Travel Photography How To

Are you familiar with Lightroom’s easy-to-use Camera Calibration capability? If not, after watching the video below it just may become your best friend.

When we think about great adventure/travel photographers and spectacular imagery, National Geographic magazine immediately comes to mind. And the folks at Nat Geo just picked their best images of 2017, including the lead photo above of a black crested macaque captured on the Indonesian Island of Sulawesi. This striking shot appeared in the magazine’s March issue as part of an article on the social structure of monkeys.

Are you having difficulty achieving correct exposures when shooting travel and nature images? Perhaps that’s because you’re not taking advantage of the one accessory that most experienced landscape photographers never leave home without.

We've all captured photos with ugly noise artifacts that spoil an otherwise great shot—a problem that often occurs when using high ISO settings or shooting in low light. But don't be so quick to delete noisy photos because in the next five minutes you'll learn what one expert calls a "magic" Lightroom solution.

Whether you’re shooting landscapes, street photos, or cityscapes, something magical happens when the sun dips below the horizon. Colorful lights abound, and less appealing components of a scene tend to fade into obscurity.

The official first day of winter is still more than a month away, but we're already focusing on mild, sunny weather and the June 7-8 celebratory opening weekend of the colossal Photoville Festival that will run through June 22, 2025. Now in its 14th year and promising to be bigger and better than ever, the free, public event is now in its planning stages and cordially invites you to submit your visual story proposals for consideration.

Submit your proposal today to be a part of New York’s favorite photo festival dedicated to global visual storytelling in the heart of NYC!

I learned photography in the film days, and when the huge change to digital came along, I changed not only my gear but the way I see. I used to have to see in terms of very specific criteria of what would work within the ISO range of my film and what the film could record in terms of light and shadow. Low ISOs meant I couldn’t get enough depth of field, or a tripod was needed, or I had to light something because there wasn’t enough information in pictures that had incredible shadow detail. High ISOs often meant an unacceptable level of grain and bad color rendition. As a result I passed up a lot of situations that got my attention but were beyond the capability of my film to capture.