Sometimes the outdoor images we make don’t look as remarkable on the computer as they did through the viewfinder. In some cases that’s due to challenging light, while other times the problem is incorrect exposure or other camera settings.
Have you ever spent a day in the field, thinking you captured several great photographs, only to discover on the computer that some of the images are dull, noisy, and boring? If that’s happened to you, like it has to the best of us, the following Photoshop tutorial will set you straight.
Several years ago I decided to take on a challenge of focusing on macro photography right in my own backyard. No, I do not reside in the Sierra mountains or adjacent to a national wildlife refuge or conservation area. I live in a typical South Florida suburban subdivision surrounded by homes and asphalt. South Florida doesn’t even offer much in the way of seasons. Yet, I am amazed at how many unique images I have captured over the past several years.
Rita Kluge is a German-born freelance photographer with a passion for the sea. In this amazing series she swims with whales to capture some captivating shots of adult leviathans and their babies.
The beauty and artistry of the natural designs found in rocks and minerals rivals the most expensive abstract paintings you might find in an art gallery. Some of them are truly breathtaking. Of course, not all rocks are created equal. Some are boring and not worth a second glance, but others are works of art and, if you were to print the images very large and frame them elegantly for your home, people would think you paid thousands of dollars for such a visually compelling piece of art.
We all learn a bunch of "essential" photography rules when first starting out, and even more as we continue to expand our skills. One of the most familiar is the Rules of Thirds. Today you'll learn how to use the less familiar Rule of Odds, that can be even more beneficial when shooting wildlife and nature images.
Adventure/travel photographer Ryan Deboodt has done much of his photography in Vietnam and in Bejing, China where he lives, but he's traveled throughout the world. All of his work is impressive, but the images he shoots inside caves is truly breathtaking.
If you're like most outdoor photographers you often shoot in dirty environments in which dust can enter your camera and wreak havoc on the sensor, especially on windy days. And every time you switch lenses the odds of contamination will increase.
Outdoor photographers are known for carrying tons of gear, so they’re prepared for just about anything they encounter. We’ve addressed this burden in the past for landscape shooters who often hike great distances into the field, and for travel photographers who want to carry a minimum of equipment.
Achieving fast and precise focus is a primary goal of all outdoor photographers, whether they shoot wildlife, sports, adventure, or travel images. Even landscape photographers want to hit the proper point of focus when capturing static scenes.
Summer is rapidly drawing to a close, as are opportunities for warm weather landscape photography. So if you want to capture a few more spectacular summer sunset images, now is the time.
Yesterday we featured a straightforward guide to using Selective Exposure adjustments to get the light right in complicated images with a wide range of brightness levels throughout the frame. Today's tutorial from another image-editing expert demonstrates how to take a similar approach with Lightroom's powerful Selective Color tools.
We regularly preach the importance of taking a selective, rather than a global, approach to processing your images. This simply means limiting your adjustments to specific portions of a scene that really need work, instead of making enhancements to the image as a whole.
Filing the frame with the critter isn’t required for great wildlife photography. Reflecting on how I first slanted my wildlife photography in this direction, it has its roots in the first lens I had to shoot wildlife. I started with a Vivitar 400mm f/5.6 on an old Minolta that was soon replaced with a Nikon 400mm f/5.6 on an F2. That 400mm was my main lens for a long time and it taught me lessons about wildlife photography that I still depend on to this day.