Thru My Photos

•Set your camera on a tripod.
•Connect a cable shutter release or set the remote for taking the shots.
•Lock focus at infinity.
•Set the shutter speed to bulb ‘B’ (the shutter will stay open for as long as you hold it open). If you don’t have this option, set the exposure time to the longest possible - realistically you need 10 to 30 seconds
•Set the aperture (F-stop) to between F2.8 and F5.6. Experiment a little with different settings but I recommend nothing higher than F8 unless you want many bolts of lightning to occur in the one photo.
•Frame the picture where the most lightning is occurring, or where the most spectacular clouds are.
•Observe the lightning for a short while before taking a picture. You will notice that some cloud to ground (CG) lightning strikes very fast (in a fraction of a second it has flashed and gone). Other CG bolts strobe or pulse for anything up to 2 seconds. Sheet lightning (anvil crawlers) sometimes lasts up to a second or more as it spreads across the sky. If the storm is close to you and/or you can see it growing or moving, then exposure times should be at most 15 seconds, or else the cloud will blur (especially if more than one lightning bolt occurs during the exposure). If the storm is a fair way away, you are only framing the storm base, or you cannot see it developing or moving, then exposures can be anything you like! I recommend between 20 seconds and 2 minutes. You can have longer exposure times for higher F stops.

Photographs of fireworks are spectacular, colorful, and fairly easy to do once you know the tricks. For best results, you will need: an SLR camera, tripod, cable release, a long lens, and plenty of patience.

Since you don’t know exactly when the fireworks will explode, and you are aiming to capture their trails, you will need to hold the camera shutter open for 2-30 seconds. Compact cameras don’t usually offer this long exposure feature so you will probably need an SLR camera with a manual exposure mode often called ‘Bulb’ (often marked ‘B’).

To get sharp images, you must keep the camera perfectly still. Propping your camera on a wall, car-top or table may suffice, but nothing beats a good, solid tripod. You’ll also need a cable release to activate the shutter without touching and moving the camera.

Waterfront settings are good as you can include the reflections of the fireworks in your shot. Cityscapes, landmarks, or people add context to the shot, but remember that they’ll come out as silhouettes, so don’t include faces or other details. High viewpoints, upwind from the smoke, are usually best. Get there early to secure your spot and select a lens (usually a telephoto) that will fill the frame with trails. Use the first burst to focus the lens (don’t rely on your ‘infinity’ setting).

To photograph the fireworks, open the shutter, wait for some bursts, then close the shutter. That’s it! Take lots of photos (which you can edit later) to get a few good shots. Try different apertures (f8 is the safest) and different zoom settings. Include only a few bursts to fill up the frame; too many will look messy. To reduce the effect of street lighting, cover the lens between bursts with your hand, a black card, or a black cap.

Looking for a truly spectacular shot? You can double-expose your film to include the full moon with the fireworks. (Only a few cameras provide a “multiple-exposure” mode).

Have you ever noticed that your shots sometimes have a cool, clammy feel to them? If so, you’re not alone. The default white balance setting for digital cameras is auto, which is fine for most snapshots, but tends to be a bit on the “cool” side.

When shooting outdoor portraits and sunny landscapes, try changing your white balance setting from auto to cloudy. That’s right, cloudy. Why? This adjustment is like putting a mild warming filter on your camera. It increases the reds and yellows resulting in richer, warmer pictures.

Click here .

One technique that I’ve been using a lot lately in beach photography (and other genres also) is to do a little post photo production and see what impact stripping a photo of color has upon it. There’s something about a black and white shot at the beach that completely changes the mood and feel of a shot. It’s also a great way to bring to life beach shots taken on dull or overcast days which can often leave a beach scene looking a little colorless.

One of the most useful DSLR lens accessories that you can add to a digital camera is a polarizing filter. Without getting too technical, a polarizer filters out some light that is polarized. This means that it reduces reflections and boosts contrasts. The most noticeable places that this has impact is with blue skies (potentially it can make them incredibly rich and almost dark blue) and in water/ocean in which it can give a variety of effects. The way many people explain the results of a polarizer is the difference that polarizing sunglasses can make when you put them on (in fact I know quite a few photographers who shoot through their sunglasses if they don’t have a polarizer with them. Get a polarizing filter and experiment with it and you’ll quite literally be amazed by the results.

UV filters are useful for DSLR owners a couple of reasons in beach photography. Firstly they act as a protection for your lens (see below) but also they do filter out ultraviolet light in a certain range. This can cut back on atmospheric haze (often a blueish haze/tinge). The visual impact that they have is not great but they are the first thing I buy when I get a new lens for my DSLR.

If you’re photographing people at the beach as a portrait and it’s bright you’ll find that they will almost always have shadows on their face (often cast by hats, glasses, noses etc). Switch on your flash and force it to fire when shooting in these situations and you’ll find the shadows eliminated and your actual subject is well exposed. This is particularly important when shooting into the sun when without a flash you could end up with your subject being at some stage of becoming a silhouette). If your camera gives you some level of control over how strong a flash to fire you might want to experiment with this also as firing a full strength can leave your subjects looking washed out and artificial. If your subjects do look overexposed and you cant decrease the flash strength try moving back a little from your subject and using your zoom to get a tighter framing as this will decrease the impact of the flash. As usual - experimenting is the key.

If your camera has spot metering you can overcome some of the above exposure problems. Spot metering is a feature that some cameras have whereby you tell the camera which part of the image you want to be well exposed and it will get that bit right. This is particularly useful in bright light when you want to get a shady area exposed well. It will optimize the shady area (and the other areas will be over exposed - but at least your main subject will be ok). This can be effective especially when photographing people as it allows you to face them away from the sun and to meter on their shadowy face and therefore avoid squinting (a common problem with photographing people at the beach).

One of the challenges of shooting in the middle of summer on a beach is that it can be incredibly bright and your camera could want to under expose your shots if you’re shooting in Auto mode. If your camera has a manual mode it can be well worth playing with it at the beach and experimenting with different levels of exposure. I find that I get the best results when I look at what the camera wants to expose the shot at and then over expose it by a stop or two. Of course this depends greatly from situation to situation - brightly lit landscapes are generally very tricky - especially if you have shady areas as well as bright ones. Sometimes it’s a matter of working out which area you want to be well exposed and focussing on that area as to get everything right is often impossible.