Thanks for visiting my blog.  I'll not be posting again until Saturday.  I'm moving into my new house and obviously my desk top computer will also be moving.  So, between now and Saturday may I suggest 500PX blog, and Pitapixel articles here to your right.  Thanks for stopping by, and until Saturday, happy shutterbugging.

5 Photography Mistakes You Need to Avoid When Shooting Seascapes

By: Jeremy Flint

Here are some practical steps to take and 5 photography mistakes you want to avoid in order to help you capture better seascape images.
Capturing seascapes is a very popular past-time and one of the most enjoyable and fascinating types of landscape photography. People love to capture the ocean and for good reason.
Seas around the world are more accessible than ever to the majority of us. People take regular holidays to visit the abundance of natural beaches and the ocean provides a fantastic place of escape and freedom from bustling towns and cities.

The ocean is a breathtakingly beautiful place and offers peace, tranquility, and an ideal opportunity to capture some memorable images. While the coastline offers photographers spectacular seas and atmospheric skies, recording these scenes can be challenging.

Mistake #1 – Cloudless skies

A common mistake that is often presented in seascape imagery is a vast expanse of empty sky without any texture or formation from clouds to lift the image.

To avoid this pitfall, head to the coast on partially cloudy days. Photographing ocean vistas to include the different patterns and shapes of clouds above the sea will help your images to become more inspiring.
If you find yourself taking pictures by the sea during first and last light, you will discover the colors in the sky can look even more dramatic than at other times of the day. This can beautify your image with vibrant sunset skies igniting the sky.
Alternatively, capturing big white clouds to complement a blue sky or dark, moody and overcast skies can add drama and emotion to your images.

Mistake #2 – Not checking the tide schedule

If you are unprepared during a visit to photograph the ocean by not checking the tide schedule, you may get caught out by incoming tides and even freak waves during adverse weather.
The sea and waves can be unpredictable and powerful. I have ended up with wet shoes countless times while trying to capture the moving waves. Be mindful of the risks the ocean presents to you and the harmful impact the saltwater can have on your camera and equipment.
Always protect your camera (a plastic bag can keep it safe from the salty sea air) and be sure to clean your camera when you return home.

If you would like to capture the swell of the ocean at high tide or an exposed bay of rocks during low tide, be sure to check the tide times and visit at the right hour.
You will find that planning to be at the coast when the tide is at a certain point will help you shoot better compositions and seascape photos.

Mistake #3 – Not considering your composition

Capturing beautiful images of the coast is not as straightforward as you might think, especially if you don’t think about your composition carefully. A few things worth considering are leading lines and the rule of thirds.

Leading lines are a great way to lead the viewer’s eye into the frame toward the main focal point in the photo. They can help to create depth in an image and provide more purpose.
When photographing the sea, you will find that placing the horizon in the middle of the image will generally be less effective than positioning the water level above or below the center of the frame.

You may be asking if should you include more sea or more sky in your composition? Well, that depends on the nature of the scene in front of you and what is the most interesting and important aspect of the story.
If the sky is compelling and vibrant, your image will be stronger by including more sky. But if the sky is uninviting and lacks drama while the ocean is swirling beautifully, compose the image to include more of the sea.
Whatever you decide to shoot, be imaginative and creative with your composition and capture some great images.

Mistake #4 – No focal point

One of the great benefits of being by the coast is the variety of subjects to shoot. However, it is surprising to see the number of times beginner photographers take images of the sea without including a strong focal point in their images.
You could focus your camera on any number of interesting material at the sea such as piers, fishing boats, lighthouses, cliffs, rocks or fish.

Mistake #5 – Not including any foreground interest in the shot

While the sea can make an exciting subject, a mistake newbie photographers tend to make when capturing the ocean is to photograph the sea and sky with nothing in the foreground.
This can occasionally work well in the right light and setting.

But capturing an extra element such as cliff ledges, flowers, shells, or footprints in the sand will add context and another dimension to your image to help it stand out.

The best seascape images rarely happen by chance. Instead, they are the result of careful planning, diligence, and practice. Keep exposing, avoid these photography mistakes and use the tips and with plenty of practice, you will soon be capturing breathtakingly beautiful images!
How about you, what do you enjoy about seascape photography? Please share your tips and images below, as well as any questions you might have.

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4 Less Popular Types of Lighting Every Photographer Should Know

By: Jaymes Dempsey

How can you, as a photographer, best use lighting to your advantage? Working with different kinds of light can be a challenge for even the most seasoned photographers. This often leads to a common suggestion: “Point your shadow at the subject.” Yet certain underutilized less popular types of lighting can actually enhance your photographs.

In this article, you’ll get tips for working with four different types of natural lighting, including shade, overcast light, and strong backlighting. Hopefully, you’ll come away with the know-how and inspiration to start using more creative lighting in your own photographs.

1. Shade plus front light

By “shade plus front light” I’m referring to the lighting situation when the sun is behind you (and coming over your shoulder), but the subject is shaded. That is, the sun would normally front light the subject, but it is blocked by an object.

I shaded this trout lily with my body, resulting in a shaded subject and a well-lit background.

Many photographers like to ignore shaded subjects. However, I love this lighting situation for a few reasons.
The first is that it is easier to expose for a shaded subject. You don’t have to deal with intense highlights and shadows. Instead, you can rest easy knowing that the range of lights and darks in your image will be rendered properly by your camera’s sensor.

Another shaded but front lit situation. Notice the brighter background here.

The second is that this lighting scenario offers up wonderful backgrounds. This is an especially powerful technique when shooting during the “golden hours”, the time just after sunrise and just before sunset.
If you can position the subject so that the sun falls behind it, you can take images with rich, warm background colors. The key is to expose for the main subject (i.e., meter off it), and let the background remain bright. Use a wide aperture to ensure that the background is thrown out of focus.

Shading this cosmos flower allowed me to produce a more subtle looking subject with a
beautiful background.

Shaded subjects can make for great photographs if you know how to use them!

2. Shade plus backlight

To continue with the “shade” theme, let’s discuss another underutilized type of light: shade and backlight.
By this, I am referring to a situation with a shaded subject where the sun is positioned behind that subject so that you are pointed toward the sun. In this situation, you cannot do the shading yourself. Instead, you have to rely on environmental features to block the light.

This flower was shaded by some nearby grasses. I was able to get these background
highlights by including the edge of the sun in the frame.

What does this type of lighting offer you? Similar to a shaded and front lit subject, a shaded but backlit subject is easier to expose.
If you’re struggling to photograph a brightly colored flower, for instance, it might be beneficial to find a similar specimen in a shaded area. This will help prevent you from blowing out the highlights on the flower’s petals.

Another compelling reason to use this particular type of lighting is that it can create beautiful bokeh. I’m not really talking about bokeh in the sense of that smooth, creamy look that we photographers love (for that, go back to shade plus front light).
Rather, I’m referring to those beautiful geometric shapes that occasionally appear in the background of photographs.

Notice the slight highlights in the background, created by the shade-sun combination.

How do you do this?
In a backlit environment, the light is often filtered through the surrounding greenery. These are often leaves, but also grasses, shrubs, branches, tree trunks, etc. The rays of the sun are broken up into small points of light, which are then rendered in that geometric fashion when incorporated into your images.
This is a beautiful effect that can add an extra punch to your photographs.

3. Overcast lighting

This type of lighting is more commonly used than the two mentioned above, but overcast light (i.e., light on cloudy days) deserves a mention.

I photographed these flowers on a cloudy afternoon.

You might think that the camera should stay inside on overcast days. After all, the subjects aren’t very well lit, and everything seems a bit gloomy and bland.
Actually, overcast days are fantastic for photography. Especially if you go out toward the middle of the day when the sun is high in the sky (and blocked by clouds), you’ll find wonderfully diffused lighting.
The clouds act as a giant softbox, subtly lighting the entire landscape. This results in colors that are deeply saturated. Macro photographers such as myself love overcast lighting because our flower photographs become much more colorful.

Another advantage to shooting on overcast days is similar to that of shaded lighting in that the subjects are easier to expose well. There is no bright sunlight to create harsh shadows and unpleasant highlights.
Therefore, overcast days can be a great choice for photographing brightly colored subjects.

4. Direct backlighting

Direct backlighting refers to situations where the sun is directly behind the subject (and therefore directly in front of the photographer).

The sun is just out of the frame here, above the tulip.

This type of lighting is difficult to work with. Photographers often come away with unwanted flare and a drastically underexposed subject. However, using backlighting is simpler than you might think. Just remember a few key guidelines.
The first thing to note is that I don’t like to use direct backlighting unless the sun is low in the sky. Otherwise, instead of achieving a charming, warm look, you’ll find yourself with a harsh, contrasty image. Sunrise and sunset are your windows, so you’ll need to work quickly and efficiently.
Second, don’t put the sun in the image itself. This will result in a nearly impossible lighting situation. Instead, block the sun with your subject. Move around a bit. Get down low. If you do decide to include the sun in the image, put it at the very edge of the frame (as I did in one of the photos above).

Backlighting (the sun was in the background on the right-hand side) produced some really
interesting bokeh in this bleeding heart photograph.

Third, make sure that your subject stands out against the background. I often try to compose with the subject against the sky.
Fourth, expose for your main subject. Don’t worry about the bright background. Then, once you’ve settled on an accurate exposure for the subject itself, feel free to raise or lower the exposure. Lower it for a slightly darker, more dramatic look (and if you lower it a significant amount, you’ll end up shooting a silhouette). Raise it for a slightly brighter, in-your-face type image.
While there are certainly variations in backlighting conditions, these four guidelines will get you well on your way to shooting some creative backlit images.

While it can be difficult to think outside the box and take risks when it comes to lighting, the rewards can be great.
Try using some of the lighting scenarios discussed above: shade and front light or backlight, overcast light, or even direct backlighting.
Your images will become far more diverse and a lot more impressive!

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10 Photography Accessories You Can Buy at the Supermarket

By: Ivo Guimaraes

Let’s face it, we photographers are always looking for new stuff to add to our bag of tricks.
As a studio photographer with almost 20 years experience, I have found myself repurposing a lot of stuff to use as photography tools in my photoshoots. I came to the conclusion that most of the stuff I have around the studio, or in my camera bag didn’t came from photography equipment stores, but rather from the supermarket, home improvement stores, or even one dollar stores.
Here is a small list of items that you can find easily in a store near you, which might help out a lot in your future photo projects:

1 – Cupcake nozzles

These nozzles are used by bakers to decorate cakes, and you can find them in many shapes and sizes. If you take them out of context, they make great light modifiers when used in front of a flashlight, allowing you to shape and control your light, when you want to do some light painting for example.

2 – Shower caps

This is something you can buy really cheap or even get for free in hotel rooms. I always have some laying around in my camera bag, and I use the white ones as light diffusers for flash or LED lights.

I also use the transparent ones as a rain cover for the camera body. It’s not something for heavy rainfall, but it can save your equipment in an emergency situation, and you can still see the LCD and camera buttons with it.

3 – LED light strips

These lights can be carried anywhere as they work with 3 AA batteries, and can be used in lots of different situations. I used them a lot as macro ring lights with the strip wrapped around my lens shade.

These lights are also great to create light bokeh backgrounds, just put them over a black surface and turn your lens out of focus.

4 – Multi-Purpose Opener

This tool is made to be used around the kitchen, but I have been using it for years in my studio for a lot of different purposes.

The main use I have for it is for that really frustrating task of trying to unscrew a stuck filter on the front of your lens. Even though there are specific clip plastic tools for that job that you can buy in photography stores, I always find myself breaking them or scratching some really expensive filter.
This multi-purpose opener has a rubberized inside and offers a much better grip, besides fitting every filter size you might have.

It is also able to open any metal or screw cap bottle if you happen to get thirsty, and, last but not least, it is a great tool to open stuck thumb screws like the one you find on tripods or light stands for example.

5 – Glow Stir Sticks

These glow sticks, besides being a must at any cocktail party, are also really fun to use as a light source for light painting. They can be found in different colors and sizes and can glow for a few hours, allowing you to make fun images like this next one.

6 – Shower Curtains

Shower curtains are usually made out of plastic or waterproofed fabric. They are really cheap and can be used as great accessories for light control.
I use white ones a lot as light diffusers, black ones as flags, and grey ones as backgrounds, but there is a lot that can be done with colorful ones for backgrounds or light color effects.

7 – Ball Bungee Ties

It’s amazing what some elastic cord and a plastic ball can do together. This simple, but really effective tool, is used most of the time to tie cables, but there are a lot more uses for it. I use them a lot to hold my flash triggers to the light stand.

8 – Spring Clamps

I lost count of how many of these I bought through the years. Every time I see them on sale anywhere, I just buy a few more.
These are a must have item in any photography studio, whether it is to make your model’s clothes fit a little better, to hold cables and power cords in place so I don’t trip on them, or simply to hold that reflector in that position that will provide the best reflection possible.

9 – Express Grill Pan

These pans made out aluminum foil are great if you want to make a barbecue in a rush. But they’re also great to use as gobos that you can use in front of your light source to create special light effects.

10 – Reusable Putty-Like Adhesive

This type of adhesive is a lifesaver for product and macro photographers that need to keep small objects in a specific position.
It is moldable, reusable, and doesn’t leave any residue when you remove it. I use it a lot in jewelry photography to keep things in place, and just remove it (clone it out) in post-production afterwards.

So, keep these tips in mind next time you are dragging your shopping cart down the supermarket aisles. Maybe you can find some great accessories for your photography!

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How to Buy Camera Gear Wisely and Save Money

By: Erinna Ford

Many photographers have experienced lens-lust or gear envy, and know the thrill of playing with a new piece of camera gear. But gear can be expensive, and choosing the wrong equipment can be a costly mistake. So how do you know you are purchasing the correct gear, and ensuring that it won’t end up in a cupboard collecting dust?
Here are five tips to help you choose and buy camera gear wisely, and maybe save a little bit of money at the same time.

1. What do you really need?

If you often photograph in tight spaces, or want to explore landscape or architecture
photography, a wide angle lens is perfect.

I always advocate working with your current gear until you start to feel its limitations. This way you will have a clearer idea of what specifications or items will help you grow further as a photographer.
If you feel that you’ve reached these limits, but are still confused about which piece of equipment you should buy as your first priority, try taking a few notes during your next shoot. Where do you get stuck? What frustrates you? What would make your photography life easier? What will you be photographing? And what is your next goal? Asking yourself these questions will help refine exactly what you need from your next purchase.
For example, do you wish that your lens would shoot wider, or zoom in closer? Perhaps you really want to try macro photography, or need a tripod to try slow shutter speed waterscapes?

A zoom lens can be really useful, allowing you to use it across numerous photography
genres from portraiture, events, and even landscapes.

If you shoot a lot of landscapes or architecture, a wide angle lens will be more useful than a telephoto lens. Alternatively, if you photograph families, children, or events, a zoom lens may make it easier to respond quicker to impromptu moments, rather than a prime fixed-focal length lens.
Also, will you fully understand and use all the wonderful aspects of the new equipment? Will it be beneficial to your photography, or will it be so complex that it will frustrate you?
For example, should you spend a lot of money on a professional level lens that shoots at f/2.8 if you do not know anything about depth of field? Do you like the effect of f/2.8? Will you use it regularly? Or would a less expensive lens that goes to f/5.6 do everything you need it to?

A macro lens won’t help with room interior photographs, but is perfect for capturing close up shots of flowers and insects.

Similarly, if you’ve only been shooting on auto-modes, purchasing a camera that has mostly manual options may not be the best choice. Instead, consider a mid-range camera that offers both auto and manual modes, so you can try more advanced techniques, as well as take it out just for fun.
Make a decision about what you really need from your gear, and remember – it’s okay to stick with the equipment you currently own until you are 100% sure of your choice.

2. Know your budget

Unfortunately we do not all have limitless bank accounts, and will have to make decision on how much we can spend. It is a balancing act between deciding on your budget, and researching the actual cost of items. You could choose to spend a bit more now on one item that will fulfil your needs for the long term, or spend less on an entry-level option to build up your experience.

It is important to stick within your budget. If you can’t stretch to afford your ideal gear,
consider other options such as buying second-hand, less expensive options, renting, or
waiting for the next sale.

Sometimes however what you really want is simply too expensive, so you can choose to 

wait for the next big sale or look at alternatives, and that’s perfectly okay too. Another 

option would be to buy the absolute necessities now, while saving for the next items. If 

you discover you need it sooner, and have not saved enough yet, you can choose to rent 

gear as needed.
Many stores now also offer payment plans that allow you to take the gear home and pay 

it off in weekly instalments. This can certainly help with cash flow, but always read the 

small print, and check the interest rate to see if it will suit your situation.

3. Do your research

The images above were shot with two different 50mm lenses, using their largest apertures. Do you think you would notice the difference in your own shots? Is it worth the price difference? Flickr can also be a great way to see examples of images taken using specific equipment.
There are so many opinions and reviews posted online that it is easier than ever to do your research. Read personal opinions, website reviews, as well as manufacturers’ specifications, to give you a well rounded opinion and compare them to what you are looking at purchasing. YouTube is a great resource for tutorials, reviews, and box openings. Flickr is also be a good place to find images that have been tagged as being shot with a specific lens or camera – it is a great way to see real-life results.
Your local camera store should not be overlooked either. Go in for a browse, play with the items, listen to advice, and go back a few times if you’re unsure and want to become more familiar with the item before buying it. You want to ensure you are comfortable with the gear you are purchasing, and that it does exactly what you want it to.

Here are two different Canon 50mm lenses – one with a maximum aperture of f/1.2 on the
left, and the other f/1.8 on the right. Both offer a shallow depth of field, but the prices are
vastly different.

Editor’s note: Canon has three 50mm lenses: The f/1.8 version at $125 (shown above right), 

the f/1.4 version at about $349 (not pictured), and the f/1.2 monster (above left) which will 

run you a whopping $1349.
If you’re trying out new lenses or a flash, take your camera into the store with a fresh battery and memory card, attach the lens/flash and take a few photos. Test it out in store, see how it works, then go home and review the images. If you’re looking at a new camera body, take your favourite lens and a memory card and do the same. All gear has an adjustment period for becoming familiar with settings and button locations, so this will give you a head start, and an idea of the weight and shape of the item, something you can’t experience by online shopping.
Helpful and knowledgeable salespeople are also invaluable. Many camera store staff on a commission-based pay structure can often be motivated to make a higher-priced sale, so may push you toward the more expensive option. There are those, however, who will provide good advice and non-pushy service, with the hope you will come back to them when you’re ready to buy. If the price is right, it is always good to support your friendly local camera store, as they can be an invaluable resource, especially if something goes wrong.

4. Consider renting

Many camera stores and online services offer the opportunity to rent higher priced and
specialist equipment. This can be a great way to try before you buy, or to hire gear for
one-off assignments.

Did you know you can rent equipment such as lenses and camera bodies, as well as studio flash kits? Many professional photography stores offer this service, and there are several online camera rental services as well.
This option is great for when you are considering professional level gear, or something for a special technical application. You have the opportunity to rent the gear for a day, weekend, or a week, which is a great way to try before you buy.
It is not only a good option for researching a new purchase, but you can hire specialist equipment needed for one-off jobs (like a macro or tilt-shift lens for example), without the cost of purchasing it outright, and with the added advantage of claiming the hire expense as a business expense. A security bond is usually charged, so be sure to read the fine print for the rental terms and conditions.

5. Look for the less expensive option

The price difference between a close-up filter set and a dedicated macro lens is over $1,000. 

Each has its own effects, but both are capable of producing quality, and interesting
photographs.

If you cannot afford your preferred brand or wish-list item, try searching for a less expensive option. This could mean waiting for a camera sale, purchasing second-hand, a lesser-known brand, or even an alternative method to achieve the same result. These options can be a great way to expand the gear in your camera bag and try new techniques, without spending quite as much money.
For example, we all agree that an f/1.2 lens is drool-worthy, but would the f/1.4 version do almost as good a job? Or instead of purchasing a special macro lens, would close-up filters work instead? Generic, or lesser known brands, are another less expensive option, although they may not have the same quality or life expectancy as the branded versions.
Purchasing second hand equipment may be risky, but with some research, and by asking the right questions, you can often find a bargain. Always consider how much wear and tear the item has had, who has owned it before, and how much life is still left in it. A wedding photographer, for example, will often upgrade their gear and sell off their old cameras. While it might look like a great deal, it’s worth keeping in mind that their gear may have been subject to a lot of wear and tear.

The same subject, photographed using two different systems – a close-up filter, and a
 macro lens. 

Both images were photographed at f/2.8. Filters often create softer images, but are an
inexpensive way to enter the world of macro photography.

Scratches and marks can be forgiven, provided they do not affect proper function, while some items have a limited lifetime. When considering a second-hand camera, ask about its shutter actuation, or shutter count, and then compare it to the camera’s life expectancy. This will give you an idea of how many more photos the camera can capture, before the shutter may fail. If photography is your hobby it may take you years to reach this limit, whereas if you’re shooting weddings every week you will reach this number sooner. Shutters are replaceable but it can be expensive, and often camera replacement is more cost effective.
Many of these alternative options are available to purchase in your local camera store, or online. In regards purchasing of second hand equipment, it is worth being cautious: ask lots of questions, request photographs, ask about any return policy, and if you do go ahead, purchasing insurance on postage.
  Hopefully these tips will assist you in choosing your next purchase wisely, one that suits your needs perfectly, and may even help you save a little bit of money too – who knows, maybe just enough to afford that other item you want?
The most important thing, however, is that you use your new gear and enjoy your continuing journey in photography.

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