Tips for Zoo Photography

I often take animal portraits at my local zoo. For photographers, zoos provide a consistent way to get close to a variety of animals without the time and expense of travel to exotic locations. Here are some tips I have learned from several years practicing zoo photography.

Primates are often a wonderful source for expressive portraits.

Camera Gear for Zoo Photography

The gear I consistently bring with me on every visit to the zoo with my DSLR camera is my 300mm zoom lens and my 50mm prime lens. During the colder, dramatically less crowded months (I live in Chicago) I occasionally bring my tripod; however, I found a beanbag that attaches to my camera to be easier to use in cramped conditions. I can squish the beanbag against railings or fencing for a firm, steady support. A lens cloth is also indispensable. A spare battery is good insurance. My camera model holds two SD cards, which I find are plenty for my time there. As you discover your favorite animals and style for shooting you will learn what specific items work best for you.

If you’re planning to photograph smaller critters such as small reptiles or if the exhibit has a glass viewing area you may also want to bring some sort of shield for your lens. There are rubber shields that fit like a filter on the end of your lens which will allow you to put it up against the glass to eliminate reflections.

A rubber shield on my 50mm prime lens allowed me to get up close and personal to this tortoise and avoided reflections on the glass.

Don’t forget that the shield will cause you to lose a bit of light; you may need to adjust your exposure to accommodate.

Find Good Lighting

Pay attention to your light direction and try to move to give the best exposure for your subject(s). I tend to spend much of my time at the lowland gorilla exhibit at my local zoo. This particular area allows viewing 360 degrees around the enclosure. I now understand on which side of the exhibit to position myself to allow the best exposure due to the light direction. Even if the gorillas are active on the opposite side, I have learned it is better for me to wait for them to move to my side rather than be disappointed with un-editable shadowing due to poorly lit, dark animals. I need to use a very low aperture with available light, since most indoor exhibits prohibit using flash. The low aperture will also help minimize backgrounds. I use the fastest shutter and a high ISO to freeze the action. I will also shoot in RAW. The larger file allows me to crop to a smaller portion of the picture and still be acceptable.

Close Up

Look for Eye Contact

Watch the animal’s eyes and be ready to hit your shutter quickly to have eye contact with your viewer! More often than not the animals will simply scan over the visitor viewing area occasionally rather than stare at any individual person. For clear shots maintain a fast shutter with burst mode and be ready for that split second when your subject looks toward you. When you see its eyes start sweeping your way, start shooting! A long lens will give you the ability to see when an animal’s eyes appear to be staring right into your camera.

Eye Contact

Be Patient

Be prepared to wait quite a while before picture worthy behaviors occur. Just as in the wild you will need patience and a bit of extrapolation to catch the action or expression of a nice shot. Please be considerate, however, and do not hog a large area of prime viewing space. Keep elbows in and tripods close. Stand firm while waiting, as you may be jostled on crowded days.

Most people appreciate a little thoughtfulness. If I’m at a window viewing area with my long lens propped against the glass, there’s enough room to allow a shorter child or two to stand in front of me without disturbing my camera position. Sometimes my camera will actually attract other people to come see what I’m photographing, but I have noticed most zoo visitors only spend a few minutes at any given exhibit before moving on.

When I arrived at this snow leopards area, he was sleeping. I waited for him to wake up and as he yawned I was able to capture what appears to be a fierce expression.

Prevent Condensation

If you move into a different temperature environment take care to protect your camera and lens from condensation. Going from cold outside air to a warm building housing tropical climates will cause your lens to fog. I like to keep a lens cap in place for at least five minutes after entering to allow the camera time to warm up. I keep a lens pen and a lens cloth handy, as well. If the outside air is bitterly cold, I tuck my camera into my coat as I walk to the tropical buildings to help keep it warm and reduce condensation.

Get to Know Zoo Staff

Try to get to know zoo personnel and other regular photographers as they may be generous with inside information about best times for photographing specific animals. I have discovered a whole little sub-culture of regular zoo photographers who are friendly resources of information, anything from advice for camera settings to gossip about the zoo animals.

Eliminate Distractions

When editing your images, don’t be afraid to crop close to reduce or eliminate fencing, zoo visitors, or other distracting factors. I often choose to convert the image to black and white to avoid distracting colors from things like painted zoo enclosure backgrounds.

Black & White Conversion

If your favorite animals are napping or not on display, you might want to try getting shots of zookeepers or volunteers as they do their jobs in the zoo. If you’re a regular visitor, you may want to consider getting small inexpensive prints of your best shots and giving them to the respective zoo personnel next time you see them.

About the Author:
Sue Lindell is an amateur photographer who credits joining a local camera club for learning how to practice with a purpose and discovering her passion for photography. Further examples of her work can be found at http://ift.tt/16DSpPs.

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Video: Meet the Nikon D500

It’s really here. The wait for the D300’s successor has been a long one, but the Nikon D500 has officially arrived. So what does the D500 bring to the freshly-revived flagship APS-C lineup? We break down just what’s new and notable in our video overview.

Articles: Digital Photography Review (dpreview.com)

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Return of the Cormorants

The return of the cormorants to Southern Ontario is in full swing and over the weekend I spent a couple of hours at Hamilton harbor photographing them.

NIKON 1 V2 + CX 70-300mm f/4.5-5.6 @ 234.5mm, ISO 800, 1/2000, f/6.3

Sometimes I wonder why I make the trek down to the harbor since I already have captured thousands of images of these birds over the past few years.

NIKON 1 V2 + CX 70-300mm f/4.5-5.6 @ 208mm, ISO 250, 1/2000, f/5.6

All it takes is a couple of minutes with a camera in my hands before I appreciate, once again, how much fun it is to capture images of these large birds in flight, or of them taking off from the surface of the water.

NIKON 1 V2 + CX 70-300mm f/4.5-5.6 @ 167.5mm, ISO 640, 1/2500, f/6.3

There is a large nesting colony of cormorants adjacent to Eastport Drive which makes them very accessible, although one needs to be mindful of the traffic on the 4-lane road. For many photographers a 300mm zoom lens is long enough to capture some decent images. This makes the location ideal for amateur photographers who don’t have the money to invest in expensive, long telephoto prime lenses.

NIKON 1 V2 + CX 70-300mm f/4.5-5.6 @ 170.1mm, ISO 720, 1/2500, f/6.3

Many bird enthusiasts like cormorants because of their somewhat prehistoric appearance.

NIKON 1 V2 + CX 70-300mm f/4.5-5.6 @ 228.9mm, ISO 720, 1/2500, f/5.6

Since the birds are plentiful this time of year, Hamilton harbor is one of my favourite places to do some photo coaching with folks. The location affords them lots of opportunities to photograph the birds at their nests, in flight, and on occasion taking off from the water.

NIKON 1 V2 + CX 70-300mm f/4.5-5.6 @ 228.9mm, ISO 640, 1/2500, f/5.6

Cormorants use a ‘double leg pump’ as they try to build up sufficient speed to propel themselves off the surface of the water.

NIKON 1 V2 + CX 70-300mm f/4.5-5.6 @ 191.8mm, ISO 800, 1/2500, f/5.6

Some interesting wing and leg positions can be captured, especially when using continuous auto-focus with subject tracking at a fast frame rate.

NIKON 1 V2 + CX 70-300mm f/4.5-5.6 @ 215.5mm, ISO 280, 1/3200, f/5.6

Visiting during the morning on a sunny day is ideal since the sun will be at your back. This provides good lighting on the birds which helps capture some of their feather detail.

NIKON 1 V2 + CX 70-300mm f/4.5-5.6 @ 215.5mm, ISO 720, 1/2500, f/5.6

At the present time the birds are busy with nest building and repair so the opportunities to capture images of them carrying nesting material in their beaks abounds.

NIKON 1 V2 + CX 70-300mm f/4.5-5.6 @ 126.4mm, ISO 280, 1/2500, f/5.6

On the weekends there are usually a number of photographers staking out their turf along the guardrail so arriving early can provide the best sightlines.

NIKON 1 V2 + CX 70-300mm f/4.5-5.6 @ 300mm, ISO 360, 1/2000, f/5.6

The birds were very active during the morning I was there and I filled a few 16GB cards during my two hour visit.

NIKON 1 V2 + CX 70-300mm f/4.5-5.6 @ 180.6mm, ISO 250, 1/2000, f/5.6

I used a Nikon 1 V2 along with a 1 Nikon CX 70-300mm f/4.5-5.6 zoom lens to capture all of the images in this article. I shot hand-held using centre-weighted average metering, AF-C at 15fps with subject tracking, Manual settings and Auto-ISO 160-3200.

NIKON 1 V2 + CX 70-300mm f/4.5-5.6 @ 201.1mm, ISO 450, 1/2500, f/5.6

The period from mid-April to late June is typically the best time to photograph cormorants at Hamilton harbor. Once the chicks are fully fledged the colony begins to dissipate.

If you’d like to see more cormorant images you can click on the following YouTube video:

Article and all images are Copyright Thomas Stirr. All rights reserved. No use, adaptation or reproduction of any kind is allowed without written permission. Photography Life is the only approved user of this article and if you see it reproduced anywhere else it is an unauthorized and illegal use.

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Black and white landscapes: how to make a monochrome masterpiece

Turning your colour photos into a black and white landscape is a great way to add impact, drama and emotion to your scenes. Landscape photographers (read The 10 Commandments of Landscape Photography – and how to break them) have traditionally gravitated to mono using the traditional darkroom.

However, today it’s a lot less hassle and relatively easy to get great results quickly in the digital darkroom using photo editing software such as Adobe Photoshop CS and Elements.

Our Photoshop tutorial below will show you how to use the numerous sliders within the Photoshop black and white conversion palette so you can learn how to fine tune your black and white landscape when photo editing (find out the 6 photo editing steps every photographer should know).

The Black and White tool works by enabling you to vary the luminance levels of eight individual colour ranges independently. Here’s how…

How to use the Photoshop Black and White tool for mono landscapes

Step 1: Use the sliders
Drag a colour slider to make the grey tones of that colour range darker or brighter. The strip above shows how light the tone will be.

Step 2: Be more precise
Click within your image and drag to the right or left to lighten or darken those tones. Click Preset Options to save your greyscale mix.

Black and White Photo Editing Tip!
Be cautious when making mono conversions as radical shifts can quickly lead to serious quality issues, such as halos, blocking, noise and banding.

For this reason it’s crucial to keep an eye on your image at 100% magnification when you make changes.

Black and White conversion palette explained

 

NOTE: If you found this chart above helpful, simply drag and drop it on to your desktop to save a larger version of this infographic as a handy reference the next time you’re editing photos. We have a lot more photography cheat sheets like this one, as well.

 

Photoshop Elements’ Black and White tool
As with CS, Elements has an in-built Black and White tool, and while it’s lite in comparison and doesn’t have an Adjustment Layer option, it’s still a powerful asset. To access it, go to Enhance>
ConvertToBlackAndWhite.

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Is This The First Selfie Stick Photograph?

Ah, the selfie stick. And here we were thinking this was a new invention! Taken in 1934, Helmer Larsson and his wife, Naemi Larsson, show true human ingenuity as they pose for a portrait together in Wermland, Sweden, using a literal selfie stick. I think this is the first photograph I’ve seen where a selfie stick doesn’t make the user look like an absolute tool.

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Landscape and Nature Photography Tips

You have found the perfect location and the view in front of you is breathtaking, you take some photos and then get them developed. What you have taken fails to live up it the view you remember, everything is a bit lifeless! Does this sound familiar? If it does then here are some basic tips that will transform the way you take photos. Before long you will be printing them, framing them, hanging them, and showing them off to anyone that comes to your house.

“Cemetery Point Sunrise” captured by Torrey

Get up early

The best light for taking landscape photography is early morning or just before sunset. When the sun is lower in the sky it gives a better, less harsh, quality of light that will give you good starting point for your photo. Photographers often call these times of the day as the ‘magic hour’. From previous experience I prefer to take my photos at sunrise, there is something about being up early and making the extra effort that seems to focus me into taking a better picture.

Rule of thirds

This is one of those things that once shown it you will never take a picture without considering it again. So what you have to do is imagine that the viewfinder is split into three both horizontally and vertically (like a noughts and crosses board). The idea behind this, with landscape photography, is that you align the horizon with the either the top or bottom horizontal line. When you start taking photos many if us put the horizon in the middle of the photo and you will be amazed just be following the rule of thirds how this will improve your pictures.

Get out there and explore

It may sound obvious but so many of us stick to the same locations. Go online and look at some maps and try and spot somewhere new to go. Or even better go and buy a map and try and find some locations that may offer some good terrain to photograph. Pack up your camera and go for a walk, sometimes you the perfect location is just round the next corner!

“Bien-Ke-Ga15” captured by Trandinhkhiem

Discover filters

If you only can afford a limited number of filters, they can after all be expensive by the kit and they often get forgotten about and you never get round to using them. Then get yourself a polarizing filter and put in your camera bag and start experimenting. You will be amazed at the difference it can make, the lovely blues you will get from the sky and the reduction in glare is amazing. The colours can appear to be more intense both onscreen and in print.

Depth of field

This involves using some of the settings on your camera that you may have been afraid of before. I say this as it is how I was before getting a lesson, automatic mode was the setting for me. That is until I was show about things a few simple setting that everyone should experiment with. Admittedly you are going to need a tripod to use as this setting as the shutter speed will mean that you may blur the photo if not.

So what do I mean by depth of files and how to put this into practice? Well normally when you take a landscape either the foreground or the background has to suffer in terms of being slightly out of focus.

“Between Seasons” captured by Richard Vier

For example you have interesting valley in the distance you wish to focus on, but there is also a point of interest in the foreground. You are able to give both these elements the sharpness they deserve by utilising the aperture setting; by using this you can achieve the result of everything being sharp in the image. Try using f 22 and you could find this working really well for you.

About the Author:
Colin McDonald wrote this article on behalf of Brooks, a wedding photographer based in Norfolk Virginia.

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Nature Photography: Tips for Great Cloudy Day Photos

Nature photography relies on your sensitivity to the natural light above all else. You have surely heard that for good landscape photography, you generally want sunny conditions, early or late in the day when the light is low and soft.

“Desiccated” captured by Great Salt Lake Photographer

However, this does not apply to every situation, and busy lifestyles do not always allow us to choose the conditions in which we take our photos.

Have you ever planned and set aside a day to get out and practice your nature photography, only to wake up to grey, cloudy skies? You are not alone, this happens to us all; professional and beginner alike. And of course when you are traveling, you often only have one chance to take your photos before moving on, so you have to make the best of the situation as you find it.

Photographers, don’t despair. There are many situations that suit cloudy skies just fine; in fact, there are some situations when cloudy skies are the best option for a good nature photo. Here are just a few situations that you could explore when cloudy weather threatens to derail your photography outing.

#1. Wildlife Photography (Pets and People, Too)

Bright sunlight can be a problem when shooting wildlife. In the middle part of the day, the sun can create heavy shadows which make exposure difficult, and rob your photo of essential colour and detail that gives the subject its character. Worst of all, sunlight can create shadows on the face of your subject. As you know, the most important element of a good wildlife photo is the eyes. If the eyes in your photo are lost in shadow, the personal connection with the subject is lost.

Animals do not like looking into the sun any more than you do, so even early in the morning and late in the afternoon, when the light is softer, photography can be difficult. More often than not, you will probably find your subject turning away from the light.

“Colorado Elk Farm” captured by Naomi

If you take your photo on a cloudy day, you can capture your wildlife subject in soft, even light that allows perfect exposure without ugly shadows. There will also be less glare reflecting off shiny surfaces (a snake’s skin, a bird’s feathers, etc.) so your picture can actually appear more colourful.

#2. Sunset Photography

Clouds create a much more interesting sunset photo than clear skies. All you need is for the sun to break through the clouds as they cross the horizon. A good nature photographer learns to read the sky and try to predict what is coming. Often on a grey, cloudy day you will notice that the only patch of clear sky is far away near the horizon. If that is the case, you can go looking for a good location and set up for your sunset photo.

With a bit of luck, there will be several breaks in the clouds before the sun goes down. If so, you could be on the spot to photograph spectacular sunbeams, a truly wonderful effect that every nature photography hopes to capture.

“Sunset from Zomba” captured by David Hobcote

Like all things in nature photography, all the planning in the world means nothing without a bit of luck. You may get your photo all set up, only to see the gap in the clouds close and your chance of a good photo disappear. Persistence wins in the end, so keep trying and from time to time you will end up with some breathtaking sunset photos.

#3. Rainforest Photography

When the sun shines brightly through the rainforest canopy, it creates patches of light and shade that make perfect exposure next to impossible. You simply can’t manage the contrast in these conditions.

Cloudy weather is actually the best way to take good rainforest photos. Some would say the cloudier the better, because if your rainforest is high enough to be in the clouds, you can capture some very atmospheric misty effects in the forest.

“Glow” captured by Martin Massie

I live in South East Queensland, so I am close to both the beach and some fabulous rainforest. My rule is: If it’s sunny, go to the beach. If the weather is grey and cloudy, grab your camera and head for the rainforest.

I hope that next time you wake up to cloudy skies, you will not let that stop you from getting out there to take some great nature photos. As your experience grows, you will find it easier to read the light and know what sort of photography suits the conditions. Until then, practice, practice, practice!

About the Author:
Andrew Goodall writes for http://ift.tt/SHTHe0 and is a nature photographer based in Australia. He manages a gallery in Montville full of landscape photography from throughout Australia.

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Eclectic Images from a Morning Street Walk

From time to time I like to go out for a walk with a camera and create a small challenge for myself. This morning it was walking a few blocks up one side of a city street, then down the opposite side, while capturing a few images along the way. Unlike many photographers I never take images of people when I am out on a street walk as I am much more fascinated by what people create…and tend to leave behind as a legacy.

NIKON 1 V2 + 10-100mm f/4-5.6 @ 44.2mm, ISO 200, 1/125, f/5.6

Initially I am usually draw to signs of all different types. The plague above was imbedded in the sidewalk. It is something I’ve been asking myself every morning for well over five decades. As I get older I’m likely asking the question for a different reason.

NIKON 1 V2 + 10-100mm f/4-5.6 @ 31.9mm, ISO 200, 1/800, f/5.6

I love to find things that make me think, like a bit of philosophy.

NIKON 1 V2 + 10-100mm f/4-5.6 @ 46.1mm, ISO 200, 1/800, f/5.6

Which, of course, covers all kinds of approaches to life.

NIKON 1 V2 + 10-100mm f/4-5.6 @ 58.3mm, ISO 200, 1/320, f/5.6

And, some that remind us that life is a relative experience.

NIKON 1 V2 + 10-100mm f/4-5.6 @ 35.3mm, ISO 200, 1/1250, f/5.6

Many make me smile and remind me of hobby pastimes.

NIKON 1 V2 + 10-100mm f/4-5.6 @ 80.5mm, ISO 200, 1/100, f/5.6

Style can be found in the most unusual of places.

NIKON 1 V2 + 10-100mm f/4-5.6 @ 27.2mm, ISO 200, 1/250, f/5.6

Artwork on buildings always intrigues me and I enjoy finding murals of all types.

NIKON 1 V2 + 10-100mm f/4-5.6 @ 12.1mm, ISO 200, 1/125, f/8.0

It is refreshing to know that the creativity of the human spirit is alive and vibrant.

NIKON 1 V2 + 70-300mm f/4.5-5.6 @ 120.9mm, ISO 160, 1/4000, f/5.6

I often will capture images through store windows, looking for dramatic lighting…

NIKON 1 V2 + 10-100mm f/4-5.6 @ 92.8mm, ISO 200, 1/125, f/5.6

or splashes of colour.

NIKON 1 V2 + 10-100mm f/4-5.6 @ 10mm, ISO 200, 1/200, f/5.6

Eventually I am drawn to buildings…

NIKON 1 V2 + 10-100mm f/4-5.6 @ 72.2mm, ISO 200, 1/250, f/5.6

and their beautiful details.

NIKON 1 V2 + 70-300mm f/4.5-5.6 @ 72.1mm, ISO 200, 1/125, f/5.6

The artistry of stained glass always draws my attention…

NIKON 1 V2 + 10-100mm f/4-5.6 @ 58.3mm, ISO 200, 1/640, f/5.6

as do the angles and symmetry of structures.

NIKON 1 V2 + 10-100mm f/4-5.6 @ 79.1mm, ISO 800, 1/20, f/5.6

Geometric shapes are particularly appealing to me and I often find myself lost in the shapes and angles I find around me.

NIKON 1 V2 + 10-100mm f/4-5.6 @ 14.4mm, ISO 200, 1/50, f/5.6

I also love high contrast things…

NIKON 1 V2 + 10-100mm f/4-5.6 @ 67.6mm, ISO 160, 1/60, f/5.6

or everyday items that are rich in detail.

NIKON 1 V2 + 10-100mm f/4-5.6 @ 17.1mm, ISO 160, 1/160, f/5.6

Repeating patterns act as a magnet and draw me near.

NIKON 1 V2 + 10-100mm f/4-5.6 @ 35.3mm, ISO 160, 1/1250, f/5.6

The stronger the repeating lines or patterns…the more dramatic and compelling they are to me.

NIKON 1 V2 + 10-100mm f/4-5.6 @ 56.2mm, ISO 160, 1/50, f/5.6

Sometimes I will play with common things like a steel bench, shooting at different angles to create a somewhat abstract image.

NIKON 1 V2 + 10-100mm f/4-5.6 @ 38.8mm, ISO 200, 1/320, f/5.6

I enjoy creating simple compositions that extend lines from one element to another.

NIKON 1 V2 + 10-100mm f/4-5.6 @ 75mm, ISO 160, 1/50, f/8.0

One of my great joys is working with angles and shapes to create the illusion of something that is not there in reality, except in my mind’s eye.

NIKON 1 V2 + 10-100mm f/4-5.6 @ 100mm, ISO 160, 1/500, f/5.6

Nostalgia can often be found during a walk…like a brand from my teenage years…

NIKON 1 V2 + 10-100mm f/4-5.6 @ 67.6mm, ISO 200, 1/800, f/5.6

or a reminder of what used to adorn the top of my head…before most of them jumped ship!

NIKON 1 V2 + 10-100mm f/4-5.6 @ 37mm, ISO 160, 1/800, f/5.6

A street walk reveals character that is demonstrated by rust and age…

NIKON 1 V2 + 10-100mm f/4-5.6 @ 37mm, ISO 160, 1/30, f/5.6

or by mismatched human attempts at repairs.

NIKON 1 V2 + 10-100mm f/4-5.6 @ 72.2mm, ISO 160, 1/50, f/6.3

Character is found in artistic bricklaying – a skill that is sadly dying away in many cities.

NIKON 1 V2 + 10-100mm f/4-5.6 @ 65.9mm, ISO 200, 1/800, f/5.6

I often wonder what happened inside the buildings I pass.

NIKON 1 V2 + 10-100mm f/4-5.6 @ 25.7mm, ISO 160, 1/80, f/6.3

The truth always seems to have a way of revealing itself – peeling back attempts at disguise.

NIKON 1 V2 + 10-100mm f/4-5.6 @ 76.4mm, ISO 160, 1/30, f/6.3

Invariably towards the end of one of my walks something will leap out at me and compel an image, causing me to think. Was the hubcap discarded and of no more use…or is it simply waiting for the next journey to begin? If there is a new journey – where will it lead?

Article and all images are Copyright Thomas Stirr. All rights reserved. No use, adaptation or reproduction of any kind is allowed without written consent. Photography Life is the only approved user of this article. If you see it reproduced anywhere else it is an unauthorized and illegal use.

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