Since I’m highlighting some of my recent Wildflower photography in this month’s issue of Show-Me Nature Photography Newsletter, I thought it would be appropriate to mention some tips/techniques for photographing flowers/plants in this month’s Photo Tips column. These tips are pretty much applicable to any flower photography, not just wildflowers. Here are some techniques I’ve found to be helpful in getting some nice flower images.

First, decide on how you want to capture the flower(s). Do you want to capture an entire group of flowers (what I call an “Environmental” shot) or do you want to focus in on a single flower (a flower portrait)? Why not do some of both? The kind of photograph you will be making will depend upon your need or want. But when I find some nice flowers, I try to do both the environmental and the portrait, especially since I never know what my needs will be down the road. If you decide on the environmental shot, it is best to shoot with a wide angle lens and to use a narrow depth of field (DOF), somewhere around f/22 usually works well. This will help assure that you get a lot of flowers in the image, and that all flowers are in focus. If you decide on the portrait shot, you will get best results with a macro lens, or a standard lens with either a close-up filter attached or an extension tube fitted between the lens and the camera body; this will allow you to get a good closeup of the flower. You will also want to shoot the portrait with a relatively large DOF, so that the background will become out of focus, highlighting your subject. By doing so, you will be able to keep the flower in focus, but remove unwanted distractions from the background. The “correct” apperture will depend on several factors, including how far you are away from the flower when you capture it, and the distance from the flower to the background distractions, etc.. To be on the safe side, I’d do a lot of experimenting with DOF, shooting at several apperture settings (maybe f/2.8 to about f/8).

Another tip for photographing flowers is to shoot either with low-angle natural lighting (early in morning or late in afternoon) or shoot on a cloudy/overcast day. This helps to eliminate the harsh lighting/shadows that are common when shooting in bright, mid-day lighting. If you must shoot when the light is harsh, you can mitigate some of the issues by using a “diffuser” placed between the flower and the sun, and close to the flower. As the harsh light goes through the diffuser, the diffuser will act as a pseudo-filter to soften and even out the light. You can either purchase a diffuser (those that fold up into a neat little carrying bag are great!) or you can make your own; by placing a piece of interfacing (used in sewing) inside a round, embroidery frame works quite well and is very inexpensive to make.

Another tip: use a tripod to prevent camera-shake. And if it is a windy day, either postpone the shoot until the winds calm down or try shooting at very high shutter speeds (~1/500 second or faster should help).

When shooting flowers, and especially for close-up portraits, try to keep the camera sensor (what used to be called “the film plane”) parallel to the flower’s plane. This will help to render more of the flower in focus when using large aperture settings.

Another thing to watch out for is the condition of the flower. Spend a little time to be sure you are going to photograph the best looking flower available to you. It is very disappointing to shoot some flowers and then download them at home to find that the flower you shot is missing a big piece out of one of the petals! Try to find the most perfect flower you can, before you photograph them.

Likewise, before shooting always check out the background. It is best to arrange to shoot a flower that has a fairly consistent tonality in the background (i.e., a consistent background of other greenery works very well). Often, you may need to take a step to the left or right, or maybe move the camera up or down a few inches. Play with this and try to find the best fit you can. This tip sounds like a pretty minor thing, but it can make or break your photo!

And lastly, always check your camera’s histogram after each shot. You cannot depend on the camera’s LCD screen to let you know if the exposure is good! By using the histogram, you will have a very good idea if you’ve attained a good exposure. And if you didn’t get a good exposure, you can use the Exposure Compensation function of the camera to help get a correctly exposed photo.

I think if you try some of these tips out, you will find you can make better flower images! And if you have any questions, please send them to me at:

showmenaturepix@hotmail.com

Do your digital images lack sharpness? This month, we’ll talk about some of the things to look out for, and some of things you can proactively do to assure that your digital images are sharp. After all, an unsharp image is, for all practical purposes, an unusable image. This is particularly true if you are looking to either publish your image or to make a large-sized print from it. And when I work with someone in the field, the subject of making a sharp image always seems to come up! Most of the tips I will be discussing are relevant for both the point-and-shoot and the digital SLR camera, although some may be relevant to only one camera format. Before I list out the “tips”, let me say that unsharp images are usually a result of either (a) camera/lens settings, (b) subject movement, or (c) “camera shake”. If we focus in on these 3 areas, we will be well on our way to making sharper images. So, let’s get started.

In the category of “Camera/Lens Settings”, there are several things that you should look at:

1. Are you shooting at too slow of a shutter speed?  If you are shooting moving subjects (wildlife, sports or action), then you will likely need to be shooting with a shutter speed of 1/250 second or faster.  Of course, other factors will help affect what shutter speed you will need:  hand-held vs. using a tripod, lighting conditions, how fast the action is, if your camera/lens has IS or VR (noise reduction technology), etc., so you should play with several different settings to determine what works best for you in the conditions you are shooting and with your equipment.
2. The aperture setting will also affect the shutter speed.  If you are shooting with a small aperture (f/22, etc.) then the shutter speed will be greatly slowed down than it would be if you were shooting with a large aperture of f/4.
3. You can also look at setting the ISO at a higher setting (perhaps ISO 400 to ISO 800, or even higher with high quality cameras), which will allow faster shutter speeds.  Here is where the higher-end DSLR cameras will usually outperform the point-and-shoot cameras; unless the camera’s sensor is of high quality, you will experience more “electronic noise” in your images when you use a higher ISO setting.  High noise is indicated by either (a) specs of greens and reds in the darker areas of your image, or (b) a very grainy appearance.

If you are shooting a “Moving Subject”, then there are several things to consider:

1. With a moving subject, it is pretty much imperative that you shoot with a faster shutter speed (re-read the discussion of “Camera/Lens Settings”, above).  And you should work on being able to “pan” with the subject.  This refers to being able to keep the subject in the viewfinder when you are tracking and shooting the subject.  If you cannot do this smoothly, then you are more likely to experience blurry photos as you jerk the camera around trying to keep the subject in the frame.  The trick is to be able to smoothly and consistently keep the subject in the viewfinder.  This is especially true for photographing things like flying birds, pets that are running, a baseball player running the bases, etc.
2. There will also be a difference between (a) the subject running directly to or from you, and (b) the subject running parallel to you.  With a subject running to/from you, the distance it is from the camera will constantly change, and quickly,  than compared to the subject running parallel to you.

Let’s talk about “Camera Shake” now.  This term refers to hand-holding a camera and not being able to hold it still enough to get a sharp image:

1. Camera shake is much more of an issue when shooting at slow shutter speeds and with very small (f/22) aperture settings.  If possible, change the camera settings to assure you are shooting at the fastest possible shutter speed.
2. All good photographers know that they should use a tripod whenever possible.  By construction, tripods will be a valuable help in eliminating camera shake.
3. If you are using a DSLR (i.e., a camera with interchangeable lenses), always try to use a lens with image stabilization built into it (if your camera body does not have this feature).  Image Stabilization technology helps to identify camera shake and electronically counters the shake, often resulting in rock-solid images, even when you aren’t!  Lenses with image stabilization cost a little bit more (~20%), but are so very worth it!
4. If you don’t have a tripod and don’t have an image stabilization lens, try using your body as a tripod.  Firmly place your feet about shoulder’s width apart and, while holding the camera in your hands, place both your elbows solidly against your midbody.  In effect, you are making your body act as a tripod!
5. Another option is to lean against something solid (a tree, large rock, building, car, etc.).  This will help maintain a shake-free camera.

I hope these tips will help you make sharper images.  If you have any more ideas to add, or need more information/clarification on anything I’ve included in this post, please e-mail me.  And happy, and shake-free, shooting!

This is a question that I’m often asked.  And why not, it is the same question that I began asking about 10 years ago, whenever I decided to get back into photography.  As with anything in life, as we become involved with something new, a new hobby, a new career, nearly anything, we often ask ourselves, or others, how we can improve ourselves.  In fact, I still find myself asking this question on a regular basis.  Yes, my photography has improved a lot over the years, but I want to take it to a higher level.  What do I need to do to get there?  Do I need to learn new techniques?  Do I need to invest in different equipment/accessories?  Well, when thinking about what topic I’d write about in this issue of Show-Me Nature Photography Newsletter, I decided that I’d offer some suggestions for those who are wanting to improve their photography.  So, here goes.

The first thing I suggest is to get out with your camera on a regular, consistent basis.  I recommend at least once a week.  It doesn’t matter what the subject is, it just matters that you are actively working with your camera.  And it doesn’t have to be an all-day event, just try for 30-60 minutes of “quality time” with the camera.  I think you will find that the more you shoot, the better you will understand your camera, it’s controls, and how it functions.  When shooting, don’t be so intent on the results as you are on what you learn from the experience.  If you try a new technique or a different shooting mode, do your best to learn from the experiment.  What went well?  What didn’t go right?  What will you do differently next time?  Take notes, so you can refer back to them later.  Ultimately, you will find that this repetitive practice leads to better images.

The second thing I recommend is to know your camera.  This ties in with the first point, but I think for you to have ultimate control over the camera, you must know it’s controls, what they do, how to work them, and know when/when not to use them.   A prime example:  When I photograph wildlife, I don’t have much time to play with controls.  Over time, I have found that intimately knowing how to quickly change the exposure settings, via Exposure Compensation, has helped me make many successful wildlife images.  And I do it “by feel” and by observing symbols in my viewfinder, all without taking my eye from the viewfinder.  I know exactly where the controls for using Exposure Composition are located, so I can make changes without taking my eye away from the wildlife action that is taking place.  Know your camera well and it will treat you well!

The next thing you can do is to read, read, read.  With the internet, articles on equipment, techniques, wildlife, etc. are right at our fingertips!  Not only can you learn basic techniques used by many photographers, but you can keep abreast of changes that are constantly taking place with techniques and equipment.  And if you even dare, pull out the camera manual and read through it.  Yeh, I know it is often not “user-friendly”, but if you practice a lot (remember the first tip in this article?) and begin to “know” your camera better (ah, yes, step #2)  then the manual may make more sense to you.  And if it doesn’t, there are some videos out for a lot of digital cameras; these might be what you need to help you to learn your camera controls.  Another alternative to the manufacturer’s manual:  there are some third party publishers that are writing camera manuals “in English”; check these out.  Also, check out the local library.  They often have a lot of good books on photography.  Do you have a local bookstore?  Check them out, too!

Attend photography classes or weekend classroom seminars.  When I was struggling at improving my photography, I attended every class or seminar that came to the Kansas City area!  Most of these classes/seminars were taught by professional nature photographers and I walked away with many tips and suggestions from them.  You can do the same.  Besides these classes, there may be photo classes at local junior colleges.  Or you can attend one of my photography classes I teach at the Cass Career Center in Harrisonville, MO (yeah, a bit of shameless self-promotion), or by other local photographers.  Any classwork or seminars you attend can really help to bring things together for you.

Taking the last action a step further, consider a hands-on workshop.  These can be extremely helpful!  First, identify a photographer whose work you admire (style, subject matter, etc.) and if they offer workshops, sign up with them.  The workshop length can be short (a few hours) to quite long (7-10 days).  Spend as much time as you can on the workshop.  Most workshops are set up with classroom instruction sessions, followed by in-the-field shooting sessions.  Spend as much time as possible being close to the instructor.  Ask questions!  Try suggestions made by the instructor!  Get out of your comfort zone and try new things!  Ask the instructor for critiques on your images (if the workshop is not already set up for critiques).  Now is not the time to go off on your own and shoot; stick to the instructor like glue, and gain as much knowledge as time will allow!  If you envy a particular style of the instructor, ask questions about how some of his/her images were made:  what equipment was used?  how was the exposure made?  why did he/she decide on that composition?  Take notes and think of some things for you to try at your next “practice” session.

I think if you give these things a sincere try, you will find that your photography can, and will improve.  And if you ask me which one of these steps is the most important, I’ll probably answer by saying “repetitious practice” (the first item I discussed).  As with anything, you will become better with practice alone.  And if you’re like me, the better your images get, the more you thirst for “taking it one additional step”.  But one of the most important things is to have fun with it.  If you don’t have fun, you will not have the drive to improve.  So, get out there, practice on a regular basis, have fun, and watch your photography improve!

This month’s tip deals with using Depth of Field (DOF) to enhance your photographs.  This tip is relevant whether you use a point-and-shoot camera or an SLR (interchangeable lenses) camera.  If you use a point-and-shoot camera, consult your camera manual for instructions for setting the DOF.  You will likely need to place the camera in either a “manual” setting or in an “aperture priority” setting.  For SLR’ers, you will need to set your camera in a similar setting (I normally use “Aperture Priority”).

Now, the real story behind the aperture settings.  The aperture settings on the camera are a little tricky to understand, but are really quite simple once you know how they work. First of all, as the aperture (or f-stop) numbers get larger, then the aperture (size opening of the lens) actually gets smaller.  Thus the lens opening of a camera set at f/4 is much LARGER than one set at f/16. Once you understand this, it becomes much easier to understand.

Another important fact to remember is that a large aperture (i.e., f/4) yields a very shallow DOF.  This means that a scene shot with f/4 yields a photograph that has only a very small bit of the scene in sharp focus.  Likewise, a scene shot at a small aperture (i.e., f/22) will yield a photograph where most everything will be in sharp focus.  Once you understand these two aspects, you are well on your way to understanding how to control the DOF in your photograph:  If you want a shallow DOF, then use a large aperture (a low number) f/stop, and if you want everything to be in sharp focus, then use a small aperture (a large number) f/stop.

To illustrate this, check out the Songbird layout in the January issue of Show-Me Nature Photography Newsletter.  Nearly every one of these images were shot at f/4.5 or f/5.6 and you can see that the background drops off (out of focus) and yields a pleasing, neutral background.  Of course, the distance the “background elements” are from the “main subject”, will also affect how the resulting image looks.  In the Songbird layout, with the background being some distance away, the result is a photograph where the viewer’s eyes naturally move to the in-focus, subject (bird, in these examples).

So, learn to control the Depth of Field in your photos and you will take a giant step in improving the quality of your photos!  If you have any questions on this issue, please e-mail me with your questions.  If you live in the Kansas City area and want to learn more about controlling the DOF, consider one of my upcoming photography classes .  We will discuss the various camera controls and how to get the camera to do what you want it to do in both the “Point-and-Shoot” and the “Digital SLR” classes.

As digital photographers, our memory card is one of our most critical pieces of photo equipment we own.  Without a working card, we would not be able to make and store images!  Important to understand is that if you have a working memory card, as long as you take care of it, it is not likely to fail you.  And if you purchase a new card, if it is going to fail, it is likely it will fail immediately.  But what can you do to assure you will always have a good, working memory card?

First, I always recommend that you purchase a “name brand” card, not a “cheap” card from the local discount store.  Manufacturers of “brand name” cards typically put their cards through some rigorous testing prior to packaging them for sale.  Some manufacturers even do 100% testing on all cards!  And always test out new memory cards before a big trip; never purchase a new card and take it along, without first trying it out in your camera!

Always format your memory card on a regular basis, which I recommend you do prior to it’s first use (which is required for the card to be compatible with your camera file structure), then after each downloading of images from the card.  Frequent formatting of the card will help the card retain its integrity for you.  Note:  Always be sure you have downloaded the images before you format the card; formatting will erase all your images!  Some people think that simply deleting the images from the card is good enough – WRONG!  To maintain proper file structure on the card, you MUST reformat the card after images have been downloaded.  Reformatting of a memory card is similar to reformatting of a computer hard drive that has had the files erased from it; in order to work properly, the drive must be reformatted.

When downloading images from a memory card, always use a quality memory card reader.  This will help assure that the files are accurately transferred from the card to your computer (or, other storage media).  And if you have problems downloading images, try another card reader or try transferring directly from the camera (see your camera manual for instructions).

One of the most common reasons for a memory card failure is either (a) the batteries have run low in your camera, or (b) you shut off your camera while the cameras buffer is still sending the image files to the memory card.  So, to prevent these situations always use fresh batteries.  Once the batteries become weakened (most cameras will have an icon or light that will alert you to the battery condition), change out the batteries with fresh ones.  And always be sure the images have been stored on the memory card before shutting off the camera or removing the memory card (Note: most cameras have a red, flashing light that will flash while images are being written to the card – Always wait until the light has shut off before turning off camera and removing the card!).

And in the event your cards fail you, try one of the image rescue software programs to see if you can get the “lost” images back.  Some of the image rescue programs I am aware of come from Lexar, SanDisk, and Symantec, and are very reasonably priced (some even come free with memory card purchase).

Boiling this down, you will not likely run into problems over time,  as long as you use quality cards, always use fresh batteries, and never turn the camera off while images are being written to the card.  After all, what is an image if you can’t save it?

Photographing in the winter, when temperatures drop drastically, can be very rewarding.  Ice and snow can make the most recognizable landscapes look so much different.  And wildlife are dressed in their best, thick winter coats.  But shooting in winter does have challenges.  Since cold weather is on our doorstep, I thought a review of what we should and should not do would be a very timely thing to talk about this month.  Not only do we need to keep ourselves warm (to prevent hypothermia), but we need to keep our equipment in good working order.  This November tip covers some of the things we should all do when shooting outdoors in the extreme cold.

When we talk about equipment malfunction in winter, the most common malfunction we encounter is a weak or dead battery.  Shooting at such cold temperatures tends to affect most camera batteries by reducing their “working life” while in the cold.  To minimize this condition, or at least be able to work around it, the most important thing you need to do is to start with a battery that is at 100%; always charge your batteries before heading out in the cold.  Secondly, keep your backup battery (or, batteries) somewhere warm while out in the field.  I recommend a shirt pocket or pants pocket, or an inside pocket on your heavy coat, somewhere your body heat will help to keep the battery warm.  Then, when your camera battery starts to weaken under the cold temps, just change out the failing battery with your “warmed” battery, placing the failed battery in the warming pocket to warm back up.  After all, when batteries start failing in cold temperatures, they usually can be “rejuvenated” simply by warming up.  Using this scenario, you can spend a lot of time in the cold weather, always ready to shoot.

The next thing to be aware of is to minimize the potential to get any moisture (snow, ice, or rain) inside the camera.  Getting moisture inside the camera in extremely cold temperatures can cause the moisture to freeze up and potentially cause damage to the camera.  To prevent getting moisture inside the camera, it is recommended that you do not change lenses very often.  This is an excellent time to use a zoom lens that has a large focal range (i.e., 70mm to 300mm, etc.), eliminating the need to change out lenses.  By not needing to remove and change a lens in the field, you don’t open up your camera’s inner workings to moisture.  Also, shield the open camera from the weather conditions when changing out cards or batteries, and complete these tasks as quickly as possible.

If you happen outside when it is actively raining or snowing, you should try to use some type of rain protection over your camera and lens.  There are many commercially available products for placing over the camera-lens.  Many of these are very quick and easy to install and remove from the camera and are normally quite inexpensive.  However, if you do not own one, you can make a simple “rain shield” by modifying a plastic bag so that it fits over the camera and lens, and keeping it in place with some rubber bands.  You will need to cut an opening for the lens to extend through, but it will work fine in a pinch.  After all, this is not a fashion show … we’re simply protecting our expensive cameras and lenses!

Memory cards may or may not be an issue for you in cold weather.  I have heard of some photographers having trouble with the memory cards in extremely cold temperatures, but I have not experienced this.  However, I must note that I use an “extreme” card that is guaranteed to function at very low, as well as very high temperatures.  So, if you are using lesser-known brands of memory cards, you may or may not have some problems.  You might want to try to check with the card manufacturer, or go on-line, to see if you can find any temperature range specifications for the card you are using.

For really cold days, take a large plastic bag with you – a garbage or trash bag works well.  Before you get into a warm car or back to the warm house, place your camera and lenses inside the bag and close up tightly.  Then, when you take it inside with you, you will not have condensation form on your equipment.  Instead, the condensation will form on the outside of the bag!

And lastly, be sure to dress warmly!  Always wear a hat/cap and gloves.  I have a pair of “fingerless” wool gloves that I wear over a pair of  “glove liners”.  This allows me to be able to manipulate the camera controls and depress the shutter button, while leaving the gloves on!  And if it is raining or snowing, wear a waterproof layer over your other clothing.  Shooting in winter conditions can yield some interesting and good images, but to fully enjoy the experience, you must be warm and dry.  So, prep your camera, dress up in warm and dry clothing, and get out there and have a great time!

Do you have any tips or suggestions for shooting in winter conditions that I have missed?  If so, and you’d like to share with my readers, just drop me an e-mail with your ideas and I will gladly add them to the list (and give you credit for the idea).  Just click on this link to send me an e-mail:

showmenaturepix@hotmail.com

Shooting astronomical subjects, known as “astrophotography”, can be a lot of fun to dabble in.  Some of the common subjects that can be photographed using these techniques include meteor showers (of which we usually have several good showings each year), different phases of the moon, space shuttle flybys (sometimes coupled to the International Space Station, or sometimes the shuttle and space station as two distinct, separate entities!), comets, and even eclipses (on those rare occasions).  The possibilities are endless and limited only by your availability and equipment, and your viewing location.

Regarding equipment, the only requirements are a camera body, a telephoto lens, and a sturdy tripod.  The camera body should be able to be set to ISO 400 and should have a “Bulb” (or B) exposure setting.  You should also have a remote shutter release (either wired or remote) to minimize “camera shake” when making exposures.  The telephoto lens can be any ordinary telephoto lens, and the focal length best for the image will vary, depending on the subject.  For meteor showers, one of the most common astrophotographical subjects, you don’t want a very long telephoto lens; a lens in the range of about 35mm to 55mm seems to be the best.  This “smaller” lens will give you more coverage of the area where you are expecting to see the meteors as they streak by.  For shuttle flybys or for lunar/planet images, you will want a larger telephoto lens, often the bigger the better.  As for the tripod, the heavier the tripod, the better; you want the sturdiest you have to shoot these long exposures.

Exposures can vary depending upon the subject you are trying to photograph.  The larger or brighter the subject, the less exposure time you will need.  Conversely, if you are shooting meteor showers or are shooting “star trails” or the “space shuttle trail”, then you will want to make longer exposures.  This is necessary because these are either much smaller or brighter, or, in the case of meteors, will last only a brief instant, so you want to have the exposure running for several minutes (in the range of about 4-10 minutes) to increase your chances of getting a meteor in the exposure.  The only dowside to these longer exposures is that electronic “noise” becomes more pronounced as the exposure time gets longer (but try anyway, you can always delete the images if they are too noisey).  When shooting these subjects, I have found that a large Aperture (i.e., f/4, or so) works quite well.

When shooting astrophotographical subjects, it is imperative that you shoot LOTS and LOTS of exposures!  And if you find that the shutter time needs to be either shortened (too much light being gathered from other sources during the exposure) or lengthened, don’t hesitate to experiment!  If you shoot digitial, remember that it costs you the same to shoot 100 images than it does to shoot one image.  But the most important thing to remember is to HAVE FUN!!!  That is what this is all about.

So the next time you are photographing a heavenly body (of the spatial type), try these tips to see if they work for you. If you have some other techniques you’d like to share with everyone, just e-mail me your suggestions and I will include them in a Blog posting.

Anytime we read or talk about composition, about 99% of the time is spent on the “subject” of the composition … “center the subject”, “place the subject off-center”, do this … do that. While placing the subject in a certain area, in a certain light, etc., is important to the overall composition, the often overlooked background can be just as important. This is especially true for new or inexperienced photographers.

This Photo Tip is going to discuss some things to consider whenever making an image, particularly when the subject matter is a person or an animal. Whenever we are making travel images or landscapes, these tips will not always apply, at least for a lot of images. With that said, let’s discuss some things we can do to enhance our background.

First, try simplifying the background. In other words, let’s try not to shoot a subject in front of a “busy” background. And what is a busy background? Basically anything that distracts the eye away from the main subject matter (unless that is your goal). Distracting backgrounds can include a lot of bare tree branches, specular hightlights on water, reflections, basically anything that clutters up the background and drags viewers away from the subject. How can we improve these situations? Several things should be considered. First, if it is possible, move a bit to one side or the other. This will often cause the background to change from a busy or distracting background to one that is much more subtle. If this is not possible, maybe a change in the lens will help. If you use a tighter lens (i.e., more of a telephoto lens), you will likely minimize the amount of background, which might help make it less busy/distracting. Also, a telephoto lens, due to it’s tendancy to compress items in the composition, will often blur the background and make it less busy.

Another thing to try is to use as large an Aperture setting (lens opening) as you can. Remember, the smaller the f/stop number is, the larger the Aperture opening. Using a large Aperture will tend to cause the background to fall more out of focus (this is why landscapes should always be shot with a very small (i.e., f/22 or smaller) Aperture). For example, using an Aperture of f/2.8 or f/4 would be much better for shooting a person or animal in front of a busy background, since the background would be more out of focus. This technique is of great importance if you are trying to photograph wild animals in a busy/distracting surrounding, since moving around is often not a viable option.

If possible, you could always move the subject farther away from the distracting background. This will usually work because the depth of field will cause a further-away background to be in soft focus, or even totally blurry. In either situation, this will cause the background to be less distracting, which is the purpose of moving back.

If all else fails, in many cases you can select and then blur the background by using an image editing program, such as Adobe Photoshop or Photoshop Elements. But this technique is reserved for the serious photographer, due to the enormous cost of these programs and the relative difficulty in learning them.

So the next time you are photographing a person or animal in a busy or distracting surrounding, try these tips to see if they work for you. If you have some other techniques you’d like to share with everyone, just e-mail me your suggestions and I will include them in next month’s Show-Me Nature Photography Newsletter. You can e-mail me at at this convenient link: showmenaturepix@hotmail.com

If you enjoy shooting wildlife from faraway places (like African safari wildlife), or would like to photograph a reclusive, hard to find critter (such as a wolf or bobcat), and you don’t have the time or money to travel so that you can find and photograph them, why not try the local zoo? Zoos can be great places to photograph these animals, and the animals here are habituated to people, so they won’t run away when they see you! Other places to consider are refuges or sanctuaries, or rehabilitation organizations, where sick or injured animals are nursed back to health before being released into the wild. Use the tips in this month’s column to help you find and photograph these critters on a small budget.

The first thing to do is to find places locally where you can photograph. You can check the yellow pages or contact a local conservation group. Most larger cities have zoos … and many have rehabilitative or sanctuary groups. Once you have located a location, you are on your way to getting some nice photos.

When ready to photograph, be sure to check the camera settings. ISO should be as low as you can get away with (100 or 200 is a good starting place). If the animal you are photographing is very active, you will likely need to increase the ISO to 400, maybe even 800, depending on the lighting and the amount of activity. Remember, lower ISO ratings usually give you better color saturation (without needing to do any additional processing in an external editing program), but higher ISO’s will be necessary to “freeze” any action you may encounter. Fortunately, most captive animals are not that active, so play with the ISO and check your camera’s LCD display to assure you are capturing the action satisfactorily. White Balance will normally do well when placed in the “Auto” mode. If you will be capturing action shots, try setting your camera’s shooting mode to “Shutter Priority”, then setting a shutter speed of 1/250 to 1/500 second. This should help freeze the action for you. Lastly, before you head out, be sure you have a fresh battery in the camera, an empty memory card in the camera, and spares of both batteries and cards in your photo bag or pocket.

Another, frequent reminder I always give someone when they are trying something new, is to “shoot a lot” … remember, digital photography is cheaper than film photography since you have no film to be processed. So, try changing the control settings on your camera a lot, including the shutter speed, the ISO setting, etc. Any “bad” shots can later be dispatched to the wastebasket with a press of a key, so shoot a lot and vary the conditions. You’ll also be surprised how much you can learn just by experimenting!

Another tip for photographing captive animals: always look over the available subjects and find the best one to photograph. Things like eartags or legbands detract from the photo (unless you are doing a shoot on captive animals and want these to show up in your images). And if all the subjects have an eartag, wait until they face the opposite direction … often the eartag is only in one ear, so letting the subject turn around will “hide” the eartag from the camera. Also, check for overall condition of the subjects. Often, one subject will have a fuller compliment of feathers or fur than other subjects. You want your best subject, so look around and be patient. Also check the lighting. If the day is early or late, you will likely have great, low-angled light to work with. But if you are shooting mid-day, then you will likely have very harsh shadows around the animal; one side will be in very bright, harsh light, but the other side will be harsh shadows. Instead of shooting this way, wait until the animal walks into the shade. Images in the shade often will “smooth out” inconsistencies in the lighting, and will render much better photos. Again, shoot, shoot, shoot … try different lighting conditions to see what you like.

The next time you are at the zoo, try these tips and see if they help your images. Do you have any tips to offer? Just send them to me at this convenient link: showmenaturepix@hotmail.com

Happy Shooting!

If you enjoy making photos of running water scenes (mountain streams, waterfalls, etc.), then this tip should be of interest to you. I got the idea of describing these techniques during my recent photo trip to the Wichita Mountains in southwest Oklahoma, while photographing a 3-tiered waterfall there. These techniques are not difficult, but they do take a little time to get set up. But your results will be well worth the wait!

First, I recommend you set the ISO to a very low setting . ISO 50, if your camera has this speed; if not, 100 will work. The reason for this low setting is to require a slower shutter speed, to help blur the water’s movement. The next setting I recommend is to set the aperture to a very small (large number) setting; f/22 or smaller (i.e., f/29 or f/32) works well. Again, this setting is designed to require a slower shutter speed, but also helps to keep the surrounding photo elements in sharp focus. (By the way, for you point-and-shooters, these techniques can be successfully employed with your cameras as well. You only need to have a camera capable of manually setting the ISO and aperture settings, and most of today’s point-and-shoot cameras can do this. Please consult your camera manual).

Next step: Place your camera on a tripod! This is critical since you will be shooting very slow shutter speeds. I guarantee that if you try these techniques while handholding the camera, you will have lots of blur . everything in the frame!!! So secure your camera on a tripod (a beanbag may work for you, but a tripod is my recommendation).

Now, you are almost ready to shoot. But what are the current shooting conditions like? If you have a heavy overcast, you may be able to shoot a “silky water” image without any additional setup. However, if the sky is sunny or just slightly cloudy, you will likely need to use a filter or two to get the results you are looking for.

The two filters I am referring to are the polarizer and a neutral density filter. The polarizing filter is a great little filter to carry in your camera bag. Most people use this filter to darken up the sky or to reduce unwanted reflections from their photos. In the case of running water, you certainly can reduce any reflections present, but another reason to use it is that it reduces the exposure by up to 2 full f-stops . if my math is correct, that means that using a polarizing filter will slow down your shutter speed to ¼ of what it would be without the filter. That certainly will help to give a silky-looking water! By the way, when setting up the polarizing filter, most instructions tell you to “turn the filter until the darkest skies and all reflections are gone”. I prefer setting the polarizer to the darkest point, then backing off just a smidge (technical term). This will prevent the sky from going totally black, which I don’t like, and also will keep a trace (another technical term) of reflection in the water, making it obvious to the viewer that this is water. But play with the filter until you get the results you want.

Another useful filter in this situation is a neutral density filter. This is a solid, dark filter that is used to cut down the amount of light entering the camera. You can purchase the neutral density filters in 1, 2, or 3 stop light reductions. I have a 2-stop filter that I carry with me. This filter is simply placed in front of the camera lens and slows down the shutter speed by 1, 2, or 3 stops (depending on which filter you are using). Make sure this is not a “graduated” or “split” neutral density filter; these are filters that transition from clear to dark. For photographing water scenes, you want a totally dark filter (i.e., a neutral density filter).

When making these types of images, take plenty of them and always watch your histogram to determine if you are achieving a good exposure. Then, correct your exposure, as necessary, to get good exposures. Also, consider bracketing your exposures. Remember, shooting digital is cheap . shoot, shoot, shoot! If you have followed these instructions, I’m sure you will walk away with some “keepers” . happy shooting!

If you need further information on these techniques, or have any questions, or would like to share your experiences, please let me know at: showmenaturepix@hotmail.com

If, during your summer vacation, you find a mountain stream, or a wonderful waterfall, consider using these techniques to enhance your flowing water photos!!!