Taking Your Camera on the Road

Learning how to take a good picture – and the difference between a good one and an excellent one – is a critical part of photography. And it is really simple:

That’s it. No complicated mathematical equation here. Get it out of the center. It’s that simple. Most cameras have centered focusing brackets or “targets” in the viewfinder. When the focusing area is in the center of the frame, we tend to aim the “sights” at our target, a.k.a. subject. This is called the Bull’s Eye Syndrome.

Getting the subject out of the center of the frame makes for a more interesting picture. Okay, why? Greek artists discovered that the human eye tends to rest on certain points in an image, and they considered this natural movement “the concert of the eye.” Imagine a grid in the viewfinder, such as a tic-tac-toe pattern: two lines evenly spaced across and two lines evenly spaced down. Where the lines intersect is where the eye tends to focus. As the grid breaks up the frame into sections of three, this is called The Rule of Thirds. By placing your subject on one of these intersecting points, the eye can look at the center of interest, then feel free to move around the image to look at the rest of the photograph. A sense of movement is created.

The ancient Greeks were passionate lovers of the arts and sciences. They analyzed how we look at art and what makes art interesting or boring. Static, centered subjects keep the eye focused, even trapped, right in the middle. By providing an opportunity for the eye to move around the image, people found the art more interesting.

This movement of the eye is critical to making a boring, tourist shot into something that makes people say “Wow!” Take a moment and look at a picture you have on your wall. Or grab a magazine and just look at some graphic image. Watch the path your eye takes. First it zooms in on something of interest. Then it wanders over here and wanders over there. Does your eye feel locked in one place? Or does it just keep wandering all over the place? Does it zoom to one thing, then bounce to another, and bounce back to the first and back to the second? You feel like you’re watching a tennis match. Or does your eye race all over the image, looking at everything and never standing still. After a while, you feel a little seasick, right?

Our eye likes to roam, but it enjoys a good rest once in a while. By putting your subject in one of those four intersections of the rule of thirds, you now offer the eye something to look at and places to roam.

Line it Up on the Horizon

Humans prefer things in their proper places and looking like they should. We have expectations that water runs down, trees grow up and the earth may be a ball but it looks flat from where we stand. Be careful in threatening those expectations.

One of the common expectations often threatened is the rule of a straight horizon. Excited about a beautiful sunset or landscape,we tend to forget to make sure the camera is level along the horizon. A tipped horizon can give a sense of sea sickness. Take time to lined up your horizon with trees growing straight up and the water running down hill, if that is your goal.

Horizontal vs Vertical

The camera has two formats to choose from: horizontal or vertical. The most popular is horizontal. Is it popular because it looks best? No. It’s popular because that is how cameras are made to be held, flat across our faces. Manufacturers make the tripod screw mount to accommodate that format by putting it on the bottom of the camera body. Is it the best composition? Not always. Tall trees are best photographed vertically. There is a feeling of height and power. Landscapes may look best as a horizontal, but not always. Try both ways to see which you like when you get your film back, then decide. It’s an artistic choice, so use it.

Simplification

Simplify, simplify, simplify. Keep your images simple and they will have a greater strength and artistic concept. Learn to see the distractions and eliminate or minimize them. It is easy to stand there and try to get the whole scene into your picture, but what is the point? Tell us what the story is about by giving us a summary, not the whole book. Go for the simple.

Getting Too Excited

Too often the cougar comes out of the bushes when we aren’t ready to take a picture. Still we grab the camera for a few shots. Then we tell ourselves that even if they don’t turn out, at least we will have recorded what we saw. We get them back to find that we actually saw a blur. It happens. No matter how exciting it is to have a bull moose stride past you, a seasoned photographer learns to prevent getting too excited by understanding how their equipment works, how it sees, and by honing their skills through practice, learning to trust their instincts.

Understanding your equipment

Film, cameras and lenses have standard limitations. They can only record what you tell them to record and see what they see. A camera can’t see what you see. It’s a simple tool. The brain and eye are much more sophisticated, allowing us to “see” more than the camera is capable of. To make quality photographs, you must learn how to see as the camera sees. Learn how images are recorded on film so you can properly expose the film to capture the end result you want.

Understanding your equipment, its limits and strengths, is a critical part of photography. We can’t walk around with our pictures telling everyone what is in the photograph or what we were really trying to accomplish. We need to learn to see photographically. We must learn how to tell a story with our photographs so we don’t have to tell the story for them. We need to understand how to control our resources (our equipment) to create beautiful images.

Dot Animal Syndrome

One of the first lessons in learning photography is understanding how your camera works and how it sees. The human eye has an almost magical ability to zero in on
what is the “center of interest” and enlarge it. Ever been at a party and been able to pick out individual conversations? Or in a crowd and zero in on your friend? What capacity we humans have to eliminate distractions and focus on what’s important. The camera doesn’t have that ability.

In the excitement of seeing something like a black bear, our eye sees the bear and adrenaline enlarges it, magnifies it in our minds. The lens can’t. Be careful to really see how large the subject is in the viewfinder. Take your eye away from the center and look all around the edges. How large is the subject in proportion to the other elements in the image? Is what you are seeing magnified by your mind or your camera? Take time with your subject and slow down. See what the camera is seeing and ignore what your amazing brain wants to enlarge.

Simplify, Simplify, Simplify

It bears repeating: Simplify, simplify, simplify. To improve the quality of your images, you must learn to notice all the details, choosing which you want and which to eliminate. Too many details get distracting and confusing. The process of elimination is simple. Take the time to look around your viewfinder and ask yourself if what you are seeing is important to the final image. If not, get rid of it. If you can’t get rid of it, reposition yourself or make it work for you. Ask yourself the following questions:

• Is it important to the final image?
• Do I want this in my picture?
• Does it add to the story?
• Is it distracting?
• What is the point of my picture?
• Is it clearly evident?

These simple questions will help to eliminate and simplify your images and improve their quality. Take time, have patience and work with the subject from different angles and positions. The more you know about a subject, the better you can render its image. We will tackle more about getting to know your subject in the section about photographing wildlife.

Exercises

The Notebook

Visit a local office supply store and purchase a notebook to use to record your photographic efforts as you proceed through this program. Make sure that it has a strong enough cover or backing so that you can easily hold it in your hand and write on it. Choose a size easy for you to carry either in your pocket or camera bag. It may have lines or not, that is up to you. Just make sure it is easy to use, then use it. Use it to record composition elements, exposure, which lens you used, and any discoveries you make along the way. When your film is processed, compare your notes with the end results to not only see how you did but to learn from your experiments.

Rule of Thirds

Choose a simple subject and photograph it placed right in the center. Then take a series of four pictures with the subject placed towards each of the four corners. Which ones do you like better?

Horizon Lines

Photograph a landscape scenic and pay attention to the horizon line, keeping it level. Then slightly tilt your camera to one side, slanting the horizon line and take another picture. Compare the results.

Horizontal vs Vertical

Photograph a series of subjects in both directions without recomposing. Compare the results. Do some subjects just look better in one direction or the other?

Simplify

Write down the questions in this section onto a small card to carry with you in the field. As you prepare your composition, run through the questions and answer them. Write down your answers in your notebook. Many times we hear people say, “Why did I ever take this picture?” Write down your reasons so you will know the answer when you get it back. See if your composition changes as you go through the questions before pressing the shutter.

Developing the Photographic Approach

When we approach a potential photograph, we come to the scene with years of experience that has been flavored by numerous photography classes and training programs. Developing your photographic approach is a step-by-step process, initiated at each location, and reinitiated upon each repositioning within the location. Here are some examples of how we approach our photographic subjects.

Rule of Thirds

Using the Rule of Thirds as a starting point, we mentally divide our viewfinder into thirds, both horizontally and vertically, like a tic-tac-toe pattern. By placing our subject at one of these power points, we increase the tension, and therefore the interest, in our pictures. The eye moves around the picture, resting upon the main subject, and then continues on, returning back to rest. With our subject in an interesting placement, we can then search the viewfinder to see what else catches our eye, and decide what else should or should not be included.

Eliminate distractions

The simpler your picture is, the more powerful it tends to be. Carefully study what is within the boundaries of your viewfinder. With your eye, sweep across the frame from one upper corner and back and forth to the bottom. Then trace your eye along the entire outer edge of the viewfinder to find any distractions or unwanted items that might sneak into your frame like a bit of a tree branch or a piece of litter. Make sure that everything within the viewfinder is supposed to be there. Think of your viewfinder as a box in which you have many toys, but where you can only play with one or two of them at a time. Count all the things that hold your attention. Does that number exceed 3? What about the litter in the foreground? How about the garbage can or the edge of the parking lot in your nature scenic? Can that be eliminated by repositioning yourself? Check the foreground and background. What holds your attention? Is it what you want people to look at?

By changing positions, lenses, or your composition, you can change the perspective and eliminate the distractions that can’t physically be removed. Get low, lie on the ground, stand tall, stand on a ladder or vehicle for a higher perspective. Don’t be limited by where you plant your body and/or camera and tripod. Take the camera off the tripod and walk around to find the best angle. When you have found the spot, then position your tripod accordingly. Take your time to consider the many ways and choices you have to photograph a subject.

Why? Think About Why

Why are you pressing the shutter? You might be surprised at the answer. These impulses to come from different sources. Some are creatively driven (“It called to me.”), while others are politically driven (“I have to show the people back home how much fun I had.”), and others are story-telling impulses (“I have to show them everything I did.”). All are worthwhile to consider, but really examine your motive. Take a moment and look deeper to find the reason why.

Approaching Tips and Tricks

Patterns and Textures

Look for basic patterns in lines and curves. The S-curve is easily found in streams, hills, paths, roads, and plowed fields. Horizontal lines are peaceful while vertical lines are more daring, since we know that what goes up must come down. Diagonal lines are dramatic since they are already falling and give a sense of motion. Look for other patterns in shapes and outlines of subjects. And look for textures, subjects that add depth and dimension to your images.

Leading Lines

Watch how the eyes move around and through the subject matter in your viewfinder. You are already starting to see what the viewer will see in the end result. Look for lines and flows of subjects that lead your eye into the picture. Is the subject matter strong enough to keep the eye inside the picture frame, or do the leading lines take your eye right out of the picture? Watch how your own eye moves through the image and take another look for distracting elements.

Fill the Frame

Come in closer. Whether you physically get closer or you change to a longer lens, fill the frame with the subject. This not only eliminates distractions but it gives the viewer a closer perspective of the subject.

Catch the action

If there is something special, some action, motion, or drama in the image, make sure you capture the peak action. If the bird is landing on the water, capture the dramatic action of the water splashing out as it touches down. If photographing a waterfall, choose a slower shutter speed to catch the silky blur of the water’s movement. A marmot pops up out of his den and screams a danger warning that a predator is near. The creative drama in your images is enhanced when some form of motion is captured.

What is really special about the place?

Every subject has some special quality to it. Maybe that’s what motivated you to stop, but it could also be whatever is unique and distinct to that subject. A ponderosa pine is an interesting tree, but what is really distinctive about it is its deeply-textured bark. Lichen-covered rock is fascinating, but is it the rock or the lichen that is really attracting your attention? The more time you spend in a place, the more special qualities you uncover. Photograph them all.

Exercises

Experiment with Perspectives

Choose a subject or scene and spend at least a half hour with it. Look at it from all different angles and perspectives. See what you can find.

Tell a Story

Choose a subject or scene and spend some time with it, from a day to a year. Photograph it from different angles, in different light, and under different weather and seasonal conditions. Find ways to tell the “story” of the subject through your images and composition. Take notes and really investigate the subject so that you can learn all about it and to help you improve your photographic story-telling abilities. For more information on story-telling with your images, check out Enhance Your Story with Photographs.

Composing for People

While most of our images are of nature, people can be an enhancement to nature photographs. They provide a sense of scale and perspective. They draw USA, the audience, into the photograph. We tend to see the image from their point of view and not necessarily from our perspective outside the photograph.

Putting people in your picture can be done in two ways. Either make them the subject of your photograph or make them a detail. To make them the subject, follow the basic compositional rules of putting them in the rule of thirds, or filling the frame with them.

Keep ’em straight

Make sure the ground they are standing on is straight. It’s easy to get excited and in a hurry when taking the picture, and when you get home you get a good laugh explaining that this is a picture of Aunt Martha sliding off the planet. Watch out for horizon lines and keep things straight.

Different angles

Just because everyone else takes pictures of the family standing in front of the famous statue doesn’t mean you have to. Look around for ways to capture your subjects from different perspectives. Get low and aim up, or get high and aim down. Get them looking at the statue and not looking at the camera. Maybe the statue isn’t as important as the looks on their faces as they are seeing it for the first time. Find new ways and angles to include them in the photograph.

Making Eyes

Make sure you can see their eyes. They say the eyes are the windows to the soul – make sure it looks like someone is home. Watch shadows under the eyes or on the face – they can become a distraction and can make people look tired. Who is that, Alice? A distracting person in your image can pull the eye totally away from the subject of the photograph. Make sure the image is enhanced by the presence of the person.

Story Telling

Part of the magic of photography is the storytelling capability of your images. What story are you telling with your photograph? In the two following images, while they are basicallly the same, featuring a photograph of Brent in a snowy forest, they each tell a different story. What story are they telling?

Brent appears to be standing and admiring the view.

By changing his stance, he now appears to be hiking through the snow.

Do something

Get them doing something interesting. A picture of Fred standing in front of a museum is just Fred standing in front of a museum. What if Fred were eating an ice cream cone. Then you’d have a picture of Fred eating an ice cream cone in front of a museum and the story would change. You’d start to think about how ice cream cones are probably forbidden inside and he’s probably gulping it down, or that maybe he just got out of the hot sun for a moment to stand in the shade of the building to eat his ice cream cone. There are more important elements to the story now. Body language and position plays an important part in how you tell the story. If you want to tell the story of a man hiking through the snow, you want to see a body position indicative of movement. If you want to tell the story of someone admiring the view, you show them standing still facing the view. Body placement, body language, and the impression of movement or stillness all adds to the story conveyed by the positioning of the person in the image.

What story are you telling?

By making them a detail you add dimension and scale to your image. A small person in a large canyon provides the audience with a sense of the height of the walls. A dot person in a wide reaching landscape makes us feel small in this vast world around us. If the person is a detail in the image, choose to make them an obvious detail. By having the person wear a red coat or something bright, or be positioned in a way that our eye notices them, the viewer looks at the person and then moves to examine the rest of the image. If their eye stumbles upon the person as their eye wanders through the image, the rest of the time may be spent wondering what that person is doing out there, ignoring the rest of the image. Keep a balance and let the person be a part of the image and the audience can share in their discovery.

Exercises

Approaching Techniques

With your “keep it simple” card, approach a scene asking yourself the questions about the story behind the picture, examining your reasons before you press the shutter. Take notes as you go to help you “uncover” the reasons you decided to pause here with your camera.

Photographing People

With family or friends, photograph them during some social activity. Make sure you get permission first. Work to get them doing something interesting, not just standing or sitting there, and work from different angles like from below or up high looking down. Watch for the catchlight in the eye and the dark shadows hiding the eyes if the light is overhead. Rearrange them if you need better lighting or positioning. If possible, take notes and compare them with your results.

Writing with light. This is the translation of the word “photography” from Greek. Light literally writes across the film during exposure. Light is the soul of photography. It is critical to capturing the color, form and expression of a subject on film. The artistic language of photography uses expressions representative of color and light. We even discuss our camera lenses based upon the amount of light they permit through to the film. For many photographers, “seeing the light” and all its characteristics is the most important skill to develop.

Light has several characteristics for the nature photographer to consider. The direction the light falls upon the subject is important, as is whether the light is direct or reflected. We will also consider the quality of light, its color and mood, and its magical ability to elicit an emotional response. We will help you “see the light” – to recognize the variations of light and how to work with them, as well as how to plan for it. We’ll also offer advice on how to tackle the unique challenges, and show you some tricks for working with different natural lighting situations.

Light Direction

Depending upon the source of the light and which side of your subject is illuminated, the direction of the light influences the texture and appearance of your subject. The direction of light is the path the light takes to reach the object.

Front Light

Front light illuminates the face of the subject. It comes from behind the photographer and shines on the front of the subject. Front light is good for details and colors, but since it washes away most shadows and definition, there are no shadows to give shape or depth to the subject. It tends to appear flat and two dimensional. If enough of the background is included in the image, front light can cast strong shadows behind the subject, adding a sense of dimension and depth to your image by separating it from the background. Front light is good for photographing people, landscapes, closeups, and many other subjects. The flash mounted on the top of your camera projects a strong front light.

Side Light

When light illuminates the side of the subject at a 90 degree angle, it is usually called “side light”. It creates deep shadows and adds texture and depth to your subject. It works well with round subjects such as the human face or a ball, and adds dimension to your image by casting shadows to the side of your subject. As the shadows are strong and obvious, their strong graphic nature can become part of the image rather than just an accent. Usually found during the morning and afternoon hours of the day when the sun is lower in the sky, textures are accentuated more with side lighting, though the shadows may overwhelm delicate or softer textures.

Side lighting casts long and often dramatic shadows, so sometimes the shadow play becomes the subject itself. Look for opportunities to work with the shadows of subjects for interesting new perspectives of the familiar.

Another type of side light is top light, which illuminates the top of your subject. Again, it can create strong graphic plays with shadows, but it is notorious for creating strong shadows under the eyes. Found during the middle of the day, top light is not recommended for most animals and humans, as the dark shadows under the eyes make them look old and tired. Top light works well when you want the top of a subject lit while the other parts fade into a shadowed background.

Quarter Light

Quarter light, similar to side light, is also called three- quarters light. Occurring during the same time of day as side light, the sun is at a 45 degree angle to the back or front of the subject, illuminating half way between side and front or back. Quarter light is considered a flattering light as it gives definition to the shape, making round objects appear round, while allowing the shadows to become a part of the subject itself. It shows detail and definition, providing a subtle definition of depth. It is an excellent light for photographing people, animals, closeup subjects, landscapes, and many subjects which require shadow for definition but not strong shadow lines.

Back Light

Back light is lighting with the source behind the subject, the opposite of front light. The back of the subject is illuminated. The light is usually pointing towards the lens of the camera. Back light creates a halo effect or rim light, giving an aura to your subject. Translucent subjects, or subjects with translucent edges, do well with backlighting. Grasses, flowers, insects, plants, some animals, and even people make for interesting backlit subjects. It makes translucent subjects glow as the light passes through the subject. By creating a strong silhouette, the light outlines the subject with a glowing illumination. When you create a silhouette with your subject, make sure that the silhouette stands out from the background and that it is easily recognizable.

Reflected Light

When light from the sun hits a light or reflective surface, it bounces off and illuminates other objects in its path. You will find this reflected light in alley ways between buildings and in canyons where the sun hits one side of the canyon wall and reflects into the shaded side. The reflected sparkles of light from the surface of a lake or river dance among the plants and trees along the shore when the sun hits at the right angle, usually early in the morning or late in the afternoon. Using a photographic reflector, you can also reflect direct light onto a subject artificially.

Reflected light is colored by the reflecting surface. If it is a warm, golden color, it will reflect warm, golden light. A white or silver color will reflect a white, silvery light. The light is softer than direct light, creating a flattering source of light with fewer harsh and intense shadows. Macro photographers often work in low-light conditions, and use reflectors to direct light onto their subjects. Nature photographers enjoy this effect in tight canyons such as in the slot canyons in Arizona.

Exercises

Light Direction

Either using artificial light or working throughout a day, photograph one subject using the different light directions mentioned. Take notes and compare the results. Which light direction does that subject most benefit from? Do this again with at least three other different subjects to understand how light direction changes their shape, texture, and the story.

Reflected Light

Light can be reflected from many different sources. The color of the source can influence the subject’s color, too. Look for subjects to photograph which are near a “reflective” surface such as a building wall, stone wall, or another surface. Photograph the subject when it is illuminated by the reflective surface (the sun hits the surface and bounces onto your subject). In your notes, describe the quality of light that is coming from the reflected surface onto your subject. Does the end result match what your eyes saw?

Light Characteristics

The characteristics of light are the elements which distinguish one kind of light from another, and affect the color of the light, as well as the impact of the light on the subject. Light plays with emotions. It can lock your attention onto the subject, invoking memories to make you feel sadness, happiness, compassion, heartache, or just wonder and awe.

The colors of the light are created when the light passes through the atmosphere. Depending upon the interference, sunlight changes colors. On a clear day, when the sun is near the horizon, the light passes through the most layers of atmosphere. Blue light gets filtered out, leaving the direct light, a warmer, red tone. When the light is directly overhead, it passes through the least layers and it is a whiter color. When the light passes through clouds, it becomes diffused, casting a softer light dependent upon the thickness of the cloud cover. When the light is blocked by another subject, the subject is then in shadow. Let’s look at the specific characteristics of light a nature photographer encounters.

Warm Colored Light

Research has shown repeatedly that people respond better to warmer colors than they do to cooler ones. Warmer colors are red, orange and gold. Cooler colors are blue, purple, gray and white. Nature photographers tend to work more with “warm” light than cool light, or they add warming filters to enhance the warmth of the image.

Warmer colors tend to be found when the sun is near the horizon, at sunrise and sunset. Called the “magic hour”, nature photographers are drawn to the few hours before sunset when the sun casts a golden glow on everything. The nearer the sun is to the horizon, the more intense the colors usually are. Different levels of pollution in the sky also enhance these colors, as the particles in the air act like a filter. Sunset and sunrise are also great times for photographing wildlife. Not only are the colors on their fur or skin rich with warmth, the animals tend to be most active at this time of day.

Warm colors lend a variety of emotional responses to an image. The warmth of sunset light on a subject can evoke memories of youth and days past. The afternoon light gives a healthy, glowing color to many subjects, inspiring feelings of success, excitement, richness, passion, and joy. Warm colors are happy and peaceful when used with cheerful subjects such as smiling children playing in the last rays of sun or a cat curled up in the last spots of afternoon warmth.

Cool Colors

Cool colors tend to put off “warm” feelings, but they are also dramatic when used to enhance appropriate subjects. Cold subjects, such as icebergs, a glacier, or ice and snow, do well when rendered with cool light. Our expectation is that these scenes will be cool in color. We also know that twilight and night is cooler, so these images are welcome in the cool, blue tones. Many people tend to feel “blue” and moody in the evenings, so look for photographic opportunities to express sadder, more melancholy subjects with light found during twilight times.

Twilight

Twilight occurs for about an hour before the sun rises and for an hour after it sets. It is the time when the sun lights the sky while it is still over the horizon. Twilight is usually colored cooler pastel colors like blue and violet to pink. The shift from the gold and orange to indigo tones as the sun sets is magical and brings a different, almost mysterious quality to the color of the light.

Monotone in coloration, twilight is the epitome of shade, the final touch of light upon the earth. Its tones of blue and gray evoke sadness, sorrow, sometimes a peaceful and quiet feeling. We know that night is near, a time for rest and renewal for the next day.

Night Light

Night photography can be very exciting and very time consuming. It requires long exposures due to low light levels, but it can also create some wonderful effects. At night, there may seem to be no source of light. Lights at night are subtle, and can be found in the stars, the moon or with unusual sky lights such as aurora borealis or meteorites (meteor showers).

Light from the moon casts a cool, blue tone on landscapes. When lit by the light of the full moon, objects lose definition, even under long exposures. They seem to be the essence of monochromatic, black and white extremes with few shadows of gray. Photographing a snow-covered scene under a full moon can be particularly moody, as the snow reflects and spreads the cool light. These images can be very haunting, almost surreal, lending mystery and a threatening fear of the unknown.

Shade

Shade tends to be blue in tone and is most easily found on bright sunny days. Shadows are blue, as they are illuminated by the blue sky instead of the sun. Blue-toned shade enhances cool, blue-colored subjects such as snow, ice, blue flowers, and water. If you want a subject to appear “cold”, photograph it in the shade. Blue is a color of sadness and sorrow, and subjects photographed in the shade can evoke these emotions, unless the subject is blue in color. Then the color is enhanced and we often feel excitement and stimulation from the vibrant colors.

Magic Light

Magic light is usually caused by weather conditions, such as storms, which influence the amount and direction of light as well as the color of it. Gentle white puffy clouds can become dark and dramatic with the change of light caused by the weather. Storms bring gray and ominous tones. Crepuscular rays bring hope and brilliance. Rainbows offer hope and wishes come true. Fog creates a sense of isolation and loneliness. The Aurora Borealis, or Northern lights, is created by the charged particles from the sun interacting with the atmosphere to present swirls of green, blue, and sometimes red. Rarely seen, they are mystical and almost spiritual.

Magic light often happens suddenly, causing the photographer to race around in a desperate attempt to capture the magical moment. At the first sign of a storm or shift in weather conditions, anticipate the potential of the light to cause rainbows, fog, or crepuscular rays. What subjects are around you that will do well under these various lighting conditions? If you think a rainbow might appear, what kind of scenic or subject matter could use a rainbow in the background? If crepuscular rays of light may break through at any moment, what will it illuminate and what lens do you need to capture the “god-light” coming down from the heavens? By anticipating the potential scenes, you can prepare yourself by pre-selecting the lens you need and being ready to capture the scene when it happens. Practice searching for equipment in your camera bag while keeping your eyes on the quickly changing light in front of you so you can be ready when the moment comes.

Diffused Light

Weather conditions often diffuse the light. Overcast skies, clouds or fog can scatter and diffuse the light, causing few or no shadows on the subject. This allows natural textures and color to come out, and the light spreads evenly over the subject. After learning about the qualities of diffused light, think twice about dismissing a photo trip due to weather. Smart photographers are out photographing and loving the clouds, mist and rain.

Diffused light is beneficial for all kinds of nature photography. It allows the natural colors of the subject to glow, removing the bright highlights direct sun can cause. Forests glow with their own natural colors and vibrancy without the sun washing the colors away or creating “hot spots” in the image. Closeup and macro photographers love diffused light for these very reasons, emphasizing the subject without the distraction of bright or reflected light hot spots. Diffused light eliminates these problems.

Diffused light also comes in different intensities from the softest effects from high overcast clouds to the dark, misty effects of fog. Fog creates mystery in your scene, whether seen from above as part of a landscape, or from within as the fog swirls around your subject and blurs the background into a white-gray nothingness. Mist and rain also create a soft focus effect, giving a scene a romantic feel, creating dramatic and sensual images.

Emotional Light

When we think of creating emotion through photography, we often think of pictures of people – crying, laughing, dancing. Through the imaginative and creative use of light, we can create powerful images and influence emotions by provoking feelings of happiness, sadness, threat, excitement, the memories of youth, special moments, shared experiences, and new discoveries. Images and the effect of light can relay more than just the visual, stirring memories of the senses of touch, sound, smell, and taste.

Light Takes Time

As we have seen, light comes from many sources, each with a distinct color. Take time to watch the light change during the day and notice the color of the light as it changes on different subjects. Photograph the same subject at different times of the day and watch how the colors change and how the film records the color changes. Compare it with what you actually saw. Take notes or keep a journal record of your studies. It takes time and a lot of work and research for a photographer to “see the light” and learn how to capture it on film.

Exercises

A Day Study

Choose a subject or scene and photograph it during the day from early morning (pre-dawn) to after the sun sets. Watch how the light changes on the subject or scene during the day as you photograph it.

Many different effects can be made with light. The challenge is not only learning to “see the light” but learning how to expose for the light in your camera. Learning to use the light accordingly and create these dramatic effects adds not only sparkle and excitement but also drama to your images.

Sunset/Sunrise Tips

The best tip for sunrises and sunsets is to be at the right place at the right time – and the right time is pre-dawn and pre-sunset. Study where the sun will set or rise. Line it up with an interesting foreground. Look for elements to add intrigue or balance to a static horizon line (mountain, tree, rocks). Look where the sun will cast its colorful light. What subjects will be fully exposed and warmed by the rosy to golden colors?

When you are photographing for silhouettes and capturing the sun itself in your image, the sun will usually be aimed right at the lens of your camera, often resulting in sun flare problems. Visible through the viewfinder and, depending upon your aperture, the circles or octagonal shapes will appear more or less intense. They are caused by the sun bouncing around in the barrel of the camera lens and reflecting off the glass surfaces inside. To block sun flare, you need to cast a shadow over the front element of your lens. This can be done with a simple lens hood, or you can use a hat, your hand, an opaque reflector, or anything that will cast a shadow over the front element. Of course, if the sun itself is included in your photograph, it’s impossible to keep the sun from striking the lens. In this case, your lens must be top quality to minimize lens flare. Lenses with better quality coatings and fewer elements perform better when aimed at the sun.

One you have chosen your subject matter, have patience. Stay prepared and wait for the light to happen. The colors shift quickly as the sun moves near the horizon, so pay close attention. Sometimes the colorful light will be brilliant and quick and other times it will slide across the sky slowly, deepening gently. Don’t be in a hurry. The best color might be a minute after you think the show is over or it may have already passed. Take lots of pictures. And bracket your exposures for color saturation – take a variety of exposures by over-exposing for lightness and under-exposing for richer, darker tones. The subtle and ever-changing colors of a sunset or sunrise, influenced by the pollution and dust levels in the air, offer serious challenges for your camera’s meter as well as for your film.

Proper exposure for sunsets and sunrises is found by metering off the “middle-tone”. This area is usually an area of the sky that doesn’t include the sun itself. To enrich the brilliant colors, try underexposing a half stop or more.

Fog Tips

Fog is created when moisture condenses in the air. This can occur when warm moist air passes over a colder land mass, when cold air crosses warm bodies of water, or when the air temperature drops to the dew point close to the ground. Often found in the early morning or within a few minutes of sunrise, it creates soft light on animal fur as they move through the mist. It creates interesting effects on landscapes and scenics by softening harsh textures. There is a feeling of mystery when the fog is caught moving in and out of the trees or around a mountain base. Fog creates a sense of mystery and loneliness; a sense of isolation.

To meter for fog, overexpose by one-half to a full stop for a natural look. If you want the fog to appear grayer or darker, adding more mystery and sinister tones, underexpose a bit.

Direct Light Tips

Direct light is bright sun light on a sunny day with few or no clouds in the sky. Direct light is perfect lighting for reflections on water or in windows. For architectural or tourist photography of buildings, direct light, especially front light, is excellent for capturing the reflections of other nearby buildings, trees, flowers, or subjects within the glass windows of the building. The fall colors of the trees are reflected in dancing colors on the surface of a stream running under them. Play with smooth, moving, or rippling effects on the water to capture a variety of abstract reflections.

Shade Tips

Open shade has a definite blue cast. Open shade means the subject is in the shade but still open to the blue sky. The subject will take on the color reflected from the sky. In a deep forest, the subject in the shade takes on the green light of the surrounding forest, as the blue sky is concealed behind the thick foliage.

Look for subjects which benefit from the coloration. Glaciers reflect the blue of the sky, enhancing their cold quality. Think of cool temperature sensations. Blue flowers look bluer in the shade. Gray rocks take on a blue tones. Shade can be used as a soft light which can show details in the subject. Use it in combination with direct (morning/evening) light from a reflector to get contrasting colors of pink or gold and blue in the same frame.

To counter the effects of shade, you can “neutralize” it with a warming filter. An 81B filter works well to counter the cool, blue tones. Most nature photographers prefer warmer colored subjects, as does their audience, so to add warmth to an image found in the shade, use a warming filter. The most popular warming filter for nature photography is the Cokin 81B. It puts just a little more warmth into the shade.

Silhouette Tips

One of the most dramatic techniques of light and photography is the silhouette. Silhouettes create dramatic outlines of your subject. They work best when combined with a lovely sky and background. Silhouettes get their name from the small black paper cutouts made popular in the 18th century by Etienne de Silhouette, a French author and politician, who made these gifts for friends and relatives.

To create a silhouette, meter off the sky first and then the subject. Determine the difference in the exposure. For a bold black silhouette, the background should be four or more stops brighter than the subject. Meter for the background and adjust accordingly.

Choose subject matter easily recognizable by the viewer. The human figure makes for a clearly defined and recognizable silhouette, but also consider other shapes and outlines like trees, grasses, flowers, buildings, and animals.

Midnight Sun Tips

When can the sun look like the moon? When photographed in the middle of the day and underexposed. The more the camera meter is adjusted towards underexposure, the less light is recorded on the film. When extremely underexposed, the only light recorded on the film is the brightest spots of light. The sun is a bright spot of light. With a strong foreground such as a mountain or forest, severe underexposure creates a dramatic silhouette. If the sun is included in the frame, the dark image can easily be mistaken for a moonlit scene.

When the foreground is water, not only does the sun resemble the moon, the sun’s sparkling reflection on the water becomes twinkling stars. It is a very exciting technique caused by underexposing by two or four – maybe as many as six – stops of light.

Several companies manufacture and sell starburst filters that will cause any bright point spot to record on film as a multi-pointed “star”. These filters work because of fine scratches on their surface that cause the light to distort. Unfortunately, the starburst filters also cause a degradation of overall image quality for the same reason. The good news is that you don’t need a special filter to get this affect. You can create starbursts in your image by closing down the aperture of the lens to its smallest opening. The aperture of a camera lens is not a perfect circle. It is made up of layers of metal blades which create small corners in the “circle” of the aperture, similar to an octagon. Intense bright spots such as a bright spot of light in a drop of water or the sun coming through the trees travels past the aperture and flares out along those “corners” or points. This creates the star effect, a very exciting addition to a scenic.

The Big Sun

One of the most popular photographic subjects is the setting sun. The sun is near the horizon, hovering above the landscape, and it’s big and orange or red and so pretty. When you get your film back, though, the sun seems to be nothing more than a small orange point of light lost in a frame of colorful clouds. How do you get the big sun effect that you see so often in photos in the magazines?

The secret is to use a lens with a large focal length. Focal lengths of 500mm or 600mm, or bigger, are needed to make the sun seem as big as our eye sees it. Use a teleconverter, if you have one, and a very sturdy tripod. To make the sun seem even bigger, photograph it next to some object to give it scale, like a faraway tree or mountain or windmill. The large focal length lens will magnify the tree so that the viewer seems to be standing nearby. The lens will also magnify the sun by the same amount. The result is that the sun will seem as big as the tree, and together they will fill the frame.

Night Light Tips

Star trails and low light images are exciting and easy to take. It just takes time and patience, and a few good tips. Begin by taking one or two fully lit exposures at the beginning of your roll of film. After you have exposed for your night images, if you have film left, make sure you take more fully lit exposures on the end of the roll. This helps the film processor line up the film on the machine for cutting. Black film with low light images is hard to cut and mount when you don’t know where one begins and the other ends.

Night and low-light situations require long exposures. A tripod is required to hold the camera steady for exposures that can last hours. A cable release isn’t necessary, but it does help, especially if it features a shutter lock. Unless your camera is specially equipped to handle exposures lasting hours, set the shutter speed to bulb and use a stop watch, timer, or alarm clock to time your exposures.

Star Trails

Star trails can work alone in the sky or with a dramatic foreground such as trees or a mountain. It is not necessary or useful to make a meter reading when photographing star trails. Simple choose a dark location with a good view of the stars, set up the camera on a tripod, load 100 ISO film, open the lens to the maximum aperture, and start the exposure. If the foreground subject is close enough, illuminate it briefly with a flash or fire light to add drama to the image. Depending on the amount of “streak” you desire, exposure times may range from one hour to all night. Start experimenting at 4 hours. A wide angle lens requires longer exposure time, as the wide perspective captures short lines in the sky. A longer focal length may require shorter exposure times, as they magnify the lights in the sky. Polaris, the north star, is located directly above the north pole. All the stars in the northern hemisphere will appear to circle this star if you include it in the photograph, while it will remain a motionless point of light. Putting the north star in a corner or the center of your viewfinder will create a curved or spinning “trail” of stars on your film. The longer the exposure, the longer the lines of stars across the film. The shorter the exposure, the shorter the lines or “trails”.

Photographing from high elevations, such as a high mountain range, often presents excellent clear sky opportunities free from pollutants, if the weather cooperates. Pick a season when you will be likely to have a cloudless night, and pick an evening with no moon. This limits most night photography adventures to only a couple nights a month. Depending upon the exposure time, you can try photographing on nights when the moon rises very late in the night, closer to morning. Be sure to close the shutter before the moon rises.

To focus on the stars, turn off the autofocus and manually set the lens to infinity. Infinity is not found by twisting the lens to the end. Infinity is marked on the lens barrel and should be set at this point.

Long exposures for star trails can eat up batteries. It is recommended to put in fresh ones before you start, especially with new auto-everything cameras that hold the shutter open electronically.

Moon Shots

A popular “trick” is the large moon illusion or the Harvest Moon. Earth’s nearest neighbor always looks bigger when it hovers over the horizon because of the proximity to foreground objects and the distortion due to atmospheric conditions, which causes greater magnification as the light passes through the most layers of atmosphere. Photograph the full moon on the night before or the morning after the full moon for the best effect. This is best because the moon appears full and hovers above the horizon while there is still some light on the landscape. You have a better chance of getting an exposure with detail in both the moon and the scene itself. On the night of the calendar full moon, the moon will wash out to a white orb because of the difference in exposure values. Take the shots before the sun has completely set. Like sunsets and sunrises, meter to the side of the moon and not on the moon itself. Use exposures which are short in duration – 10 seconds or less is recommended to create a nice, crisp moon.

Longer exposures will create an egg shaped moon, or a blur across the sky. If you can’t wait for the harvest moon effect, a long lens will also flatten the perspective of the moon against the landscape and the moon may appear closer and larger.

As with sunsets, creating a “larger” moon in the background behind a subject is possible by using a shallow depth of field from a large aperture to blur the moon, giving the illusion of a large moon. Again, meter for the subject and not the moon. Or create a silhouette with the moon acting like an aura of backlighting behind the subject.

Moonlight

Moonlight can act as a cool light on landscapes and scenics. Combined with the last light of the setting sun, or rising sun, it can be cool and warm in the same image. Normally, it has a cool feeling like shade. Meter off the moonlit areas, or, if desired, underexpose to accentuate the dark feeling (usually by 1/3 to 1 stop depending on the brightness of the moon and the clearness of the air).

Artificial Light

Light comes from natural sources, which is usually preferred for nature photography, but when you don’t have any natural light, or it is insufficient, there are a few tools you can use to bring light to your subject.

Flash Light

Flash from on the camera or off the camera can illuminate the subject with a bright light. Some see flash as “artificial” and others as necessary for photographing natural subjects in low light. The light from electronic flash is typically bright white, though may be changed through the use of filters set over the flash. The amount of light coming from a flash may be controlled manually on the flash or automatically through the camera and metering system.

Direct Flash

Direct flash illuminates a subject with bright white light. It is highly effective with fast subjects as it “stops them in their tracks”. It is also good for closeup work when the light levels are low or the subject is moving. Stopping a flower dancing in the breeze with a beetle on it requires the use of flash to stop the action. When flash is the only source of light, as in caves and at night, it is a requirement.

One noticeable characteristic of flash is that it can illuminate the foreground and the subject but black out the background. This can either separate the image from the background or cause the background to appear artificial. Direct flash can also influence the colors of the subject or overwhelm them with the brightness of the white light. Bright colors may appear more brilliant and subtle pastels may be washed out.

Fill Flash

Fill flash adds illumination without overpowering the subject. It allows the background to remain “normal”. Fill flash can provide a “catch-light” in the eye of the subject, making it appear alive and interested. Fill flash occurs when the flash is less intense than the ambient light. Fill flash has a limited range and intensity and allows the natural colors of the subject to be illuminated.

Other Artificial Lights

There are many forms of artificial light, all taking on distinct colorations. Our Light Show workshop offers more detailed information on how to photograph and see the different forms of light. For more information on photographic light, please check the book list at the back of the notes.

Planning For the Light

The “magic” of light and good photography is something worked for and planned for, not usually something just stumbled upon. Many methods are available to assist you in “planning for the light”. The use of any or all of these will help plan and arrange your time to be in the right place at the “right” time.

Calendars

Planning involves preparation and scheduling. Many calendars are available which list the different phases of the moon. If you are photographing tide pools or shore birds, tides are critical information. Planning on the full moon, calendars help you plan your trip or outing accordingly. Other calendars feature “almanac” information regarding seasons and weather conditions, such as predictions based on past history for the start of a rain or storm season. These can also help you plan for light under different weather conditions in places where this information is available.

Computer programs

Many programs are available today for a variety of computers which will not only provide phases of the moon and sunrise and sunset times, but allow for charting the course of the sun and moon across the sky in your “neck of the woods”. There are “online” programs for weather reports. Programs are also available for star charting for photographing star tails.

Watch the Media

TV, radio and newspapers all provide weather reports, often on an hourly basis. Check with them for the latest weather reports for the area you are exploring or traveling. Some media agencies will also feature a call-in phone number for the most up-to-date information.

Consistent Weather Patterns

Learn about “consistent” weather patterns in the area you are exploring. Many places offer typically one weather pattern or distinctive weather quality: Florida is typically humid and warm. Israel is sunny. Seattle and London are cloudy. Phoenix is good for lightning. Other places offer another kind of predictable weather. Hurricane Ridge in the Olympic National Park, Washington, along with other high altitude mountain ridges, is well known for constantly changing weather; one minute sun and the next snow.

Weather Watching

There are many books and videos available to help you learn weather watching. This is especially helpful for hikers and climbers, as the weather in the mountains can quickly change from peaceful to deadly. It’s important to learn how to tell what the weather is doing and going to do. Learning to watch and predict the weather helps you plan to be in the right place for the right light.

Look outside

It may seem obvious, but you should look outside. Weather reports may list storms and rain on the news while outside is sunny and warm. Or the reverse could happen. Look outside and see what it really looks like.

Light Accessories

Here are a few of the light accessories we use to create our nature photography images, carrying them with us everywhere we go.

Diffusing Screens

A diffusion screen softens harsh light – creates a cloudy day feeling. It also cuts about 2 stops of light. Consider using with 81A or 81B warming filter to warm up the image. A diffusing screen cuts the amount of light but does not affect the color of the light. Chiffon allows a lot of light through and ripstop nylon allows for more diffusion. White is the color of choice in fabrics. Using some form of frame and prop holds the cloth away from the subject and leaves hands free to work the camera. Or have a friend hold the cloth for you.

Reflectors

Like filters, reflectors can enhance your subject by providing more light to the subject and focusing the light on your subject. They can also add color to your subject and create a sparkle in the eye of animals. Reflectors can be anything from a white piece or paper to a reflective fabric. They direct the light onto the subject and work like fill flash to light the side away from light source – the side in shadow.

They may be used to create side lighting for use with a diffuser or to block the sun and create shade. Use them as supplemental lighting to alter the color temperature of the light. Using a gold reflector adds warmth and a golden light to the subject and can make it glow. A silver reflector adds a cool white light, and other colors can be used to shine onto the subject.

Reflectors work well for closeup work and small, still subjects, and can add light in low light situations. They are also popular for photographing people, especially for “lighting up” or filling in a dark shadow on the face. The effect of the shadow is still visible, but the difference between the light side of the face and the dark side is now closer to even.

Changing Light: Filters

We should use filters like we use spices when we cook. We are not changing the flavor of the food, just enhancing it. Use filters wisely and carefully. Filters enhance, affect and change the image we see through the lens. When the human eye looks into shade at an autumn leaf, it sees the warm, red colors of fall. The camera and film sees a cool blue tone. A filter can correct the image to appear as we “perceived” it. But, as with spices, too much of a good thing may distort reality.

Polarizing filter

Polarizers dramatically darken the blue sky and removes glare and reflections. They also act as a neutral density filters that reduce the light from one to three stops. Rotating the filter adjusts polarization to prevent unpolarized components of light from passing through (thereby darkening the sky or removing reflections) while allowing the polarized components to pass. These work best when at a 90 degree angle to the sun.

Polarizers

Examples of the differences between using a polarizing filter on highly reflective subjects such as glass, or in this case, water on kelp along the sea shore. The first picture shows the lack of a polarizer shows the glare from the water and reflective surface and the second image with a polarizer shows the kelp, eliminating the reflective glare.

Without polarizer

With polarizer

Polarizers work best on reflections, not just on water or windows, but on leaves, rocks and in rivers and can enhance the color on bright-colored subjects. They remove the reflections and increase the “purity” of light on a subject, allowing the “real color” to come out.

Warming filter

Effective for warming a “cool” image, a warming filter can enhance a sunset or sunrise or add warmth and color to flowers, especially those with red and orange tones. They intensify natural colors to make them more brilliant. Warming filters come in a wide range of “warmth”. The 81B is a standard and popular warming filter.

Graduated Neutral Density

A graduated neutral density filter is “half” of a filter. The neutral coloration on the plastic or glass is found on one half, and gradually fades out to clear on the other half of the filter. This allows the natural light of the lower part of the filter to stay the same and the brighter “upper” part of the image to have bright tones “neutralized” or brought to a closer tone level to the lower part. If the sky is too bright, compared to the foreground, the photo will lose all detail in the bright areas. You can see this in the photograph to the left. It is wonderful for sunsets, mountaintop scenics with a dark foreground, and in any situation where the contrast between the brightest and the darkest in the two halves on the screen overwhelm the film’s ability to “see” the tones. It can be used to darken the bright sky in the background or to darken the bright rocks in the foreground by using it upside down.

Graduated Neutral Density Filters

The colors of a graduated filter can be found in:

• Neutral (no color shift)Blue (for skies)
• Tobacco (for sunsets)Sunset colors (for sunsets)

More Filters

There are many different kinds of filters which manipulate the light in your image. There are:

• Color correction filters, UV or Skylight filters
• Fog filters, Diffusion filters
• Fluorescent light filters, Incandescent light filters

We could go on forever. There is a lot of debate about the use of filters and the “reality” of images enhanced by filters. Just remember that the use of filters is like using spice in cooking. Either you want a lot or a little, but you are enhancing the food, not just eating the spice.

Exercises

Diffuse Light

Find a small subject and photograph it in the direct sun and again with a diffusion cloth.

Reflectors

Use a reflector to fill in the shadows of your subject or to change the light direction.

Filters

Using your different filters, and taking notes as you go, photograph different subjects to find out which filter works best with which subjects. With a polarizer, photograph some scenes with the sky a major part of the subject and use a wide angle lens and then a longer lens and evaluate the results.

Silhouettes

Find a subject with a strong shape and photograph it as a silhouette by placing it against a bright sky, backlighting works best. Take a meter reading and set your exposure. Take a series of three pictures at your meter’s recommendation, and then underexpose by one and two stops.

Changing Light

Choose a subject and make a photograph of it during the morning and at various times during the day as the light direction and intensity change (a similar subject may be used if necessary).

Starburst

Make a photograph which includes the sun as a starburst in your frame four different ways:
1. Set your lens to its largest aperture. Take a meter reading by aiming your camera so that the sun is just out of the frame. Manually set the shutter speed. Without looking directly at the sun, include the sun in your frame and take the first picture.
2. Bracket one stop underexposed (faster shutter speed by one setting) and make your second exposure.
3. Set your lens to its smallest aperture (f16 or smaller). Set the shutter speed the same way as for photo one. Make your third exposure.
4. Bracket one stop underexposed and take the fourth picture.

Film sees the world differently than our eyes do. One of the challenges of photography is learning what those differences are so we can successfully put our vision on film. The human eye sees millions of colors and color variations at the same time. The eye sees all shades of white: off-white, cream, egg, ecru, soft-white, etc. Same for colors such as purple, magenta, pink, auburn, fire engine red, orange, sunset orange, and so on. The palette of colors available for oil paints is not as varied as the eye can see. Film is more limited.

Exposure Latitude

Unlike our eyes, film sees across a range known as the exposure latitude. This is the range of “tones” film can see between absolute black and absolute white. Slide film sees about 7 stops, while print film typically sees about twice as many. Slide film reveals more intense colors, as it sees only the main colors and not all the shades of “gray”, one reason why professional photographers continue to use slide film and why their clients demand it. Print film is generally processed by computers which “guess” at the colors to print on paper, and this extra step can introduce errors.

Understanding how the film records the light and color helps you choose the canvas you wish to “paint” with. Different brands of film see colors differently, too, so play around with different films to see which gives you the results you desire. In general, we use Fuji slide film for the best color rendition of nature scenes.

Film Decisions

The color of light and the color of your subject is affected by the film we use. Film is sensitive to light and the colors of light – some more sensitive to warm colors and some to cool colors.

A research project by Fuji Films, in an attempt to find out what “temperature” and colors people prefer, found people remember colors more vividly than they actually appeared in reality. Think about the colors found in fireworks. Close your eyes and remember the last set of fireworks you watched. Remember the vivid colors exploding in the dark sky. How electric they are. But if we could see those fireworks again, they would appear different. How would reality compare to your memory? Fireworks are mostly pastel in color: pinks, light blues, light greens, yellow. But most of us probably remembered flaming reds and brilliant purples.

The end result? Fuji “pumped up” the colors in their films, especially the warm colors. Kodak and the other film companies have stepped up to the plate to catch up with the color technology of Fuji, but the battle to control the film market continues, benefiting photographers for sure.

Print Film

Print film sees very much like the human eye does. Our eye can see a wide range of tones, from extreme black to bright white. This means we have a wide exposure latitude. What we see as dark is dark. What we see as light or white is light. What we see as gray will be gray. Print film offers a wide range of exposure latitude allowing us to capture more of the tonal range.

A print is made from a negative, and adjusted when printed according to the machine’s “guesstimates”, or the lab worker’s judgement. This is why print film is very forgiving of exposure errors. Misjudge the exposure by a stop or two, and these mistakes can be corrected in the lab with little loss of quality. Or the difference between “correct exposure” and “slightly off” is so subtle, it still looks “right”. This is because the exposure latitude is so wide, we have lots of room for “errors”.

Print film would seem to be the perfect choice in films. It is easy to use, you have lots of room for “mistakes” and you get a picture to take with you to show your friends.

Slide film

Slide film is difficult to show your friends without expensive equipment. The image is small, unlike print film usually sized 4×6 inches per print, it doesn’t carry in your pocket very well. The advantage of slide film is that what you get back from the lab is your film, not a copy of it. If the slide is dark, it’s your mistake. If the color balance is wrong, your mistake. There is no lab interpretation and no middle process to alter or “fix” your pictures. We recommend you use slide film during our courses for this reason. Therefore, these class notes are aimed at the user of slide film, although the print film user can use the same techniques with excellent results.

There is no room for error on slide film. A one stop adjustment on your camera can overexposure your image. Slide film has a narrow exposure latitude – you either get the exposure right or not. There is no “in between”. This makes slide film an excellent film for beginners so they can learn from their mistakes, especially when it comes to understanding exposure.

Slide film presents colors as rich and vibrant as our memory of them allows. Red is red. Black is black, not sort of gray. Yellow and greens jump out at you, as they are not muted by the subtle variations.

Slide film is used for publication. Every magazine, calendar, greeting card, and book publisher is set up to accept slide transparencies to make their color separations. It’s cheaper and easier for them. To accept prints, they have to re-photograph them before they can use them. Most will not accept prints. If you want to be published – you must shoot slide film.

Digital “Film”

While the techniques involved in using a digital camera are little different from those of using a traditional camera, the end result does differ. Images are captured and stored onto computer storage devices, and the image quality is limited by the resolution and storage size. The sharpness and size of digital photographs depends upon the size of the sensor behind the lens. Consumer quality digital cameras feature sensor sizes ranging from 0.4 to about 8 megapixels (millions of pixels). For Image with exaggerated pixels. The number of pixels a digital camera can recognize and record represents the image quality the camera is capable of.

For photographs to look acceptable on computer screen or on a web page, a one megapixel camera may be enough. If you are seeking reproducible images for enlargements, you will need a camera with a larger megapixel sensor. The larger the sensor, the larger the output files. In general, a 4-6 megapixel quality image could take 16 to 20 megabytes of storage space per picture. More storage space, larger sensor, more money.

Size isn’t everything, though. There are several type of sensors on the market with new ones coming out all the time. In general, RGB sensors (CCDs) record color better than CMYG sensors. The quality of the camera’s lens and the camera’s ability to control exposure and to maintain an accurate white balance will also improve results.

Learning how your digital camera handles exposure involves understanding how exposure works and then running your camera through a barrage of bracketing tests to determine how accurate its meter is. If your camera doesn’t permit manual exposure control, try manipulating its exposure compensation controls. Check your manual for specific instructions. Typically, digital cameras behave like color slide film, creating better images when slightly underexposed, especially when photographing a brightly lit scene.

Exercises

Testing Film

Purchase at least one roll each of three or four different kinds of film. You can choose from varieties of print or slide film, or some of each. Go to a location where you will have a variety of subjects to choose from. Pick several subjects of which at least one is a very light color, a very dark color, a rainbow of colors, and a medium-toned color. Taking notes, photograph these subjects with each roll of film. Keep your exposure either on automatic or matching the camera meter’s recommendation. Try to move quickly so that the light stays the same on the subjects during the process. After processing the film, compare them with your notes and see which film handles which colors and subjects better. Is there one that seems to match your memory of the colors better than others? Take the pictures and revisit those subjects. Compare the end results with the reality and note which best match the original colors and tones?

Digital Testing

Following the instructions in your manual, calibrate your digital camera’s meter with a white balance level. Then pick a variety of subjects outdoors of which at least one is a very light color, a very dark color, a rainbow of colors, and a medium-toned color. Compare the results in your camera’s screen (or later in the computer) with the original colors. How closely do they match? Do you find a difference between what you see in reality with what you see on your camera’s screen and what you see when it is transferred to the computer? What is the difference in quality and color?

Camera bodies were originally made from metals, typically aluminum. Today’s cameras have hard plastic bodies and will actually take a lot of abuse. Most modern cameras have a molded hand grip which often stores the batteries. This allows for a more comfortable grip on the camera.

In the class, we refer to the “ideal” camera as a 35mm SLR camera. SLR means single lens reflex. Old box cameras and rangefinder cameras, and most new point-and-shoot and digital cameras have a viewfinder separate from the view through the lens. In the viewfinder are etched boxes to show the photographer the outline of the view of the lens. SLR cameras have a prism and mirror inside the camera which direct the actual view through the lens to the eye. What you see is a fairly accurate representation of what the film will see. You see what the lens sees.

Another characteristic of the SLR cameras is that they allow for interchangeable lenses in a variety of lens lengths and speeds. Only a few of the new point-and-shoot and digital cameras offer this option, replacing interchangeable lenses with long zoom lenses. This flexibility increases the photographer’s creative options.

The name “35mm” refers to the width of the film the camera takes. This is the most common film format used today. You can use the same film in a point-and-shoot camera as you do in a 35mm SLR professional camera. Digital cameras typically imitate this same size format. Other film and camera sizes include 120 or 2 1/4, 4 x 5, 6 x 7, 8 x 10 and a variety of others. Film sizes, gone the way of the pop top soda can, were 110, 126 and 8mm. Tomorrow, 35mm may even disappear in exchange for the next film fad or digital memory.

Camera manufacturers have designed most camera bodies with less than a 100% viewfinder – a common coverage is about 92%. When you look through the viewfinder, you only see 92% of what will actually show up in your slide or negative. You carefully compose to eliminate that piece of sky from the corner of the picture, only to have it show up when your film comes back. And you swear that you looked around the entire frame before firing the shutter.

Why would a camera be designed like that? The main reason seems to be cost. It is technically difficult, and therefore expensive, to make a pentaprism which will show 100% of the image. And the resulting viewfinder image would be smaller and harder to see. The cameras which have 100% viewfinders are the professional models like the Nikon F5, F4, and the Canon EOS 1 series. These cameras also have what is called a “high-eye point” viewfinder, which allows a larger viewfinder image. In a very price-competitive market, few cameras have these features.

The other reason, the manufacturers tell USA, is that automatic print machines crop our pictures some when they print them. And slide mounts cover a part of the image. So the 92%, or whatever percentage your model has, is the manufacturer’s approximation so that what you get back from the photo-finisher matches what you saw when you took the picture.

Unfortunately, we find that the approximation is not very accurate for us, and we have to zoom out slightly to check the edges for intruders before exposing our film. We recommend that if you can afford them, 100% viewfinders make tight compositions 100% easier.

To check your “view” in your camera’s viewfinder, with your camera on a tripod, photograph a piece of graph paper. Mark on the paper where you see the corners in your viewfinder. Get the film processed and compare the results. As you can see in our example, the corner marks are quite a bit indented from the actual film edge. With this information we can take more care in composing our images to account for this unseen space.

Outside the Camera Body

A camera purchased new today is a state-of-the-art computer, not just a glorified picture taker. In fact, the technical aspect of taking an actual photograph is the easiest thing the camera does. A computer isn’t even needed to accomplish that. Figuring out how to take the picture can require very sophisticated computer engineering. Nowadays, cameras beep, blink, flash, pop and whir and click at you. Some even talk to you: “There is not enough light to make a proper exposure.” It’s a little scary.

Whether you have a newfangled computerized camera or an old manual everything, or even a point-and-shoot camera, the basic functions are all the same. Let’s look at the outside of the camera first, then we will explore the inside.

What do all the buttons do?

A 35mm camera can be overwhelming when you stop and look at all the buttons and dials. They may spin, whirl, slide or twist, but they all do the same things. Camera manufacturers are always working to move things around on the camera so the fingers will have access to the appropriate buttons. Unfortunately, this doesn’t always happen, and so the camera designers redesign and redesign and confuse the heck out of camera buyers. Just remember this: even though it may look different, the buttons all do the same things.

Off/On

The off and on buttons all look different on different cameras. Some cameras have a switch which slides, twists or swings. Some older cameras turn on their meters (that means the camera is on and power is draining from the battery) when the film advance lever is pulled out. Some cameras require two moves instead of one to turn it on; push in and turn at the same time.

The Battery Storage Area

Do you know how to change your camera’s batteries? Newer cameras need battery changes more frequently than some of the older cameras as today’s cameras require more power. Older cameras may take one to five years between battery replacements, so we tend to forget where the battery goes. If you will be storing your camera, you might want to think about removing the battery first. Always carry extra batteries. And then extra extras. This you will hear a lot from us. We know well the agony of photographing a prize animal only to have the camera go dead as the animal is posing perfectly. By the time you replace the battery, the moment may be gone.

Program Buttons

Most cameras come with a variety of program selections. They are often marked with a letter of the alphabet and you are supposed to understand what it means. Here is a brief list. For more specific information, look in your manual.

Program mode

In this mode, the camera will automatically set the shutter and aperture for the appropriate average exposure. It does all the thinking for you.

Manual mode

This is when you become the brains of the camera. Manual mode means the camera’s meter will tell you when it thinks the exposure is correct, but you have to choose both the aperture and the shutter speed.

A or Av Aperture Priority

Similar to Program mode, you choose the aperture and the camera will match it with an appropriate shutter speed. This is good for determining the correct depth of field and letting the camera choose the rest.

Auto or Aperture

In older cameras, this may mean Auto, which is the same as Program mode. In other cameras, it could mean Aperture.

S or Tv Shutter Priority

Similar to Aperture Priority, you choose the shutter speed and the camera will choose an appropriate aperture. This is good for moving subjects, allowing you to choose the speed you wish to “stop” them at. Tv means “time value”.

XFlash mode

This sets the shutter speed to the maximum speed the camera is capable of using while still synchronizing with a flash. In X mode, the shutter is locked to the flash speed and you may adjust the aperture to the desired depth of field.

B-Bulb

In this mode, you have manual control over the shutter. It will stay open as long as you hold your finger down on the shutter button. You must still set the aperture to the desired setting, but this allows you to keep the shutter open for long periods of time. It is a fun creative tool especially for night photography or long, low light exposures.

Some new cameras also feature picture symbols on one of the dials: mountains, a person running, a flower and others. These are program choices which will take into account what your subject is. If you want the maximum depth of field and are doing a scenic or landscape of a field with mountains in behind, you might choose the symbol of the mountain for scenic photography. The running person symbol tells the camera to photograph the subject at the highest speed possible to stop the motion. A flower usually means you will be photographing close up and require closer focusing ranges and maximum depth of field. Check your manual to find out the specific meaning of each symbol.

Shutter Release

The shutter release is usually found on the right side of the camera (there are lefty cameras available but rare) right where you would put your finger. When pressed, it may do several things: turn on the meter, activate the autofocus, and take the picture. Autofocus and the meter are activated when you press the shutter release about half way down. Press further and it will take a picture. A few new, beginning level cameras have a protective feature that permits you to press hard once to autofocus and check the meter and requires a second push to take the picture. Some autofocus cameras will not allow you to take a picture unless the image is in focus, too. Read your manual to determine how to use the shutter release and practice pressing the shutter release when there is no film in the camera. If your shutter release button has a hole in the center of it, that connects to a shutter release cable connects there.

Speed Dial

This is the dial, switch or control which adjusts the speed of the shutter inside the camera. When the camera is in manual mode, you have control over the speed. The speed or shutter dial tells the camera to open and close the shutter at the set speed. It controls the time light comes into the camera and exposes the film. We will discuss its purpose more in the Exposure section. Each camera model has the speed dial or shutter control in a different location. Some cameras feature the dial on top of the body, while others use one switch to control both aperture and shutter, but you press a different button somewhere else on the camera to choose which one you want to adjust. Read your manual to find out how this works.

Aperture Dial

The Aperture Dial or Aperture Control button selects the aperture of the camera. Consult your manual for the specific location and action to initiate this button or dial. It may be a button on the camera body or it may be the ring around the lens close to the body of the camera. The aperture of the lens controls the amount of light coming into the camera and affects the exposure of the film to light as well as the depth of field in your image.

Depth of Field Preview Button

This is another feature which does not exist on many newer cameras. The depth of field preview button closes the lens aperture to the selected f -stop so that you can preview the depth of field before taking the photo. For those who don’t recognize the name, this is the button that makes everything in the viewfinder get darker. The depth of field preview button is useful so you can see if you have chosen an aperture which will hold the subject sharp, while controlling how out of focus the background is. By closing the aperture to the chosen f-stop, the image seen in the viewfinder gets darker, and it may be hard to really see what is there. With a little practice, however, you can see enough to help you in your aperture choice. The final photo will look normally bright, because you are compensating for a smaller aperture with a longer shutter speed.

Mirror Lock-up Button

When pressed, this button manually lifts the mirror inside the camera. This is useful for minimizing camera shake, which can cause out-of-focus images during high magnification photography.

Autofocus/Manual Focus Button

On most autofocus cameras, there will be a button either on the camera or on the lens which turns the autofocus feature on and off. For those times when autofocus is inconvenient, this is a nice feature.

ISO/ASA Button or Dial

The ISO is the abbreviation for the International Standards Organization. In the “old days”, this was called the ASA or American Standards Association. The numbers indicate the sensitivity of a film to light, and the higher the ISO, the more sensitive the film. For example, 200 speed film is twice as sensitive as 100 speed film and requires a faster shutter speed or smaller aperture. And 400 speed film would be twice as fast as 200. The ISO control tells the camera which speed film is in the camera. In modern cameras, there is a sensor which reads the coding on the side of the film canister, called “Dx”, and relays this information to the camera. The ISO control overrides that setting.

Lens Release Button

To remove the lens from the body on most newer cameras, press in this button and twist the lens to unlatch it. On some older cameras, the lens is literally unscrewed from the body. If you are having problems focusing with autofocus cameras and lenses, check to make sure the lens is tightly fastened to the camera body.

Exposure Lock Button

Press this button to “freeze” the exposure setting on the meter. This is useful if your composition places the neutral-toned object away from the metering points. Meter the subject, lock the exposure and recompose, and take the picture.

Manual Advance Lever

Most newer cameras automatically advance the film after the exposure is finished. Older cameras have a manual advance lever located near the thumb when the finger is on the shutter release. Pulling this out turns on the meter. Ratcheting this out and to the right advances the film and readies the camera for the next shot.

Manual or Power Rewind Button

Found in various places on different cameras, these allow for rewinding your film in the middle of the roll.

Exposure Compensation Wheel or Button

This tells the camera to over- or under-expose the film by a specified amount, usually up to 2 stops plus or minus.

Self Timer

This button will set the camera to take a picture 2 to 20 seconds after you press the shutter. This is the feature you use to put yourself in the photograph. It’s also useful if you have forgotten or lost the cable release.

Fancy Buttons

Cameras with a lot of bells and whistles have assorted buttons which allow you to do fun things. You can print the date on your film, turn the beep on or off, take multiple exposures, change the options, rewind the film, and control the bracketing capabilities.

More Things on the Outside of the Camera Body

Camera designers and manufacturers put all kinds of fancy buttons, LCD readout screens, mini TV screens, and lots of windows and gadgets onto the outside of the camera body. Here are a few of the traditional elements:

Film Counter

Either seen as a counter through a small window, usually by the shutter release, or as an LCD readout, this information tells you how many pictures you have taken. Occasionally, it can be set to show how many pictures are left.

Film Window

Most cameras made since the 1980’s feature a window in the back of the camera for viewing the film canister. In that window, film manufacturers have placed the specific information regarding the film’s speed, number of exposures and brand. Older cameras had a holder on the back of the camera which held a torn off top of a film box in place to remind you what kind of film you had in the camera.

Flash Mount

Found on the top of the camera over the viewfinder, this slotted head connects with the foot of the flash. Even new cameras which feature a built in flash have the capability to attach an external flash.

Tripod Mount

A threaded hole is usually inset in the bottom of the camera for attachment to the head of a tripod. There are two standard sized holes for the tripod mount. Check your manual to see which one you have so you can purchase a tripod head that will fit appropriately.

Inside the Camera Body

While computer technology has changed much about the inside of the camera body, the basic functions and parts are still basically the same as they have been, working in combination to control the amount of light that enters the camera and exposes the film.

Reflex Mirror

The mirror is the first thing you see when you remove the lens. The mirror reflects the image of an object or a scene onto a viewing screen so that focus, lighting, and composition may be evaluated. When the shutter release is pressed, the mirror moves up and out of the way to allow the exposure of the film. Afterwards, it automatically returns. If you listen closely, you can hear this motion. The impact of the mirror going up and coming down is called “mirror flap”.

Shutter

Opening the back of the camera, you will find the shutter behind the reflex mirror and the lens. After the mirror lifts, the shutter slides away exposing the film. The shutter controls the amount of time the film is exposed. There are several types of shutters, leaf or focal plane, but they all do the same thing. When installing film in the camera, take care not to touch the shutter blades. They are easily damaged, and repair costs can be exorbitant.

Pentaprism

Located in the top housing on the camera behind the viewfinder is a prism which directs the lens’s view from the mirror into the viewfinder. As the image passes through the lens, it is inverted. The prism restores the image to its normal appearance. Some top of the line cameras have a removable prism housing for interchangeable viewfinders.

Loading the Film

Most new cameras feature film drop-loading, where you put the film in your camera and close the door, and the camera loads the film automatically. In the older cameras, you have to thread the film onto the take-up spool manually. Many electronic cameras nowadays will not function unless a sensor is triggered which tells the camera that the film is loaded properly. Read your manual to find out how to load and unload film.

Film Pressure Plate

A smooth metal plate is located inside the back of your camera that presses against the film to hold it in place. It is supported away from the camera body with springs. Because the film slides across this plate, touching it or getting dirt on it is a no-no. Once in a while, gently blow it clean with a hurricane blower or the like. If this is damaged, you may notice scratches on your film, missed focus, or an unbalanced depth of field. Get it to the repair shop as soon as possible.

Focusing Screen

Every SLR camera has a focusing screen inside directly above the reflex mirror. Looking through the viewfinder, you will typically see something etched on the focusing screen. It may be a circle with two split halves, rectangular boxes, squares, or lines. Camera designers have created many aids that help you aim and focus the camera. In some newer cameras, the focusing aids are illuminated, and they can often be changed by the user. The change usually represents a change in the focusing ability, metering capabilities or view such as changing from standard to panoramic perspectives. Many cameras feature interchangeable focusing screens. These come in a variety of designs, but our favorite is an architectural grid with horizontal and vertical lines that helps with composition, specifically maintaining a level horizon. Be very careful not to scratch this screen when cleaning the camera.

Camera Meter

The meter is a tool inside the camera which assists the photographer in determining the proper exposure. There are three types of through-the-lens metering (TTL) found in cameras. All a meter can do is measure light entering the camera through the lens, and make a decision, and give you that recommendation. Center-weighted metering looks at the whole picture area but its decision is most affected by what is in the very center of the image. Spot metering determines the exposure by looking only at a very small part of the whole frame, usually marked by a circle or square on the focusing screen. Multi-pattern metering is one of the most sophisticated metering systems. It takes readings from different parts of the image and compares the results with information stored in the camera’s computer memory. It then figures out the highest probability of a particular kind of picture you have (backlit, evening light, sunset, etc) and reports back to the photographer the recommended exposure. Some cameras will give you all three choices and others will have only one. Check with your manual to determine what metering capabilities your camera offers.

The Manual

Time and time again we have mentioned consulting the manual for your camera. If there is one thing we never leave home without, it is our camera manual. Especially with the newfangled auto/computer everything cameras, it is a requirement. We are often out in the field with a new creative concept and can’t remember how to do it on the camera. Having the manual with you overcomes that hindrance. When you are sitting and waiting for a bus or airplane, or even for the moose to come strolling by, take it out and read it. You will learn all kinds of things you forgot you knew about your camera’s capabilities.

Exercises

Take It Apart, Put It Together Again

In the chapter on Composition, we discussed understanding how your equipment works so that you will understand its strengths and weaknesses, allowing you to concentrate on the photography not the equipment. It is time to put that into action. Practice taking your camera apart and putting it back together. Take the lens on and off and change it with others, working towards being able to do it by touch and not looking at it. Do the same with the batteries. Take them out and put some in, then do it again and again. Do it so you aren’t paying attention, you are just doing it by habit.

What Do The Buttons Do?

Do you really know what all the buttons on your camera do? From the manual, make your own portable list of what the different buttons and custom functions on your camera do. Make it the size of a business card and laminate it. Put it in your camera bag so it is handy when you forget what something does.

Testing Buttons

Take a serious of photographs which test what the different functions and buttons on your camera can do. If you have controls for bracketing or multiple exposure, take some test shots to see what the results look like at the different settings. Does your camera have different timer functions? Test those to see how it feels when photographing at the different waiting times (like a 2-second delay or 15-second delay – what does that really feel like). Go through the manual and test drive your camera in the field with all of its different functions. Take notes in your manual because what it says and how you really understand it to work maybe two different things. Write it down in your own words.

There are a variety of lens types for photographers to use: fixed, zoom, macro, and combinations of fixed and zoom lens with macro capabilities. Let’s examine the differences among them.

Fixed focal length lenses

Most true macro lenses are of fixed focal length, that is, they don’t zoom. Macro lenses are the most highly corrected lenses a manufacturer makes. In making a zoom, there are more optical tradeoffs in the design. For the absolute highest quality, a fixed macro lens is the best choice. They will usually focus to 1/2X or even to life-size.

Zoom lenses

There are many zoom lenses that claim to be “macro” lenses. These lenses usually only focus to about 1/4X reproduction ratio, which is not as close as the true macros. Zoom lenses frequently have variable apertures, which is ok if you shoot on program mode. For manual exposure, however, this means that at different focal lengths, you will have to readjust your shutter speed as you zoom. Zoom lenses have the advantage of allowing you to move closer or farther away without actually moving your tripod or camera. Zooms are also usually slower (have smaller wide open apertures) than fixed lenses.

Macro lenses

As already mentioned, macro lenses can be either fixed or zoom lenses, but the best quality is in the fixed lenses. These macro lenses are designed to be at their optical best at close focus. A traditional lens is optically best at medium distances. Most macro lenses will have maximum apertures of about f 2.8 or f 4, which is slower than traditional fixed focus lenses which are often between f 1.4 and f 2.8.

Internal focusing lenses

The simplest way for a lens to focus closer is to physically move the entire lens farther away from the film plane. This is the method used in most middle range fixed focal length lenses. Another method was developed where certain groups of smaller elements inside the lens move relative to the lens case, and adjust the focus of the light reaching the film. This is called internal focusing (IF), and is much quicker and easier for the photographer to focus.

500mm Mirror Lens

A 500mm mirror lens is short and lightweight to carry, but it has some drawbacks. Classic symptoms of a photograph taken with a 500mm mirror lens are all the small highlights in the out of focus background or foreground becoming small donut shaped circles. In this picture of a female big horn sheep, the background is filled with donut shaped highlights.

Other advantages of an IF lens include a front element which does not rotate, so use with a polarizer is simplified. There is no need to keep readjusting it when you focus nearer or farther. The other advantage is that you don’t lose light from extension when you focus, so IF lenses are brighter than other lenses when focused close. This is a plus for macro lenses, and the newer macro lenses are often IF lenses.

Long Lenses

There are two ways of getting “up close and personal” with long lenses. The best way is to used a fixed focal length lens of extreme magnification such as a 500mm or 600mm. The best of these feature a maximum aperture of f 4, providing plenty of light for low-light wildlife and nature situations. Another alternative is a mirror or catadioptric lens. This is a camera lens which uses a pair of circular mirrors inside to fold the light path and reduce the size of the lens. Compare the two lenses in the photo; the larger lens is a 500mm f 4 conventional lens, while the smaller is a 500mm f 8 mirror lens. The conventional lens weights about 10 times as much.

Mirror lenses are cheaper and lighter to carry, but they have some serious drawbacks. They feature a fixed aperture, usually f 8 or so, making low-light exposures nearly impossible. The mirror also highlights bright spots and turns them into “donuts” in your image. For serious nature photography, invest in a good quality fixed or zoom lens to increase your magnification.

Lens Perspective

Magnify with Lenses

(Lens magnification as the photographer doesn’t move – only the lenses are changed.)

20mm

55mm

200mm

300mm

500mm

There are reasons other than magnification to choose a particular lens. One of the most important of these reasons is the change of perspective afforded by using lenses of different focal lengths.

A wide angle lens sees a wide angle of view. The first thing people think of is that a wide angle lens will let them include more of a scene in the image, and this is true. What they don’t consider, however, is what the short focal length will do to the appearance of the subject. If you were to make a head and shoulders portrait of your best friend using a 20mm lens, you would have to stand a distance of about a foot (30 cm) away from him. At this distance, his nose would be much closer to the lens than his ears, and so the nose would be much bigger proportionally than the ears in the photograph. This is generally not a flattering effect, and so we don’t use wide angle lenses to photograph closeups of people. The same effect happens when we photograph flowers closeup with a wide angle lens. The parts of the flower that are closer to the lens appear proportionally bigger in the resulting photograph than the other parts of the flower, or than the other flowers in the picture. A wide angle lens will cause objects closer to the lens to appear proportionally larger in the photograph than the other objects in the picture. This is useful for separating an object from surrounding objects, making the objects appear farther apart. Wide angle lenses seem to expand space.

Telephoto lenses magnify objects. More than this, however, they affect the appearance of objects in a photograph. Using a 100mm lens to make the same head and shoulders portrait of your friend as you made with the 20mm lens, you would have to stand back about 10 feet (3 or 4 meters). At this distance, the nose and ears are all approximately the same distance from the lens, so there is no apparent distortion of perspective. The person will appear as we expect him to appear, because we’re used to seeing people from across a room. We don’t usually see people from extremely close up, and so the view from the 20mm lens seems strange to us. If there are other people in the picture, they will also appear normal.

If we move to a very long telephoto lens, like a 500mm or 600mm lens, we would have to move backward 25 or 30 feet (10 meters) to photograph our friend. The magnification power of this lens is high. A person standing a few feet behind him would appear to be nearly at his side, because the difference of a few feet compared to 30 is small. The large telephoto lens has a perspective that seems to compress space, magnifying distant objects equally.

We can use this difference in perspective between lenses to our advantage. Any time we want to separate a foreground element from a background, we can use a wide angle lens. Any time we want two objects to appear close together, we can use a long telephoto.

The background is an important part of any photograph. A wide angle lens has a wide angle of view. That means that it will include a large amount of background behind the subject. Everything, from the mountains to the trees to the parking lot with all the cars can appear in the background of a wide angle photograph. A telephoto lens, however, has a narrow angle of view. That means that it sees a smaller amount of background behind a subject. By using a telephoto lens, we can choose the part of the background that we want behind our subject, excluding everything else. For this very reason, a 200mm lens is a much more useful lens for closeup work than the more common 50mm lens. A 500mm lens is much more useful for wildlife photography than a 200mm lens for a number of reasons, but one of the most overlooked is its ability to control the background. Control of the background is essential to good photography.

Exercises

Control Background

(Lens persepctive as the photographer moves. Subject stays the same size in the frame)

200mm

300mm

500mm

Lens Magnification

Gather your lenses together and go out in the field with several rolls of film. Choose a subject and sit in the same spot and photograph it, just changing lens, getting progressively longer with each lens. Take notes. Examine the background and foreground, as well as the size of the subject within the frame. What changes as you get closer or further away?

Lens Perspective

Now, repeat the previous exercise, but this time, keep the subject the same “size” in your viewfinder, moving closer or further back as you change lenses. How does the background and foreground change as you move to or from your subject with the different lenses? Take notes and match them with the final results.

Spend a Day With a Lens

Take one lens from your collection and spend the day with it, or at least a few hours. Go to a local park or natural area and photograph only using that lens. Find out how close it will focus to a subject and test its “infinity” spot by doing a sweeping landscape. Take at least two rolls of film with that lens and then go home. With your notes, consider the results to study and learn how that lens sees, its weaknesses and strengths. Do this again with your other lenses (only one per day) and write this information down on a chart, comparing the strengths and weaknesses of each lens. (For example, mirror lenses make donuts circles of bright highlights, so photographing a subject with bright highlights with that lens makes unattractive pictures. Extreme wide-angle lenses tend to curve closeup lines like along a building, so unless you want that effect, this isn’t a good idea.) When you learn how your lenses see, you will automatically know which one to reach for when a subject pops into view.

Close Focusing Distance

Almost every lens made will focus to infinity and can be used for scenics and people and just about anything else you would want to point it at. But at some point, it just won’t

focus any closer. For the average 50mm lens, this might be about a foot and a half away. For a 200mm zoom, the close focus distance might be 4 feet, and Nikon’s 500mm f4 telephoto will focus no closer than about 15 feet.

Macro lenses are designed to photograph small things, close things. Nikon’s 55mm macro lens will focus to about 5 inches, and their 200mm manual focus macro will focus to about 20 inches, much closer than their traditional counterparts. If you photograph lots of small things, there are other options, but it might be worth your money to get a macro lens.

Working Distance

For most subjects in nature, the distance your camera is from the subject won’t influence the subject. But photographing insects, butterflies and such, can be difficult because they are exceptionally attentive to your location and will respond accordingly – often by escaping the situation. Being able to get close and still maintain some distance becomes critical then. Add to this the challenge of low light, and the closer you are to the subject, the greater the chance of casting a shadow.

By using longer lenses, your distance from the subject and the camera increases. This is called the working distance. Working with live creatures, this distance is critical. Either way, it’s nice to have some room between the camera lens and the subject. Here are some examples of working distance based on the closest focusing distances of typical lenses.

Exercises

Measure the Distance

How close will your different lenses focus? Check with your manual and then check it yourself by picking an inanimate subject and photographing it as close as you can by manually focusing the lens and measuring the distance. Do the measurements match? If you have a point-and-shoot rangefinder style camera, measure to the recommended minimum distance and then take a picture. Then move forward a bit in two stages, taking pictures at each point (and measuring), and then repeat this moving back in at least two stages from the starting point. When you get the picture back, check closely to see at which point the image was really in focus. This will be your closest focusing distance.

Working Distance

Compare the closest focusing distance of each of your lenses to create a chart of how close each lens will focus from a subject.

One Subjects, Two Lenses

Duplicating the section “Which lens took this picture?”, choose an inanimate subject and photograph it with at least two different lenses (or focal lengths) keeping the subject at the exact same size in each picture. Note how much working distance you have between the subject and the lens.

Teleconverters

The most common lens accessory purchased is a teleconverter, also known as a doubler or multiplier. A teleconverter, or multiplier, is a group of glass elements in a small lens casing which can be inserted between the camera and the lens to magnify the image. They are available in 1.4X and 2X magnifications, and some manufacturers even offered a 3X. When a lens is used with a teleconverter, its focal length is multiplied by the magnification factor. A 100mm lens with a 1.4 or 2X teleconverter becomes 140mm or 200mm, for example. The advantage, besides magnification, is that they can be used for far off subjects and macro subjects equally well. And your lens will still focus to the same close range as before.

The disadvantage is that the maximum aperture is reduced by the magnification increase. A 1.4X teleconverter costs 1 stop of light, and a 2X costs 2 stops. So an f 2.8 lens becomes f 4 or f 5.6 with a 1.4X or a 2X, respectively. Light loss makes focusing more difficult, and results in slower shutter speeds. There is also a slight loss of quality with the use of a teleconverter, but if a quality prime lens is used, the loss should be negligible.

We recommend using the same brand teleconverter as the lenses you use, since the manufacturer designs them to work well together. Use Canon with Canon, Tamron with Tamron, etc. And be aware that some lenses will not autofocus when a teleconverter is installed.

We have heard every excuse known to humans why tripods are a pain in the #%$&. Most of these excuses came out of our own mouths. We hate them. So much, we have come to love to hate them. Especially when we know that the bigger and the heavier, the better. But we complain with a smile because we know we have got something over any photographer that doesn’t use one: guaranteed better image quality.

Tripods offer that guarantee and we use them for two distinct reasons. One, tripods cut camera vibration. They hold the camera steady and still and allow us to take a sharp photograph, regardless of light levels. Two, tripods encourage careful compositions. They force you to spend more time with your subject, exploring your creative options. Anytime you spend more time with someone or something, you get to know it better. It’s amazing what you learn.

There are a lot of tripods on the market, but the first mistake made by photographers is the cheap one. They’ll spend a thousand dollars or more on a top quality camera and lens, then mount them on a $15 tripod. The more expensive the tripod, typically the more durable and long lasting. Put time and research into your tripod purchase. A good tripod is one that is heavy, strong and steady. The head of the tripod (considered a separate part) should come up to eye level when you are standing straight up. The legs should have as few extensions as possible, meaning it should only come out in three, or at the most four, sections. The knobs to raise and lower the legs should be tight but easy to use.

The tripod head is often bought separately from the tripod legs. There are two kinds: pan-tilt and ball head. A pan-tilt head allows for separate horizontal and vertical controls. A ball head allows for freedom of movement in all directions using a ball-and-socket joint. Pan-tilts have different knobs that twist and turn and stick out from the tripod head, controlling each of the horizontal and vertical tilting elements. A ball head often has only one or two knobs which control the locking mechanism and the tension. Scenic photographers tend to prefer the pan-tilt head, but most other nature photographers prefer the ball head, as it allows for greater ease of movement and positioning.

Exercises

Tripod Practice

Just like your camera, you have to practice with your tripod, opening and closing it and putting it into position. Without the camera on it, practice in a safe spot opening and closing the tripod and then arranging it at different levels and in different positions. Take the head out and reverse the pole (if possible). Lay down on the ground and find a position that allows you to view through your viewfinder (you can put the camera on for this part) without the legs getting in the way. Do it until it becomes fast and easy to do. Set up on a hill (or stand on a bench) setting the tripod legs at different lengths to accommodate the uneven terrain. Carry your tripod around the block. Does it feel comfortable on your shoulder? If not, consider buying pipe insulation or thick tape for padding the legs against your shoulder. Or is it more comfortable to carry it under your arm or with a strap? Practice with it until it becomes easy to manipulate and use. Don’t wait until you are out in the field to figure out how to adjust it.

Measuring Your Tripod

Just as you have to measure to determine the closest focusing distance, you need to find out what the highs and lows of your tripod are. How low to the ground will it really go? Do you need the center post or is it removable so you can get lower? If you can reverse the pole, how low will it still allow you to go? How high will it really go? Below, at, or above your eye?

Film

You might not think film is part of your equipment but it is. It records the end result of your activity. Without it, your other equipment is useless. Film is a camera’s gas, and without it, you won’t get anywhere. There are a variety of films available. We recommend Fuji films, specifically Sensia and Velvia, both slide films. These match and enhanced the colors of nature, especially the greens in the forest, and the clarity and grain of the film is unmatched. Kodak has created some new slide films with good grain and quality results, but the nature photography community still prefers Fuji films for their “natural” color renditions. We recommend you try all of the films and pick the one you like best.

You might not think of film when you have a digital camera, but how a digital camera records colors and light onto digital media needs to be taken into consideration, too. Different digital cameras use different mediums for capturing light and images. The end result of your digital image is based upon the resolution setting of your camera at the time you take the photograph, and the techniques used by your camera to record the image. Some digital cameras use three to five sensors to capture light, while other more expensive cameras use more and/or different types of sensors. Read through your manual and the manufacturer’s website to find out how your digital camera records images and how their technique compares to others so you can understand completely how your digital camera records an image.

Camera Bags

Camera bags are one of the most under-purchased pieces of camera equipment. A good case is one that carries everything you need, is easy to carry, and protects your gear from itself and the elements.

It’s not enough to take our suitcases with us when we go, filled with clothing and odds and ends for every possibility and weather condition. We haul our camera gear with us, too. For some, it’s a simple matter of throwing a simple-point-and-shoot camera into a pocket. For the serious photographer and traveler it means bringing a full bag of gear.

Choices in camera bags used to be limited to good, bad, and indifferent. Sometimes the home-made bags were the best. Now there is an outdoor pack and bag for every possible sport from simply taking a walk in the park to hanging off the steepest cliff. The qualities that make a good camera bag haven’t changed, but the selection and technology sure has improved.

In general, high on our brand recommendation list are Tamrac, Domke, Billingham, Kinesis Gear, and Lowepro. They offer everything from waterproof to water resistant, padded to unpadded, classy to punk, dark earth tones to neon crazy, and everything in between for all types of photographers. The key is to find one that carries what you want to carry, keeps everything safe and protected, allows easy access, and is comfortable to lug around.

It Carries What You Want To Carry

Functionality means it has to carry what you need when you go. If you require two camera bodies and 18 lenses, then the bag you choose needs to carry that. If you just have a single point-and-shoot camera, then a big bag will be way too much. For the serious photographer, the important part of a camera bag is the inside. We demand high functionality and durability over good looks.

Before going bag hunting, put your equipment together in one place and play with it to get an idea of how big a bag you really need. Does everything go with you every time you go out? Or do you customize your equipment each time to meet the requirements of your target subject? Do you prefer a shoulder bag, fanny pack or the backpack style? After you have a preliminary idea of what you need, put your equipment in the car and head down to the local, well-stocked camera store. The best way to choose a bag is to put your gear in your prospective purchases and see which is best before you take it home. Make sure that it all fits comfortably without rubbing or stressing the equipment. Can you get it in and out easily, without fussing or hunting? Play with it and see if it works for you before you hand over your credit card.

Keeps Everything Safe and Protected

Nature photographers and travelers are typically rough on their equipment. We are always banging into trees, slamming things down on rocks or even sitting on our camera bags. Whatever your choice of personal violence on your equipment, choose a bag that insulates your gear from harm.

Structure

Look closely at the way the bag is built and the elements used in its construction. Years ago, the technology for padding a bag was based on the use of cotton batting surrounding cardboard sheets. With the availability of new plastics and foams, padding has improved. It is much better and lighter. Find out what is inside the layers. Is it waterproof plastic, long-lasting closed-cell foam, or water-absorbing cardboard? We prefer bags with linings which can be opened and dried out if they get wet. This is rare to find, but worth the hunt.

Construction

Look at the stitching, inside and out. We’ve had bags go crashing down on the rocks because of bad stitching around the straps which broke under the strain. Make sure it is reinforced and double stitched. The stitches should be very close together with a durable thread.

Look inside

Pay attention to the details inside. Is the fabric on the dividers as soft as it is on the sides, or is it different? Not only do you need a bag with sufficient padding, the fabric must be soft enough to not wear the finish off your camera body or the writing off the lenses. You certainly don’t want to skin your knuckles as you dig inside. Are the dividers sturdy enough to hold the lenses in place? Can you attach the dividers anywhere in the bag or are you limited to specific locations and layouts?

Look Outside

Look at the labels for the listing of fabrics used. Look for durable fabrics such as denier or cordura? Is the outside fabric durable or just resistant? Check seams to make sure they are even and sewn all the way through. Is the stitching strong with small, even stitches, enforced with bias tape? Are all the pockets accessible and easy to open? Are the straps securely attached with adequate stitching and is there room to attach additional straps if necessary?

Check Openings and Closings

Play with all the zippers and clasps. Are they easy to open? Can you do it with one hand, or does it require two? Can you do it without looking, while you are concentrating on your subject through the camera? Are the clasps plastic or metal? Will they wear out with heavy use? Can you easily find the zipper pulls? In other words, will your gear stay securely inside, protected from the elements, while you still have fast and easy access to what you need without taking your concentration away from the camera?

Put it On

Can you open the bag while wearing it? If so, how does it open? Does the lid flip down to keep your gear protected while you are changing lenses? Can you use the lid to stabilize a lens without it falling off when changing lenses? Does the lid open towards you or away? Can you change that to suit your needs? While you have the lid loose, can you bend over and not have everything come spilling out as you move around? Think about all the ways you move as you use your camera equipment and photograph. Will the bag hamper your movements or allow you to move freely?

Allows Everything to be Easily Accessed

If you can’t find it, you can’t use it. Can you get to everything, or at least what you need most, most of the time? A great bag will let you reach in blindly and pull out exactly what you need. You’ll never have to take your eyes from your subject. Does everything fit in nicely? Is there a place for everything and is what you use the most readily available? The bottom of the bag is often hard to get to. Some of the Tamrac bags allow for easy outside access to these places.

Consider modular interior or exterior systems for maximum flexibility. Look for removable and interchangeable innards to adjust to your specific needs, one that will grow with you as your photographic interests and equipment changes over time. When searching for a new bag, look for a system with the most flexibility and security so you can spend more energy concentrating on what you are doing and not on the bag.

Luv to Lug?

Put your photography gear in the bag and then put the bag on. It’s important that the bag be comfortable with the normal weight you’ll be carrying. A pretty bag may be miserable to carry. Bringing your gear into the camera store, and put it in the bag you are interested in. Lift it up and carry it as you would while you are traveling and photographing. Is it too heavy? Does it feel cumbersome? How does it fit against your body?

How do the straps work for you? Shoulder strap bags are great if you are rushing to an airplane and need to toss it off for the security scans. They are great for working out of a car. But for the long hikes, a fanny pack or backpack are better bets. Check the straps that rest on your shoulders and hips. Are they thickly padded? Thin supports and padding can cut right through clothing and wear into the skin on long hikes. Is the pack soft where it meets your body or does it rub against you as you move? Have an experienced salesperson help fit it to your body for maximum comfort and support. Make sure your bag or pack will distribute the weight so you don’t injure yourself when you carry it.

Advertising to a Thief

Don’t forget to consider security issues. Does it say “steal me” on the side? Many professional photographers choose bags resembling worn-out and much abused knapsacks. Others buy excellent brand-name bags and cut off the logo to keep it neutral looking. We like working with untraditional looking bags and keeping a very low profile when we travel and photograph. It’s bad enough having a 500mm lens that stands out in a crowd, but carrying a bright-colored camera bag invites too much attention. Consider where you go and how you will be using the bag. Make sure you get one that doesn’t attract unwanted attention.

Making the Final Selection

There are so many different bags on the market, choosing one can be overwhelming. You can buy the traditional styles, or go for the add-as-you-need modular systems.There are backpacks which are camera bags and camera bags which are backpacks. LowePro and other manufacturers are making packs that can be split into separate pieces. You need to find one that meets your specific needs. Like shoes, you’ll probably own several before finding the right one.

Spend some serious money to get a seriously good bag. Remember, you might be putting hundreds or thousands of dollars worth of camera equipment into your bag. The price of the bag should at least be comparable to the value of your equipment. Just as a good quality camera lens will cost you, so will a good quality, well constructed camera bag. Spoil yourself and your equipment and spend the extra money.

Whatever you decide on for your travel camera bag, keep it close to you at all times and never let it leave your side. Or you’ll be looking for a lot of new equipment AND a new bag real soon.

Exercises

Practice Accessing the Bag

Just like your equipment, you have to be able to reach into your camera bag while watching the elk walk across your view to grab a lens or film or filter. Make sure that everything has a comfortable place and is easy to access. Then practice pulling out different lenses and accessories without looking at the bag, while wearing it and/or having it sit beside you. This is a good exercise to do while watching television. Rearrange things to make them easier to access, if necessary.

Inventory Your Contents

When camera equipment is stolen, often the camera body and lenses are the only thing replaced by the insurance, yet all your photographic accessories, if stolen, need to be replaced as well and are often covered by insurance policies. Take everything out of your camera bag and write down your inventory. Include every filter, stepping ring, cable release, lens brush, flash, battery, filter wrench, lens cloth, everything. Update this list whenever you add a significant piece of equipment or once every two years. All these little parts and pieces add up. You have to replace them anyway, so make sure you know what is in the bag.

Taking your equipment out in the field means not only carrying it, all of it, with you, but learning how to use it while out exploring and photographing in all types of weather and locations. Working in a rain forest is a bit different than working in desert conditions. We can’t cover all of the conditions you may find out in nature, but here are some of the basics to help you no matter where you are.

Holding the camera

A tripod is the best support for a camera. If you must handhold your camera for a photograph, the best body position is to place the heel of your left hand under the base of the camera, fingers supporting the bottom of the camera lens. Place your right hand around the camera grip (provided on most advanced camera bodies), finger on the shutter. Brace your right thumb against the back of the camera body. Your wrists may touch, depending upon the width of the camera. Tuck your elbows in as close to your chest as possible and place the viewfinder up to your eye and the camera against your face, your nose angled to the left (for using the right eye through the viewfinder). Focus and meter your subject. When you are ready to press the shutter, take a breath, release it and then press the shutter after you exhale and before you inhale again. This is generally when the body is the most still. To stabilize yourself more, lean against a car, wall or post. In general, avoid hand holding at low shutter speeds.

Using a digital camera with an optical viewfinder, brace the camera as described above. Holding it out in front of you, using the LCD screen as a window, increases the movement and camera shake. Check your exposure and fine-tune your composition through the screen. Take the picture through the viewfinder when possible as the contact with your face against the viewfinder increases stability and will improve the quality of your photos.

Weather

Whatever the weather, rain, sun, wind, snow, or other, be prepared for it when you are out in the elements. In many mountainous areas, the weather can change from minute to minute, while in many parts of the world, the weather is consistent all the time. But you never know, so plan ahead. In general, here is some “weather-proof” advice:

Shower Caps

We always carry extra shower caps with us. Not only do they cover the camera body and lens to protect them from rain, sun, and wind, their bowl-like shape also makes them convenient to carry small items in. They can be bunched up and stuck into the pocket or a corner of your camera bag without taking up any space or adding weight.

Plastic Trash Bags

We use these like the shower caps, but they cover larger items, and at the very least, they can carry out the garbage with us when we go.

Hats

We always wear and carry hats. These not only cover our heads, but also shade the camera when necessary. When fighting with sun flares, hold your hat near your lens, but out of the picture, to shade the front element of the lens.

Bring Your Towel

The Hitchhiker’s Guide to the Galaxy had it right: Always carry a towel. Towels are great for drying off photographers and their equipment when caught in the rain. They can act like blankets, pillows, and cushions for sore bottoms, and provide shade when you need it. A rolled up towel can be used as a camera support on a window or against any hard surface.

Bean Bag Supports

A favorite for the traveling nature photographer is a bean bag. These are commercially available (or make your own) so they are resealable. Traveling with the empty bag takes up little space. When you need it, fill it with inexpensive beans or rice and it is ready to use. The bean bag fits under your camera to support it against hard surfaces or along a window.

Sun Blocks

In intense sunlight, a hat can block the sun entering your viewfinder and stop the sun from influencing your meter reading.

Metering and the sun

The sun can influence your camera’s meter even when it is behind you. The more sensitive a camera’s meter is, the more likely sun entering from the viewfinder will influence your meter reading. Try it. With the sun to the side or behind you, look in the meter and put your hands up to shade your eye and the viewfinder. Then remove your hands and shift your head so a little light comes through the viewfinder. Does the meter reading change? You might even see several stops of light difference. If so, it’s time to wear a hat and make sure to shield your viewfinder from the sun.

Keep it Cool: Batteries and Film

While newer batteries can withstand extreme conditions, leaving batteries out in the direct sun can cause them to explode or at least leak. Heat can also influence unprocessed film. Both batteries and film need to be protected from excessive heat. Keep your film and other perishables in an insulated lunch pouch or ice cooler. Add some watertight ice packs sealed in zip locks if the temperatures are really soaring.

The car is often thought of as a cool, shaded place to store your equipment and film, yet the ambient temperature in a car parked in the sun can rise to even higher than the external temperature. You can also get a “greenhouse” effect inside the car; moisture and condensation will form inside your camera and lenses as it changes temperature and “sweats”. Occasionally this results in a fungus growing on the inside of your camera and lenses.

Hot Bodies

Manufacturers have long decided that black camera bodies sell best. Elementary science class taught you that darker colors absorb heat and light colors reflect heat. Therefore, logic follows that black camera bodies attract heat.

Built with the new plastics, the heat typically won’t hurt the camera but may heat up the film – or be hot to the touch. If it will be sitting in the sun for long periods of time, keep the camera covered up. Large Domke wraps are easy solutions to cover your gear. Extreme temperatures can soften the cements and glues used to bond glass elements in your lenses, causing further damage.

Sun wears down almost everything manmade when exposed over long periods of time. Substances most intolerant to excessive sun exposure include rubber and cloth. Rubber lens hoods and rubber viewfinder eye pieces may dry out and crumble over time. Cloth will bleach and disintegrate. Camera bags and packs will discolor. Newer fabrics such as 1000 denier Cordura Plus hold up extremely well under such tortures, but they will fade out under long-term exposure.

Melt Down

Our own human bodies need to be protected from the sun as well, but the chemicals in sun lotion and bug sprays can damage cameras and lenses. Even if your hands are clean, sun lotion on your face smears along the back of the camera as you look through the viewfinder. While changing rolls of film, you may touch greasy fingers to the film plate or anywhere inside the camera causing damage to the camera’s innards and the film. The chemicals will eat away at the protective coating on your lens front element and dissolve polycarbonate camera bodies. You may end up with your fingerprints permanently impressed on the camera grip, as happened to me.

If sun lotion and bug spray are required, we highly recommend clear glass lens filters (skylight or UV) to protect your front lens element from greasy fingers. Bring a damp towel or pre-moistened travel packets or soapless hand cleaner for washing off your hands when you are away from soap and hot water.

Working out in the sun for long hours, many photographers forget to take care of their bodies as well as their equipment. Drink lots of water to keep hydrated. Cover your arms and legs to protect them from the heat and sun. Dress cool by wearing hats and light cotton and thin fabrics which cover your body and yet still allow the air to cool your body.

Useful Extras in the Field

We also carry a wide range of items used to help improve the quality of our images. These include string, rubber bands, paper clips, and garbage ties which we use to hold back grasses, tree branches, and other things which get in the way of our composition, especially when we are doing closeup work. Plastic garbage bags are also useful for carrying out the garbage left behind by others that is also spoiling our scenic image.

To protect our bodies from wet, cold, or uncomfortable conditions, we will also carry kneeling or sitting pads for working on the ground. Umbrellas also provide shade for the body and camera gear when working under the intense sun. A solar blanket is light and small and helps to keep you warm under cold conditions. Make sure your personal equipment and clothing are adequate for the situation and in good condition. The more comfortable you are in the field, the more attention you can give to your photographic subjects.

As you are working in the field, make note of the little items you wish you had brought with you so you will be more prepared on your next excursion.

For more tips and tricks for working in a variety of weather conditions, visit www.cameraontheroad.com/learn.html#weather.

Staying in Touch

Brent and I work in a team. Often you will find me with or without my camera wandering and crawling around inspecting the area. Attached to my head is a headphone walkie talkie. Voice activated and extremely quiet, I can whisper alerts and information to Brent to help him anticipate wildlife opportunities.

Whether you choose to use a walkie talkie, radio, or cell phone (which can be expensive), look for one that is quiet. It should not feature loud alerts or rings which can disturb wildlife. It should feature a sensitive microphone that will pick up a voice speaking low and an earphone so that the receiving voice isn’t heard. Most new communication devices will work across about 2 miles (4 km) of open space, less with interference from structures and hills.

What does a properly exposed photograph look like? By properly exposed, we mean that the photo you get back looks the way you imagined that it would. If you want a blue sky, the sky comes out the right shade of blue. If your goal was a silhouette but your photo shows all the details of your subject, you overexposed the film, even if another person thinks that the picture is perfect. So how do you decide what you want and how do you get your vision onto the film?

Camera meters are relatively simple devices. They don’t think, they simply react to the situation in a predictable way. Our job is to learn what the meter will do and compensate to get the results we want. Some cameras have more metering zones than others, but each zone works in the same basic way.

The Light Meter

Light meters are found inside your camera. Older meters are usually “center-weighted”, meaning they read the amount of light within the center of the frame. Newer cameras usually offer more complex meters, allowing them to read the amount of light from many places within the frame. There is usually a box or circle in the viewfinder that designates the metering area. As the light changes within your metering area, your camera will give you some kind of indication of that change.

Meters are very simple tools. They cannot see color. Meters only read tonality, the darkness or lightness of an image. The meter looks at the light in the viewfinder and recommends an exposure by comparing the light pattern and quality with some kind of reference. Meters read the amount of light in and average it. The meter looks at the brightest spots and the darkest spots and says, “Let’s be safe and put it in the middle.

This is fine, if you are after “average” toned images. But if you are photographing dark black rocks, instead of getting black rocks, you would get gray rocks, as the meter would average the light to capture gray rocks. If you were after white snow, your film would come back as gray. The meter can’t think “Oh, this is snow. I need to make it white.” It can only “average”.

Understanding how the meter works is very important when photographing extreme or unusual lighting conditions. Let’s explore it just a bit further.

There are four variables which can affect your camera’s meter: the aperture on the lens, the shutter speed, the quantity of light available at the time you take your picture, and the brightness or tonality of your subject. Your camera already knows the aperture and shutter speed because you either set these manually, or you let the camera choose them. That leaves the quantity of light and the tonality of your subject – and your camera meter has no way to tell the difference between the two.

If the sun goes behind a cloud, the quantity of light decreases, and your meter will register that change. In the same way, point your camera at a light colored rock, then point it at a dark rock, and the meter will tell you that the exposure has changed, even though the light has not.

Camera designers had to make a choice. What they chose was to calibrate the meter to accurately expose “middle-toned” subjects, those subjects neither light nor dark, but somewhere in between. The reference point they chose was 18 percent, roughly three stops brighter than black and three stops darker than white. A subject that reflects 18 percent of the light that strikes it is called a middle-toned subject.

Probably the hardest technical problem photographers have to overcome is learning how to use their meter to make a properly exposed photograph. Since your camera’s meter is calibrated to properly expose middle-toned subjects, it stands to reason that any subject that is not middle-toned will not be properly exposed. Here is the catch: Your meter does not tell you how to make a properly exposed photograph. It tells you how to make the thing you are metering come out middle-toned. If your subject is middle-toned in real life, then your exposure will be perfect. But unless we override our camera’s meter, dark subjects and light subjects will also come out middle-toned. And that’s not right.

Going Against the Meter

So how do we fix the problem? If we meter a light subject, like a snow-covered field, we know what the meter is going to do. It’s going to make the snow look middle-toned, or gray. We don’t want gray snow, so we have to manually compensate by adding back in the light that the meter has told the camera to remove. We add extra light to the exposure of light-colored subjects to make them appear normal in the photograph. And we do this by either opening the aperture or by slowing the shutter speed from the value that our meter tells us.

In the same way, suppose we are photographing a dark subject like wet tree bark or a dark rock. Our meter is going to try to make the bark look middle-toned. It tries to make everything we point it at look middle-toned. So we have to manually compensate by taking away the extra light that the meter has told the camera to add. We remove light (or add darkness) from the exposure of dark-colored subjects to make them appear normal in the photograph. And we do this by either closing down the aperture or by increasing the shutter speed from the value that our meter tells us.

Let’s go over that again. Meter your subject. Compensate from what your meter tells you by adding more light for light-colored subjects or by subtracting light for dark-colored subjects. Take the picture. A handy phrase to help us remember this is: Add light to light, add dark to dark.

Add light to light, dark to dark

How much light should we add or take away? Slide film has a latitude or a range of tones that it can record of about 5 to 6 stops from overblown white to blocked up black. The range of tones might look like this:

To be honest, the number of natural subjects that require the addition of two stops is rare; white sand and snow on a cloudy day are the only ones that comes to mind, and I can’t think of any that require a minus two stop correction. I would expose even a black bear at minus one stop from my meter reading because I want to make sure I can see the detail in its fur.

When working with extreme light conditions, or specialized light, your camera can be fooled into seeing something different from the image you wish to capture. As stated, the meter reads the brightest spots of light and the darkest spots of light and decides what is the in-between exposure. It averages everything it sees. To get a really dark silhouette, we need to underexpose the image since the meter will try to produce a medium tone.

Use the phrase “Add light to light, add dark to dark”. When you want something to be as dark as the eye sees it, you fool your camera meter and add “dark” to the image. You can add dark by increasing the shutter speed or by closing down the aperture.

Another example is the trick bright white objects like snow and fog can play with the meter. Unless we compensate, snow will be exposed as dark and almost dirty because the meter shifts the exposure to middle-toned. Using the “add light to light” theory, by overexposing or adding light to the image, the snow becomes whiter. The eye saw white snow. Not dirty snow. Using the “add light to light” idea, it becomes easy to adjust for light- or dark-toned subjects.

Exercises

Metering for Average

Find a subject that you think is middle toned. Make a series of five exposures from two stops underexposed to two stops overexposed.

Light to Light

Find a light subject and photograph it at the meter reading, and at one and two stops over.

Dark to Dark

Find a dark subject and photograph it at the meter reading, and at one and two stops under.

Metering by Proxy

We said the camera’s meter is calibrated to make a correct exposure of a middle-toned subject. If our subject is middle-toned, we can simply meter it and take the picture. If our subject is not middle-toned, we adjust our exposure to compensate using the “light to light, dark to dark” theory. But this means we have to make a mental estimate of how far the subject is from middle-toned. Is it a half stop or a full stop brighter than neutral?

There’s another option. If we could find a middle-toned object in the same light as our subject, we could simply meter this object, recompose, and photograph our subject without directly metering it. This is possible because when we meter, we’re measuring the amount of light. If two objects are in the same light, and if the exposure is correct for one of them, it should be correct for the other one, also. The key is that the two objects must be in the same light. If you meter an object in the shade while the other is in full sun, your exposure will be incorrect.

Some photographers carry a middle-toned subject with them wherever they go for this purpose. This is called a “gray card”, and it reflects exactly 18% of the light that strikes it. Meter the gray card, set the exposure, and any other object in the same light as the gray card will be properly exposed.

What if you don’t have a gray card? The one object that every photographer has is the palm of his or her hand, but your hand isn’t middle-toned. Whether your skin is light or dark, white, black, pink, or some other color, the palm of your hand is about one stop brighter than middle-toned.

To use your hand to make a correct exposure, compose and focus on your subject. Then, if you have autofocus, turn it off. Without focusing, fill the frame with the palm of your hand, taking care to ensure it is in the same light as your subject. Make a meter reading and open up one stop by opening the aperture or slowing the shutter speed by one stop from what the meter told you. Point the camera at your subject to recompose if necessary, and take the picture. It’s simple, and it works for everyone on the planet.

Aperture and Shutter: How do they relate?

A camera in its simplest form is just a light-tight box that holds the film in place with an opening in front to let the light in. A lens is placed in front of the opening to focus the light on the film. A device called the shutter opens and closes to control the amount of time the light is allowed to strike the film. The aperture inside the lens changes size and controls how much light is allowed to pass through.

The shutter is like a curtain. When it opens, light passes through. It can be opened and closed very slowly to allow a lot of light to pass, or very quickly to allow a small amount through. Its speed is variable and is controlled by the photographer. Most cameras have a range of shutter speeds from 1 second to 1/1000 of a second. The fastest camera on the market has a top shutter speed of 1/12000 of a second (Minolta 9xi). At the other extreme, times of many seconds or hours are possible for low light or night photography.

The standard series of shutter speeds is 1 sec, ½ sec, 1/4 sec, 1/8 sec, 1/15 sec, 1/30 sec, 1/60 sec, 1/125 sec, 1/250 sec, 1/500 sec, 1/1000 sec. Each shutter speed is twice as fast as the one before it. That means that each successive shutter speed allows only half as much light to pass through before the shutter closes.

The aperture is like the pupil in the eye. It opens wider to allow more light to pass and closes to restrict the amount of light through. It also controls the depth of field. On most older cameras, the aperture was adjusted by turning a ring on the outside of the lens. Many newer cameras have dials or adjustments on the camera body itself.

The size of the aperture is denoted by the f -stop selected. The standard series of numbers is 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22, 32. This series seems odd at first, but there is a mathematical relationship between each f -stop and the next–each number is 1.4 times larger than the one before it. The diameter of each opening is 1.4 times smaller than the one before it, and that means that it lets in half as much light. To repeat, each aperture lets in twice as much or half as much light as the one next to it. And the bigger the f -stop number, the smaller the opening.

The Water In The Bucket Theory

The aperture and the shutter speed work together to control the amount of light. A good way to think about them is with the analogy of a bucket of water and a faucet. If you want to fill the bucket with water, you can do it with a lot of water for a short amount of time, or with just a trickle for a long time. The amount of water it takes to fill the bucket is the correct exposure, the correct amount of light for a properly exposed picture. The handle on the faucet is the aperture which controls how fast the water fills the bucket. And the time the faucet is on represents the amount of time that the shutter will let the light in. Obviously, if you want to fill the bucket faster, you have to get more water through the faucet and that is limited by the physical size of the faucet. Another option to filling the bucket faster is to get a smaller bucket, that is, to use a faster film which requires less light.

In a real situation, you are faced with certain lighting conditions over which you have little control. You have to choose a lens, aperture, shutter speed, and film that matches the conditions. Assuming you only have one lens and one type of film with you, let’s look at the aperture and shutter speed.

The first thing we usually do is decide which aperture to use. We’ll talk about depth of field and aperture later, but let’s say that f 8 is the best choice. Take a meter reading and the camera will say what shutter speed it should use. Let’s assume that the meter says 1/125th of a second will give a proper exposure. Does this mean that the combination of f 8 aperture and 1/125 shutter speed is the only choice? No.

Remember that each aperture and each shutter speed are related to the next one by twice as much or half as much light. So f 11 is half as much light as f 8 (the bigger the f -stop number, the smaller the opening). If we set the lens to an aperture of f 11, we have reduced the size of the lens opening so that only half as much light gets through. To compensate, we have to add more light for a proper exposure, so we do that by slowing the shutter speed one setting from 1/125 to 1/60. We also could have set the aperture to f 4 and the shutter speed to 1/500, for example; there are many correct combinations.

22 Metering and the Creative Decision

Since there are so many combinations which give a “correct” exposure, how do you decide which one is best for you? This is a creative decision, and one which can give your pictures an entirely different feel.

The shutter speed you choose for a moving subject has a direct impact on the feeling of speed that shows in your picture. A fast shutter speed will stop the motion, freezing action. A slow shutter speed will allow any movement to blur, while those parts of your picture which are not moving will be sharp. A general rule of thumb is that moving subjects require fast shutter speeds and the faster they move, the faster the shutter speed required. An animal which is perfectly still may be photographed as slow as 1/15 to 1/30 with a reasonable chance of getting a sharp picture, if your technique is perfect and you take several shots for insurance. But a moving animal will usually require 1/250 or faster.

The aperture you choose is an equally important part of the decision, because it directly affects the depth of field. Depth of field is the range of apparent sharpness from front to back in your photograph. Objects within the depth of field appear sharp, and those outside of it are out of focus. The larger the f -stop, the smaller the aperture, and the larger the depth of field. To repeat, the larger the f -stop number, the larger the depth of field. The smaller the f -stop, the smaller the depth of field. What this means is that if you want as much as possible to be in focus, stop down as far as your lens will allow, usually f 22 or more.

In most cases, a large depth of field is wanted for scenic photographs. We want to see the detail in the flowers in the foreground and the mountains in back. f 22 is a good choice. At other times, an out of focus background eliminates distracting elements so that our attention is on the subject, as in a closeup of a single wildflower. I might shoot this at f 4 or maybe f/5.6. In some cases, it just doesn’t matter which aperture to use, so I pick one in the middle like f 8 or f 11. Look in the Popular Photography lens tests and you will see that almost all lenses are at their best around f 8 and f 11, exhibiting greater sharpness and less distortion.

Like all things in life, there are tradeoffs between aperture and shutter speed. We have to have a certain quantity of light to make a proper exposure; remember the bucket of water? If we close the lens down to get more depth of field, we may not have enough light to stop the motion of our subject. Open the lens for a fast shutter speed to stop the motion, and the depth of field may suffer. Or we make knowing decisions by understanding how our equipment works, and therefore we know a larger aperture will give us a shallow depth of field and a slow shutter speed will blur our subject. These creative possibilities allow us to play with exposure to create the effect we want. So we have to strike a balance and get as close as we can to the vision we have in our mind.

Exposure Exercises

The following exercises are the kind of problems you are likely to run into in the field. Working these will help you deal with any exposure situation. The answers will be found below the Exercises.

1)How many stops are between f2.8 and f4? f4 and f5.6? f5.6 and f11? f2.8 and f16? From halfway between f4 and f5.6 to halfway between f8 and f11?

2)How many stops are between 1 second and 1/2 second? 1/2 and 1/4? 1/125 and 1/500? 1 second and 1/1000?

3)Suppose your meter tells you that proper exposure is f5.6 at 1/125. What is an equivalent exposure at f4? f16? What aperture would give you 1/30 of a second? 1/8 of a second?

4)  If your meter tells you that f5.6 at 1/125 is correct and you instead shoot at f4 at 1/125, have you added more or less light? How many stops? Is f11 at 1/60 more or less light? How many stops?

5)  Your meter tells you that f5.6 at 1/125 is correct. If you keep your shutter speed at 1/125, what aperture would add 2 stops of light? If you shoot at f5.6, what shutter speed would make your photo 2 stops darker?

Add Dark to Dark, Add Light to Light

Consider the following pictures and estimate how much “dark” or “light” you would add to the average meter reading shown to create the “right” exposure.

Green grass with burnt trees in background, Alaska; Male Elephant Seal (gray colored), California; Autumn colored leaf on burnt log; Yellow daffodils

Exercises

Depth of Field

Select a fence or a row of trees. Focus on the fence about midway in front of you. Take three shots, at your largest aperture, f8, and the smallest. Adjust your shutter speed for a correct exposure in each case. Notice how the depth of field changes.

Shutter Speeds

Find a moving subject like a car on the road, jogger or walker. Shoot at the fastest shutter speed possible (this will be at your largest aperture). Make another exposure at f8, and a third at the longest shutter speed possible (at your smallest aperture).

1) f2.8 to f4 is 1 stop. f4 to f5.6 is 1 stop. f5.6 to f11 is 2 stops. f2.8 to f16 is 5 stops. f4/5.6 to f8/11 is 2 stops.
2) 1 sec to 1/2 sec is 1 stop. 1/2 sec to 1/4 sec is 1 stop. 1/125 to 1/500 is 2 stops. 1 sec to 1/1000 is 10 stops.
3) f4 at 1/250. f16 at 1/15. f11 at 1/30. f22 at 1/8.
4) Added one stop. One stop less.
5) f2.8. 1/500.

Add Dark to Dark
1) Grass is neutral – no change
2) Elephant seal is neutral – no change
3) Burnt log is black – add dark or meter for red-gold leaf and add light
4) Daffodils are yellow (light) – add light