Ten years ago I decided to start using filters for my landscape photography again. In those days the best choice was Hitech or Lee, and I chose the latter. I was very content with those filters and I shot many beautiful landscapes with it. But ten years left some serious traces of use. It was time to replace the filters… I chose Kase filters.
You can get cool results when photographing water or cloudy skies with long exposures. For that you often need a filter that reduces the amount of light that enters the lens: a neutral density filter. But what if you don’t have such a filter? In that case there is another way to retrieve almost the same results. In this article I will explain how to shoot long exposures without the help of a neutral density filter.
When processing your precious photos in Lightroom, Photoshop, or any other photo processing software, you make sure the exposure is spot on, the colors are perfect, and the contrast is pleasing. For that reason you may have a calibrated monitor, and the optimum light situation in your room. But did you think about the background shade of your photo processing software?
Whenever I bought a new lens, I always added a UV filter to it. It was obvious to do so, and I never gave it any thought. But there was a moment that I stopped adding that sort of filter and I never looked back since. Does a UV filter still have any benefit, or is it a waste of money? Let’s find out.
Modern cameras can be set to very high ISO values. But the higher your ISO is, the more noise will be visible. There is a point when the noise levels become higher than acceptable. Do you know what high ISO value is still acceptable for you?
The year 2018 will be known as the year Canon and Nikon introduced their first mirrorless full-frame camera. It was their first step into a world that has been dominated by Sony for years. The cameras of Canon and Nikon have been mocked and laughed at, but how do they compare in real life? I got a chance to find out.
It was all over the news; the superbloodwolfmoon of January 21st 2019. It was special, it was very rare, and it was spectacular. Or so they said. But was it really that special and did it show on the photos that I took during the four hour eclipse of the Moon? Let me tell you my story.
I got a few questions about the Electronic View Finder on a mirrorless camera concerning flash photography. And yes, when you use the wrong settings it can be quite a challenge using a mirrorless camera in dark situations when flash is needed. The solution is fairly simple.
I have been shooting concerts for many years. These are mostly bands in small, dark, and obscure venues with not much light to work with. But eventually a lot of bands started to use lasers as a part of their show. That resulted once in a damaged sensor. I believe today there is a greater risk with mirrorless cameras and lasers.
It is a photographers nightmare to see precious and expensive camera equipment fall. I have seen it happen quite often and most of the times a tripod was involved. Fortunately it never involved my equipment. Perhaps it is due to luck, but I believe ten important guidelines helped a lot.
Do you hate using a tripod? Do you find it too cumbersome to use, heavy, and do you think it stands in the way of creative photography? You are not the only one. I meet a lot of photographers during my workshops and masterclasses that find the tripod a necessary evil. And most of the time, it is because they are using it the wrong way.
Often, we think a landscape has to be photographed with a wide angle lens and a large depth of field. Some think it is even better to use extreme wide angles and always in combination with a maximum depth of field. But have you ever thought of photographing a landscape with a minimum depth of field?
Photographing the night sky can be fun, especially when there is a meteor shower. Every year, I try to capture the famous Perseids during my summer holiday in August. But in December, there is the Geminids, which also can be quite spectacular. This year, I had bad luck and a lot of luck at the same time.
A lot of landscape photographers prefer a maximum depth of field when photographing wide landscapes. They love to use small apertures in combination ultra-wide angle lenses, making use of hyper focal distances or even focus stacking to achieve their goal. But not many have ever considered using a camera with a crop sensor for that goal.
Most photographers have started with a crop camera when digital photography was introduced. Only after a few years, the full frame cameras became affordable and that is the moment when all the discussions about the effect of depth of field and crop sensors started, often with the mentioning of physics laws and mathematical calculations. Let’s try to find out with some real world examples.
Since the introduction of digital photography our cameras are provided with a nice LCD screen to see the photo we’ve just taken, or to see the photo that we’re about to take. But be careful with these screens, they can be misguiding in some situations.
We all know how a histogram has to be read, or at least we should know. It is a handy tool to check if the exposure of the image is correct, or as correct as possible. If the image is not exposed correctly we can read the luminance histogram on our camera LCD screen and know exactly how much the exposure needs to be corrected. Well, perhaps not exactly, but enough to prevent us from guessing.
Every landscape photographer will someday run into a situation when the bright light of the sun causes flares. Especially when using filters; the extra glass can increase reflections that results in the dreaded spots in a picture. However, there is a way to get rid of them, in most occasions.
Using a polarizer in landscape photography is often advised. And with reason: colors will be enhanced, reflections in water and on the leaves can be removed, and skies can turn deep blue. But it is not advisable to use a polarizer as a standard filter, because there are situations when it can turn against you.
