High Dynamic Range Options
by Tim Grey | May 31, 2012

© Tim GreyEvery now and then it seems that a particular issue in photography becomes especially popular, and I start to get a relatively large number of queries on that topic to be addressed in my daily Ask Tim Grey eNewsletter. Recently, the subject of high dynamic range (HDR) imaging became the focus...

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Making the Most of Bad Weather
by | June 29, 2010

© Bret EdgeWouldn’t it be grand if every photo vacation involved puffy clouds filling an azure sky above rugged peaks, deep canyons or vast deserts awash in alpenglow every morning and every evening of our trip? Perhaps some photographers are so lucky. I am not one of them. Twice now I’ve spent...

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The Power of Water to Attract Birds
by | November 13, 2009

© Alan MurphyWhen it comes to attracting birds into camera range, nothing is more effective than water. Only a limited number of species come to feeders to eat seed, fruit and nectar, but all birds come to water to bath and drink. Using water for bird photography can be especially powerful if you happen to l...

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Get the Subject’s Eyes in Focus
by | September 14, 2009

NatureScapesIn animal photography, the subject’s eyes must be in focus. If they’re not, most professional wildlife photographers will tell us that we’ve missed the shot. Why? Because when we look at a picture of an animal (or person) our eyes go to the subject’s eyes first. If they&#...

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Unsharp Mask Unveiled
by Tim Grey | December 28, 2008

Sharpening continues to be one of those topics that photographers seem to struggle with the most. It is certainly a subject that attracts a considerable number of questions in my Digital Darkroom Questions email newsletter, and one that inspires considerable debate. In an effort to address these...

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Understanding & Using the RAW File Format
by | May 1, 2008

© Ron DayModern digital cameras require us to choose a file format for saving our images. The JPEG and RAW formats are the most common choices, but which one to use has sparked debate and led to confusion. This article examines the RAW file format, and provides guidance on how to use it to improve the qu...

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Wave Photography
by | February 1, 2008

© Phillip CollaI have lived within a mile or two of the ocean for nearly my entire life, spending a lot of time at the beach over the years. My photography has always centered on ocean-oriented subjects, yet somehow I overlooked one of the most obvious marine subjects of all—waves. I have surfed, kayaked, bo...

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Birds in Habitat
by | December 31, 2007

© Marie ReadFor compelling bird photos, go beyond portraits. An animated NatureScapes.net thread recently discussed whether or not “boring” would be a valid bird image critique. As bird photographers, it’s a good exercise for us to consider what draws viewers to a particular bird photograp...

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Light Illuminates, Shadow Defines
by | March 31, 2007

© Charles GlatzerMy success as a commercial photographer has been characterized by my ability to see and understand light. Wildlife photography is the same without exception. Being able to see and understand light, its quality and quantity, physical properties, etc., and how they relate to your subject and captu...

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“Meadow Diving”
by | September 1, 2005

© Rod BarbeeI’m a big advocate of using a tripod for every image I possibly can. I believe that my compositions get better, I make exposure choices with more thought, and sharpness and image quality are greatly improved. Plus there are many types of images that are simply impossible to make without a...

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Fog and Backlighting for Mood in Photographs
by | June 1, 2005

© Tim GramsSunlight from behind a subject combined with fog can have a dramatic effect on photographs, often producing a rich, saturated setting of golden light. A low sun angle and presence of sufficient moisture in the air are the key ingredients for this effect.

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Incorporating Movement into Your Imagery
by | November 1, 2004

© Charles GlatzerRegardless of how things may initially appear to our eyes, in the natural world nothing is static. Wherever possible I always try to impart a sense of movement in my imagery. This can be accomplished with panning, zoom blurs, long exposures, implied motion or any combination therein.

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