Paul Timpa Photography Blog Photography Tutorials and Tips from Paul Timpa Photography

17Feb/16Off

What To Do With That Great Photo That’s Not Quite Technically Perfect

"What a great photo! Oh wait... it's blurry."

It's happened to the best of us. Even professionals. Sometimes in photography we take pictures that we would've really liked but they've come out slightly blurry, or they have too much digital noise from a high ISO, or maybe they were taken with an older camera that had a low megapixel count or quality not up to today's standards. It might be an awesome wildlife image of a rare animal, the sunrise over the Caribbean, a spontaneous photo from a family outing, or an architectural photo from some far away place. Often these otherwise great photos get deleted or just sit unused in a folder on your computer. The good news is there are many ways these photos can still be useful, even for producing art to hang on the wall.

Of course you can always try to sharpen up a blurry photo or reduce digital noise, and there are some great products that can do this for you. The purpose of this post though is to provide some ideas as to what to do with those photos when even the best software can't quite fix your photos 100%.

Wall Art on Alternative Media

One of my favorite ways to save photos that might otherwise be too blurry or too noisy for "traditional" prints is to print them on alternative media, such as canvas or wood. Not only do these surfaces create amazing pieces of art, but they help mask minor imperfections in the original photo. I recently wanted to make a print of an American Bison for a Western-themed wall, and all of the photos I'd taken with a 21mp Canon 5D Mark II were sharp and clear, but the subject matter didn't fit the wall. I found a much older photo of a bison on my hard drive taken with a 10mp Canon Rebel XTi, that I liked better. I decided to print the Rebel XTi photo on wood and it looks absolutely spectacular (Photo printed on wood by woodsnap.com).

Bison Printed on Wood

Bison Printed on Wood

Similarly, I have several very large canvas prints (36" x 24") that look great, even with photos of relatively lower resolution.

Gifts and Other Items

In addition to wall art, there are plenty of other items that you can print on these days. Everything from custom pillows and blankets, cellphone cases, shower curtains, candles, kitchen aprons, puzzles, playing cards, there are so many possibilities. The quality of the photo doesn't have to be the same as if you were printing a poster-sized wall hanging. Photos that are of "decent" quality will do just fine for many of the items mentioned above.

Social Media

If you're not printing the photos to a physical product but still want to make use of them digitally for sharing on social media, there are still many of ways to make them usable. If your photo has noise from a high ISO, one of the easiest ways to mask this is to simply convert to black & white. The most problematic noise is generally "chroma noise" which you see as all the tiny multi-colored dots. When you convert to black & white, this noise looks more like grain in old b&w film and is much less noticeable.

Statue of Atlas, Rockefeller Center, NYC

Statue of Atlas, Rockefeller Center, NYC

Both noise and blurriness are less visible when the size of the photo is smaller on-screen. Rather than post the photo to social media on its own in full resolution, you can reduce its size and include it as part of a collage or other multi-photo image. This allows you to include the image in context with other images taken at a similar time, and it's also easier for friends and family to share a single post (that contains multiple pictures) than to share many individual posts. Below is a photo grid of three city scenes from Rome, Paris, and NYC:

Photo Grid -- Timpa Photography

Photo Grid -- Timpa Photography

Even if a photo is not blurry and looks fine, I often include it as part of a collage for these same reasons. Mobile apps like "Photo Grid" for Android are great at creating collages, and also include some editing tools (brightness, contrast, saturation, tint, crop, etc.) as well as filters.

Filters

There are countless ways to apply filters that will not only enhance your photos, but also help hide imperfections. If your photo is slightly blurry, perhaps you can go for a tilt-shift Lensbaby type look to give it a dreamy feel. If the colors are muted, or the noise is high, you can try an oversaturated, high-contrast "edgy" look. Explore all of the filters or features of your editing software to see what works for your particular image.

Roman Forum, Italy

Roman Forum, Italy

Conclusion

Just because a photo hasn't come out technically "perfect", doesn't mean you have to deal with no photo of the occasion. With a little creativity you can bring new life to those old photos and they can take their rightful place on your wall, either in the real world or on social media!


For those looking to improve your photography, I've also created an app for Android which teaches photography and how to get photos like these while you're out taking pictures. It's perfect for when you're traveling. Click here:

Photography Trainer for Android

 
If you find this guide helpful, please share it:

Share/Bookmark

If you have any questions about the locations or photo techniques, please feel free to ask any time. You can also become a fan at my Photography Facebook page, add me to Google+ circles, or follow me on Twitter for more photography tutorials and tips:

Paul Timpa Photography's Facebook Page

Paul Timpa on Google+


Thanks for reading, and best regards,
Paul

 
If you'd like to purchase prints or stock photography licenses for my photos (for advertising and editorial use), please visit:

http://www.timpaphotography.com/purchase

 
Copyright 2014, Paul Timpa

http://www.timpaphotography.com/

19Aug/15Off

How to Photograph the Milky Way

Photographing the Milky Way

Milky Way

Milky Way

When you photograph the Milky Way, you can produce some of the most spectacular night sky images you can create. It’s also fun and relatively easy. The Milky Way is visible with the naked eye all through summer in both the Northern and Southern Hemispheres. The hardest part is not actually the photography, but finding a great location to shoot that is dark enough to see the stars!

Let’s start with the basics. For equipment, all you’ll need is a D-SLR that has good low-light performance, a wide-angle lens, and a tripod. If your D-SLR goes to at least ISO 3200 or higher, you should be able to try this technique. If you have a shutter release remote control you can use that as well.

Location

As mentioned above, the hardest part about photographing the Milky Way is simply finding a place that’s far enough from city lights to have a dark sky that shows off the stars, and to choose a night where the moon is not shining at the time of your photo shoot.

If you live in a more rural area, it may be easy to find a location near a farm or field or on a less-traveled road where you’re far from city lights. If you live closer to a city, you can always plan your photoshoot for when you’re away on vacation somewhere farther away from a big city. I like shooting out in the American West by the National Parks. Caribbean islands and beaches are also great places for photographing the stars.

It’s easy to pick a night when the moon won’t interfere with your shoot. Just Google the name of the place where you’ll be photographing with the words "moonrise time". For example, for Jackson, Wyoming just Google "jackson wy moonrise time" and you’ll see plenty of webpages which will show you the moonrise time for the days of that month. Pick a day when the moon will rise after you’re done with your shoot. You can also choose a day when there is a "new moon" -- no moon shining at all. Be sure to watch the weather forecast so you can photograph on a day predicted to have clear skies with no clouds.

The Photo Shoot

On the night you’re planning your photography, remember to bring your camera, tripod, a flashlight, and warm clothes depending on the weather.

Once at your location, let your eyes adjust to the darkness for a least a few minutes. You may want to set up your tripod and camera with your flashlight before you let your eyes adjust.

If you’re shooting on a clear night in the summer you should be able to see the Milky Way with the naked eye. If you’d like some assistance locating the Milky Way, a star viewing app for your smartphone such as Stellarium can be very helpful. With Stellarium, you actually hold your phone up to the sky and the app shows you what you’re looking at as you move your phone around. It’s fantastic.

When you’ve located the Milky Way and you’re ready to photograph, it’s time to set the camera.

Use RAW, set the camera to manual exposure mode and start with an ISO around 3200. Set the widest aperture (preferably F2.8 or wider) on your widest angle lens. Lenses in the 16-24mm range (full-frame equivalent) work best. The wider the angle on your lens, the less you’ll see movement and blurring of the stars from the rotation of the earth.

Set the shutter speed to between 20 and 30 seconds.

For focus, use Manual Focus. Autofocus won’t work in the dark. If your camera has a Live View LCD, use it and manually focus on the brightest star you see, in magnification mode if available. If your camera doesn’t have Live View, set the focus to infinity. While not ideal, setting to infinity will get you close. You can always review the test shots and tweak focus as needed.

When the exposure and focus are set, aim the camera toward the Milky Way and take a test photo. If there are foreground elements in the photo, make sure they are level and look how you envision. Adjust the ISO and shutter speed as necessary, ensuring that the shutter speed doesn’t get so long as to blur the stars into little streaks.

Enjoy!

That's all there is to it.  Experiment with a variety of exposures, foreground elements, and compositions.  In your photo editing software, you can adjust brightness and color temperature to finalize your amazing night sky. Most importantly, when you're done with the photography, don't forget to just relax and enjoy the beautiful stars.


For those looking to improve your photography, I've also created an app for iPhone / iPad / Android which teaches photography and how to get photos like these while you're out taking pictures. It's perfect for when you're traveling. Click here:

Photography Trainer for iOS and Android

 
If you find this guide helpful, please share it:

Share/Bookmark

If you have any questions about the locations or photo techniques, please feel free to ask any time. You can also become a fan at my Photography Facebook page, add me to Google+ circles, or follow me on Twitter for more photography tutorials and tips:

Paul Timpa Photography's Facebook Page

Paul Timpa on Google+


Thanks for reading, and best regards,
Paul

 
If you'd like to purchase prints or stock photography licenses for my photos (for advertising and editorial use), please visit:

http://www.timpaphotography.com/purchase

 
Copyright 2014, Paul Timpa

http://www.timpaphotography.com/

5May/14Off

How to Use Layers in Photo Editing Software

Introduction to Using Layers

Grand Teton National Park

Grand Teton National Park

Using layers in your photo editing software is one of the most important things you can do to create great images. Layers are so powerful, even the most basic understanding of them can improve your photography tremendously.

I've written a tutorial on how to use layers to create amazing images, and it's published on the fantastic Digital-Photography-School.com website.  Click here to read it:

http://digital-photography-school.com/beginners-introduction-using-layers/

To keep up-to-date with the latest photo additions and other topics, you can become a fan at my Photography Facebook page, add me to your Google+ circles, or follow me on Twitter:

Paul Timpa on Google+


Paul Timpa Photography's Facebook

 
If you'd like to purchase prints or stock photography licenses for my photos (for advertising and editorial use), please visit:

http://www.timpaphotography.com/purchase

 
Copyright 2014, Paul Timpa

http://www.timpaphotography.com/

15Jan/14Off

Where to Photograph in Grand Teton National Park

A Photography Guide to the Grand Tetons

Snake River Overlook, Grand Teton National Park

Snake River Overlook, Grand Teton National Park

Grand Teton National Park has some of the most beautiful scenery in the U.S. It's a fantastic place for photography. I've written this guide to highlight some of the best places to photograph in the Grand Tetons.

First, it’s worth understanding the layout of the park. The Teton mountains runs north-south. There are two primary roadways around the park, and both run parallel along the Tetons. Both of these roads are on the eastern side of the mountains, so you’ll be looking westward for your photographs.

This guide focuses on the outer road where you can find many of the most iconic and famous viewpoints of the Tetons. It’s a highway and can be accessed all year round. The inner road also has many viewpoints and will be discussed as well, but note that it is closed in winter.

We’ll start our tour traveling south out of Yellowstone National Park into Grand Teton National Park. All through this guide I’ll include links to the various photography sites on Google Maps, so you’ll be able to find any of the locations even if you don’t follow the route below.

The road that heads into the Tetons from Yellowstone is Hwy 89/191/287. As you drive south from Yellowstone into the Tetons on this road, you’ll first pass Jackson Lake. Here you’ll get your first glimpse of the Tetons up close. FYI, Jackson Lake Lodge is along this route, and you can stop into the lobby to gaze through the large picture windows.

To get to the major photography sites, continue traveling south until the highway splits into the parallel roads that I mention above. These two roads form the Teton loop, along which you can stop to take your pictures.

Here’s the split:


View Larger Map

For any of the maps in this guide, you can send the link to your mobile phone and if your phone supports it, you can use GPS navigation to navigate directly to the site.

The outer road (further from the Tetons) is where many of the popular viewpoints are located, so we’ll start there.

   
Oxbow Bend

To reach the first major photography spot, Oxbow Bend, you’ll travel onto the outer road from the split, so stay on Hwy 89/191/287 as it heads east / south and go one mile.

Oxbow Bend, Grand Teton National Park

Oxbow Bend, Grand Teton National Park

The Oxbow Bend viewing area is very easy to see. The area is right off the main road. You may notice many people photographing right from the parking lot, but the best view is a short walk down to the water's edge. After parking your car, walk north a little bit along the road and you'll see foot trails through the long grass where people have made their way down to the water. If you don't see any trails, just blaze your own -- it's a very short walk down to the water. From there you'll have unobstructed views of the mountains and you'll be able to get beautiful reflections.

The photo above was taken at F8 for 1/160th sec, ISO 100 at 75mm (full-frame equivalent).

Oxbow Bend is here:


View Larger Map

   

Snake River Overlook

The next stop is the famous Snake River Overlook. Snake River Overlook is where Ansel Adams made his iconic photograph of the Tetons.

From this overlook, you're facing West so be there for sunrise. When the sun rises behind you in the east it illuminates the Tetons and the landscape below with a wonderful glow.

Snake River Overlook, Grand Teton National Park

Snake River Overlook, Grand Teton National Park

The area where you can set up your tripod for the best shot is not that wide, so get there early so you can get a good spot.

The above photo was taken with a Canon 5D Mark II on a tripod, F11 for 1/4 sec, ISO 100 at 20mm (full-frame equivalent).

To get here, head south from Oxbow Bend. You’ll reach an intersection after three miles -- continue south onto Hwy 26/89/191 and go about ten miles -- you’ll see the parking lot for Snake River Overlook here:


View Larger Map

You can plan what time in the morning to be there by looking up sunrise times here -- just enter the dates you’ll be photographing:

Sunrise / Sunset times for Grand Teton National Park

 
Schwabacher Landing

Just south of the Snake River Overlook about 4.5 miles is Schwabacher Landing. Schwabacher Landing is a stunning area down off the road and actually on the river, so you can get reflections of the Tetons in the water. As with the Snake River Overlook, you'll want to shoot in the morning when the sun is behind you and illuminating the face of the Tetons.

 

Schwabacher Landing, Grand Teton National Park

Schwabacher Landing, Grand Teton National Park

While there is a dirt road that you used to be able to drive from the highway down to the landing by the water, that dirt road was closed to vehicles when we were there. If that's the case during your visit, you'll need to park along the highway and walk down. It’s not a short walk (about a mile) and while it's not extremely steep, it is long. The incline on the walk back can be tiresome, so be prepared. You may want to bring bear spray as well. Once down on the water, you can walk north along the river for a variety of vantage points.

The above photo was taken with a Canon 5D Mark II on a tripod, F11 for 1/80th sec, ISO 100 at 45mm (full-frame equivalent).

Schwabacher Landing is located here:


View Larger Map

 

Moulton Barn and Mormon Row

To get to Moulton Barn, continue south on the highway about 3 miles until you see Antelope Flats Road. Make a left and follow along Antelope Flats until you come to Mormon Row. Moulton Barn will be to your right, and a few other structures will be to your left.

Moulton Barn, Grand Teton National Park

Moulton Barn, Grand Teton National Park

 

The above photo was taken with a Canon 5D Mark II, F8 for 1/640th sec, ISO 200 at 78mm (full-frame equivalent).

Drive to the right to photograph the famous Moulton Barn, which is located here:


View Larger Map

   

If instead of going right, toward Moulton Barn, you make a left at the intersection, you'll drive a short distance and likely see herds of Bison in the grassy areas on either side of the road. If you can drive so that the Bison are framed by the Tetons in the back, park your car on the side of the road, and capture your images.

Bison, Grand Teton National Park

Bison, Grand Teton National Park

 

The above photo was taken with a Canon 5D Mark II, F9 for 1/640th sec, ISO 200 at 81mm (full-frame equivalent).

The image above was taken here:


View Larger Map

Those are some of the main highlights from the HWY 26/89/191 that is open year-round. Of course there are others, like Cunningham Cabin, so explore.

   
The Inner Road

In addition to the highway, you can also travel the inner road which runs parallel to the highway, but a little closer to the mountains. Starting at the top of the loop, travel west / south onto Teton Park Road:


View Larger Map

There are a variety of photo opps on the inner road, so explore, but I’ll highlight two of the main ones: Signal Mountain and Jenny Lake.
   

Signal Mountain

About 3 miles south of the split, you’ll find the Signal Mountain area, which has a lodge and restaurants. Nearby, you’ll find the road that takes you to the top of the Signal Mountain area, where there are scenic overlooks.

Signal Mountain, Grand Teton National Park

Signal Mountain, Grand Teton National Park

The road to the top can be found here:


View Larger Map

   

Jenny Lake

Continue south for another 14 miles and you’ll reach the beautiful Jenny Lake area.

Jenny Lake, Grand Teton National Park

Jenny Lake, Grand Teton National Park

Jenny Lake is here:


View Larger Map

If you continue traveling south, you’ll eventually reach the bottom of the Teton loop, where you can then turn north and travel the highway where all the photo opps in the previous section are located. All along the way on both roads you’ll pass beautiful scenery, so just stop the car, or hike a little, and explore as much as you can. There are so many amazing photography opportunities.

 
Horseback Riding

If you’re feeling particularly adventurous, you can reach some incredible and off-the-beaten-path vantage points by horseback. We took a 3-hour horseback trip with Swift Creek Outfitters / Teton Horseback Adventures and it was incredible. Our ride was the “Big Pulpit Ride” and it took us way up in the mountains into some gorgeous scenery.

Grand Teton National Park

Grand Teton National Park

If that seems interesting to you, their website is here:  Swift Creek Outfitters / Teton Horseback Adventures   

 
Grand Teton National Park is an absolutely amazing place to visit. The photo opportunities for landscape and wildlife photography are virtually endless. The park is just small enough so that it’s not overwhelming, but large enough to provide you with an incredibly wide variety of vantage points. Combined with its close proximity to Yellowstone, it is a fantastic photo destination.

Oxbow Bend, Grand Teton National Park

Oxbow Bend, Grand Teton National Park

 

Best,
Paul

I've also created an app for iPhone, Android, and iPod Touch which teaches you photography -- more info can be found here:

Photography Trainer for iPhone and Android

Photography Trainer iPhone app

Photography Trainer iPhone app

 
To keep up-to-date with the latest photo additions and other topics, you can become a fan at my Photography Facebook page and follow me on Twitter:


Paul Timpa Photography's Facebook

 
Share this guide:

Share/Bookmark

 
If you'd like to purchase prints or stock photography licenses for my photos (for advertising and editorial use), please visit:

http://www.timpaphotography.com/purchase

 
Copyright 2014, Paul Timpa

http://www.timpaphotography.com/

26Dec/11Off

Learn How to Use that New Camera you received this Holiday Season

Many people received the wonderful gift of photography this holiday season. If you're one of the lucky ones and are now the proud owner of a new D-SLR or lens, you're probably excited to start taking magical pictures!

Once you've played around with it for a bit and taken some photos on auto-mode, remember that it's the Manual mode on your new camera that really lets you take creative pictures. It's easy to learn, and if you have an iPhone or Android phone you can get download an app that will teach you how to use your camera.

The Photography Trainer app for iPhone and Android is a training tool that teaches you photography when you need it most -- when you're out with your D-SLR and taking pictures. Over 50,000 people have downloaded the app and learned how to use their D-SLRS!

The app doesn't require an internet connection, so it’s perfect for vacations and holidays too – learn photography no matter where you are in the world, whether it’s during a beautiful sunset on the beach or while you’re on a mountain top.

You’ll learn how to capture images with impact and creativity by understanding shutter speed, aperture, ISO, and how they all work together. Learn night and low-light photography, sports, wildlife, portraits, architecture, and landscape photography. You'll always have an expert with you in your pocket, there to help you take spectacular photos.

iPhone and iPod Touch users can download the app by searching on Photography Trainer in the App Store or clicking here to download from iTunes.

To download the app for Android, just search on "Photography Trainer" in the Android Market from your phone or click here: Download Photography Trainer for Android.

The app is also available on the Amazon.com Android App Store. To download with your Amazon account, click here: Download Photography Trainer from Amazon.com.

The app has three sections designed to help you:

Photography Trainer iPhone app

Photography Trainer iPhone app

The Interactive Photography Trainer asks you questions about the lighting you’re in, what types of subjects you’re photographing (waterfalls, sports, city skylines, etc.) and then it guides you on how to set the camera. Most importantly, not only does it instruct you on the best settings to use, it tells you *why* to use them so that you actually learn photography in the process of using the app.

Photography Trainer iPhone app

Photography Trainer iPhone app

The Photo Gallery with Camera Settings contains dozens of professional photographs, each with detailed camera settings for shutter speed, aperture, and ISO, so you can see how the settings work together in real-life examples.

Photography Trainer iPhone app

Photography Trainer iPhone app

The In-Depth Techniques section has photography tutorials that go into further detail on topics such as:

* Getting razor-sharp photos
* HDR Photography
* Night photography
* Sports, Action, and Wildlife
* Composition
…and more…

Take your photography to the next level with the Photography Trainer and learn when you’re out with your camera – it’s the best time.

Facebook: http://www.facebook.com/PhotographyTrainer

To keep up-to-date with the latest photo additions and other topics, you can become a fan at my Photography Facebook page and follow me on Twitter:


Best regards,
Paul

Copyright 2009, Paul Timpa

http://www.timpaphotography.com/

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Colosseum, Rome

Colosseum, Rome

Sedona, Arizona

Sedona, Arizona

Tahiti

Tahiti

South Street Seaport, New York City

South Street Seaport, New York City




18Apr/11Off

Photography Myths

There are many "photography myths" out there. When you're just starting out in photography, it's fun to read and to learn and absorb as much information as you can. As you're learning, you may sometimes here things over and over again, that you take as fact. Some of this information may actually be long-standing myth. I've written this article to help provide some clarification on things you may have heard as you learn more about photography.

MYTH: Cloudy and rainy days are not great for photography

TRUTH: Cloudy days are some of the best days to get out with your camera. There are a variety of photographic subjects that are best taken on cloudy or overcast days, from portraits to macro and flowers, to landscapes.

For portraits, flowers, macro, insects, etc., cloudy and overcast days are often better than sunny days because of the significantly reduced contrast and shadows. When the sun is blazing, there are harsh shadows produced on the subject, whether it’s a person’s face or the delicate petals of a flower. These shadows can be a huge problem, requiring everything from flashes and external lights to diffusers and reflectors to overcome. When it’s cloudy, you get beautiful soft light on your subject. The clouds and overcast conditions act like a giant softbox, providing you with amazing soft light for portraits and flower photography. When it's cloudy out, I specifically head out to get the best flower shots!

For landscapes, thick cloud cover and even storms can create some of the most atmospheric and moody photography imaginable. This is especially true if you convert to black & white. Photos of landscapes with brooding skies, hinting at an impending storm, can have some incredible impact.

Tulip

Tulip

The photo above of a tulip was taken on an overcast day. Notice how there are no harsh shadows distracting from the natural beauty of the flower.

Sedona, Arizona

Sedona, Arizona

The image above was taken in Sedona, Arizona on a day with thick cloud cover.

The next time it’s cloudy, get out there and try one of these types of photography and you may be surprised how happy you are with the results.

MYTH: Flash is best for indoor photos or photos at night

TRUTH: Many photographers think of the flash mostly as a tool to use in darker conditions, either indoors or at night. However, one of the best uses of flash is outside during the day in bright daylight. As mentioned in the previous myth, bright sunlight causes dark shadows on the subject, whether it’s a portrait or a flower or the foreground of a landscape. One of the easiest and best ways to improve the photo is to reduce this shadow by using your flash. (This is often called “fill flash” because its primary purpose is to fill in the shadows rather than illuminate the subject). I almost always use the flash when taking outdoor portraits. The best part is that all newer cameras handle this “fill flash” automatically, without overpowering the subject with light. Just turn on the flash and the camera will calculate the correct brightness so that the flash fills in the shadow. If you prefer the flash a bit brighter or darker than the camera chooses, you can always use the “Flash Exposure Compensation” feature available in most D-SLRs to tweak it to your liking.

MYTH: Wide Angle lenses exaggerate perspective and Telephoto lenses compress perspective

TRUTH: Perspective is the distance that objects “appear” from each other in a photo, from front-to-back. (This distance in the photo may or may not reflect "reality".) While it’s true that wide angle lenses often have the effect of exaggerating perspective and telephoto lenses may have the effect of compressing perspective, it’s important to understand that the lenses themselves actually have nothing to do with perspective. It is only your physical distance from the subject and background that determines perspective. Why is this important? Because in order to change perspective and change the way the photo looks, you need to physically move your body to a new location farther or closer to the subject. Simply changing lenses from wide-angle to telephoto will not alter the perspective in any way. The myth exists simply because when photographers use wide-angle lenses, they often move physically close to the subject, which exaggerates perspective in the final photo. When using telephoto lenses, you’re often photographing objects that are far from you – which compresses the perspective in the photo. Note that in both examples it’s the distance that has caused the effect, not the lens. If you took a photo of distant mountains with a telephoto lens, then stood in the same spot and took a photo with a wide angle lens, the mountains would like identical in both photos -- they would be compressed together because you are far away, regardless of lens. The only difference in the photos is that the wide-angle lens would include a wider “view”, meaning you’d see more to the left and right and in the foreground. The mountains however, would look the same. Keep this in mind when you’re out taking pictures. Always remember to alter your distance from the subject so that you can try out different perspectives to see how they affect the photo.

MYTH: HDR produces unnatural photos

TRUTH: Many people see HDR photos on the internet and are immediately turned off by the unnatural appearance and overly saturated, often “cartoony” look. While it’s true that these photos have likely been produced with HDR software, it’s important to realize that those photos were produced by photographers who’ve intentionally created images with that look. HDR can look incredibly natural, and very often you may not even know that a photo is HDR. It’s just easier to “notice” the over-processed, over-saturated, cartoony ones. Many of my own photos are HDR and it’s difficult to tell at first glance. Sometimes, after a while, I occasionally forget which ones of my own are HDR! HDR is incredibly useful for architecture, interiors, landscapes, and a wide variety of subjects. Once you learn the software, you’ll be able to create natural looking images that have the extra dynamic range (bright and dark tones) but still look very “real”.

South Street Seaport

South Street Seaport

The photo of NYC's South Street Seaport above is an HDR photo and would not have been possible without using HDR techniques.

MYTH: When shooting landscapes, you should stop down your lens to the smallest aperture to ensure everything is in focus

TRUTH: Using the smallest aperture on your lens degrades image quality and is rarely necessary. Due to the way lenses are built, when you use a tiny aperture like F22 or F32, the photo can actually get less sharp because of something called "diffraction". Technically, the depth-of-field will be maximized and everything will be "in focus" -- however the overall image quality will suffer and be more blurry than if you had used a slightly wider aperture. You'll often find that apertures like F14 or F16 are sufficient for many landscapes, and will result in sharper photos that are still in focus. I rarely shoot at an aperture smaller than F16.

MYTH: It’s always a good idea to use a UV filter on your lens

TRUTH: Opinions vary on the use of UV filters. For me personally, I don’t recommend using UV filters for most photography. Of course this is just my personal opinion, and I respect those who wish to use them for an added layer of protection. However, it’s important to understand a few things about UV filters and lenses in general. Firstly, lenses today are pretty tough. They’re built to take the standard knocks and bangs you might encounter. If you’re especially accident-prone, then perhaps it may make sense to use one for protecting the front lens element, but otherwise, I suggest leaving it off. This is because from a “UV” and “haze” perspective, I’ve found they do very little to improve the photo. On the down side however, using a UV filter can definitely introduce unwanted flare in your photos. Flare is usually seen as several large, colored or white blobs in your photo. This is caused when bright light sources shine directly on the front lens element. Using a UV filter adds an additional layer of glass which increases the chance of light bouncing around and causing reflections and flare. Any type of photography where there are bright lights on the lens, such as sunsets or sunrises, or night photography where there are streetlights, etc., can be negatively affected by UV filters. For these types of photography especially, I recommend removing the UV filter. The only times I could see needing them is if for example you’re on a beach and there is a lot sand blowing around, or if you’re walking through a hiking trail and branches are frequently whipping at the front of the camera. Or perhaps you’re on a boat and there is salt-water splashing up. In those extreme examples, I could see if someone wanted to use a UV filter. Otherwise, I recommend leaving them off for the best possible image quality.

MYTH: Full-frame cameras are better than APS-C or Micro-Four-Thirds cameras

TRUTH: First let me say that just about any D-SLR on the market today is capable of taking incredible, professional-quality photos. I’m a firm believer in “It’s not the camera, it’s the photographer.” Even so, many photographers see the full-frame camera as the ultimate format to own. While it’s true that full-frame cameras may often provide some of the best overall image quality of the various camera formats, it’s also true that full-frame cameras may not be the best cameras for all types of photography. For example, Canon’s two full-frame cameras the 1Ds Mark III and 5D Mark II, shoot at 5 frames-per-second and 3.9 frames-per-second. While this is just fine for landscape and studio photography, it may not be fast enough for fast-action sports or racing. By contrast, Canon’s 1D Mark IV (a non-full frame camera) shoots at 10fps, twice the speed of Canon’s fastest full-frame camera. The 7D shoots at 8fps. If you shoot a lot of wildlife or sports, you may also be interested in choosing a non-full-frame camera. Without getting into the technical details, just know that non-full-framers have the “effect” of adding extra telephoto reach to any lens. For example, if you buy a Canon 400mm lens, it basically acts as 640mm lens on a Canon 7D. By contrast, that same lens on a 5D is 400mm. The price of a 600mm lens (which is what you would need on a 5D to equal the reach of a 400mm lens on a 7D) is much higher than a 400mm lens by several thousand dollars. So you save a lot of money by using a 7D and getting 640mm out of a 400mm lens!

MYTH: It’s always best to photograph landscapes and architecture with a wide-angle lens, and to take sports and wildlife with a telephoto.

TRUTH: While it’s true that most often landscapes and architecture are photographed with wider angles and that sports and wildlife photographers lean toward telephotos, there are plenty of times when you’ll want to do the opposite. Using telephotos for landscapes can be perfect for picking out important details or isolating a subject. You can also photograph scenes that are far away, and because of the compressing of perspective that is caused by the distance, you can get fabulously layered photos that are really interesting. Similarly, you can use telephotos in architecture to highlight certain details that may otherwise be lost in a wide-angle shot. One of the most useful times to use a telephoto for architecture is when you’re trying to avoid “converging verticals”, that pyramid effect that happens when you’re close to a tall building and shoot with a wide-angle lens pointed upwards. To avoid the lines of the building slanting inwards, use a telephoto lens and stand further back from the building. This allows you to keep the camera pointed straight ahead, rather than pointed upwards. When the camera is pointed straight ahead, you don’t get the slanted lines.

Telephotos are often used for sports and wildlife to bring the athlete or animal closer, but sometimes it’s great to see the subject in its environment. Some of my most favorite wildlife photos are silhouettes of a deer on a mountaintop with a gorgeous sunset in the background, taken at a wide angle. It can really add to wildlife photos if you can show the beautiful surroundings where the animals live.

St. Peter's Basilica

St. Peter's Basilica

The photo above of St. Peter's Basilica in Italy was taken with a 70-200mm telephoto zoom lens from very far away.

MYTH: Low ISOs produce the best picture quality

TRUTH: While technically this is true, it’s important to understand the larger context of how ISO works. From a pure “image quality” perspective, low ISOs produce images that are clean and noise-free. However, low ISOs require you to use longer shutter speeds, which is what causes blurry photos. In almost all cases, it is better to have a noisy photo that is pin-sharp, than a noiseless photo that is blurry! Because of this, it’s important to make sure that you use a shutter speed that is fast enough to prevent blur, even if that means raising the ISO to 800, 1600, or higher. High ISOs also allow you to use a narrower aperture when shooting handheld, which increases depth-of-field ensuring everything is in focus. Today’s cameras are getting better and better at handling noise at high ISOs, so don’t be afraid to use them as necessary. Of course, if you’re using a tripod and shutter speed is not relevant, go ahead and use the lowest ISO to ensure the cleanest photo.

MYTH: A D-SLR is always better than a compact

TRUTH: Sometimes it’s easy to think that a D-SLR is better than a compact camera in all situations. You’ll often find this is not the case. Here are a couple of scenarios where a compact camera may be a better choice.

* Compact cameras are great for macro photography. It is difficult and expensive to design true macro lenses for D-SLRs. In addition, the small depth-of-field of D-SLRs compared to compacts forces you to stop-down your lens to tiny apertures like F22 to get everything in focus. These small apertures require long shutter speeds, and that’s why you almost always need a tripod with D-SLRs for macro photography where focus is critical. Compact cameras on the other hand naturally have a lot of depth of field. You can take amazing macro photos, without a tripod, with most compacts, even the inexpensive ones. Compact cameras are a great way to experiment with macro photography.

* Compact cameras are great for street photography or any photography where you don’t want to draw a lot of attention to yourself and your gear. There are many occasions and places where you may want to blend into the crowd to get more “natural” shots of people and places, whether it’s a bustling city or simply a friend's party where you’re snapping some candids. Compact cameras are great for this purpose.

* Compact cameras are the best and often only choice when you need to travel light. We’ve all heard the phrase before: The best camera is the one you have with you. (They also say that about tripods.) It’s true -- If the option is no camera at all or bringing along a compact, the compact of course wins every time. Whether it’s going on a long hike somewhere, or diving into the ocean with a small waterproof compact, there are many places where a D-SLR can be just too large, heavy, and cumbersome to bring along. Compacts are great for filling in, and many of the new advanced models have full manual control and outstanding image quality. I went hiking across the summit of Mt. Kilauea, Hawaii, with just my Canon S90 compact, and I can’t tell you how happy I was to not have my D-SLR. The hike would have been incredibly difficult otherwise. With the manual controls and a lightweight tripod, I was still able to capture long-exposure shots of the glow from the lava pools.

MYTH: Lightning photography requires special gear or quick reflexes

TRUTH: As you may have seen in my more in-depth article on Lightning Photography, photographing a lightning storm has little to do with special gear and quick reflexes. It’s simply a matter of using long shutter speeds and a bit of patience to capture the lighting. Using manual mode, set the shutter speed to around 30 seconds, and an aperture and ISO that suits the scene. Then just click the shutter and wait for lightning to strike!

Lightning Strike over NYC

Lightning Strike over NYC

MYTH: Professional photography is a glamorous job of jet setting, models, and exotic locations

TRUTH: Many people dream of being a professional photographer and one day traveling the globe taking photos of exotic locales or photographing models on the beach. The job can certainly seem glamorous and extremely fun, and on rare occasions it can be just that, but more often than not, professional photography is just like any other job. You’ve probably heard this before, but pro photography is probably 20% photography and 80% running your own “business”. That business is just like any other business, and running it involves all the activities of accounting, billing and invoicing, marketing, advertising and sales, administrative work, managing client relationships, etc. You may be amazed to find out how little actual photography there is! Also, many pro photographers generate income not just from photoshoots, but a variety of other “photography-related” pursuits. For example, despite generating income by working for my architectural clients, I also hold photography workshops, I sell prints of existing work as art, I have my iPhone app, etc. You’ll need to be able to juggle a lot of different photography activities, all while running the business side of things and handling the sales, marketing, and accounting. It’s a tough career!

MYTH: You don’t need a tripod these days, because high ISOs allow low-light handheld shooting

TRUTH: High ISOs do allow you to handhold the camera in dim conditions that previously required a tripod. However, these high ISOs are purely used to obtain a fast shutter speed. For me, the beauty of the tripod is that it allows long-exposure photography, something that ISO cannot help with. Long exposure photography is one of my favorite techniques in photography, because it allows the camera to capture “motion”, which adds so much interest to the photo. That motion can be the rushing water of a waterfall or stream, the car light trails in a nighttime cityscape, or the hustle and bustle of people. None of these types of photos are possible without a tripod, so you’re missing out on a whole world of photography without one. Perhaps even more importantly, a tripod is required if you want to do any kind of exposure blending, whether manually or using HDR software. You may already know that cameras are not great at capturing a wide range of brights and darks in a single photo. Exposure blending is simply the process of taking two or more photos at varying brightness levels and combining them on the computer afterwards so that all the brightness levels of the scene are present in the photo. This cannot be done without a tripod because all the photos at different brightnesses must be taken with the camera in the exact same position, so that combining them on the computer is easy. Sure, you can attempt to hold the camera very steady to try this technique, but for serious photography, a tripod is necessary to do it right.

Colosseum, Rome, Italy

Colosseum, Rome, Italy

MYTH: Great wildlife shots require an expensive African safari

TRUTH: I’ve seen beautiful and incredibly natural wildlife photography that’s been captured in a zoo or local wildlife preserve. The key when capturing the picture is to take special care and attention to eliminate all of the “man-made” features surrounding the animal. For example, this can be done by using a telephoto lens so that just the animal is in the frame and you can’t see the man-made background elements. If the background is going to be visible in the frame, you can also use the widest possible aperture on your lens. This can blur the background to a wash of color where it’s impossible to tell what’s behind the wildlife. When photographing through glass enclosures, be sure to turn off the flash to eliminate reflections. Also get as close to the glass as possible, even pressing the front of the lens right onto the glass to ensure there are no reflections. When done properly, you may find you can take very natural wildlife photos very close to home.

MYTH: Setting your images to 72dpi is important for displaying them on a computer screen

TRUTH: To this day, I’m unable to determine the origin of this myth. The truth is that when it comes to displaying your images on a computer screen, the dpi (dots per inch) you see in your editing software is completely irrelevant. The size of your images displayed on a computer screen is only related to the dimensions of the image in pixels, for example 1200x800 pixels or 640x480 pixels. The larger the image in pixels, the larger it will appear on screen. Ignore any references to setting your images to 72dpi for on-screen viewing.

MYTH: Using image editing software is “cheating”

TRUTH: This is one of the most commonly discussed topics in all of photography. Everyone has their own opinion on it. The reality is this: No digital image produced today is completely unmanipulated. Even if you don’t personally Photoshop the image or fiddle with the adjustment controls on the camera, the digital photo itself is manipulated by the camera’s settings for saturation, contrast, etc. There’s no difference in choosing the black & white mode on your camera which desaturates the image, or the Landscape mode which intensifies blues and greens, than doing it afterwards on the computer. With film, images are adjusted in the darkroom in very much the same way, for brightness, saturation, contrast, etc, as well as dodging and burning to bring out specific details. Photographers throughout time have adjusted their images to make the best representation of what they saw. Many people like to do a little extra “adjusting” and that’s just fine – photography is art. Really the only area where minimal adjustment is required is in photojournalism. For my personal style, I prefer to keep it natural, especially with my travel and architecture photography where I know the images I capture need to represent reality. If you wish to enhance your images to make beautiful art for all to enjoy, I wholeheartedly encourage you to do so! It’s all up to you.

If you have any questions about these or any other myths you may have heard, please let me know.

I've also created an app for iPhone, Android, and iPod Touch which teaches you photography -- more info can be found here:

Photography Trainer for iPhone and Android

Photography Trainer iPhone app

Photography Trainer iPhone app

Best Regards,
Paul

To keep up-to-date with the latest photo additions and other topics, you can also become a fan at my Photography Facebook page at:

Paul Timpa Photography's Facebook Page

If you'd like to purchase prints or stock photography licenses for my photos (for advertising and editorial use), please visit:

http://www.timpaphotography.com/purchase

Share this Tutorial with friends:
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Copyright 2009, Paul Timpa

http://www.timpaphotography.com/




29Jun/10Off

How to Photograph Fireworks

Tutorial: How to Photograph Fireworks

Tutorial: How to Photograph Fireworks

With 4th of July in the Unites States coming up as well as other celebrations all around the world, I’ve written this tutorial on how to photograph fireworks.

Taking pictures of fireworks is a relatively easy process, and you can get some amazing photos. While it does take a small bit of experimentation to get the settings just right, once the camera is all set, you can just sit back and enjoy the show.

For the best photos of fireworks, you’ll want to use a tripod or rest the camera on something steady. To really capture the impact of the streaks of light, exposures of a few seconds are required, and that’s too long to hold the camera steady in your hands. If you have a shutter release cable that triggers the shutter, you may want to use that too so you don’t have to touch the camera with your finger to take the picture. Touching the camera can result in blurry shots. That being said, I’ve also included tips on how to photograph fireworks without a tripod at the bottom of this post.

One of the most important tips I can give for fireworks photography is to use manual focus. Autofocus doesn’t really work on fireworks and will often give you totally out-of-focus pictures. To set the focus of your lens for fireworks, temporarily use autofocus to focus on the farthest object from you (for example a distant building). This will set the focus on your lens to infinity. Then simply use the switch on the lens barrel to switch the lens to manual focus, and you’re all set. All of the fireworks will now be in focus. Note: Once you’ve switched to manual focus, it’s important to avoid accidentally touching the focus ring on the lens as you move the camera around, or all your photos will be out of focus. Periodically double-check the sharpness of the fireworks on the camera’s LCD screen.

Tutorial: How to Photograph Fireworks

Tutorial: How to Photograph Fireworks

Make sure the flash is off for all photos. Flash will have no impact on the fireworks, and will only illuminate the backs of the heads of other spectators, making the fireworks appear darker.

Once focus is set and the flash if off, it’s time to aim the camera toward the fireworks and pick the best focal length. Point the camera in the general direction of where the fireworks will be exploding in the air. Turn the camera vertically if all the fireworks are coming from one launch spot, or keep it horizontal if the fireworks are being launched from more than one location. Check to make sure that there are no nearby streetlights or other light sources in the picture, or they will overpower the photo. For focal length, it’s easy to fall into the trap of just choosing the widest angle on your lens so you capture everything, but you may wind up with photos of a lot of black sky and very small fireworks. It’s better to zoom in a little on an area of the sky where the fireworks are going off, so that they’re larger in the frame and fill the photo with light streaks. Just be sure to double-check now and again that the fireworks going off are in the frame. One exception where a wider focal length works is if the fireworks are over water – the wider lens may allow you to capture the fireworks as well as their reflection in the water.

When you’ve successfully set the focus and the camera is pointing in the right direction, it’s time to set the exposure. You may need to experiment a little during the first few fireworks bursts to pick the right camera settings. Every situation is different, depending on your surroundings. Set the camera to Manual (M) mode since you want complete control of the exposure. Start by setting the ISO to its lowest setting, usually ISO 100 or 200. Then set the aperture to around F16. Set the shutter speed for about 2 seconds.

Now you’re ready for some test shots. When the fireworks begin, take a few test photos of the bursts. Remember to use your shutter release if you have one. Take a look at the framing of the shots and ensure the fireworks are in the photo where you want them. Look at the brightness of the fireworks and the overall photo. If the fireworks are too dark or the streaks are not long enough, increase the shutter speed to 3 or 4 seconds, or more. If the fireworks are too bright, try closing down the aperture even more. Narrow apertures (higher numbers) such as F16 and F22 will darken the fireworks to ensure they’re not overexposed. Wider apertures such as F11 and F8 will brighten the fireworks and the overall photo. Take a few test shots at various settings to see what looks best. Periodically check that the camera is still focused properly and the fireworks are sharp.

Tutorial: How to Photograph Fireworks

Tutorial: How to Photograph Fireworks

If you find yourself at a fireworks display and you don’t have a tripod or somewhere to rest the camera, it’s still possible to take photos to capture some of the action. Try these settings and experiment until you like the results: Set the camera to Manual (M) mode. Set the ISO to 800, the aperture to F5.6 or F4, and the shutter speed to 1/20th second. You should be able to get sharp shots with a shutter speed of around 1/20th or 1/30th of a second if you use an image stabilized lens at a fairly wide focal length and you hold the camera very still. If the photos are too dark or you want a faster shutter speed to ensure sharp shots, try raising the ISO even further (to ISO 1600), or if your aperture goes wider, set it to F2.8. Press the shutter at the peak of the action – that is shortly after the burst where the long streaks are still visible in the sky.

That’s all there is to it. After just a few test shots, you should have the settings exactly as you want them, and you can sit back and enjoy the show. Simply press the shutter release during particularly nice fireworks bursts, and you’ll come away with some amazing photos of the celebration. If you have any questions, please let me know.

I've also created an app for iPhone, Android, and iPod Touch which teaches you photography -- more info can be found here:

Photography Trainer for iPhone and Android

Photography Trainer iPhone app

Photography Trainer iPhone app

Best,
Paul

To keep up-to-date with the latest photo additions and other topics, you can also become a fan at my Photography Facebook page at:

Paul Timpa Photography's Facebook Page

If you'd like to purchase prints or stock photography licenses for my photos (for advertising and editorial use), please visit:

http://www.timpaphotography.com/purchase

Share this Tutorial with friends:
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Copyright 2009, Paul Timpa

http://www.timpaphotography.com/

12May/10Off

Camera Settings for Helicopter Photography and Aerial Photography

Na Pali Coast, Kauai, Hawaii

Na Pali Coast, Kauai, Hawaii

This post discusses the camera settings and equipment recommended for photography from a helicopter or airplane. It is a follow-up to my previous post that displayed images from an aerial photo shoot on Kauai's Na Pali Coast in Hawaii.

I recently returned from Hawaii where I knew I would be taking a helicopter tour of Kauai. Prior to the trip, I did much research into the appropriate camera settings and equipment for aerial photography. I was very happy with the results of my trip and thought I'd share what I learned from my research and from the actual photoshoot.

Equipment:

Assuming you'll have your D-SLR with you, the main choice you'll have to make is which lens to bring for the helicopter tour. Keep in mind that in most cases, you will not be allowed to change lenses during the flight. As a matter of fact, you will likely not even be able to bring additional lenses. It's important to make the right choice.

I recommend a zoom lens in the moderate-wide-angle to short telephoto range, such as a 24-70mm on a full-frame camera, or an 18-55mm or 17-85mm lens on an APS-C camera. This will enable the widest range of shots that capture the magic of aerial photography. Telephoto zoom lenses have too long a focal length to capture the spectacular wide sweeping views you can achieve from the air. I do not recommend bringing your 70-200mm lens. On the other end of the spectrum, ultra-wide angle lenses like a 16-35mm on full-frame or 10-22mm on APS-C have too limited a focal range, and equally as important, are almost too wide -- at the widest focal ranges you may actually get much of the helicopter itself in the shot, even on a doorless helicopter where you're able to shoot from outside (you'll still capture the rotor blades and the landing skids). Your best bet is a lens that covers approximately 24mm to 100mm full-frame-equivalent.

Kauai, Hawaii

Kauai, Hawaii

As far as accessories, don't bring any. Filters like polarizers will only get in the way and decrease your shutter speed. There is also limited time to constantly be adjusting the filter. The same applies to lens hoods, which will limit mobility, and in a doorless helicopter will get torn off by the wind. Leave all filters and lens hoods on the ground.

Use the largest memory card you have, preferably 8GB at minimum. Many helicopter tour operators do not allow mid-flight changes of your memory card, especially in a doorless helicopter.

Na Pali Coast and Kalalau Trail, Kauai, Hawaii

Na Pali Coast and Kalalau Trail, Kauai, Hawaii

Camera Settings:

There are a few things I recommend when it comes to camera settings. Firstly, shutter speed is the most important setting to monitor. You'll need very fast shutter speeds in order to combat the movement and vibrations of the aircraft. I suggest ensuring that the shutter speed is at least 1/1000th second at bare minimum, and preferably in the 1/2000th range. You can achieve these speeds with a combination of wide aperture and ISO. While there are many ways to set the camera, my suggestion is using Aperture Priority mode. Set the aperture to one of the widest settings to allow plenty of light into the camera. Depth-of-field is not an issue since most everything will be focused at infinity. Depending on the brightness of the day, start with the ISO at 100 or 200 and check the shutter speeds that are achieved with that aperture / ISO combination. If you're in the range of at least 1/1000 to 1/2000, you're OK. If the shutter speed is below that, raise the ISO until you're in that range. During the flight, you'll need to constantly monitor the shutter speed through the viewfinder, as lighting conditions can change dramatically depending on the scene. Be prepared to raise and lower the ISO quickly to compensate for changing conditions. I do not recommend just setting the ISO to 400 or 800 because if you encounter a very bright scene, you may reach your camera's max shutter speed and wind up with an overexposed photo. In addition to being able to adjust the ISO quickly, you will likely need to adjust exposure compensation frequently to achieve the correct exposure. Be prepared to adjust exposure compensation from scene to scene by quickly checking the LCD to confirm you're not over or underexposed. For this same reason, I suggest shooting in RAW so you have the most flexibility with exposure adjustments when you get home.

While I would normally suggest Manual focus at infinity for the shoot, to ensure the speediest shooting, I'm instead going to recommend auto-focus. The reason is that there is a lot of movement inside the helicopter, and it's possible you might accidentally move the focus ring out of focus and wind up with an entire batch of out-of-focus images. During the day, your camera will have no problem keeping up with focus.

Na Pali Coast, Kauai, Hawaii

Na Pali Coast, Kauai, Hawaii

As for shooting mode, you can decide between single-shot and continuous shooting. If you're going to use continuous shooting, you'll need an extremely large memory card, of at least 16GB. As previously mentioned, in most helicopters you will not be able to change memory cards mid-flight. Continuous shooting can be helpful to ensure keepers, and also to give you a better chance of capturing a shot without the rotors visible. Even at very fast shutter speeds, with wide-angle lenses, it's possible to catch the rotors in the shot. If you're going with continuous mode, just be sure to use it sparingly and in short bursts. You don't want to run out of memory card space half-way through the flight.

Aerial shots from a helicopter or airplane can produce some truly spectacular images. I hope these tips and suggestions will help you on your photoshoot.

I've also created an app for iPhone, Android, and iPod Touch which teaches you photography -- more info can be found here:

Photography Trainer for iPhone and Android

Photography Trainer iPhone app

Photography Trainer iPhone app

To keep up-to-date with the latest photo additions and other topics, you can become a fan at my Photography Facebook page and follow me on Twitter:


Best,
Paul

Rainbow, Kauai, Hawaii

Rainbow, Kauai, Hawaii

If you'd like to purchase prints or stock photography licenses for my photos (for advertising and editorial use), please visit:

http://www.timpaphotography.com/purchase

Copyright 2009, Paul Timpa

http://www.timpaphotography.com/

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Na Pali Coast, Kauai, Hawaii

Na Pali Coast, Kauai, Hawaii

12Nov/09Off

Using Live View on your D-SLR – Tips and Tricks

Sedona, Arizona

Sedona, Arizona

Live View can be found on just about all new D-SLRs introduced lately, and has become an incredible tool to improve your photography. When Live View originally started appearing on D-SLRs, many photographers dismissed it as a gimmick to appease those upgrading from point-and-shoots. As the technology has gotten better and new features have been introduced, more and more people are realizing what an invaluable tool it can be. This article will discuss some of the uses, tips, and tricks of Live View on your D-SLR.

First, let’s cover two of the more “obvious” uses of Live View. The first is when you’re taking pictures and the camera is in a location where it’s difficult to look through the viewfinder, such as very low to the ground. For dramatic low-angle shots, you used to have to literally lie on the ground to look through the viewfinder to frame your subject. Similarly, shots taken with the camera held high over your head for a bird’s-eye perspective were taken without looking through the viewfinder at all, and hoping to catch the shot you needed. Today, this is a thing of the past and lying in the sand on a beach is no longer a necessity to get low-angle shots. Simply switch to Live View and frame the subject using the LCD – today’s Live View screens can be viewed from almost any angle. Use this technique to get shots that otherwise might not be possible.

Live View is also great when you’re waiting for that “decisive moment”, for those times when you’re exercising your inner Henri Cartier-Bresson. If you’re taking a street scene and waiting for a random person to walk right into that “perfect spot” to make the shot, you can mount the camera on a tripod, have a shutter-release remote control in hand, and wait comfortably. When someone walks by, you can casually glance at the LCD and take the shot with the remote. In the past, you’d have to rush your eye back-and-forth to the viewfinder each time someone walked by, or worse, you’d have to keep your eye glued to the viewfinder for long periods of time. The same technique is useful for wildlife – frame the scene, and shoot when the wildlife is in the perfect position.

Now let’s talk about some of the less “obvious” uses for Live View – the uses that really make it an amazing tool.

Live View is great for focusing, and is one of the best things that’s happened to focusing in years. Whether you use autofocus or manual focus, you absolutely should be using Live View in tough-to-focus scenes. Even with the best, brightest viewfinders, it can still be difficult to focus on certain subjects, especially subjects that are far away or small. With autofocus, the best you can do is hope that the camera has focused correctly, and try to confirm its accuracy after-the-fact using the LCD to review the picture. This is still a hit or miss method. The better way is to use Live View. Using Live View, you have a much larger image to study for focus, making it much more accurate. Even better is that many Live View systems allow you to magnify the live image by up to 10x magnification! This is absolutely amazing. You can use Live View with 10x magnification to tweak the focus and ensure that a distant street sign is completely crisp and clearly in focus. This would have been virtually impossible before Live View.

Macro shooters have rejoiced as well. When you’re working with razor-thin depth of field in macro work, where even a millimeter’s mistake in focus can mean ruining the shot, Live View can be incredibly helpful. Mount your camera on a tripod, frame the shot, and activate the magnification. You can use your camera’s joystick or directional buttons to maneuver the magnified portion of the image over the area you want to check focus. Ultra-precise focusing is now possible like never before.

Another advantage is that Live View provides a 100% view of the scene, whereas many viewfinders provide slightly less coverage. If you’ve ever taken a photo and gotten home to find a tree branch, garbage can, or some other random object at the edge of the frame that you didn’t see when you took the picture, this is a result of a less-than-100% viewfinder. Those objects were there all along – you just couldn’t see them through the viewfinder. Live View provides 100% coverage of the scene, so what you see is what you get.

A great feature of many Live View screens is “exposure simulation”. This can be invaluable for quickly determining the correct exposure, especially in low light. Exposure simulation takes into account the shutter speed, aperture, and ISO you’ve selected and adjusts the image on the LCD accordingly. For the most part, the image on the LCD will match the exposure that will be captured in the final image. I find this incredibly useful in low light situations. I can choose an aperture, say F5.6, and a shutter speed of 5 seconds, and immediately see how bright the final image will appear before I even take the shot. Amazing. I can then adjust the shutter speed to get the exact exposure I’m looking for. I use this all the time.

Live View systems often provide the option of overlaying a grid on top of the image. This can be a fantastic tool for ensuring you have level horizons and straight lines. I have my grid turned on all the time and never turn it off. Many cameras allow you to fine tune the grid to have just a couple of lines, or a very fine grid – choose which works best for you. In architectural photography, this is a great tool to ensure that your verticals are vertical and that you don’t have the camera tilted up or down creating the “pyramid” effect with tall buildings. For me, the grid is one of the tools I use most often, as it’s very important to keep horizons straight and verticals parallel.

You can also use the Live View grid to assist with placing your subject using the Rule of Thirds. Many Live View systems provide a grid that looks just like a Rule of Thirds grid. You can use this to line up subjects on or near one of the grid lines, or at the intersection of two grid lines, assisting with composition.

One of the less obvious, but most useful benefits of Live View is that is removes the need to use mirror lock-up. In most cameras with Live View, when you activate it, the mirror is raised (and stays raised) so that the image coming through the lens is projected directly onto the sensor for viewing. This is great and results in sharp shots because it is not necessary to use mirror lock-up, which was the only method to reduce mirror vibrations before. (For those not familiar with mirror-lock up, it is a setting you activate in the camera that raises the mirror a few seconds before the shot is taken. This results in sharper shots because otherwise the movement of the mirror causes vibrations that can result in blur. If you raise the mirror a few seconds before taking the shot, the camera has a chance to stabilize and stop vibrating before the actual shot is taken.) With Live View this procedure is not necessary because the mirror is already raised the entire time. I find this especially useful for HDR images. I can take three bracketed images in very rapid succession using Live View, and the mirror is raised on all the shots. This is not possible using mirror lock-up.

Finally, Live View can be useful when used with your camera’s depth of field preview button. When depth of field is critical, many photographers use the depth of field preview to determine the effect of their selected aperture on depth of field. This can be difficult to see in the viewfinder depending on the subject and the lighting. Because Live View is “through the lens” technology, the effect of the depth of field button is visible on the large LCD and can be more easily seen.

I hope this article has shed some light on many of the benefits of using Live View in your photography. From assisting with focusing, to determining the proper exposure, to straightening horizons and increasing the sharpness of your shots, it’s an incredibly useful tool.

I've also created an app for iPhone, Android, and iPod Touch which teaches you photography -- more info can be found here:

Photography Trainer for iPhone and Android

Photography Trainer iPhone app

Photography Trainer iPhone app

As always, if you have any questions, please let me know.

Best,
Paul

To keep up-to-date with the latest photo additions and other topics, you can also become a fan at my Photography Facebook page at:

Paul Timpa Photography's Facebook Page

If you'd like to purchase prints or stock photography licenses for my photos (for advertising and editorial use), please visit:

http://www.timpaphotography.com/purchase

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Copyright 2009, Paul Timpa

http://www.timpaphotography.com/

 

 

 

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5Nov/09Off

Top Ten Ways to Improve Your Photography

Tropical and Coastal Stock Photography - Images by Paul Timpa

I’ve written several detailed articles on specific photography topics, but I thought it might be helpful to compile a “Top 10” list of ways to help you take your photography to the next level. This will help tie many of the concepts together and serve as a sort of “quick reference guide”. Feel free to print this out, fold it up, and stuff it in your pocket or camera bag for next time you’re out shooting. If you incorporate even a few of these techniques, you’ll come back with some amazing travel or landscape photos. If you were able to take pin-sharp shots every time, that were perfectly exposed, full of drama, with vibrant colors, and engaging composition, that would be a good thing! These tips will help get you there.

Note: This article is mainly for those using D-SLRs, but some of the tips apply to compact cameras as well. D-SLRs are very powerful cameras. Because of the large physical size of their lenses and sensors (“digital film”), they’re capable of taking photographs that a compact camera cannot take. Add to that the full manual control over the exposure settings, and you can take extremely creative images.

So, let’s get right into it. Try to use some of the items below on your next shoot, and I think you’ll see a tremendous improvement in your pictures.

1) Learn to use “Manual” or “M” mode on your camera, instead of Program Mode (P), Aperture Priority (Av), or Shutter Priority (Tv). It may seem complicated, but it's really easy. In fact, I personally find manual mode to be EASIER to use than the automatic modes! This is because I'm not always wondering what the camera is up to and trying to override the decisions it makes in automatic. Here's an analogy I like to use: Which is easier? --> driving a car where you control both the steering and the speed, or driving a car where you control the steering but a friend controls the speed, and if your friend doesn't get the speed right, you have to start telling him how to correct it, hoping he gets it right. For me, it's much easier just to control both. Trust me, with just a tiny bit of practice, you'll be very comfortable using manual mode, and may even like it better than the automatic modes too.

There are two main reasons for using manual mode. Firstly, it forces you to choose a specific shutter speed and aperture. Both items will need to be manually chosen by you, which is a good thing, because you then have to think about what you’re trying to achieve creatively and stylistically with those choices. Using any of the other modes mentioned above causes the camera to choose at least one of those two items (shutter speed or aperture) if not both. Because background blur / depth of field and the representation of movement in a photo are directly controlled by the aperture and shutter speed chosen, it’s critical to select exactly what they are so you get the effect you’re looking for. The second reason to use manual mode is because on any other mode, the camera is choosing the exposure for you, meaning how dark or bright the photo is. The camera uses a technique where it tries to “guess” the correct exposure, but it’s just a guess. Sometimes it’s correct, and sometimes it’s not. The only way to ensure a correct exposure is to set it yourself. For more detail on how the camera makes its guess at the exposure and a great example of when / why to use manual mode, feel free to see this separate article I wrote on the topic:

http://www.timpaphotography.com/blog/2009/08/how-to-take-sunset-portraits-indoor-portraits-about-your-cameras-light-meter/

 
2) Incorporate “Long Exposures” into your photography. One of the greatest things about photography is its ability to convey motion in a still image, and one of the most creative ways to show this motion is through the use of long exposures (using a long shutter speed). From flowing water, to car trails and star trails, to just people walking, long exposures can create magic in your photography.


[The photo above of Wall Street and the New York Stock Exchange was taken with a long shutter speed on a tripod to blur the people walking]

You’ll need a tripod or something steady to rest the camera on for this technique, because it’s not possible to physically hold the camera still for the duration of the long exposures. Moving the camera would result in blurry photos. Important: You should also use the 10-second self timer to take the shot, as touching the camera to press the shutter button will shake it enough to cause a blurry shot. Better yet, you can buy an inexpensive remote control to trigger the shutter, which allows you more control over when the shutter is clicked. To use this long exposure technique, set the camera up on a tripod or steady object, and choose a long exposure like 2 seconds, 5 seconds, or even 30 seconds. This shutter speed will result in a very bright shot, so set the aperture to something small (a big number) like F16 or F18, which will darken the picture and bring it back to normal brightness. If the photo is still too bright even with the smallest aperture, you can use a Neutral Density filter, which acts like “sunglasses” for your lens, and darkens the picture. Try this technique on water, cars at night, busy streets, etc. and you’ll see some amazing images. A great time to experiment with long exposures is at night, where you don’t have to concern yourself with the pictures coming out too bright. Some of the most stunningly beautiful photography is taken at night, and almost all requires the use of long exposures. At night, set your camera on a tripod or something steady, set your aperture to F5.6 and your shutter speed to around 5 seconds, and make sure to use the self-timer so that you don’t physically have to touch the shutter button. Experiment with the shutter speed to get the correct brightness. You’ll be amazed at the images you can produce with this simple technique.


[The photo above of the Brooklyn Bridge at Night, NYC, was taken with a long exposure] 

 
3) Use wide apertures. A wide aperture is what creates that beautiful background blur and makes your subject “pop”. There is just something special about a photo taken with a really wide aperture that makes it stand out. Whenever you see a portrait and the person is pin sharp, but the background is just a creamy wash of color, it just looks “professional”. This is also one of the things that a compact camera simply cannot do, because it’s a physical limitation of the size of compact cameras. On a D-SLR it’s possible to get beautiful background blur when you use a wide aperture. To further increase the amount of blur, use a longer focal length (zoom in) because longer focal lengths provide more background blur than wide-angle focal lengths. Standing close to your subject also increases the effect. The next time you’re out, set your camera to an aperture of F4 or wider (smaller number like F2.8 for F1.8), zoom all the way in, and try taking some creative portraits or landscapes.


[The photo above of a Pina Colada on a Caribbean beach was taken with a wide aperture to blur the background]
 

4) Keep horizons level and verticals straight. This one is easy, but it can make such a huge difference in the perception of your pictures. You could take the most amazing landscape photo, perfectly in focus with a great exposure, but if the horizon is crooked and slanted, the photo will look amateur. Always do your best to make sure the horizon is level when you take a shot. If it’s not, it’s a relatively easy correction in most editing software, and it takes less than 10 seconds to fix. It may sound silly, but it makes a huge difference. (Of course if you’re intentionally slanting the horizon for some kind of creative effect, that’s something different). As for “verticals”, that’s something that’s a little more difficult to control. When I say verticals, I’m just referring to any perfectly vertical lines in a photo like the sides of buildings, or walls, or lampposts, or anything that runs straight up and down. You get slanted verticals when you point the camera up or down, versus keeping it pointed straight ahead. This is why it’s so common in photos of buildings and architecture… you tilt the camera upward to include the top of the building in the photo and this causes the sides of the building to tilt inward. So how do you fix it? There are a couple of ways. Firstly, try not to tilt the camera. If you don’t think you’ll be printing the picture at a large size, then you can keep the camera level and zoom out wide with your lens to include the top of the building. Then you can just crop out the foreground later which will have the “effect of zooming back in”, except the final picture will have nice straight verticals. If the widest focal length still doesn’t capture the top of the building, you can try to see if you can take the photo from a higher spot like a nearby stairway. This way you might be able to get the top without tilting the camera upward. If none of those works, you can correct it in your editing software using the perspective control features. (For some situations, this may be the easiest way). Lastly, if you take a lot of architecture photos, you can invest in a Tilt / Shift lens (a.k.a. perspective control or PC lens), which allows you take photos of tall buildings without tilting the camera (I have one and I use it all the time). Level horizons and straight verticals really add a level of professionalism to your photos.

 
5) Rule of Thirds. The “Rule of Thirds” is a guideline to help with the composition of your photos – that is, where you place objects within the picture. The basic principle of this guideline is that you should avoid putting the subject of your photo directly in the center of the picture. For example, if you’re taking a picture of an ocean scene, rather than putting the horizon directly in the middle of the picture with the top half of the photo consisting of sky and the bottom half consisting of the land/ocean, think about putting the horizon in a different spot. The Rule of Thirds suggests that it’s more visibly pleasing to have main objects in your picture 1/3rd of the way from the top or bottom, or 1/3rd from the left and right, rather than splitting the picture in half. For instance, for the ocean shot, if the waves of the ocean are especially captivating, you can fill the bottom 2/3rds of the frame with the ocean and the top 1/3rd of the frame with the sky. This tells the viewer that the main point of interest is the ocean and its waves. On the other hand, if the sky is very dramatic, you could do the opposite and fill the top 2/3rds of the photo with the sky and clouds, and the bottom 1/3rd with the ocean. For people shots, consider putting the person 1/3rd in from the left or right, rather than right in the middle. For a sunset, rather than placing the sun directly in the middle of the photo, try placing it 1/3rd from the top and 1/3rd from the left. You’ll see that your pictures actually feel more “balanced” that way because the subject is not cutting your photo in half, leaving your eye bouncing around both halves not knowing which is more important.

Newport, Rhode Island with Rule of Thirds Grid

Newport, Rhode Island with Rule of Thirds Grid

Newport, Rhode Island

Newport, Rhode Island

 
6) Take sharp shots. It’s so common to capture what could have been a great image, but it’s ruined because it’s blurry. I’ve written an article dedicated to the topic of taking sharp shots, and I’ll include the link below. To summarize, the most important thing to remember is to use a shutter speed that is fast enough to combat the camera shake that causes blurry photos. My rule, which is conservative, is to double the focal length to determine my minimum shutter speed. This is especially true at longer focal lengths. So for instance, for a shot with the lens zoomed to 100mm, the shutter speed has to be at least 1/200th second. For a focal length at 200mm, the shutter has to be at least 1/400th second, and so on. If you do this, you’ll get a lot more “keepers”. If you have a lens with Image Stabilization or Anti-Shake, you have a little more freedom. Even so, I then shoot at a shutter speed equal to the focal length, so for an image-stabilized lens at 150mm, I’d shoot at 1/150th a second or faster. If you’re in a situation where you need a longer shutter speed than the guideline above allows, because the photo is too dark at faster shutter speeds, it’s simple: use a tripod or rest the camera on something steady. Alternatively, for “snapshots” you can try raising the ISO, but for important pictures, I wouldn’t recommend going above ISO 400 or 800 if using a tripod is an option. The other way to help ensure sharp pictures is to make sure the camera is focused properly. I recommend using only the center focus point, because if you use all the focus points, it’s much easier for the camera to accidentally focus on something you didn’t intend. I’d say more otherwise good photos are ruined because of lack of sharpness than any other technical problem. If you concentrate on getting this right, you’ll be well on your way to taking many more great images. More detail on getting sharp photos can be found in my article on this topic:

http://www.timpaphotography.com/blog/2009/03/taking-sharp-photos-avoiding-blurring-pictures/

 
7) Get creative with Flash. It’s all too easy to just use the flash only at night, by setting the camera to program mode and popping the flash to illuminate your subject. This will get you decent-to-mediocre results, but with a just a small bit of effort, you can take your flash pictures to a whole new level of creativity. Here are a few tips.

Firstly, learn to use Flash Exposure Compensation. This simply controls how powerful the light from the flash is, making it brighter or darker as necessary. This is probably the easiest technique to use, and can greatly improve flash results. In your camera’s settings, there will be a setting for Flash Exposure Compensation. You can change the flash exposure, usually in a range from about -2 to +2 stops. When you do this, the camera adjusts the power of the flash accordingly. It can be very useful in many situations. You may have seen or taken photographs where the flash power is just way too bright. This sometimes happens with portraits when you take pictures from close up. Because you’re close to the subject, the flash power is too bright, making faces appear white or washed out. In this case, simply set FEC (Flash Exposure Compensation) to a negative number like -1 or -2, and take the shot again. You’ll see the lower flash output produces a much more natural result. Similarly, if your subject is very far away, you may want to increase the flash output so that it reaches your subject. You can do this by changing the FEC to +1 or +2 or any number that works for you.

Another important time to use flash is during the day when there is bright sunlight. The bright sun can produce harsh shadows on your subject. The shadows are even darker and more pronounced if the sun is behind your subject. In these cases, it can really help to use flash. Pop the flash and set the Flash Exposure Compensation to -1 (so that it provides just a hint of fill-light) and you’ll see how much better your outdoor photos will look. I often use flash outside during the day.

Finally, you can start to use flash along with your camera’s Manual exposure mode, to capture amazing night images and portraits. For example, for a photo of a person in front of a nighttime city skyline, you can follow these steps: turn off the flash and set the exposure manually for the background, in this case the nighttime city skyline. Once you have the city skyline correctly exposed in Manual Mode, pop the flash to illuminate your subject. You will get a perfectly exposed subject as well as a perfectly exposed background. Use Flash Exposure Compensation to tweak the brightness of the flash if necessary.

 
8) Shoot in RAW mode, instead of JPEGs. Shooting your pictures using your camera’s RAW mode, vs. shooting JPEGs, will greatly affect the final look of your pictures for the better. You may have already seen my detailed article on this topic (I’ll put the link below), but to summarize: Shooting in RAW gives you the flexibility to adjust the contrast, saturation, sharpness, and white balance “after” the photo is taken. These elements are absolutely critical to the final look of your photo. When you take a photo using your camera’s JPEG mode, the settings for saturation, sharpness, contrast, and white balance are “burned into” the picture permanently and cannot be changed. The only way to adjust these after the fact is if you tried to manipulate the image in Photoshop or some other editing program, which could severely degrade the quality of your photo. Further, shooting in RAW provides a higher-quality picture because the photo is not “compressed” to make the file size smaller, like it is with JPEGs. If you want to take your photography to the next level, you really should be shooting in RAW. I often get asked about the vibrant colors in my photos – it’s from shooting in RAW. More detail on shooting in RAW can be found in my article on RAW vs. JPEG:

http://www.timpaphotography.com/blog/2009/02/shooting-in-raw-vs-jpeg/

 
9) Use filters. There is still a place for filters in your camera bag, even in the digital age where images can be edited in Photoshop. Photoshop will never be able to blur a waterfall (not realistically, anyway) or remove glare from the ocean. This is where filters come in, and they can make a wonderful impact on your photos. The #1 filter that every photographer should have is the polarizer. It’s easy to use and can have a great impact on your photos. A polarizer reduces reflections, which has a couple of beneficial effects on your photos. For daytime shots, blue skies get deep blue and beautifully saturated, and clouds really pop. For distant objects, a polarizer cuts through the haze. On water, a polarizer reduces reflections on the surface of the water, allowing you to see what’s beneath the surface.


[The photo above of a woman snorkeling in Tahiti was taken with a polarizer to remove reflections from the surface of the ocean]

It also reduces reflections of water droplets on leaves and foliage, increasing saturation. For glass and other reflective objects, reflections are removed allowing you to see through the object. I use it especially in tropical locations with gorgeous turquoise water, to cut the glare, allowing you to see the coral and ocean life below.

Another type of filter is the Neutral Density filter. “ND” filters reduce the amount of light that goes through the lens (much like a pair of sunglasses reduces light getting to your eye), effectively darkening the photo. This allows you to use long shutter speeds during the day or at night, without the picture getting too bright. The long shutter speeds will allow for fantastic motion blur effects, and are necessary to blur moving water and waterfall photos that are taken during the day.


[The photo above of a waterfall in Costa Rica was taken with a Neutral Density filter to allow for a long exposure during bright daylight conditions]

A twist on the ND filter is the Graduated ND filter, which reduces the amount of light going through the lens, but only for a portion of the picture (for example, just the top half). This is useful for sunrises / sunsets or any scene where half the picture is very bright and the other half is darker. You simply place the dark half of the filter over the bright part of the scene to even up the lighting for a perfect exposure. For more info on filters and how to use them, I wrote a more detailed article here:

http://www.timpaphotography.com/blog/2009/07/camera-filters-for-photography/

 
10) Shoot in the right light. This is one of the most important, though “abstract” tips. Truly understanding this principle is possibly the single most fundamental technique that will improve your photography. Shoot in the right light. Think about it – you’re not “really” photographing an object. You’re photographing light. Here’s a very oversimplified example that will illustrate what I’m talking about. Go on a beach and take a picture at 2 o’clock in the afternoon. Return at midnight to the same spot and take the same picture at night. Do they look the same? Of course not. The beach itself is exactly the same, but the “light” is different. Yet you have two wildly, drastically different photographs, even though the location and the subject is identical. It is critical to think about that and understand that as a photographer. Whenever you’re shooting travel or landscape photography, think about the fact that you are shooting the light, and not “just” the object. Decide on the quality of light you want to shoot, that is, how bright, how dark, is it sunlit, moonlit, from what direction, etc. Then go take your photographs when the light is right. You may have heard the term “golden hour” used by photographers. This refers to the light you get outdoors just before/after sunrise and just before/after sunset. This is generally some of the best light to shoot in, because you get beautiful golden sunlight cast on your subject from an angle (which brings out texture), the scene is not too bright so you don’t have harsh shadows, and the sky is deep and saturated with a multitude of colors from golden yellows, reds, and oranges to deep blues and purples. Shooting in the right light can transform an ordinary photo into something special.

Sunset, Costa Rica

Sunset, Costa Rica

Taking properly exposed, pin-sharp photos that are full of drama, with vibrant colors and engaging composition can be possible if you just keep in mind these few simple tips the next time you’re out shooting. Have fun, and as always, please feel free to let me know if you have any questions.

I've also created an app for iPhone, Android, and iPod Touch which teaches you photography -- more info can be found here:

Photography Trainer for iPhone and Android

Photography Trainer iPhone app

Photography Trainer iPhone app

Best,
Paul

Please feel free to share this tutorial with your Facebook friends:

Share

To keep up-to-date with the latest photo additions and other topics, you can also become a fan at my Photography Facebook page at:

Paul Timpa Photography's Facebook Page

If you'd like to purchase prints or stock photography licenses for my photos (for advertising and editorial use), please visit:

http://www.timpaphotography.com/purchase

Copyright 2009, Paul Timpa

http://www.timpaphotography.com/

 

New York City Stock Photos - Images by Paul Timpa

Photos used in this posting:

Wall Street and New York Stock Exchange, New York Stock Photos:
http://pa.photoshelter.com/image/I0000Kw_9_puecYo

Brooklyn Bridge at Night, New York Stock Photos:
http://pa.photoshelter.com/image/I0000LjU_W9RRIvQ

Pina Colada on Caribbean Beach, Tropical Stock Photos:
http://pa.photoshelter.com/image/I0000U3N.juBas0o

Tahiti, Snorkeling in Lagoon, Tropical Stock Photos:
http://pa.photoshelter.com/image/I0000kd9OAeUvqKc

Costa Rica Waterfall, Tropical Stock Photos:
http://pa.photoshelter.com/image/I0000iansaqXbPO8