Spring Medly: Spring Nature Photography Tips

Spring Nature Photography

So, depending on where you live, it is either already Spring or just about to become Spring. The photographer's year restarts, flowers bloom, and suddenly even people who aren't nature photographers want to be outside. The calendar turns.

The return of warmer temperatures means that there is a flurry of animal activity happening, providing ample opportunity for even the off-season photographer to snag a few nature pics. But, let's be honest with each other - you probably aren't excited about producing the same trite images of daisies you captured when you first picked up a camera at age 12. Indeed, there is more to Spring nature photography than flower buds.

Think about the changing season.

Spring hasn't begun in earnest yet where you live? Good! A world in flux makes for interesting photographic opportunities. Here, dried winter leaves are rendered against a background of soft spring green. Strong golden backlighting brings more interest to the picture, evoking in the viewer a sense of sunrise, of the beginnings of spring.

Remember that with spring blooms come the animals that rely on them.

You didn't really think I was going to publish a post about spring without including photos of insects, right? While I love detailed macros of insect life (see my post here), spring gives an abundance of opportunity to capture insects interacting with their environments. 

Here you can see a bee sneaking nectar from the base of a flower.

There is a strong tendency in nature and macro photography to get as close as is physically possible to your subject. While this technique also produces stunning images, don't forget to add variety to your work by stepping back one in a while.

I particularly love the metallic blue of the insect against the pink flowers.

Try to incorporate contrasting colors into your photographs.

Spring is full of so many colors, it can become a bleary visual racket. If possible, make use of your color wheel and try to compose images with colors that belong to the same family. Or, be even more daring (ooh!) and combine contrasting colors to add spark to your images.

White-Lined Sphinx Moth

Here you can see how the rich purple of the flowers plays against the orange-red warning markings on the moth. This contrast makes both colors appear more vibrant to the viewer.

Ok- that's all I've got; it's your turn now! Is it spring where you live yet? What is your favorite thing to photograph in springtime?

You can read last year's post about Spring photography here.

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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.

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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!