. In this situation, you will want to decrease the total exposure - reducing the light and allowing detail to be rendered properly in your subject. You can use exposure compensation to do this. You will probably want to take several shots - a few with no compensation, a few with -0.3, some with -0.7, etc, depending on how bright it is. This is called bracketing your exposure, and some cameras can even be set to do it automatically. 

Sloth Bears

For very dark or black subjects, the opposite tends to be true. In-camera exposure calculators will tend to underexpose the image, resulting in an entirely black subject. Increase your exposure (positive exposure compensation) to avoid this problem.

Owlfly

Backlit Subjects

Backlit subjects suffer from being a relatively dark object in a relatively bright field. The exposure meter will be fooled by this, recognizing the overwhelmingly bright scene instead of your intended subject. This can produce a very underexposed subject. To remedy this, try bracketing your exposure upwards - ie, positive exposure compensation. Alternatively, if you want to silhouette your subject against a brilliant background (perhaps a sunset?), bracketing down (negative exposure compensation) will help you.

Strongly Illuminated Subjects

Subjects with very bright lighting may also benefit from bracketing down of your exposure. Taking multiple shots with different exposure settings is the key to achieving the perfect exposure in difficult lighting.

So, have you ever used the exposure compensation setting on your camera? Do you use automatic bracketing? Let me know!

Did you see last week's post on why you should always bring your camera?

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Bird Photography - Tips & Tricks & Unasked-for Advice

Due to exams, this week's post is rather belated. Whoops. Oh well, enjoy :)

My love of photography began with a simple, black Nikon point-and-shoot, and I immediately was unsatisfied with it. Earth-bound, its short focal length was a poor choice for capturing anything but the largest of subjects. I desired a telephoto lens desperately; I wanted to photograph birds.

Black Skimmer

However, birds can be challenging subjects for even experienced nature photographers. At the same time, the allure of dramatic photography is great, and these are animals that are worth the extra effort to photograph. 

So what would you tell me if I have never photographed birds before, but want to start?

As with many fields of photography, it's important that you begin with the correct equipment. You will need a telephoto lens and a tripod sturdy enough to support your gig. How long of a lens? Well, basically the longest one you can afford! You will need a lens in the range of 300-600mm. If you intend to shoot songbirds and other small species (or birds in flight from a distance), you'll want the 600mm glass. If you're more interested in photographing heavy water birds or large game birds, you can survive with a shorter lens. Don't forget you can purchase a teleconverter to increase your lens power if you want.

Snowy Egret

Okay, so let's say that I have an appropriate lens. Now what?

Well, you of course need a location to shoot. One of my favorite places is Anastasia State Park, but a quick google search should produce the best birding locations in your area. Try different areas, making sure to scout out several locations before you give up.

The other two considerations are season and time. Early morning is best for nature photography for many reasons. Not only are you shooting during the best lighting conditions, but you also are out at peak bird (and other animal) activity time. So your best bet of finding your subject is to get up early.

Yup, no one said that nature photography was easy.

Additionally, bird species will vary seasonally in your area. For example, winter is a very good time for bird photography in Florida as many migrants fly through on their way to South America. Do a little research about your local bird populations.

Wood Stork

Assuming, then, that I manage to wake up early enough for this, do you have any advice for actually photographing birds?

Well, yes. If you aren't familiar with shutter speed and aperture, you should read my Intro to Photography Part 1 and Part 2 articles before continuing. 

Okay, ready?

When you are shooting birds or other animals, you have to deal with the fact that your subject just doesn't care that you are photographing them. That's right - they don't give a damn if they ruin your shot by moving, or looking the other way, or generally being rude. What's that mean for you? You want a fast shutter speed so you can capture these rapidly-moving animals and avoid the dreaded motion blur. 

An easy way to ensure you are always shooting at the fastest shutter you can is to set your camera to "aperture priority." This setting means that you pick the aperture, and the camera's computer will automatically calculate the appropriate shutter speed for you. Keeping your lens "wide open" (setting it to the largest aperture) will allow you to shoot the fastest. This eliminates the problem of you fiddling with complicated settings while your subject flies away. Oops.

Ruddy Turnstone (Winter Plumage)

Final Considerations:

Please remember, that as a nature photographer, you are a visitor in someone else's home. Many species of animals are sensitive to human presence and encroachment. If your presence is causing an animal to change its behavior, you are too close. Please be respectful, have fun, and maybe learn something!

Want to see more tips? Check back every Friday for a new post. Click here to follow me on Tumblr and here to follow me on Bloglovin! Don't forget you can also use the handy sidebar to subscribe via email or RSS feed.

Entomophilia: Insect Photography Tips

By now, I've spent a lot of time on the blog talking about insects - about how much I like them, what great macro subjects they make, and how beautiful they are. However, I don't actually have a post in which I discuss tips for insect photography, so I thought I would remedy that today.

Hairstreak butterfly

Tip #1: If you haven't already, you may want to read my post on macro photography basics.
This is because, in case you hadn't noticed, insects are small. If you want to capture the intricacies of insect bodies, you will need macro equipment. The basic rules of macro photography apply, of course, regardless of your subject matter. I won't cover these here because they've already been covered, but feel free to post questions if you have any!

Damselfly

Tip #2: Find you some bugs!
Now is an excellent time to find insects. As the weather warms, larvae hatch and adults wake from hibernation. The best time to photograph insects is, unsurprisingly, in the early morning. There are two main reasons for this. Firstly, the light is best in the morning. This should always be your favored shooting time. Secondly, it's coldest in the morning. Okay, okay, I know I just said that now is a great time for insects because it's warming up. However, insects are fast little buggers. It can be very difficult to capture sharp macro images when your subject is buzzing around so quickly you can't even see its wings beating. Shooting in the morning allows you to take advantage of the slowing effects of cold on insects, increasing your chances of getting the shot you want.

Okay, that sounds reasonable, but, where can I find some cool bugs?
Well, if you can't find bugs, you aren't looking! There are more insects on the planet than any other animal. But, I understand that many of us have grown to ignore insects; the literally fly under our radars, out of sight, out of mind. You'll have to break this habit.

Insects can be found in pretty much every habitat there is, but a flower bed can often be the easiest place to start hunting for bugs. Find a spot that you like. It's even better if multiple plant species populate your flower bed - the more species of plants there are, the more species of insects will likely be attracted. You might have to sit for a little while, but soon your brain will start recognizing the multitude of flitting, buzzing, and feeding critters around you. From then on, just hone your awareness.

Skipper Butterfly

Any other advice for photographing insects? As in, how can I avoid getting stung?

Ah, the stinging question! I get it a lot. Truthfully, the vast vast majority of insects are completely harmless. Don't believe me? Pick some up! They're generally pleasant to handle, surprisingly. Of course, some insects do bite and sting - notably bees and wasps. I won't discourage you from trying to photograph these animals, though, as I believe that they are very beautiful.

In fact, bees and wasps (order Hymenoptera) usually won't sting unless they feel threatened or you invade their territory (ie, damage a nest). Granted, if you bump into one accidentally they may think you are attacking them and thus retaliate. So I would recommend keeping relatively still to photograph stinging insects.

Feel free to leave any questions about insect photography below, and, as always, thanks for reading!

(Did you see my previous post on landscape photography with a smartphone?)

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How To: Landscape Photos with your Smartphone

So I've had several requests to write an article about smart phone photography. In fact, I have an article here about taking photos of your pet with a phone, but I realize that there's more to be said on the subject.

So, what are some of the keys to great smartphone photography?

Well, the most important thing is to choose your subject wisely. With a phone, you are limited by a fixed (short) focal length, lower resolution, and mediocre exposure metering software. Thus, you want to select a subject that is large, easy to get close to, and evenly lit. In other words, landscapes are excellent subjects for the smartphone photographer.

Anastasia State Park - read more here.

What are the basics of landscape photography?

Well, lucky you! If you are using a smartphone, a lot of the basics of photography are out of your hands - so I won't talk about them here. Normally landscape photography requires a discussion on aperture and depth of field, but you can't control those things with a smartphone. This means that your photographs won't always turn out exactly how you like, but you can still create beautiful images with these simple cameras.

Okay, so what are some of the things that apply to me?

Pick an evenly lit scene. As discussed above, most smartphones do not have advanced exposure metering modes like DSLRs will, and thus they cannot compensate well for scenes with large dynamic ranges. The dynamic range is a description of how much variation there is between the lightest and the darkest part of the image.

This is an example of a scene with a large dynamic range. Notice that in the middle-right section of the image, the subject is almost entirely black. Conversely, in the top left, the sky has been bleached white. This results in loss of detail in both areas of the image, and is considered poor photographic technique.

The dark areas of the frame are termed "underexposed" - that is, they did not get enough light during the exposure. 

The bleached areas of the frame are referred to as "overexposed" - they received way too much light.

Overall, I do still find this photograph pleasing, but it's not a technically great image.

Well, fine, but my phone has HDR, which I know expands the dynamic range.

That's true. Many phones (and DSLRs) now come equipped with HDR (high dynamic range) technology. There are several ways to create an HDR image, but the most commonly employed method is to take several photos in quick succession using different exposure ratings. For example, the camera may take a globally underexposed photo, a globally "normal" photo, and a globally overexposed photo. Computer software then combines these images into one. (Yes, the iPhone HDR feature works like this - I believe it takes 3 images). This does result in an increased dynamic range.

However, this does not solve the dynamic range problem for smartphones, which allow for little user control of exposure. The above image is an example of a nightmare scene for a smarphone camera - dappled light, creating areas of dark and bright scattered randomly across the image. This photo was in fact taken with the HDR setting, and while it is improved against photos of that scene without HDR, it is not great. In short, it's best practice to avoid shooting these types of scenes with smartphones.

(They are no cakewalk with a DSLR either).

What are some other things I can do to improve my smartphone photography?

Well, like I've said before, the basics of all types of photography are the same. Photographs are composed of three main elements: subject, composition, and lighting. Lighting can be broken down into four components: Ambient light, shutter speed, aperture, and ISO rating. With DSLR/SLR photography, we have greater control over the latter 3 items. However, with smartphones, we are largely at the mercy of whatever creative decisions the software makes for us (the amount of control you have of course varies from phone to phone). As a result, it's important to capitalize on the things we CAN control.

Ambient Lighting

Seek out dramatic lighting to illuminate your images - it can transform even the most drab frog into a princess. (Note here that this is one of the few situations a high dynamic range photograph is successful).

Composition

Presumably we do photography because we want to show the world what we see. Bring your photography to life with images that are descriptive, poetic, and unusual. Think carefully about your composition before you click that button - you've got plenty of time; that gazebo's not moving. I find it helpful to do composition "exercises". Challenge yourself to take at least 5 different images of each of your subjects. Then, if you can do 5 easily, stretch to 10. Force yourself to think outside the canonical box to produce artistic images.

You can click here to read my article on pet photography with a smartphone.

Okay, I've talked enough - now it's your turn. What do you think about smartphone photography?

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Let's Go to the ZOO!

Zoo Photography Tips & Tricks

As I've mentioned before on this blog, I'm a big proponent of "accessible" nature photography. I don't believe it is necessary (or sufficient) to take exotic trips to Africa or the Galapagos to produce excellent images. However, staying at home in the US means that many of us never get the chance to see impressive big mammals or fantastical birds - except, of course, when we go to the zoo.

Jacksonville Zoo, FL

I believe that zoos are important for many reasons. Firstly, they do extensive conservation and breeding work, allowing threatened and endangered species to maintain viable wild populations. For example, zoo breeding programs are responsible for saving the red wolf, a species that was driven to extinction in the wild by 1980. Captive breeding programs allowed for the species' continued existence, and the wolf is now being reintroduced today.
Additionally, zoos allow for conservation issues to be made large and tangible to the public, encouraging public support for wildlife conservation.

Okay, on to the photography.

Is it possible to get "natural" looking photographs in a zoo?

Sometimes yes, sometimes no. Different zoo setups will either help or hinder your quest if you are intent on acquiring "natural" looking images. Here are some tips:

1. Bring your telephoto lens - having a long focal length will allow you to take close portraits of the animals, excluding distracting, man-made backdrops. This is a unique opportunity to take close-up images of animals you would not likely be able to get close to in the wild.

African Stork - Jacksonville Zoo, FL

2. Arrive early - this serves two purposes. One, you will be able to catch any remaining "good" lighting (the downside of a zoo is that many of them do not open early enough for photographers!). Two, you will be able to avoid crowds and thus have access to prime shooting spots.

3. Scout your location - if you intend to visit a zoo for photography purposes, look for one with open enclosures, free-flight aviaries (where there will be no mesh between you and the birds), and enclosures with natural mixes of animals. If you only have access to one zoo, look around for the best vantage points before you start shooting.

Sloth Bear - Fort Worth Zoo, TX

So far, you are making this sound difficult. Why should I bother?

Zoos allow unparalleled access to exotic species, baby animals, and interesting behaviors. It is worth braving the crowds and sticky popcorn for! Also, there are interesting photojournalistic opportunities to be had, as zoos are one of the best places to view animals interacting with people.

Baby bongo - Jacksonville Zoo, FL

How do you feel about photographing in zoos?

Check out my photography basics guide: You can read Part 1 here.

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Thanks for reading!

Compose Yourself - Photography Basics, Part 3

Photography Basics Part 3: Composition and the Rule of Thirds

Read Part 1 and Part 2

In the previous installments of this series, we've talked about shutter speed and aperture - the foundations of a technically good photograph. However, we both know that there is more to an excellent image than high technical skill. This week, we will talk a little bit about the art of photography.

What does composition even mean?
"Composition" refers to the way elements are arranged in the frame. One of the difficulties of photography is learning to actively "see" all of the items in the frame. The brain naturally has a tendency to filter out superfluous or distracting items in the field, while you are acutely focused on your subject. It may not be until after you get home and are reviewing your shots that you realize your cousin Bob's red hat is glaringly present in the corner of each image. Learn to critically evaluate the scene as you are shooting to avoid these types of errors.

What is that "rule of thirds" thing you mentioned in the title?
The Rule of Thirds is a classic rule of art that helps organize and define what makes a particular composition pleasing, or not. The Rule is simple: divide the frame into thirds both ways, so that you have a grid. Your subject ideally should sit at any of the intersection points in the grid. Make sense?

Here is an example.

You can see that I am close but not exact in aligning the top right flower with the grid.

Here is another example:

The idea is not necessarily to be perfectly aligned with the grid (although if you are that good at geometry, more power to you), but rather to avoid plopping the subject dead center.

Why is a centered shot bad?

A "centered" composition can deaden an image, as it leaves no room for the viewer's eye to wander about the frame. The eye is automatically drawn to the center of the image, where it stays. In an off-center, or rule of thirds obliging image, the eye starts at the center and then is engaged to move around the frame by the off-center subject.

So, what you are telling me is, I should never use a centered composition?

Well, no. There are some instances in which a centered composition can produce a very dynamic image.

Fort Worth Zoo

In this example, the heads of the rhinos are centered, while their bodies act as "interest points" spanning away from the main subject. The viewer's eye fixes initially at the central point, then is drawn out to the edges of the frame, and back again into the center. The central placement of their heads visually "draws" the image together.

A center-heavy composition also emphasizes balance, symmetry, and peace. In short, there are no hard rules, although the rule of thirds is an excellent guideline, particularly for beginners.

Don't forget to read Part 1 and Part 2 of Photography Basics.

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Under a Somber Sky: Lighting Tips

The morning greeted me with a chill silence, grey and damp. Clouds blanketed the sun and the heavy humidity stuck to my skin. I shivered and zipped up my sweater.
Today would be a great day for macros.

As photographers, we worship the light, chase it, cater to it, long for it. However we must not forget the utility of cloud cover. Clouds allow for soft, diffused light that coaxes the vibrancy from flower petals and greenery. In harsh daytime light, many of the subtle colors of flowers get washed out or overwhelmed by the sheer intensity of the light. Heavy cloud cover prevents this problem, allowing for brilliant portraits. 

Of course, with the heavy clouds overhead the problem of darkness follows - it may be too dim to get the fast shutter speeds needed for sharp images of quick-moving insects or birds. Thus, I mostly stick to shooting flowers in these circumstances - but that doesn't mean you have to.

Diffused lighting allows for the delicate color palette of this flower to be captured without the "bleaching" of the white petals produced by bright overhead sunshine

A morning with heavy cloud cover provides other opportunities as well. The lack of sunshine means that morning delicacies such as dew hang around longer, as the light needed to evaporate them is missing.

Here you can see not only the dewdrops, but how vibrantly the blue and yellow tones have been rendered.

Dew drops are always a treat to discover because they add another layer of detail to macro subjects. The layered textures in the above photograph create new interest in an image that otherwise would rely on color and composition only.

Finally, soft morning light allows for more detail to be rendered in textured subjects, versus harsh, overhead midday light. Strong noontime lighting will destroy the subtle shadows of fine textures, such as the veining on this leaf above. Note also the richness of the color tones afforded by the overcast lighting.

What do you think about photographing under cloud cover? What is your favorite kind of lighting? I talk about evening lighting in this post.

If you enjoyed this post, you can find me here on Tumblr or follow me here on Bloglovin'. In addition, you can utilize the snazzy sidebar items to subscribe via email or RSS feed. Check back every Friday for a new article!

Thanks for reading!

Shutter Aflutter: Photography Basics: Part 2

Photography Basics Part 2: Shutter Speed

See Part 1
Part 3

In this week's episode of "photography basics," we will be talking a little about what shutter speed is and how you can use it to improve your images.

So, what is shutter speed?
In last week's post, we talked about aperture, and how it helps determine how much light reaches your film. Well, the shutter is like a curtain that sits between the aperture and the film/chip. The speed at which the shutter is raised up and down determines the exposure time - how long light is allowed to hit the film.

So what does that mean?
A fast shutter speed means that the film is exposed to light for a shorter time, while a slow speed allows for a longer exposure - and thus more light. Of course, the aperture size also impacts how much light reaches the film.

Shutter speed is expressed as a fraction of time, say 1/250 seconds. Thus, a larger number indicates a faster speed, and also less available light for the exposure. A darker setting, for example indoors or in the evening, will generally require a slower shutter speed and a larger aperture to permit enough light to reach the film to make a decent exposure. Conversely, a bright setting, such as a beach at midday, will allow for a faster shutter speed and/or a smaller aperture.

These decisions are artistic as well as technical.

So does it matter to me if I need to use a slow shutter speed?
Well - yes. As mentioned above, a slow shutter speeds equals a longer exposure. Thus, any movement that occurs in the frame during the time of the exposure will be recorded.

Taken with a shutter speed of 1/60 at f/6.3, and a focal length of 100mm

You can see here that a slower shutter speed shows movement as blurring in the frame. You can use this to your artistic advantage to create interesting depictions of motion. However, it can also work against you. A shutter speed that is too slow allows for unwanted blur in the image, particularly if you are shooting with a long telephoto lens. This is called "motion blur." It occurs either because you moving the camera slightly as you shoot (get a tripod!) or because the animal/subject has moved suddenly in the frame.

A good rule of thumb to avoid motion blur is to shoot at a shutter speed of at least 1/focal length. So, for example, if I am shooting at 300mm, I don't want to be using a shutter speed of under 300 without a tripod to stabilize.

Here is an example of motion blur! It's not pretty - this photo is no good. Shot at a shutter of 1/40 at f/5 with a focal length of 200mm. The shutter is not fast enough to stop the motion of the bird.

So then what does a fast shutter mean?

A fast shutter speed means that the film is only exposed to light for a very brief period of time - thus, you need to be in a situation with a lot of available light.

A fast shutter speed is able to "freeze" motion, and can be good to capture detail in action shots and avoid motion blur, as discussed above.

Osprey at Bowman's Beach, Sanibel island. Shot at 1/1250s, f/5.6 with a focal length of 300mm

Here you can see the difference the fast shutter speed makes! The osprey is frozen in flight, with all of the detail preserved, and no blurring. It is artistic preference whether or not you choose to shoot motion like this or with a slow shutter.

Hummingbird Moth - 1/640s, f/5, focal length of 100mm

This is an example of an intermediate shutter speed. You can see that it is not fast enough to "freeze" the motion of the moth's wings, but it is able to stop motion of its body. Thus, you get detail preserved in the body of the insect and a soft blurring of the wings, representing flight.

I personally prefer the look of images taken with fast shutter speeds, so I usually set my camera to the largest (widest) aperture available to allow for the most light and the fastest shutter. Of course, sometimes I make adjustments to the aperture to create different depths of field - it all depends on the look I am trying to achieve. 

I hope that this article was helpful and allowed you to understand a little bit more about those funny numbers on your camera! If you're interested, here is Part 3 of the series.

Which look do you prefer - fast or slow shutter?

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The F Stops Here: Photography Basics Part 1

Photography Basics Part 1: A Practical Guide to Aperture

View Part 2
View Part 3

This is going to be the first post in a small series explaining some technical photography basics which can help you improve your photography skills. With the improving sophistication of automatic metering systems in digital cameras, technical knowledge of photography is becoming less necessary. However, if you want to have artistic control over your images, you should learn a few basics.

What is an F stop?
"F stop" is another term for "aperture." Aperture is the name for the hole through which light reaches the film - or digital chip - when the shutter is lifted. This allows for exposure of the film/chip and also focuses the light onto the surface.
The F stop is expressed as a fraction. Thus, "larger" numbers actually mean a smaller aperture. For example, when people talk about "F 16," they really mean f/16, or f over 16. F/8 is therefore a larger aperture than f/16.
These numbers, by the way, are based on a mathematical sequence and they are scaled such that each number down (bigger number but smaller aperture) represents a halving of the light intensity from the previous stop.
Make sense?

What does that mean for me?
The size of the aperture determines two things: 1. The amount of light that reaches your film (in conjunction with your shutter speed, which is next week's topic), and 2. Depth of Field (which is mostly what we will focus on today).

What is depth of field?
Depth of field is a measure of how far back in the frame objects remain in focus.

This is an example of a picture with a shallow depth of field. It was taken with f/5.

You can see here in the example above that detail has only been captured in the lacewing's head. Objects father away from the camera, the rest of the picture, blur softly out of focus. This technique is often used for pleasing artistic effect.

Here is another example:

This picture also displays a shallow depth of field. It was taken with f/6.3

A shallow depth of field allows all attention to be focused on the subject, because background objects are not rendered in detail. This can be advantageous for macro images.

This photo has a greater depth of field. It was shot at f/9.

This photo has a greater depth of field than the previous examples. Note it was taken with a smaller f/stop. A smaller f/stop (eg, f/22) creates a larger, or deeper, depth of field. You can think of this as a small opening focusing the light more sharply, allowing more items in the frame to be rendered in detail. Notice that even items far away from the camera are recognizable. I could have stopped down even farther in this shot to obtain greater detail.

Another example, taken at f/7

What's the deal with the light?

Remember that we said the f/stop affects two things: the amount of light that reaches the film and the depth of field? Well, the farther down you stop (a smaller f/stop, a bigger number), the less and less light reaches the film. This means that your exposure will have to become longer to compensate - and that will be next week's topic (click here to read Part 2 of Photography Basics and here to read Part 3).

Feel free to leave any questions you have below.

Did you see this post about lighting? Check it out!

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Winter Blues

Winter is not always kind to the nature photographer. Either the frigid north winds hound us, bringing ice, snow, and difficulties to our craft, or we find ourselves alone, cameras without subjects. Living in the south, it is the latter problem I suffer from. Once spring fades, insects die or hibernate, flowers wither, birds fly south, and mammals seek shelter in their burrows. In short, all of my favorite subjects suddenly turn up missing. So what's a photographer to do?

There are overall three keys to a good photograph: good subject, good composition, and good lighting. In the winter, if you do not have access to dramatic snowscapes, it can be difficult to find a "good" subject. After all, who really wants to take photos of dead leaves? To give some visual CPR to your lifeless subjects, dramatic lighting and sharp compositions are essential.

In both of these examples, dramatic backlighting perks up static images of dead leaves.

Mood is another consideration. Winter swathes everything in a subdued, nearly monochromatic palette. A good photograph might exploit this tone to create evocative works, expressing peace, loneliness, or beauty.

Placed against grayscale backgrounds, even "dull" colors, such as the brown in the above photograph, suddenly become vivid in comparison. The empty seed pod above almost glows with life in relation to the bland background. Again, composition is pivotal here in ensuring the photograph creates impact. The branch leads the viewer's eye upward toward the lone splotch of color in the frame. As a result, movement is created, and even a photograph of a dead plant becomes eye-catching.

Want more tips on composition? Check out my post here for some brief pointers!

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So what do you think? Is it worth it to brave the cold for photographs or is winter better spent hibernating? Let me know in the comments!

Evening Walk

It's probably obvious to you, by now, if you've ever picked up a camera, that lighting is important. Many photographers wax poetic about the delicate pre-dawn light that waking up at 5:00 AM affords you. I can't disagree - the morning is beautiful. However, I feel that evening light is under-appreciated. Glowing and golden, it illuminates subjects in dramatic backlight or highlights textures of scale or fur. Plus you don't even have to get up early on your day off.

Taking advantage of the harsh evening light can make for some interesting portraits.

The sun has been blessed with Midas' touch and can charm even the most drab subject into bedazzlement.

Walkingstick - Phasmida

Of course, when working with subjects that are naturally flashy, strong evening light ratchets up their attire to an almost gaudy level. Here, I had to be careful not to overexpose highlights on this Japanese beetle.

Japanese Beetle (invasive)

Unfortunately, this sort of "magic" lighting fades quickly, so if you want to take advantage of it, you'd better work fast!

What's your favorite time of day for photography?
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How to Take Great Pet Photos with your Smartphone

I'm diverting slightly from my usual content to discus one of the biggest revolutions in photography - the smartphone. Suddenly, everyone is carrying mini digital cameras in their pockets - and these cameras are becoming more and more sophisticated.
So is it possible to take professional-quality photographs with your smartphone?
Well, yes...if you choose your subjects and your lighting carefully. As my facebook feed is constantly flooded with pictures of people's pets, I figured pet photography was a good starting point.

How to Make the Most of your Smartphone Camera 
I mentioned earlier that you can create excellent photographs with your smartphone, if you choose the right scene. My experience here is with the iPhone camera, which does not let you manually adjust camera settings.
Here are a few general smartphone pointers:
1. Avoid contrasty scenes
Scenes with a large difference between the darkest and the brightest point in the picture will turn out over- or -underexposed on many smartphones. Choose a situation with fairly even light to get the best results.

The bright white blown-out computer screen is very distracting in this high contrast photo.

2. Read the manual
This is the first thing you should do with ANY camera. Seriously, the features won't help you if you don't know how to use them.
3. Work with easily available subjects
By this I mean, your subject should fill the frame. However, most smart phones have very limited zoom capabilities. The "digital zoom" most are equipped with usually just results in very low image quality. Instead of resorting to this, your phone's camera is best used for subjects that are very large (ie, landscapes) or that will let you get very close to them (ie, your dog).

All right, so let's say you, like so many others, have found your "available" subject in the form of your adorable, fat puppy. Now what do you do?
Well, the basics of pet photography apply regardless of what kind of camera you are using.

1. Shoot at eye level
While the top of your kitten's head is cute, his face is probably cuter. We have a tendency to "shoot down" at animals because they are shorter than we are. This results in photos of backs and ears from funny perspectives. That's generally not what you want. When you're photographing an animal like this, your camera should generally be at the eye level of your subject.

Top-down, we can't even really see what he looks like

This picture was taken at the same time as the one above, but was taken at eye level. 

2. Think about the composition
One of the biggest advantages of photographing your pet versus a wild animal is that he will generally sit still for you for long periods of time. This should give you ample opportunity to think about the composition of your photograph. Are you following the rule of thirds? Is your underwear unobtrusively sitting in the background of the picture? Is your lighting ok? These are questions to consider before you click the "shutter" button.

This picture is pretty cute, but there is a lot of distracting material in the background that takes away from the subject.

Here, the background is clean, allowing us to focus all of our attention on the subject.

3. Try shooting with natural lighting
Many times when we are with our pets and our phones, we are indoors. This results in photographs that may be dark, yellow (from incandescent light), or "flat" (from the automatic flash). Try to get your subject in front of a window for a little taste of soft, natural lighting inside.

4. Turn off your flash
On a smart phone, the flash feature generally serves to hit your subject right in the face with a blinding burst of light, creating red eye, casting weird shadows, and lending a characteristic "flatness" to the photo. It also tends to startle animals or make them squint. It's no good. Just turn it off.

The flash causes apparent "flattening" of his head against his body, red eye, and squinting. No wonder he looks so mad.

5. Try to capture a mix of interesting behavior and portraits
Here's my final tip for you. A lot of us rush to grab our cameras when our pets are "doing something cute" -- and that's good. One of the keys to pet photography is variety. You don't really need 50 pictures of your overweight cat sleeping on the couch. At the same time, you don't need to spam your grandmother's inbox with photos of him sitting on your head. Or whatever. Try to illustrate elements of your pet's personality in your photos. In the end, your pictures should describe him (or her) as an individual, and not merely be a record of his existence.

Would you rather be taking pictures of flowers? Head over here for some great flower photography tips!

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