Don't take these photos (or even act like you might):
in or near airports (especially of
facilities, personnel, or procedures)
of soldiers, police, or game wardens (unless you ask permission)
of military, police, or park service vehicles or installations |
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Don't follow the rules (except the one
above). Photography is all about having a "good eye" for a shot . .
. sometimes that means breaking all the rules. |
| Practice. Practice. Practice. |
| Wait. Wait. Wait. |
| Take a LOT of shots.
Many professionals take 99 shots for every one they keep. I average
about twice that many! |
| Ask your guide/driver if the vehicle can be moved
if you want a different shot at your
subject. Sometimes they know the best angle to see the subject -after all, this is their
profession! |
| Always respect the other photographers
in your vehicle, trading places for good shots
and avoiding getting in each other's way. |
| If you have a really great photo opportunity, take several shots at different settings
or different compositions -especially if you are unsure about the situation. One of them
is likely to turn out OK. |
Don't take photos of the local people unless you have their permission to do so -it is
often considered a breach of etiquette to do so.
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Click on either image to enlarge it |
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On
the other hand . . . people in public areas should expect to have
their photos snapped as part of the "public scene" |
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| Remember to square your photo to the horizon or other natural point of reference.
In
other words, don't slant the photo . . . unless you are
making an artistic statement by doing so. |
| Avoid putting a single subject in the middle of your photo. |
| Animals
and people should be looking into the
center of the photo frames, not out of the
edge of the photo. |
If you are unsure about composing your photo, remember the
RULE OF THIRDS
Divide the
field you are shooting into thirds across or thirds up
and down (or both, like a tic-tac-toe grid)
Use the lines to place horizons,
shorelines, cliff edges, groups of people, etc. along a "third" rather
than centered or too close to the edge of the frame
Place primary subjects at
one of lines or at the intersection points
of the tic-tac-toe grid
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Click on either image to enlarge it |
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This
photo follows the rule of thirds. Note that key features of
the zebras are aligned with the grid lines and/or the intersection
points. |
If you're
still unsure (not everyone can play tic-tac-toe . . . or even
wants to), the trust the "golden proportion." The golden proportion
(or "phi") is seen everywhere in nature and our brains seem to be
programmed to recognize and appreciate it. Thus, GO WITH YOUR GUT on
composing a pleasing photo. But the KEY is to think about the
composition and try different arrangements . . . don't just snap away. |
| Keep your camera as steady as possible -especially if you are using a telephoto lens.
Use a tripod or monopod if you ca, or support your camera on the vehicle. Ask the driver
to shut off the engine while you're taking a long-distance photo. Say "steady"
just before taking your shot to warn other passengers not to move in the vehicle, then say
"OK" when your shot is taken. |
Get
too close (or too far
away). Sometimes a closer view than usual will produce a striking
image. It never hurts to try whacky things in photography (unless
its illegal or puts you in danger . . . meaning don't try this with wild
animals unless there's a safe barrier). Skillful use of a zoom lens
can "put you close" while also avoiding danger.
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Click on image to enlarge it |
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This
image of an elephant is dramatic and appealing. It has the
added advantage in this case of implying huge size. It was
taken with zoom lens from a safe distance. |
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Sometimes poor lighting
is the best lighting. Silhouettes or glaringly bright images can
convey a message that "proper" lighting cannot. I've found that when
lighting conditions prevent a "perfect shot" I take a shot anyway and find
that "it turned out great" anyway.
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Click on image to enlarge it |
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This
shot of a lioness in an acacia tree at sunset in the Serengeti Plain
of Tanzania was taken with the hope that despite the extremely low
light on my subject, I'd get something I could use. Turned out
to be a very dramatic photo! |
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Use a "fill" flash if needed. Using a flash to fill in shadows on a sunny day
can bring out details that would otherwise be lost.
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Click on image to enlarge it |
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Jenny & Michella would have been
dark figures, with no faces visible at all, without "fill flash" on
a sunny day in the shade of a tree. |
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On sunny days, use a lens hood or your hand to avoid "flare" on the photo from
the sun.
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Click on image to enlarge it |
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On
the other hand . . . sometimes lens flare adds drama to the image
(this lens flare was added by me in Photoshop) |
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| Clean your camera after every
outing. Really. Dust and dirt can ruin your camera and ruin
your shots.
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| For subjects that are
very dark or very light,
use the meter reading shown when you
point to a middle-toned part of the photo (green grass or leaves, gray tree bark) -refocus
on the light/dark subject and shoot at the meter reading for the middle-toned area (for
cameras with automatic light meters). |
| "Bracket" your photos. Shoot three photos of your subject: one at the meter
reading suggested by your automatic camera, one a half-stop higher, and one a half-stop
lower. In extreme lighting conditions, try more shots at half-stop increments. |
| Use the fastest exposure setting you can for subjects that are moving -unless you want
to create a blurring effect that emphasizes speed or movement (in that case, use a slower
exposure). |
| A polarizing filter can reduce glare
on ponds, lakes, and rivers. I can also deepen the
blue of the sky. |
| Colored or special effects filters can add striking touches
to your color photo. Or look
really silly. But how do you know, unless you try! |
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Read a book. Consider at the advice
of other travel and wildlife photographers. Or just look at the work
of others to get a feel for how different shots can be framed, lighted,
and so on.
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| Try taking a couple of rolls of black-and-white photos -sometimes you can get shots that
are more striking than if they were full-color. B-and-W films that can be processed in
C-41 (color) photo labs (where you take your film now!) are now available.
In Photoshop or other editing program digital images can be rendered
as monochrome for a similar effect. |
Frame your subject with objects that
emphasize distance or size or context. But also make sure that the
framing is not too distracting
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Click on image to enlarge it |
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The
chateau at Chambord is impressive all on its own, but can look stark
and unromantic without framing by tree branches, or as in this shot,
the boat pond. |
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| Keep records of what you shoot.
You may forget where or what you are shooting later when
you get them processed. Use a field guide to identify unknown animals that you forgot to
record when you shot them. |
| Prepare some sticky labels to put on your film
as you shoot it. It should have your name
and the number of the roll if you are keeping track of them.
Do the same with "digital film" (media cards) and batteries. |
Don't forget "the editing room" . . .
using traditional cropping and photographic enhancement (or Photoshop
software for digital or scanned images) you can create spectacular photos
(this IS NOT cheating . . . it's part of the art of photography and is
practiced by all the great photographers!)
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Click on image to enlarge it |
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This
photo of Granny's Kitchen at the foot of St. Patrick's Rock (Cashel)
was processed using a special effects filter in Photoshop that
brings out the surrealism of the original image. |
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| Share your photos with others on your
tour. I always like to receive
unusual or spectacular shots from tour
participants -if you'd like me to use them in my posters, web site, or
other publications, include written permission. And all the
tour
participants would appreciate a copy of photos that include them, or the whole group.
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