Tyrifjorden is one of Norway’s largest lakes. Along its shores, I have found a spot that I have visited frequently over the past few years. It has become my favorite location for sunrises, especially during winter when the sun rises right in front of me.
My main objective in this article isn’t to provide an in-depth review of the Tamron 17–28mm f/2.8 Di III lens, but I hope to offer the reader a few insights in terms of how the lens performs from a landscape photographer’s perspective as a photographer who usually prefers to shoot ultra-wide-angle.
There is a plethora of very talented landscape photographers out in the field these days, both hobbyists and professionals alike. The following is a collection of some of them, and may you enjoy their talent, craftsmanship, and dedication to the genre.
Attaching the variable neutral density (ND) filter to a lens basically means that we have added a fourth dimension to our camera. The exposure triangle -- aperture, ISO, shutter speed -- has been expanded with a fourth variable with which we can play to achieve a desired effect or outcome. This opens up for new creative opportunities in our photography and also adds a lot of flexibility to our shooting.
For several years I had believed that shooting a medium format camera at high ISO would yield terrible results. Most likely there would be no point in trying, I thought. However, a few days ago I nevertheless brought the Pentax 645Z and the Pentax 25mm f/4 out into the darkness where the zoombies reign — in my imagination anyway.
Let's say I would like to enhance the stars in this Milky Way landscape photo. I could load the image into Camera Raw and add some Clarity at the risk of adding noise and artifacts to the night sky. Another way of doing it could be to use “Select Color Range” combined with a curves or levels adjustment. However, I often find that these methods don't yield satisfactory results.
I have often wanted to carry out global adjustments in Lightroom which target specific luminosity values in an image. Lately, I have discovered a way of achieving this. It is not as precise as, for instance, luminosity masking or blend-if masking in Photoshop, but yet it has the power to give an image that extra punch many of us are looking for in our editing.
Arlington, Texas, was long in the lead to become my family's vacation destination this summer. But sometime in May, we decided that we wanted to revisit Italy. Last time we didn’t make it to Tuscany, so there was no doubt that it would be the area to stay and explore.
In December 2014, I decided that I wanted to practice shooting the night sky in order to expand my photography skills. Of course, I made every possible mistake. My compositions were completely off, I severely underexposed or blew out the sky and the images were not sharp.
In this article, I'll discuss how I use lens filters in my landscape photography. Chiefly I use filters when I want to smooth the water in a waterfall, shoot long exposures, or balance the light in a scene.
Shooting directly into the Sun, whether it is sunrise or sunset, often results in some areas around the Sun getting clipped, and we get these rather harsh edges in our sky. Even when shooting bracketed or underexposing for the highlights, we may not achieve a pleasing result around the strongest light in a scene.
This article is not meant to be an in-depth review of the Samsung S10+. The review will chiefly discuss the cell phone’s camera capabilities from a landscape photographer’s standpoint.
To shoot directly into the sun is both challenging and fun. Challenging because it can be difficult to control the light and, not least, our images are very often marred by sun flare. One simple way of avoiding flare is to shoot an extra exposure with one finger or more obscuring the sun.
Occasionally when examining a RAW file I get a reasonably clear idea on how I would like the end result to be. In this instance, I had an inner picture of trees glowing from the sun, rather dark shadows, and a sky with nice color contrast.
To shoot medium format had been a longtime dream of mine, but I have to admit I didn’t know it would be such a mindblowing experience. The 51.4-megapixel Pentax 645Z arrived on the market in 2014 and was the first camera to ever exceed 100 points in the DxOMark sensor test. For some unknown reason, the score and review weren't published until 2017.
I can’t help but notice all those articles proclaiming mistakes we should try to avoid in order to become a better photographer. Admittedly, I have issues with such an approach. First of all: I hate the word “should”. Basically we “should” nothing. Secondly, there is not much learning in avoiding mistakes — we learn best from our mistakes and the more bittersweet they are the more carved into our memory they become.
It was in August 2013 that I by accident stumbled upon the red cabin and its surrounding lake. I assume the location has been photographed before my first attempts at capturing its inherent beauty and charm. Owing to the fact that the lake is a drinking water reservoir for a whole community, I am very reluctant to disclose its exact location -- in the hope of protecting it from Instagram trophy hunters.