Digital Camera World » professional photographer

Motorsport photography tips from start to finish line

jmeyer — Thu, 16 May 2013 23:01:34 +0000

In our latest Professional Photographer to the Rescue post our professional photographer takes our apprentice into the rough and tumble world of motorsport photography to shoot a leg of the British Rally Championship.

Meet our professional photographer

Jakob Ebrey runs Silverstone-based Jakob Ebrey Photography, the UK’s leading national motorsports photography agency. He’s the official British Rally Championship photographer and also shoots many other high-profile motorsports events. See more of his work at www.jakobebrey.com

Meet our apprentice

Trucker Dave King hails from Essex. He’s been taking photos since he was 15, and used to help out pro photographers at Arena Essex Raceway shooting all sorts of motorsport photography in the ’80s. Now using a DSLR, he asked for our help to improve his sports action shots.

Technique Assessment

Set Shutter Priority Mode
“Taking control of your shutter speed is critical when shooting motorsport photography,” advises Jakob, “so I got Dave to use Tv (Shutter Priority) mode, so he could set his shutter speed while his camera takes care of the aperture. I generally want a shutter speed of 1/250-1/500 sec to freeze the action in my motorsport photography, unless I’m panning for motion blur.”

Manage your ISO
“To make sure Dave’s DSLR is letting him set a good and fast shutter speed I got him to manually increase his ISO,” says Jakob. “It was a dull day, so we were shooting at ISO400 and 800 for most of the day. If you don’t increase your ISO, even shooting on your lenses widest aperture (such as f/2.8 or f/5.6) won’t achieve a resulting fast enough shutter speed.”

PAGE 1: Meet our professional photographer and apprentice
PAGE 2: Motorsport photography tips for during the shoot
PAGE 3: Final tips from our professional photographer
PAGE 4: Our professional photographer’s recommended gear
PAGE 5: Shot of the Day

Moonlight photography tips for making magical midnight landscapes

jmeyer — Thu, 02 May 2013 23:01:36 +0000

In our latest Professional Photographer to the Rescue post our professional photographer offers our apprentice his best moonlight photography tips for using long exposures and light-painting techniques to create amazing midnight landscape images.

Meet our professional photographer

David Clapp lives near Dartmoor in Devon, and he travels the globe shooting all kinds of landscapes, both by day and by night. He uses both natural and artificial lighting for his night shoots, and is an expert in light-painting techniques. To view David’s images and for details on his photography workshops visit www.davidclapp.co.uk.

Meet our apprentice

Mark Lake, a teaching assistant from Paignton in Devon, is a keen landscape photographer, and wants to take advantage of the long winter nights to try light-painting and other night photography techniques.

Technique Assessment

Mark was only getting the night shots he was after once in a blue moon, so David helped him out with some advice on camera settings and techniques…

Manual exposure
“To control the exposure its best to shoot in Manual mode,” David advises. “Start with the aperture at around f/8, and open it wider if you need to let in more light. The experimental approach to this type of photography means you’ll need to fire off a few frames to see what shutter speed and aperture work best.”

Bulb setting
“If you need a longer shutter speed then 30 secs you’ll need to use the Bulb setting.” David explains. “To control the Bulb mode you have to manually open and close the shutter. Press the shutter release to start the exposure, and let go to stop it – use a remote shutter release to avoid moving the camera.”

PAGE 1: Meet our professional photographer and apprentice
PAGE 2: Moonlight photography tips for during the shoot
PAGE 3: Final tips from our professional photographer
PAGE 4: Our professional photographer’s recommended gear
PAGE 5: Shot of the Day

Professional Photographer to the Rescue: seaside sunset photography made easy

jmeyer — Thu, 04 Apr 2013 23:01:31 +0000

In our latest Professional Photographer to the Rescue post our pro takes our apprentice on a quest to capture brilliant seaside sunset photography.

Meet our professional photographer

Tom Mackie is a world-class landscape photographer with over 30 years’ professional experience. Since 1985 he’s lived in East Anglia, and enjoys capturing the beautiful British coastline and countryside with his pro Canon kit. Tom also runs photographic workshops in the UK, Europe and US. For more info and to see his gallery, go to www.tommackie.com.

Meet our apprentice

Jim Huntsman is a support worker who’s been a keen amateur photographer for the past seven years. Not long ago he upgraded to his first DSLR, an EOS 400D, and enjoys photographing landscapes. He’s asked for our help to improve his scenic and night shots of Blackpool – his hometown.

Technique Assessment

Jim began shooting as he would normally, then Tom suggested a few ways he could improve his DSLR techniques

Use raw power
“Jim was shooting in JPEG, so I encouraged him to shoot in raw format as it’s the best image quality, and ideal for landscape shots when you may want to accurately adjust exposure and tones afterwards in Adobe Camera Raw software,” says Tom.

“As Jim hadn’t processed raw files before, we set his 400D to capture both raw and JPG files, so he had both formats of each shot to work with.”

Control the DoF
“Jim was relying on his Full Auto mode, which sets everything automatically and restricts him from controlling the depth of field (DoF). I got Jim to use the Av (Aperture Priority) mode, as it enabled him to control the aperture, while his camera took care of the shutter speed,” says Tom. “Then, by setting a narrow aperture (f/16-f/22), he controlled the DoF to ensure his shots were sharp from foreground to horizon.”

PAGE 1: Meet our professional photographer and apprentice
PAGE 2: Seaside sunset photography tips from our professional photographer
PAGE 3: Final tips from our professional photographer
PAGE 4: Our professional photographer’s recommended gear
PAGE 5: Shot of the Day

Behind The Image: David Clapp on his secret passion for infrared

jmeyer — Sun, 31 Mar 2013 13:00:22 +0000

Leading professional travel and landscape photographer David Clapp is currently in India, shooting an infrared-converted Canon EOS 5D. In his latest guest blog post he explains how he captured this moment using this wonderful photographic format.

See more of David’s images by liking David’s Facebook page, or you can check out his blog.

Namaste – Greetings from India. I have to say it is so good to be back, photographing in this beautiful country, my second extensive trip in the last 14months.

I am travelling for the next 17 days, west into Rajasthan. The trip began jet-lagged this morning in New Delhi / Old Delhi, and as usual we are not too far off the tourist track….

Earning a living is always at the forefront of all my experiences, so I continue to look for a combination of ‘originality within familiarity’, my quote of the day.

This is the remarkable tomb of Humayun, built by his rather loving wife to celebrate his departure from this world to the next. It’s easy to see how this building influenced the Taj Mahal, but rather than being made entirely out of marble, it is constructed from red sandstone.

This image is one of my ‘infrared specials’, something that will run at the forefront of my photography here in India and on my return to the UK in springtime. Its become a huge passion as perhaps you will know, remaining in the bag at all times.

This was photographed using an architectural lens, the Canon 24mm TSE Mark II, attached to my seven-year-old Canon EOS 5D(IR) – which is still going strong but will soon to be replaced with a Canon EOS 6D(IR) on my return.

To capture this shot I waited for just the right moment as this gardener approached and carefully rounded the bend in the path, the magic to enrich this simple and peaceful scene.

How to find perfect composition for your street photography

samanthacliffe — Sat, 30 Mar 2013 14:00:13 +0000

Many people may perceive that street photography, being candid in nature, is a less artistic genre of photography than say, landscape photography; many may think that street photographers just snap random shots of people in the street, with little thought to lighting or photo composition as images have to be quickly captured in the moment.

But is street photography really as ‘random’ as it might at first appear? In this guest blog travel photographer Harry Fisch reveals his secret to capturing perfectly composed street photographs.

La Habana by Harry Fisch

A good travel photographer is, above all, an observer. In my experience, the ability to pre-visualise an image is the key to taking good photographs.

Capturing a great shot is not just a question of looking, but also of paying attention to all the details that might somehow influence the end result: light, shape, colours and hues of the objects and the people in front of the lens.

In my street photography, I take a brief moment to take in peoples’ body language and the dynamics of their every day life in the street. Interpreting and anticipating the scene in front of me helps me to find an appropriate focus to my images.

This is the most creative part of the photographic process: we have to use our imagination, our awareness, and even a little sense of drama. It is important to anticipate the image you want to take in order to get into the appropriate position to be alert and ready to capture the exact picture we want.

I achieve this by looking at the objects in front of me and deciding on the best composition, the story they tell and how they relate to each other, their environment and especially light. I consider different compositions and scenarios, using my mind to place people in the scene in different attitudes and postures. I also imagine how light will interact with the scene: if it illuminates part of it, it could help a certain area to stand out.

At other times I reverse this process and think about how the image would turn out if some of its items, objects or persons weren’t within the frame.

In the picture at the top of this page (taken in Havana, Cuba) I visualised the scene before taking the shot. I imagined the image of a single person walking along and being highlighted against a wall. In order to make this a strong image, I needed more intense lighting. I was sure that I could make this image that I had visualised a reality.

I returned to the same place the next morning, seeking the light that would illuminate the background and more specifically a passer-by.

The different lighting interacted with the environment to achieve the image that I had in my mind. In this way, I was able to create an image to tell a story, enabling me to achieve the impact I wished to create by placing emphasis on different areas of the image.

It is also essential to know exactly where to stand: I needed to position the camera at the proper angle as well as choose the right moment to take the shot. To do this, I usually place myself in different positions in front of the scene before even thinking about the final picture in order to test alternative angles and heights.

If I hadn’t pre-visualised the image, this picture would never have come to be. With a little luck, I might have taken a similar one, but always with a poorer, less effective outcome.

Simply having a great view or scene to photography will never be enough, as without the ability to pre-visualise an image, the photograph as an artistic act will not exist. What remains will only be an image of random moment.

Visit Harry’s website.

12 most popular photos on Photography Week (and the stories behind them)

jmeyer — Sat, 23 Mar 2013 01:00:50 +0000

Many of us had different reasons for becoming photographers, but ultimately we all want the same thing: to take amazing pictures.

Our friends at the weekly iPad magazine Photography Week do an incredible job of finding the best photographers across a wide range of genres.

Their popular Photo of the Day feature is part of what makes their thriving Facebook community such an inspiring place to be.

Over the following pages we’ve selected the 12 most popular photos from Photography Week’s Facebook page – and in some cases the photographers have told us the story behind the image.

Click here to visit Photography Week’s Facebook page

Live in the UK? Click here for a free trial of Photography Week

Live anywhere else in the world? Click here for your free trial of Photography Week

Above All by Michal Karcz

“This picture contains three shots mixed together in Photoshop. This is I what do with my pictures, to create a fantasy version of the Earth.

“This picture contains photo of a mountain path in West Tatra Mountains and includes the clouds structures, and the main, high peak is Ama Dablam shot in Himalayas.” – Michal Karcz

View more of Michal’s photography on his website

Professional Photographer to the Rescue: ski photography tips for dramatic action

jmeyer — Fri, 22 Mar 2013 00:01:19 +0000

In our latest Professional Photographer to the Rescue post our professional photographer takes our apprentice to the slopes in Switzerland for an Alpine adventure in ski photography.

Meet our professional photographer

Ross Woodhall originally trained as an electrician, but discovered he could make a living from photography while working as a caretaker in a ski resort.

Having started out by taking pictures of punters on the piste, he is now a top commercial photographer specialising in extreme sports. You can check out his adrenaline-fuelled portfolio of pictures at www.rosswoodhall.com

Meet our apprentice

Chris Harden is from Rochdale and spent six years in the army, where he trained as a mechanic and learnt to ski. He works as a truck driver, and wants to learn to improve his action photography. We took him to Valais in Switzerland to brush up on his parallel turns and his high-speed DSLR shooting skills.

Technique Assessment

After a couple of warm up runs on the La Fouly blue runs, Ross took a timeout to show Chris how he could set up his D3000 better for action shooting…

Check the manual! 
Chris had been using the Sports Scene mode for his previous action pictures. But I told him that he had to use Manual if he was going to survive in the snow!

Focus on the turns
For tracking shots use the AF-C continuous autofocus mode, and set the AF Area to Dynamic. This gives you the best shot at keeping a high-speed skier sharp.

Keep shooting
A motorwind is the sports photographer’s best friend. Use the fastest continuous release mode your camera offers – Chris’ Nikon D3000 offers 3fps (frames per second).

Bright light blues
Ross says… We shot in Manual with the same settings, but Chris’ shots appeared darker than mine. Turning off the LCD Auto Dim option in his menu soon solved this discrepancy.

PAGE 1: Meet our professional photographer and apprentice
PAGE 2: Ski photography tips for during the shoot
PAGE 3: Final tips from our professional photographer
PAGE 4: Our professional photographer’s recommended gear
PAGE 5: Shot of the Day

Women Photographers: what the guide books aren’t telling you (Part 3)

jmeyer — Thu, 21 Mar 2013 00:00:25 +0000

In Part 3 of our series speaking to women photographers about what it’s like being a photographer in a business largely dominated by men, we spoke with Catherine Connor of Aspire photography training to get her outlook on what the guide book aren’t telling us.

Please explain your thoughts on the quality, design and information included in guide books and mags on the market in the past and today.

Guide books are something historically I have not been drawn towards even though I have looked at them many times with a mission to be included.

They generally do not appeal to the type of client that would be attracted to Aspire. I would love to get involved with the concept of a photographers guide; however, unfortunately they tend to be more directed towards landscape photography.

From your own experiences, what one thing do you wish the guide books had told you when you were first starting out in the industry?

The industry was not as it is today, the SWPP convention had not yet been created, no Facebook! All was very limited.

I can recall how biased the industry was towards men – i.e. girls with little on handing out marketing materials at trade shows. I found this quite shocking and it was not the vibe that appealed to me.

The industry has evolved forward, yet still not enough. You are still subjected to glamour as a method to sell. I am sure it appeals to some, yet not all.

In the past photography felt like a gentleman’s club and I was not able to become a member, as I was simply the wrong sex! Then a wave of change came and we were very much pioneering that change at the time.

We created our training company, flooded the market place with new images, and liberated photography and photographers. It became very much what you see today.

This was far from easy, but we had a new vibe, a new approach to training, and lifestyle photography was launched. A lot of credit going to Fujifilm, Canon and other major players who empowered women to understand they had the ability and aptitude to become successful photographers.

The photographic industry has seen more women enter its ranks over the past 15 years. What do you think are the main differences between female and male photographers in terms of approach to learning new photography skills?

We often say there are two types of photographers: those very technically minded and those who shoot more intuitively.

The birth of digital made photography more accessible, and with the prices of digital cameras affordable for more people, it ensured a camera could be available in most households across the nation. Women began taking more pictures, the camera became an item now that women could own, whereas historically it had been a man’s game.

Women soon realised by taking pictures of friends that a career could unfold with the right knowledge and professional training. We witnessed the change in seminars where the percentage of men vs women attending became more balanced. In the past we may have spoken to an 80% male audience and a 20% female audience.

Women enjoy the experience of learning, they feel encouraged, informed by debate within class, and I have to say quite a few men do too.

The main difference between the technically minded photographer and the photographer that shoots intuitively is how they like to receive information. The technically minded needs the facts, data and handouts, while the non-techie ones need experience, images and to be inspired.

When we design the seminars we consider both, and ensure the pace of the day feeds both tribes. I believe to be an exceptional photographer you have to be both, and each person will have differing degrees of the balance.

Those who gain the understanding fast that you need to be both often become the pioneers of the industry. Gone are the days where a technically precise image will capture attention, an image needs to be technically executed with amazing content and the content, has to be a mile away from what the consumer could achieve themselves.

Photographers that demonstrate this theory are Kate Hopewell Smith, Tamara Peel, Stuart Cooper and Lisa Aldersley – all very different, yet very intelligent photographers. All are exceptionally creative, gifted, and produce breathtaking images.

All gave time to learn, become the best they could be and left nothing to chance. Much can be learnt by this approach to our craft.

I often hear “I need to learn flash” and I answer why? Which type of situations are challenging you and lets now plot your learning.

Don’t get me wrong, we train the right usage of lighting. I believe it has an important role to play, yet so many use flashes when it is not required – why? And who mainly falls into this trap – men.

I believe they are tricked into believing if you have all the gear, your photography will be stunning, but sadly that is not always the case. I am being general and this is not always the case, but a case to share, to protect those entering the industry.

As a trainer, do you approach teaching men and women photographers students differently?

Women need to feel safe, the environment matters, the experience is important and sharing that experience with those who are nice to learn alongside makes all the difference.

Men want the information, the knowledge like a nice space to learn yet it is less likely to be important.

What is the biggest learning curve for men and women photographers?

Men have to learn it is important to read female magazines; women will be the ones making the choice to book a photographer, so the business must have the ability to attract women and the business does not have to be pink. Men have to give time to understand women – what they want how they want to feel.

Women should trust and believe in themselves more. I meet amazing women photographers who should enter more awards, give themselves more credit and go for their fellows sooner than they might believe. Confidence is a biggie.

Behind The Image: David Clapp on finding images in the harshest of conditions

jmeyer — Sat, 16 Mar 2013 02:00:30 +0000

Sometimes amazing photos are made when all you can think about is getting somewhere warm! In his latest guest blog post, professional photographer David Clapp explains how forces of nature combined to give him an unconventional photo composition.

Find David on Facebook, or check out his blog to see more of his amazing pictures.

I took this image late last week when the workshop I was running was hit by all manner of weather.

From blue skies and virgin snow came blizzards and impending doom, all thanks to the start of a ‘polar low’, the arctic equivalent to a tropical storm, but slightly colder.

This is the Lofoten Islands again, at Haukland, a wonderful spot. The smooth sandy beach is just the right angle for the receding waves to leave these wonderful lines, this time caught coming towards the camera rather than pulling backwards.

I was using my Canon EOS-1DS Mark III in full effect, with a 17-40mm f/4 L and a polariser. Each shot was around 1.5secs, so you can see that the waves were somewhat leisurely.

Anticipating the surges, meant many deleted images, but this one stood out from the crowd in a big way.

It’s the unusual dynamics that make this, with the force seeming to come from the middle of the image, rather than the usual linear diagonal sweep.

The following day, whilst attempting to get back to Sweden, we were stuck in a super-blizzard, which closed roads and caused all sorts of calamity, but this is what happens even towards the end of the winter out here. It’s an amazing place

Professional Photographer to the Rescue: interior photography tips for ideal homes

jmeyer — Fri, 15 Mar 2013 11:49:43 +0000

In our latest Professional Photographer to the Rescue post we set up indoors, as our pro shares his best interior photography tips for taking perfectly lit photos at home.

Meet our professional photographer

London-based photographer Max Attenborough, 33, trained as a fine-art painter before turning his attention to photography. He went pro three years ago, but has already built up an impressive client list that includes John Lewis and Waitrose. He specialises in still-life photography, and likes to work with natural light wherever possible. To see more of his work, visit Max’s website.

Meet our apprentice

Julie Stevens is an interior designer based in Kent. She has been interested in photography for as long as she can remember, and confesses to using her DSLR like a point-and-shoot, and came to us for advice on how to shoot better lifestyle and interior photography for her work.

Technique Assessment

Before Julie got started, Max cast his eye over her camera settings and made a few suggestions as to how she could take more control of her shots

Take more control
“Julie was shooting in Auto mode,” says Max, “but being able to set your aperture manually is essential. With a tripod you don’t have to worry about camera shake at slow shutter speeds, so you can set ISO to 100 for grain-free shots and then select an aperture based on how much depth of field you’re after.”

Shoot in raw format
“Julie’s camera was set up to take medium-res JPEGS,” explains Max, “but even high-res JPEGS don’t offer sufficient detail. Raw format files allow you to fine-tune exposure without introducing artefacts, and when you’re having to balance lots of light sources, white balance is easier to adjust in raw too.”

PAGE 1: Meet our professional photographer and apprentice
PAGE 2: Interior photography tips for during the shoot
PAGE 3: Final tips from our professional photographer
PAGE 4: Our professional photographer’s recommended gear
PAGE 5: Shot of the Day