Outdoor Photography How To

It took two trips to the Arctic Circle for photographer Dale Sharpe to pop the question to his girlfriend Karlie Russell, but as you see here the resulting photos are totally epic. 

The holiday season is in full swing, and with it come numerous once-a-year opportunities for dazzling photos. And regardless of where you live, now is the perfect time to take a drive and photograph the festive lights and decorations that brighten up your neighborhood.

A camera enforces a “framing” of the world before you. While you can choose various aspect ratios (from standard to panoramic, from 3:4 to 6:19) the fact remains that you always have to choose what to include and what to leave out of the photo. It’s like constructing a box and deciding what to put inside it. Making those decisions often involves utilizing certain compositional guidelines and tools that artists have used in the past, although like any rules they “are made to be broken.” When deciding which guidelines to apply always remember that content rules, and that context helps tell the tale.

The thoughtful use of depth-of-field (DOF) techniques is a key component of every image you capture. And this holds true for landscapes with maximum sharpness throughout the frame, portraits with soft backgrounds, and clean street scenes with a minimum of clutter. Do it right and you have a successful image but make a mistake and the photo will suffer.

The goal with most tutorials we post is to provide helpful tips for improving your photography, along with striking imagery you may want to emulate. But sooner or later it’s important to develop a style of your own, and the video below will get you started.

Maybe Cuba attracted me most because it was forbidden. If I’m not allowed to go, I want to go. There was also the lure of a place stuck in time, where people were cut off from technology, a place very different from the world I knew. Which is exactly the kind of place I love to explore and photograph.

Sooner or later all photographers confront a frustrating disparity between how the colors of an image appeared through the viewfinder or on a camera's rear LCD in the field, and what they look like on the computer screen. Unfortunately, when this happens it's typically the computer representation that tends to be inferior.