Photography News

Leica Oskar Barnack Award Announces Jury Selection For Its 44th Year

 

With the announcement of the members of the jury, the 44th edition of the renowned photography award enters a decisive phase.

Once again, the world-renowned photography award will be making an important statement with regard to the role and significance of contemporary photography, by presenting and honouring a selection of current image series. The international jury appointed each year has now been established, and the selection process for the next instalment of the Leica Oskar Barnack Award (LOBA) – first granted in 1980 – has begun. As previously, the award winners will be selected on the basis of proposals from a panel of nominators made up of more than 80 photography experts from roughly 50 countries. The shortlisted series and the winners in the Main and Newcomer categories, are chosen by a fivemember jury. The jury this year is made up of:

 

Dimitri Beck, Head of the Photo Department of Polka (magazine, gallery, factory) France

Per Gylfe, Head of the Education Department at the International Centre of Photography (ICP), New York, USA

Ciril Jazbek, Photographer and 2013 LOBA Newcomer winner, Slovenia

Amélie Schneider, Head of the Picture Editorial Department, Die Zeit, Germany

Karin Rehn-Kaufmann, Art Director and Chief Representative Leica Galleries International, Austria

 

The jury will get together at the end of May, at Leica Camera AG headquarters in Wetzlar, to consider and put together a short list of up to twelve series, and decide upon the winners of the Main and Newcomer categories. The selection is made from among proposals submitted by over 80 photography experts from roughly 50 countries. Based on their personal expertise, each of the nominators presented up to three photo series, each comprised of 15 to 20 photographs. The prerequisite for a nomination for the Leica Oskar Barnack Award is that the pictures are documentary or conceptual-artistic works that deal with the relationship between people and the environment. This humanistic constant has accompanied the LOBA since the initial competition was launched in 1979, the year in which Oskar Barnack, the namesake of the competition and developer of the Ur Leica, would have turned 100 years old.

The Leica Oskar Barnack Newcomer Award, which has complemented the main category since 2009, and honours photographers under the age of 30, will once again be determined in collaboration with and through proposals submitted by international institutions and universities from 20 countries. In addition to information about the LOBA, and interviews with former jury members and nominators, the current list of all nominators for the LOBA 2024 can be found on the LOBA website: https://www.leica-oskar-barnack-award.com/en/loba2024/the-nominators.html

The LOBA’s reputation continues to grow steadily, and its financial endowment also makes it one of the most important international photography awards. The main prize is endowed with 40,000 euros and Leica camera equipment valued at 10,000 euros; while the newcomer receives 10,000 euros and a Leica Q3. Furthermore, the LOBA winning series, together with those shortlisted, will be presented in a touring exhibition, which will first be hosted at the Ernst Leitz Museum in Wetzlar in October. Afterwards, the series will be on display in Leica galleries and at selected photo festivals worldwide. The series by the two winners and all the shortlisted nominees will also be presented in depth in the accompanying catalogue.

In the coming summer months, all the shortlisted series will be presented on the LOBA website. The announcement and award ceremony for the winners of both categories will then take place in Wetzlar in October 2024.

 

For more information, please visit the Leica Oskar Barnack Award's website.

Categories: Photography News

Top Tips On Capturing Arty Style Flower Photographs

 

If you're a fan of black & white photography, with a twist of fine art and macro flower photography thrown in, you've come to the right article as we're teaching you how to get all Mapplethorpe at home with one flower and a few photography tools. 

  Light & Equipment 

The location for this shoot was a living room, making most of the light pouring through the window. Direct sunlight is too harsh for this work so the set up was placed away from the window. A macro lens is ideal for this subject and it's always a good idea to mount your camera on a tripod for stability. Use a remote release, if you have one, to fire the shutter and if your camera has it, the mirror lock-up facility can also help minimise any risk of camera shake.

 

Backgrounds

The background needs to be plain and a piece of black material will work fine. The examples shown here were shot against a black fleece draped over the back of a chair and some on black slate slabs which goes to show you really can use anything! 
 

Exposure & Focusing 

Focusing was done manually, which is always best for macro work when the lens can search for focus and aperture-priority was used, along with the exposure compensation facility to fine-tune the result. With a white lily against a black backdrop, the risk of poor exposure is quite high, so you may need to make minor adjustments as you go along. 
 



 

For the above shot, the lens was set to its smallest aperture (f/36) for maximum depth-of-field which gave a shutter speed of 2secs. All the pictures here were done at ISO200.

Next, the flowers were moved closer to the camera and the lens was opened to its maximum aperture to throw the closer flower out of focus.




 

Closer still, these shots focus on the flower's stamen, with the shot to the right excluding the black backdrop completely. Depth-of-field, when you’re this close to the subject, is minimal even at a small aperture, as the images to the right shot at f/36 shows.

 

 

Quite a few cameras have a multiple exposure feature which will allow two or more exposures to be captured on the same frame. To create the effect shown in the following shot you need to capture one exposure sharp and one totally defocused.



 

If photographing the flower straight-on doesn't produce the look you're trying to create, try laying it down on a plain surface. The flower in the following shot had to be held in place with a piece of tape to open up the petal.




Black & White

Most digital cameras, even modest compacts, have a monochrome mode, which offers a quick way to enjoy black & white photography. However, convenient though this mode is, the image file straight out of the camera can lack contrast and may need some work in your editing software if you’re going to get the most from it.

The shot on the left is the JPEG monochrome file straight out of the camera and it looks a little flat. The right image is the same shot but the Levels were tweaked in Photoshop which gives more intense blacks and brighter whites.




 

It’s worth remembering that if you’re shooting in JPEG format, images shot in the monochrome setting will record in black & white only and you can’t produce a colour image should you change your mind later. Shoot Raw and even though the camera monitor might show the mono result you have the full-colour file at your disposal. The best option, if your camera has it, is to shoot in Raw and fine quality JPEG at the same time. 
 

In-Camera Edits 

Many cameras have the option of letting you modify your shots using contrast filters (yellow, orange and red are the most popular), toning effects and Art Filters. Some of which can work well with this type of photography so it's worth experimenting with.

Used sparingly, toning monochrome images is a very effective technique and if your camera doesn't allow you to apply effects while shooting, you can always adjust your shots in image editing software.
 

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Categories: Photography News

Nikon Triumphs With Four Wins At This Year's TIPA World Awards

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Sat 20 Apr 2024 4:19pm

Nikon recently announced that it has been successful across four categories at this year's TIPA World Awards. Nikon's latest mirrorless camera, the sleek and stylish Z f, was crowned the 'Best Full-Frame Expert Camera', while the Z 8 was awarded the prestigious title of "Best Full-Frame Professional Camera". When it came to the lens categories, Nikon scored two awards with the NIKKOR Z 135mm f/1.8 S Plena being voted the 'Best Professional Portrait Lens', while the NIKKOR Z 180-600mm f/5.6-6.3 VR took home gold for the 'Best Super Telephoto Zoom Lens' award.

The TIPA jury praised the Z f for being an 'excellent example of convergence between classic design and modern technology', highlighting its great appeal to photo enthusiasts both young and old. Meanwhile, the Z 8 was celebrated for its ability to pack a range of impressive Z 9 features into a 'smaller, lightweight' body - making it the perfect camera for both photographers and videographers on the go. The NIKKOR Z 135mm f/1.8 S Plena was recognised for its 'edge-to-edge buttery bokeh', while the NIKKOR Z 180-600mm f/5.6-6.3 VR particularly impressed the jury, who noted that 'it's often the small touches that make a big difference in the field'.

The four awards showcase Nikon's dedication to producing innovative equipment, combining advanced technology and superior performance to empower photographers to push creative boundaries, but above all, to 'keep inspiring'.

 

TIPA comments on the Nikon Z f, winner of the 'Best Full-Frame Expert Camera' award

 

TIPA members praised the 24.5MP Nikon Z f as an excellent example of convergence between classic design and modern technology. Combining a Nikon SLR retro style look with still and video features that invite creative engagement, the Z f camera has proven to have great appeal to photo enthusiasts young and old. On-camera controls include precision dials for settings and an easy flip switch for choosing still or video capture. Framing and POV flexibility are enhanced by a vari-angle LCD for live-view shooting that can also be used for quick menu selections. Plus, there's a pentaprism-style OLED with 100% coverage. Advanced video recording and vlogging capabilities include UHD 4K 30p and Full HD 120p recording, and SnapBridge, Bluetooth and WiFi connectivity.

 

TIPA comments on the Nikon Z 8, winner of the 'Best Full-Frame Professional Camera' award

Sharing many attributes with the flagship Nikon Z 9, the Z 8 hits a sweet spot in terms of size and weight for enthusiast and working pro on-the-go photographers and videographers. The choice between the two has more to do with the photographer's mode, professional demands, and need to fit into a production regime than any major feature trade-offs. Lightweight at just 2 lbs. (0.90kg), the Z 8 is ideal for use with a gimbal for video and, being 30% smaller, is ideal for all day jobs, when kit bag weight is an important consideration. But being smaller and lighter does not mean a loss of features found in the Z 9, with sensor size, framing rates, and all the AI and tracking functions, among other specs, shared.

 

TIPA comments on the NIKKOR Z 135mm f/1.8 S Plena, winner of the 'Best Professional Portrait Lens'

It's rare for Nikon to name a lens, so we looked it up and Plena is defined as "the condition of quality of being full." If the compliments paid to this lens by photographers from around the world are any indication, the appellation is apt. Aimed at commercial, wedding, portraitists, and even landscape and nature photographers, pro reactions have been overwhelmingly positive worldwide. In particular, there has been special praise for its edge-to-edge buttery bokeh for stills and cinematic video, thanks to its 11-blade diaphragm; its edge to edge brightness and minimization of ghosting, flare, and fringing, due to special elements and coatings; and its customizable control and function buttons, notable for cinemaphotographers who admire its smooth aperture transitions and Nikon's Multi System Focus AF performance.

 

TIPA comments on the NIKKOR Z 180-600mm f/5.6-6.3 VR, winner of the 'Best Super Telephoto Zoom Lens

Specifically designed for nature, wildlife, and sports enthusiast photographers, this long-range zoom lens brings it all together in terms of focal length range, fast, responsive autofocus, an STM motor for quiet and smooth video capture, and weather-sealed construction with a fluorine lens coating that, to quote, "anticipates a high frequency of lens wiping." TIPA editors know that in pro offerings it's often the small touches that make a big difference in the field, and with this super tele it's the ability to adapt 1.4X and 2X teleconverters, maintain lens size when zooming, only a 70-degree turn to zoom out to maximum focal length, 5.5 EV image stabilization, and a host of on-lens controls to switch or lock modes and settings.

The TIPA World Awards is universally recognised as celebrating top-class companies and the highest quality products in the industry. It also serves to provide an important benchmark and guide for consumers when making their purchasing decisions.

Please visit the TIPA website for more information: www.tipa.com

You can also visit Nikon's website for their latest product offerings.

Categories: Photography News

5 Ways To Get 'Arty' With Your Flower Photos

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Sat 20 Apr 2024 4:19pm

As we are well into spring now and flowers are rapidly starting to take over gardens, we thought we'd carry on with the flower photography theme but this time we're taking things indoors and are adding an arty twist to the scenario. Have a read of the tutorials, have a go at the techniques then why not upload your results to the ePHOTOzine gallery?

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1. Photographing An Arty Flower Shot

 

The location for this shoot was a living room, making most of the light pouring through the window. Direct sunlight is too harsh for this work so the set up was placed away from the window. A macro lens is ideal for this subject and it's always a good idea to mount your camera on a tripod for stability. Use a remote release, if you have one, to fire the shutter and if your camera has it, the mirror lock-up facility can also help minimise any risk of camera shake. 

 

2. Photographing Flower Blooms With A Lightbox

In this article, I want to share my techniques for using a lightpad and one of the best uses for the lightpad is to help create a high-key look for your photographs. I started with a dead Hydrangea bloom; I removed the delicate petals from the stem and placed them in a random pattern on the lightpad.  Then, I turned on the lightpad and by doing so I could see the veins in the petals.

 

3. Abstract Flower Photography Tips

 

The most popular approach to flower photography is to include the whole flower but by getting in very close or by choosing a less conventional crop you can create a rather exciting image. Plus, it's a technique you can try all year round as you can just buy your flowers from the supermarket when there's none showing their heads in your garden.

 

4. Five Top Tips On Low Key Flower Photography

 

Photographing a flower head on a black background is a simple but effective way to make yourself a piece of wall art. The bright petals against a stark, dark background make a vibrant image that wouldn't look out of place on the shelves of stores that are designed to fill your home with accessories and decorations.

 

5. Flower Photography With A Difference

When you think of flower photography your first thoughts will usually be of shots of a single head taken from an overhead angle or a cropped in shot that focuses on the shapes and colours of the flower. There's nothing wrong with these shots as they do work well but for something different, take a look underneath the flower head.

 

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Categories: Photography News

Fun Photography Challenge: How To Photograph Numbers And Letters With Everyday Objects

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Sat 20 Apr 2024 12:57am

If you want an interesting challenge, head out with your camera and search for numbers and letters or better still, objects that look like numbers and letters. You'll be impressed with how many you'll actually find and when they're put together they can make an interesting panel to hang on your wall. All you need is your camera, a good imagination and some decent weather!

 

What Can I Photograph?

If you're looking for ideas, a lighthouse can be used as a number one, chimneys can look like a number 11 and a traffic light can be a 3 or and E depending on the direction they're facing.

When we say photograph numbers/letters, you can take this literally or you could put your imagination to the test and look for them in places other people wouldn't think to look.

If you have a door number start with that then take a walk up your street and into your town snapping shop signs, adverts and road signs. Make sure you fill the frame with what you find and watch out for reflections and glare bouncing off shiny door numbers.

 

More Ideas 

When you're ready to give your grey cells a bit of a work out start looking for objects that look like numbers and letters. You may need to stand and imagine what the object looks like flipped the other way or crop into a part of it to get the number you're looking for but with a little work with your imagination, you'll soon be on your way. Make sure you take a quick look at what's surrounding your subject as a busy background won't make the number jump out of the frame. Try using a large aperture to throw the background out of focus leaving all attention on your object.

 

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Categories: Photography News

8 Photography Rules You Can Ignore

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Sat 20 Apr 2024 12:57am

Compositional rules are there as guides, but that doesn't mean you always have to use them. Sometimes breaking the rules can help you create an image that's far more striking, so here are 8 more ways how breaking the guidelines can help you create an image that has far more impact.
 

1. Centre Your Subject

 

With the rule of thirds, you have to ensure that your main point of focus is positioned on one or more of the four intersecting lines on the nine-square grid you have to imagine is sitting over your image.

However, there are some shots where placing your subject in the middle of it will give you a more striking image. For example, a road or path stretching off towards the horizon, starting so it fills the frame and winding away until it vanishes can look better when positioned in the centre.

The same goes for shots with lots of symmetry. A long table that's set for dinner with rows of chairs and lines of plates, glasses and cutlery on it will make a more interesting photograph if positioned in the centre of the frame, while photographing escalators, steps, piers and tunnels so they sit in the centre of the frame can help exaggerate their length, giving the impression that they go on forever. Portraits are more pleasing to the eye when you use the rule of thirds grid but if you're shooting a portrait that has a more creepy, unusual feel to it, positioning your subject in the centre of the shot will enhance this uneasy feeling.

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2. Split Your Image In Two

 

When you're working with the horizon or lines you should avoid splitting the image in two, so horizons should be slightly higher or lower, depending on where the interest is and lines should be positioned to the left or right of the centre line. However, cutting your image in two will give you a shot that has a lot of impact, particularly if you're going for something more abstract where strong blocks of colour are your focus.

  3. Work Wonky

 

Keeping your horizons level and your shots straight is a rule that's important for landscapes but there are other subjects where tilting your camera will give them more energy and a sense of excitement/fun. If you're going to do this, make sure you do it properly, really turning your camera. If you don't, it'll look like you were going for a straight shot and angled your camera by mistake.


4. Play With White Balance

 

Capturing shots with the right colour temperature is something that's important the majority of the time, however, there are occasions when using the wrong preset or making adjustments after in post-production will help boost colours, make shots more interesting and fun. For example, you can emphasis the coolness of a winter scene with blue tones and give more warmth to Autumn landscapes to enhance the orange and yellows that are prominent during the season.

 

5. Use Higher ISOs

 

For shots that are clean and sharp, you'll generally need to use the lowest ISO possible. Of course, there are many cameras now that cope quite well at higher ISO levels, and they won't leave noise in your shots. However, if you have a camera that still struggles at higher levels, use it to your advantage, shooting some grainy images.

If you don't want to create the look in-camera, shoot at a lower ISO and run your image through photo editing software and apply your grain digitally. The grain works even better with black and white shots so while you have your editing software open, try converting your coloured shot into something much moodier. Portraits are good subjects for this but if you have a few landscape shots you've taken on dull days, try converting them to black and white, add a little grain and a grungy frame and you'll breathe life back into a boring shot.

 

Make The Most Of Out Of Focus Shots

 

For a more dream-like composition, try throwing your whole frame out of focus. A wide aperture will be needed and you'll probably have to focus manually to stop your lens focusing on something in the frame. You want the shot to be out of focus just enough to make it look like you did it intentionally but still leave enough detail to make the scene recognisable. Your other option is to blur what would be considered as your main point of focus and have something in front or behind them sharp. A more subtle way to use the effect is by creating a soft-focus portrait. Take a look at our Photoshop Tutorial for more information on how to do this.

 

Move Your Camera While Taking A Shot

 

The 'try to keep your camera as still as possible' rule only applies when you're not going for a strong, abstract shot that's full of energy. If you're photographing action, a car speeding along a track or dancers spinning in a circle, moving your camera while you take your shot will add a little blur that can increase the feeling of speed and excitement.

Using a slightly slower speed than you'd usually use to capture action will further enhance their movement and you probably don't need to move your camera to do this. Again, having part of the shot a little sharper than the rest will give your viewer a focus point. Try zooming your lens barrel out or in through the exposure too to create a zoom burst. You'll probably want a tripod to hand for this as it makes it easier to turn the barrel of the lens. Zoom bursts work well on stained glass but they can give equally good results on groups of fast-moving dancers who are making their way towards you.

Try removing all sharpness from the shot with a drag landscape. We've covered this on-site in a previous technique which you can find here: Drag Landscapes

 

Shoot From The Hip

 

OK, so shooting with your camera held to your eye or using your camera's screen to frame your shot isn't a rule, just more of a thing that everyone does because that's the way camera's work! But by leaving your camera by your side and 'shooting from the hip' you can get some interesting results. Sure, it can be a little hit and miss but as it doesn't look like you're taking a photograph you stand the chance of capturing much more candid results, particularly on the street.

 

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Categories: Photography News

How To Photograph Lighthouses In The Landscape

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Fri 19 Apr 2024 3:43am

 

 

The UK's coastline has many lighthouses which are worth a visit with your camera. Some are open to the public and are definitely worth exploring, but here we discuss using lighthouses within the wider landscape.

 

1. What Kit? 

Take your camera and all your usual lenses and you will not go far wrong. You may find a camera with a smaller body more useful as they can be often fit in jacket pockets or if you prefer to carry your gear in a bag, it'll take up less room leaving space for a flask of tea and your packed lunch! 

A tripod is needed if you intend getting there early or staying in late. Other than that, it is perfectly fine to shoot handheld. Filters are also definitely worth packing, especially the polariser that can be used to cut-down glare to enrich colours and saturate blue skies.

In terms of lenses, wide-angle and telephotos are equally valid. Wides let you use more of the foreground while telephotos let you pull in detail and are also excellent at putting the lighthouse within its environmental context.

 

 

2. Do Your Research 

If you're looking for lighthouses have a look at the Trinity House website for more information and locations close to you. Have a look at where other photographers have visited too, plus a quick online search will find you visitor information as well as GPS coordinates and directions quickly.

Use your feet! Walking around your subject is always advised and is especially effective with using lighthouses. That way you can put your subject into context of the beach or town that the lighthouse is situated.

 

 

3. Time Of Day & Weather

Many lighthouses are still in use so a good time to shoot them is at dawn or at dusk when there is colour in the sky and the lighthouse's lamp is on. Do remember the lamp will be considerably brighter than the whole scene and you can end up with a light that's overexposed if you don't meter correctly. 

At this time of day, there's not much light around so you will need the tripod and a remote release. If you set a sufficiently slow enough shutter speed you will get a complete rotation of the lamp.

Low light and stormy skies shouldn't be overlooked either, particularly if you can capture the waves crashing against the lighthouse or rocks nearby. 

Lighthouses look photogenic in most lighting situations, but bright sun can be tricky because of high contrast problems – white is a popular lighthouse colour. Bland white skies are also an issue for the same reason. Other than that, get shooting.

 

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Categories: Photography News

Learn How To Take Photos With A Shallow Depth Of Field With These 3 Top Tips

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Fri 19 Apr 2024 3:43am

 

You don't have to venture far to take a great image. In fact, if you get down on your knees in your garden a simple blade of grass can look great in a photo! A blade of grass? We hear you cry. Yes, if you use a shallow enough depth-of-field a blade of grass can look pin-sharp and picture-perfect against a very blurry background. Of course, you can pick other photogenic subjects such as flowers, plus, if parts of your garden are a little untidy this technique will hide this too!   [HOOK]position_1[/HOOK]  How To Take Photos With A Shallow Depth Of Field: What You'll Need

A macro lens is needed and if you can, use one that has a slightly longer focal length like a 100mm rather than a 50mm for better compression. It does mean, though, that focus is even more critical because depth-of-field is so shallow. A groundsheet, kneeling mat or even a bin liner will keep your knees or if you're laying down body dry and if you need extra support you could use a bean bag or just shooting hand-held would okay.

 

  How To Take Photos With A Shallow Depth Of Field: Top Tips

 

1. Wide Aperture 

You need to use a wide f-stop to get the right effect. The aim is to get as much of the subject in focus as possible without losing the nice blurry feel but doesn't over blur the shot as this will distract from the subject. Try f/5.6 and use the camera's depth-of-field preview button to check the aperture's effect on the background.
 

2. Get Closer

Although the main way to control depth of field is with the aperture the positioning of yourself and your subject can also enhance the blur. You want to, ideally, close the distance between the camera and subject but have as much distance as possible between your subject and the background.
 

3. Subject Choices

It works great on blades of grass, insects and small flowers. later in the year, if you live near a rapeseed field try isolating a specific flower or part of the field out to draw attention to it. You could try blurring part of the foreground as well as the background to create a frame for the subject.

 

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Categories: Photography News

There Is No Such Thing As Bad Weather: Top Landscape Photography Tips For Rain Or Shine

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Thu 18 Apr 2024 3:20am

 

The right light is an interesting concept. I am a firm believer that there is no such thing as bad weather – only different types of lighting. I get annoyed at the number of articles that say you can only take creative landscape photographs in the hour after sunrise and the hour before sunset. To me, that leaves a whole chunk of the day with a camera sitting unused in a bag!

 

It's Wet Out!

Certainly, though, certain subjects work better in particular lighting conditions and when the rain is hammering on my office window I'm fairly happy to be sitting in front of the computer rather than trying to capture landscape photographs! That said, I have been at the side of Buttermere in torrential rain and high winds and still managed to work with the conditions.

Mist and fog also create ideal light for pastel, almost painterly pictures, easily isolating foreground elements from the background; and while these conditions are certainly more prevalent early morning, they can happen at other times. Heavy snowfalls can also create monotoned, isolated elements, even resulting in pen-and-ink style pictures that are perfect for black and white.

 

 

The Sun's Out

When the sun does shine through, make the most of the textures, shadows and lighting angles; and even that doesn't always mean early or late in the day, I have a number of Lake District locations where the sun offers excellent graze lighting, really bringing out the textures of barn walls or dry-stone walls even in the middle of the day.

The best way to know where the sun works best in any location is to know the location well, and photograph it regularly; ideally even knowing which month offers the best elevation as well as the angle of the sun. If you're new to a location check on a map – remembering that the sun rises in the east and sets in the west. Even Google maps can provide some help if there is a road anywhere near your chosen location. Computer-based maps can give a good idea of the terrain and are sometimes easier to realise the contours than a traditional map.

Certainly early and late in the day offers low lighting angles which can naturally create longer shadows, but to truly reap the benefits, you need to either have side-lighting or even be shooting into the sun.

By all means, plan some of your shots before you go out, but always be ready to adapt to the conditions - don't come back without any photos because the light wasn't exactly what you had planned, but adapt to the lighting that's there. Only by doing that will you train your eyes to see opportunities that otherwise would be so easy to miss.

 

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Categories: Photography News

126 - A Revolutionary Number!

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Thu 18 Apr 2024 3:20am
.photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } Where this article started – with a gift of two outdated rolls of film. Did I get any images from them? Read on…  

My second camera was a Kodak Instamatic. A very basic one – from the original range when they arrived on sale in Britain, an Instamatic 100: no aperture control. One shutter speed. Fixed focus. It had been preceded by a Box Brownie Six Twenty Junior, which was, in retrospect, a more sophisticated camera. But more of that later.

Kodak have always based its marketing on the idea of making it simple to take pictures. The instant attic range takes this to a new level by a pushing the film into a plastic cartridge which you drop into the back of the camera. It was incredibly simple, and I’m sure that it sold a lot of cameras and a great deal of film.

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } Taken on an open day at Tittesworth Reservoir near Leek, the town where I grew up during the Sixties. There’s now a visitor centre at the far end of the water, well worth a visit, and you can walk all the way round, should the desire take you. I’m impressed by the straightness of framing that I achieved something over 50 years ago.  

Simplicity always comes at a price, though. In the case of the instamatic range, the big casualty was the flatness of the film – and therefore the maximum quality of images you could shoot reliably. This was no big deal with Kodak’s original range of Internet six which had smaller aperture lenses and no focusing mechanism.  Later on, when Rollei and Kodak themselves produced sophisticated single lens reflex cameras taking 126 film, it may have become a bit more of an issue.

The problem was that instead of the carefully machine and positioned pressure plate and film gate, the film and its backing paper were simply one through the plastic cassette. Good enough at f/11, the situation changed radically at a wide aperture and with longer lenses.

The cameras were simply and cheaply made, but still have a reasonably substantial field to them. They have a structural integrity that I find Holga and Diana cameras lack, and if they have escaped sand and sea water, 60 year old cameras are probably still fit for use if you can find any film! (It’s common advice to improve the light sealing of the medium-format plastic cameras with black tape – this is unlikely to be necessary with Kodak’s Instamatic bodies.)

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } Personal history: I was a keen aeromodeller for a number of years – the idea behind my first developing tank was that if I processed my own films, I would have more money to spend on balsa wood and diesel fuel. It didn’t quite work – within six months, I’d given up on the models, and was asking for more pocket money for film and developer… (I suspect the model on the left belonged to my aero mentor, Michael Lovenbury.)  

126 film is 35 millimetres wide, but instead of sprocket holes on either side of the film there is a single hole for each frame, which engages with a pin inside the camera and locks the winding mechanism until the frame has been exposed (anyone who has ever used a box camera will remember how difficult it is to avoid double exposures and blank frames). Each frame is 26mm square, and offset to one side of the film.

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } Above: the strip of 126 negatives, showing the prefogged frames around the images, as well as the edge markings and the single perforation next to each frame. This engaged with a pin inside the camera to lock the winding mechanism.  

This article was inspired by the kind gift of two rolls of 126 film, which a model friend had been given, and which she passed on to me: she had not noticed the promise date on the boxes. Suffice it to say that my first thing to check was whether the films predated the current C-41 process which has been around for something like 50 years. Anyway, thank you Lottii, for a present which has inspired an article!

In the course of putting this article together, I found a little box full of black and white 126 negatives, so I started scanning some of them. It was a fascinating trip back to my early teens and a world of model aeroplanes, playing in the garden, and a visit to Jodrell Bank. It reminded me of when everything was exciting, new, and inviting questions like ‘Why?’ and ‘How?’ As a result, I’m including more pictures that are of limited relevance than I usually do in these articles.

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } Memory fails me here: I have no idea where I took the picture – I wonder if anyone can suggest the location, during the Sixties? Note that there’s tone in the sky, which is still often a struggle to achieve.  

Scanning presented an additional problem, because the scanner’s negative holder is designed to be used with ordinary 35 millimetre film, with sprocket holes on both sides. The single offset hole per frame on 126 film means that the image is offset and one edge is hidden. The inherently inaccurate viewfinders of my instamatic cameras mean that this usually doesn’t matter, because Kodak left such a margin for error that many shots include more context than was ever visible in the viewfinder. A camera ideally designed for an over-eager and slapdash 11-year old boy! Anyway, I hope you will enjoy the trip down my personal memory lane.

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } The camera-facing side of a 126 cartridge. Black backing paper fills the film gate, and you can see, bottom right of the gate, the aperture to allow the holes in the emulsion to engage with the pin in the camera.  

Handling the 126 negatives reminded me of what may have been an important part of how 126 worked. Instead of offering a version of their mainstream emulsions in the plastic cassettes, Kodak sold their box camera film, Verichrome Pan, presumably because of its extreme exposure tolerance and thicker, less flexible base material. I reckon that this contributed to the flatness of the film in the camera – but it wasn’t quite enough for those later SLRs and their wide-aperture lenses. 

A look at eBay indicates that there was a Schneider f/1.9 standard lens, likely to give unpredictable results at full aperture. I also discovered a later model, the 704, with manually-controllable shutter speeds from 1/60 to 1/250 and an f/2.8 37mm lens. Mostly, though, development was downwards, with models that make the bent metal back of the 100 and 200 seem like heavyweight engineering.

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } After you’ve opened the cartridge, you’re left with a lot of sharp plastic, a strip of paper (white on the back, to allow easy reading of frame numbers through the window on the back of the camera, and black on the front, next to the film, to help reduce halation, and to prevent fogging). I wonder if the broken bits have any collectable value?  

After I’d run the two films that Lottii gave me through an Instamatic 200, I was able to inspect the pressure plate inside. It’s really not a precision mechanism! But this is probably entirely OK with simple meniscus lenses and apertures that don’t go wider than around f/8. In the process of opening the cartridges, I also came across a good reason to avoid 126 – the plastic is quite robust, and you need to actually break it to extract the film and backing paper. I didn’t injure myself, but there were some sharp edges among the bits.

I still have a clear memory of carrying my Instamatic in the pocket of my school blazer – while there are no pictures of the bulging pocket, I did find a picture of me with one of my Instamatics slung from my shoulder: the standard strap was a very short one, to allow the user to wear the camera as a bracelet. (Recollection suggests that the 200 that I owned later on had a long lanyard.)

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } For anyone in doubt about the value of their own family snaps, this is an object lesson… A look at Google Earth shows how much things have changed, including some of the buildings. I am pretty sure this was shot looking across Whitehall towards Richmond Terrace, just behind the two Minis on the left of the picture. At the time, the BMC 1100 on the right was the epitome of family car development. Note the excellent cloud detail.  

Looking at the scans, which I have done very little work on (generally, cropping a bit, and a Levels adjustment), I’m impressed by the quality that mass processing achieved back then. And although I recall owning a yellow clip-on filter, I think that the good tone in several cloudy skies may owe as much to Verichrome Pan’s abilities as anything else.

I ended up taking a lot of pictures of old cameras for this article, because images taken with them are old – the film has now been out of production for some years, with Kodak discontinuing it in 1999. The films I acquired were much older than this, and hadn’t survived well. Although there’s an image visible from my shooting, the most notable feature is the frame numbers right across the middle: I surmise that the black ink on the backing paper transferred to the emulsion it was wrapped against for 50 years, and this led to light areas in the images!

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } Faint signs of a Škoda Octavia: very clear indications of frame numbers! Tudorcolor film, warranted up to 1972…  

I mentioned that an instamatic was my second camera, and I still have it – I handed it down to my sister, who used it at school, and then passed it back to me: apart from a little rust on the steel areas of the (real leather) case, it’s in remarkably good condition. In the course of writing this article, I bought a nearly-identical Kodak Six-20 Brownie to the one I was given when I was eight. The finish is different (mine was cream and brown, and was a Six-20 Junior), but the design is very close. As the view of the ‘top plate’ (actually the right side, in normal use) shows, there are several controls. All are useful: to go with the B shutter setting, there’s a tripod bush in the middle of the bottom of the camera.

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } All the controls are on the right side of the camera: along with a large and effective ‘brilliant’ viewfinder (top left). To the right, there’s the shutter lever, offering Instant or Bulb exposure, the shutter lock, and the shutter release button, plus a cable release socket. Below the lever are two tabs which pull either a close-up lens or a yellow filter into position behind the lens. To the right are flash contacts, and directly below them is the winding knob.  

620 film is identical to 120, but the spools are different: 120 spools are slightly larger in diameter, with thicker end plates – a while back, I had the pleasure of handling a camera which had a wooden spool with it. I attempted to adapt a roll of FP4 to fit, but it jammed, and I shall have to spend a little while finagling it to fit properly! I have little doubt that the camera is still operational, and I may report back another day.

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } Kodak didn’t call it a ‘Box Camera’ for nothing – the styling is boxy in the extreme!  

While I was writing this article I discovered that Kodak have introduced a non-disposable camera heavily modelled on the original Instamatic series, but shooting half frame images on conventional 35 millimetre film. I suspect that this is a camera which ought to be mandatory equipment for the Lomography brigade, combining the simplicity they crave with a good measure of mechanical reliability. The price is quite high, at around £50 – though I suppose that this isn’t too out of the way in relation to the price of film! A website advertising cameras for under £20 proved to want to invoice me for the same amount as everyone else charges, once I’d registered, which struck me as sharp practice. The Kodak Ektar H35 looks remarkably like an Instamatic 100.

  .photo { border: 1px solid #ddd; padding: 15px; text-align: left; margin-bottom: 20px; } .photo small { display: block; font-weight: bold; margin-top: 15px; } The camera that set off my interest in photography as a hobby – one of the original Instamatic range, the Instamatic 100, introduced in 1963. John Duder

John continues to keep hold of his old cameras, including the Contax RTS that he bought in 1976, selling two Pentax bodies and taking a year's HP agreement out to do it. These days, it’s usually loaded with very fast film to give strong grain.

Occasional lighting workshops divert him, and with a bit of luck interest other photographers enough for them to go along and pay. He particularly likes spectacular, angular low key setups, with deep shadows retaining a few secrets.

As well as still shooting a bit of film, John particularly loves using some of the more characterful film-era lenses on his digital cameras. Almost without exception, they are lenses that their manufacturers are probably rather ashamed of.

Categories: Photography News

Neurapix SmartPresets Now Available In Black & White

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Wed 17 Apr 2024 6:16pm

Image Credit: Neurapix/Formaphotography

 

The German photography company Neurapix has released a new feature: SmartPresets can now be created and used in black and white (B/W) for AI-assisted image editing. This provides photographers the opportunity to offer their clients complete shoots in their own distinct black and white style.

Using a B/W SmartPreset operates just like with a colored SmartPreset: After clicking "Edit photos" in the Lightroom menu, the B/W style is simply selected and used as a normal SmartPreset. If a photographer has initially processed a shoot in color, they can then easily reprocess it with a B/W SmartPreset (possibly based on virtual copies).

Creating a B/W SmartPreset is straightforward, too. In the classic creation of a color SmartPreset (at least 500 images), the B/W style is automatically additionally created, provided there are at least 20 edited B/W images included.

Those who wish to specifically create just a B/W SmartPreset can use the "Kickstart" option to create their own look in a few minutes. Only 20 images need to be exemplarily edited. As usual, photographers can create as many of their own B/W SmartPresets as they want, free of charge.

 

Image Credit: Neurapix/Formaphotography

 

No additional costs for Flat-rate customers

For Flat-rate customers, the new function is available without additional costs. For photographers who are using the Pay-per-Picture model, everything remains the same: Editing an image costs - as with any other SmartPreset - 3 cents. Optional features such as straightening or cropping incur a maximum of one cent extra.

"Photographers often provide a portion of their photos in black and white to their clients. Previously, it was often around 10-15 percent of the total. From now on, it can also be 100 percent - without additional effort for manual editing!", says Neurapix co-founder and CCO Simon Diegmann. "This provides photographers with a whole new way to enhance and sell their product."

For more information, please visit the Neurapix's website.

Categories: Photography News

Don't Miss Our 5 Top Basic Beach Photography Tutorials

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Wed 17 Apr 2024 6:16pm

The coast is a popular destination for many at the weekend (even more so if it's a Bank Holiday weekend which gives us an extra day or sometimes more to play with). So for those of you who are heading off on a day trip, we've got 5 top tutorials all about beach photography which should come in handy when you're down by the sea. 

 

1. Take Better Photos At The Beach With These 6 Tips


When the sun's out us Brits pack the car up with buckets, spades, the dog and family members and head to the beach. But as well as eating ice cream and playing the odd game of cricket or rounders take some time out to take a few beach photos. It doesn't even have to be a gloriously sunny day for photography either as waves crashing against the sea wall will look just as good as a family snap on the front.

 

2. 12 Ways To Improve Your Beach Photography Today

 

From advice on what gear to pack to tips on turning around rather than just looking out to sea.... this tutorial has 12 top ways you can improve your seaside photography without too much effort on your part. 

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3. How To Capture Beachcomb Coastal Close-Ups

 

Beachcombers find all sorts of treasures that make perfect photographic subjects. So while you're at the coast, take a walk along the beach to see what interesting objects you the sea has washed up for you to photograph. To find the most interesting objects you need to follow the tide lines just after a good storm or strong winds have blown in. head out not too late after high tide to give you the best chance of uncovering some photo treasures before they get picked up or the surrounding sand's spoilt with footprints.

 

4. 5 Tips To Instantly Improve Your Beach Shots Taken With A Compact Camera

 

If your camera will be packed along with the buckets, spades and sunblock, take a look at these 5 tips so your shots of the beach look as good as the real thing. We have advice on switching away from auto mode, tough camera tips, ways you can boost sunset colours and why changing your angles is well worth a try. 

 

5. 4 Top Tips On Photographing Beach Huts

 

A popular shot to capture when you're photographing beach huts is to use a wide-angle lens to get a full line of these colourful structures in the frame. If you plan on doing this, try to get a large expanse of sky in the shot too. Be careful if you're using a particularly wide lens as you can end up with objects creeping into the frame that you didn't want to capture and keep an eye on your exposure.

 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

Categories: Photography News

3 Quick Top Tips On Why You Should Use People In Your Landscapes

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Wed 17 Apr 2024 3:00am
    Next time you're at a popular tourist spot, don't get annoyed by people in your landscape shot as when captured the right way, they can actually add interest, create a story and, more importantly, add a sense of scale to an image that will make the person viewing it go 'o, wow!'    1. Landscape With People Vs A Portrait Outdoors Bring a person or a group of people into your landscape shots and they suddenly get a different feel/look about them. But you have to be careful that it doesn't turn into an outdoor portrait where the person is the main focus of the image rather than part of the overall scene.   As you're not shooting an outdoor portrait you don't want to pose your subjects or better still, let them know you're taking their photograph at all. Make sure they're not bothered by you or your camera and are focused on whatever they're doing before you take your shot. For more tips on shooting candidly take a look at our article: Candid photography.

 

 

2. Create A Connection 

An empty shot of a forest or a mountainous landscape may be inspiring and pleasant to look at but if you add people to the shot the viewer can become more connected with the image as the person/people can help create more of a story. A sunset shot with a couple sat to one side of it will feel romantic while a rock climber scaling a cliff wall that's sat in your wide, landscape shot will create a totally different feeling.

 


 

3. Add Scale 

People can also help create a sense of scale within an image, for example, a backdrop of mountains suddenly turn into dominating structures that tower above two walkers or a lake stretches out for miles past a single man out fishing for the day.

 


 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

Categories: Photography News

Sony Releases Large Aperture Wide-Angle Zoom G Lens 16-25mm F2.8 G

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Tue 16 Apr 2024 8:59pm

Image Credit: Sony

 

Balances the supreme expression capabilities of a wide-open F2.8 with a compact and lightweight design for excellent portability

 

April 16th, Sony is pleased to announce the latest addition to its full-frame α™ (Alpha™) E-mount lens line-up. FE 16-25mm F2.8 G is a large-aperture wide-angle zoom lens that maintains an F2.8 maximum aperture over the entire zoom range from 16 mm to 25 mm, combining supreme image quality with excellent portability due to its compact and lightweight design.

This new lens offers high-resolution performance, beautiful bokeh, and high-speed, high-precision, quiet, fast-tracking AF (autofocus). Weighing an impressively light 409 g, it is highly portable so you can easily enjoy every day shooting that emphasises the sense of perspective that can only be achieved with a wide-angle lens. It benefits from the same filter diameter, operability and roughly the same size and weight as the "FE 24-50mm F2.8 G" announced in February 2024, easy to use when shooting hand-held or when combined with a gimbal. The FE 16-25mm F2.8 G expands the range of photographic and video expression for creators in a variety of scenes such as astrophotography, landscapes, architecture, portraits, general snapshots, and selfies.

 

Key features of FE 16-25mm F2.8 G
  • Compact and lightweight design with the latest optical and mechanical design.
  • Filter diameter φ67 mm, maximum diameter 74.8 mm, length 91.4 mm, weight approximately 409 g.
  • By effectively arranging three ED (Extra-low Dispersion) glasses and four aspherical lenses, including one ED aspherical lens, various aberrations such as chromatic aberration are reduced, and high-resolution performance is achieved from the centre of the screen to the corner.
  • The 11-blade circular aperture and optimisation of spherical aberration provide the beautiful bokeh that is the hallmark of Sony G lenses.
  • High close-up shooting capability with a minimum shooting distance of 0.18 m and a maximum magnification of 0.20x [i].
  • Equipped with two linear motors, it enables high-speed, high-precision, high-tracking, and quiet focusing even on fast-moving subjects. It also supports high-speed continuous shooting with AF/AE tracking of up to approximately 120 frames per second for the α9 III full-frame mirrorless camera[ii]. Smooth tracking even when shooting 4K120p/FHD240p[iii] high frame rate videos that require precise focusing. 
  • The adoption of linear response MF during manual focus allows for smooth and high-quality image expression. 
  • Reducing the focus breathing allows high-quality movie expression. 
  • Compatible with the α series camera's image stabilisation "Active Mode"[iv], achieving high image stabilisation effects. 
  • High operability, including a focus hold button, aperture ring, aperture click ON/OFF switch, and focus mode switch. 
  • Designed to be dust and moisture proof[v] with a fluorine coating that prevents dirt from sticking to the front surface of the lens.

 

Pricing and Availability

The new FE 16-25mm F2.8 G will be available in the UK and Ireland for approximately £1250 and €1400, respectively. It will be sold at a variety of Sony's authorised dealers throughout the UK and Europe.

A variety of exclusive stories, videos and exciting new content shot with the newest cameras and other Sony products can be found here. Sony’s European photography hub is available in 22 languages and details product news, competitions and an up-to-date list of Sony events in each country.

A product video on the new FE 16-25mm F2.8 G can be viewed here: https://youtu.be/JTvC5fth9xI

For more information about FE 16-25mm F2.8 G, please visit the Sony UK's website.

For other latest product launches and updates, take a look at our news section.

 

[i] Maximum magnification is 0.2x (AF)/0.23x (MF) with a minimum focus distance of 0.18 m (0.59ft) (AF) / 0.17 m (0.56ft) (MF) at the 16 mm end of the range and 0.24 m (AF) (0.79ft) / 0.22 m (0.73ft) (MF) at the 25 mm end of the range.

 

[ii] Sony test conditions. Maximum continuous frame rate may be lower in some shooting conditions. Continuous shooting speed may vary depending on the lens used in AF-C focus modes. Visit Sony’s support web page for lens compatibility information.

[iii] Depends on the camera used.

[iv] Compatible models only

[v] Not guaranteed to be 100% dust and moisture proof.

Categories: Photography News

How To Photograph Rainbows In 3 Easy Steps

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Tue 16 Apr 2024 8:59pm

  To Photography A Rainbow, You Will Need: 
  • Tripod - Stability when using longer shutter speeds
  • Polarising Filter - Enhance the rainbow's vibrancy
  • Wide Angle Lens - Sweeping landscape with the full arc of the rainbow
  • Telephoto Lens - For distant objects that you want to frame with the rainbow
  • Standard Lens - Capture foreground, background and the rainbow with not too much trouble
  How To Photography A Rainbow, Step-By-Step: 

 

Step 1. A Bit Of Luck Needs To Be On Your Side 

Unfortunately, due to the conditions that are needed for a rainbow to appear, you really do need to be in the right place at the right time (you might see a few more at this time of year though due to the rainy nature of April). Don't fancy waiting for one to appear in the sky above you? You'll also find them in bubbles and near other water sources such as fountains in town squares and around waterfalls.

 

Step 2: Get Your Positioning Right 

If you do happen to stumble across one, position yourself so the rainbow can act as a frame for a building, interesting rock formation or whatever photogenic subject you may find. If you don't, your shot will just look empty and boring. For added interest, position yourself so the rainbow intersects your subject as this is where the eye will be drawn to.

 

 

Leading lines such as deep shadows and long roads will draw the eye into the picture as well as add interest to the shot. If you do this use a small aperture so the foreground and rainbow are both in focus. You also need to work quickly as they can appear and vanish within a matter of minutes. 

 

Step 3: Don't Meter From Dark Skies

As rainbows need moisture and sunlight to appear more often than not you'll have clouds full of rain lingering in the back of your shot but this isn't a bad thing as the dark colours of storm clouds will help enhance the vibrancy of the rainbow, making the colours really stand out. Just make sure you don't meter of this part of the sky though as your rainbow will end up losing some of its punch.

 If you get the chance, do spend some time assessing which angle the rainbow looks most vibrant at to make it really stand out from the sky behind it.
 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

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Categories: Photography News

5 Top Tips On How To Photograph Bridges

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Tue 16 Apr 2024 2:53am
    1. What Time Of Day Is Best? 

Early morning or late evening light will highlight textures and warmth to the scene but don't overlook bright days either as strong shadows will make statues and other detail stand out from the walls.

If you wait for the sun to go down have a play around with long exposures and capture the light trails created by traffic as it passes you by. Most DSLRs will happily create shutter speeds of 30 seconds but if you want something a little longer you'll need to switch to the B (bulb) setting. 

If you do use Bulb mode, keep an eye on your battery life as you don't want it to drain before you've captured your shot. Do remember you'll need your tripod and a remote release is handy if you have one.

 


 

2. Should I Use A Wide-Angle Lens? 

If you're shooting on the bridge a wide-angle lens is great for getting interesting foreground detail in the shot. Just remember to use a small aperture so everything in the scene is in focus. A wide is also handy for when you what to shoot the bridge in its surroundings and don't have the space to move back with a telephoto lens. If you can get down to the base of the bridge a wide-angle lens will exaggerate the size of the part closest to you while the distant point of it will look like it's shrinking towards the vanishing point.

If you find you have too much sky and land dominating the landscape shots of your bridges crop in and create a panorama.

 

 

3. When Will A Telephoto Lens Be Useful? 

When you want to isolate detail pick up your telephoto lens. It's also useful for when you have strong lines to work with such as bridge supports.

 

4. What Else Can I Photograph On A Bridge? 

Bridges, particularly old ones, have interesting detail that's worth a shot or two. Signs, supports, nuts, bolts and even rust can make good images.

 

 

5. How Can I Use Bridges Creatively In My Shots? 

You can use the bridges that stretch over roads, canals and rivers to frame whatever landscape sits behind it. Just watch your exposure if you do this as it'll be darker under the bridge than it is on either side so bracket if you need to.

 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

Categories: Photography News

ePHOTOzine Daily Theme Winners Week 4 March 2024

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Tue 16 Apr 2024 2:53am

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to bricurtis (Day 29 - Micro Landscapes).

 

Daily Theme Runners-Up

If you didn't win this time, keep uploading your images to the daily competition forum for another chance to win! If you're new to the Daily Theme, you can find out more about it in the Daily Theme Q&A

Well done to our latest runners-up, too, whose images you can take a look at below.

  Day 24

Dew Drop

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  Day 25

Fast Shutter Speed

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  Day 26

Boats

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Day 27

Flowers

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Day 28

Towns & Cities

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Day 30

Rain

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Day 31

Butterflies

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You’ll find the Daily Themes, along with other great photo competitions, over in our Forum. Take a look to see the latest daily photo contests. Open to all levels of photographer, you’re sure to find a photography competition to enter. Why not share details of competitions with our community? Join the camaraderie and upload an image to our Gallery.

Categories: Photography News

ePHOTOzine Daily Theme Winners Week 2 April 2024

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Mon 15 Apr 2024 8:45pm

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to adrianedwa (Day 14 - Garden Landscapes).

 

Daily Theme Runners-Up

If you didn't win this time, keep uploading your images to the daily competition forum for another chance to win! If you're new to the Daily Theme, you can find out more about it in the Daily Theme Q&A

Well done to our latest runners-up, too, whose images you can take a look at below.

  Day 9

Stone Circles

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  Day 10

Woodland

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Day 11

Creative Flare

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Day 12

Full-Length Portraits

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Day 13

Stained Glass Windows

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You’ll find the Daily Themes, along with other great photo competitions, over in our Forum. Take a look to see the latest daily photo contests. Open to all levels of photographer, you’re sure to find a photography competition to enter. Why not share details of competitions with our community? Join the camaraderie and upload an image to our Gallery.

Categories: Photography News

A Magnificent Mono Shot Of Yosemite Valley Wins 'Photo Of The Week'

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Mon 15 Apr 2024 11:31am

 

A breathtaking monochrome spectacle titled ‘Always a Storm’ captured by RobboB has been honoured as our latest POTW winner.

This stunning monochrome image, inspired by Ansel Adams’ ‘Clearing Winter Storm’, presents the iconic Yosemite Valley in all its dramatic glory. From El Capitan on the left, Half Dome in the distance, to Bridal Veil Falls on the right, the landscape is a testament to the photographer’s patience and skill.

It’s a strong, intriguing, and powerful landscape shot that has captivated our team. The excellent composition, the light in the sky, and the beautiful tunnel view all contribute to its allure.

A remarkable subject captured with exceptional skill. This dramatic monochrome image leaves a lasting impression and truly deserves ‘Photo of the Week’ recognition.

All of our POTW winners will receive a Samsung 128GB PRO Plus microSDXC memory card with SD adapter offering memory storage across multiple devices. Plus, we will also announce our 'Photo of the Year' winner who'll win a Samsung Portable 1TB SSD T7 Shield in January 2025 courtesy of Samsung.

Categories: Photography News

4 Top Rainy Day Photography Tutorials For You To Try Today

DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine - Mon 15 Apr 2024 5:26am

 

Today is the first day of April and as we can pretty much guarantee that April's famous showers will fall over the UK and Ireland over the next few weeks, we thought we'd give you some rain photography inspiration.

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Learn to shoot creative portraits in the rain, brush-up on your landscape skills or how about trying to capture macro shots of raindrops on plants? Whatever you photograph, do remember that your rain-themed image could win you a prize if you win our weekly Photo Month competition.

 

1. Photography Tips For Bad Weather Days

 

How many times a year do I hear those immortal words "Oh, it's a bit dull for photography today" or some variation of them? No, no, no... There is no such thing as bad weather, only different types of lighting. The biggest problem about landscape photography on days that are "unpleasant" is what goes on in your mind. If you look out and think "It's dull" then you will take dull pictures, and usually not simply dull in terms of lighting, but dull compositionally because you are starting with a negative attitude, and that's if you even bother to go out the front door!

 

2. How To Take Great Landscape Shots When It's Raining 

 

When people first get involved with photography, especially landscape photography, they tend to gravitate towards nice weather shooting. If it’s rainy or stormy then just put their cameras away and wait for another day. Perhaps this is partly to do with cameras and water not mixing too well. Perhaps it’s also because they don’t realise what great opportunities there are in poor weather Rain and bad weather can offer the photographer some of the most atmospheric shots if you know where to look and how to protect your equipment.

 

3. Capturing Creative Shots Of Raindrop Patterns

Rain may be good for the garden but it's not something most photographers are fond of. However, if you find yourself in your car, on route to a landscape location when the heavens open, all is not lost as you can use your car as a canvas for shooting water drop abstracts.

 

4. Four Quick Creative Rain Photography Tips

At this time of year, there is a high possibility that you might get caught out by rain showers when you're out exploring. If you do experience some rain, even if you're at home nice and dry when it begins, here are some ways that you can capture rain creatively. 

 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

Categories: Photography News

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