Some of the best photography is in the worst weather!” I’ve been saying that for decades and it comes from coming in from the cold, soaking wet and thrilled to death with the images I captured. The drama in the light, clouds and the response to it by nature is a once-in-a-lifetime spectacle you just can’t duplicate. In order to see it and photograph it, you have to get out in it and be able to work. And that’s where the challenge lies.
At my workshops and lectures I am often asked by photographers how I am able to get sharp images at slow shutter speeds out of the affordable 70-300mm zoom I use for backpacking while they are unable to get sharp images with their 70-200 f/2.8 pro lenses. It is true that when it comes to lenses, the price tag does match the quality in terms of durability and sharpness at wide apertures. But by the time my carry-along backpacking lens is stopped down to f/8, it is nearly impossible to tell the difference between photos taken with it and images taken with the most expensive pro lenses. Honestly, the lack of sharpness in photos has less to do with the tele lens you are using than it might seem and more to do with long lens technique.
Filing the frame with the critter isn’t required for great wildlife photography. Reflecting on how I first slanted my wildlife photography in this direction, it has its roots in the first lens I had to shoot wildlife. I started with a Vivitar 400mm f/5.6 on an old Minolta that was soon replaced with a Nikon 400mm f/5.6 on an F2. That 400mm was my main lens for a long time and it taught me lessons about wildlife photography that I still depend on to this day.
In a business that thrives on intensely refined specialties, Newport, Rhode Island-based shooter Matthew Cohen has managed to find success in what has to be one of the ultimate photographic niches: nautical adventure photography. Cohen is one of a handful of photographers worldwide who earns much of his living adventuring on the high seas and capturing those exploits with his camera.
May 30, 2013
Published: May 01, 2013
Photographing Waterdrops is a beautifully illustrated how-to photography guide that serves as both a technical tutorial and visual photography inspiration. Its collection of imagery explores the world within the tiniest droplets of water. Written by award-winning photographer Harold Davis, author of more than 30 books including the bestselling title, Photographing Flowers: Exploring Macro Worlds with Harold Davis, this photography book is intended to offer a fresh, creative perspective into the dynamic possibilities of natural waterdrop photography. Davis draws from his professional expertise and artistic perspective to offer advice on capturing extraordinary waterdrop compositions. Readers learn how to use light and reflections to their advantage, which tools and equipment work best for macro photography, and how to perfect their waterdrop shots both before and after shooting.
A phone call from a friend woke Chris Fulcher at his home in Newtown, Connecticut, around 10:30am on December 14th last year. “I’d slept late and didn’t know what was going on,” Chris says. “My buddy told me to check the news, and then I rushed to the school because my 6-year-old cousin goes to that school.”
In the annals of American photography the images made by Farm Security Administration (FSA) photographers in the 1930s and 1940s are famous. Over a dozen men and women captured a variety of life and work styles during the Great Depression. Their pictures, distributed to news media and other outlets, illustrate how people were dealing with the hard times of the Great Depression, and were used to justify programs for relief and aid.
Actor Richard Gere is best known for his roles in over 40 films, but few may be aware he is also an avid photographer and collector. Taking pictures on his many trips to India was always more of a personal project, until photography book and exhibition designer Elizabeth Avedon happened to notice a 3-foot stack of beautiful 8x10 photos in his loft. “A lot of these photographs I didn’t show anyone because it was such a private experience for me,” Gere recalls. “I had no interest in sharing them.” Fortunately, Avedon was able to convince him they needed to be seen, and these and other photos have been exhibited around the world and published in his book, Pilgrim.
Mark Katzman has been shooting professionally for over 25 years. Originally, he studied filmmaking at the University of Wisconsin, Madison. In college, and for a short while thereafter, he found he could earn money by taking pictures of baseball teams.
Bill Pekala, head of Nikon Professional Services, came to the US Open at the Billie Jean King National Tennis Center in Flushing, New York, last August to run the NPS operation at the matches. Sports events can be the ultimate proving ground for camera gear, and one of NPS’s primary roles is providing their member professional photographers with the assurance of dedicated on-site support.
Mar 12, 2013
Published: Feb 01, 2013
I live near the Gowanus Canal in Brooklyn and have been photographing the canal and the neighborhood for over two decades, but it was only in the fall of 2009 that my photographs had the prospect of becoming a historical record, due to the imminent prospect of development and a long-term cleanup. Either way, the area was going to change dramatically. The photographs I produced have won awards, been featured in exhibitions, and 17 of the images have been acquired by the Brooklyn Historical Society for their permanent collection.
Philippe Halsman, in his book Halsman on the Creation of Photographic Ideas, talked about an ad he’d shot, where he had to show a car making a splash as it was driving through a water-filled trough. But rather than give it the traditional treatment of the day, he sought to make a real splash with the picture, so he lit it differently. Shooting at dusk, he positioned flashbulbs so they hit the “wings,” as he called them, from each side. Like Halsman, photographers specializing in automotive are finding ways of introducing unusual and unique twists to make the shot stand out. Peter Dawson is one such automotive photographer who takes a particularly keen interest in dealing with challenges outdoors, on location.
After 30 years of making a living as a professional photographer I reached another milestone this past July—I traveled with my 17-year-old son Justin around the entire state of Oregon, our goal being to create an in-depth documentary of this beautiful state. We had never before traveled together solely as a photo team. This trip served as another milestone for me—it would be my first photo trip with my new Canon digital camera, having finally said goodbye to my beloved manual Nikon SLRs and Fujichrome slide film.
Growing up in San Juan, Puerto Rico, I used to love playing in the Spanish colonial castles in Old San Juan, imagining I was a Spanish conquistador getting ready to do battle with foreign attackers. My interest in castles and history has never subsided, although the only shooting I imagine anymore involves my camera, not guns. I was therefore excited when I had the opportunity to visit and photograph a number of castles in Northumberland, a region located in England’s northeastern corner abutting the North Sea. Besides its numerous castles, Northumberland also features wide beaches and tall sand dunes, rugged cliffs, rolling hills, and quaint fishing villages.