To a photography beginner, the gleaming complexity of a new camera seems to demand an arsenal of expensive equipment and a long legacy of training. This is a common misconception – beautiful, professional-grade shots are within reach to any with a mastery of the basic mechanics of photography.More
About Colin Smith
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Photographers and camera manufacturers do a lot of boasting these days about the high pixel count of their new DSLRs and mirrorless cameras. But how often have you heard anyone wax rhapsodic about the awesome dynamic range of a camera? More
It’s no wonder that landscape photography is so popular…
For starters, it’s accessible given that we’re surrounded by landscapes big and small that we can photograph.More
Everyone loves the cool technique of time-lapse photography, where time appears to be manipulated by using a frame rate lower than the rate used to play the sequence back. And while it required so much effort to record such in the past, shooting time-lapse has got a lot easier with today’s DSLRs.More
Night photography is a fascinating genre of landscape photography. You’re standing outside in total darkness, but the camera display shows something else: a starry sky and the beauty surrounding you.
Photographing the night sky isn’t quite as straightforward as one might want, though. In fact, it is in many cases quite opposite of ‘regular’ landscape photography. Using the ‘wrong’ settings might lead to complete black images, and from experience, a lot of frustrations.
To capture beautiful images of the night sky, you need to choose the right aperture, ISO and shutter speed. These are the settings you want to use:
Use an Open Aperture
While we tend to shoot with a narrow aperture for regular landscape photography (in order to achieve front-to-back sharpness), night photography requires a faster aperture.
Wide-angle lenses with a fast aperture such as f/2.8 are preferred for night photography but, unfortunately, they are often double the price of lenses with a maximum aperture of f/4.
That doesn’t mean that you can’t get good pictures with a f/4 lens, though. It just means that you need a higher ISO or slower shutter speed to get a similar result.
You Need a High ISO
Night photography is in many ways the opposite of regular landscape photography. During daytime, a low ISO is preferred due to less noise and grain. During the night, however, it’s often pitch black and using the same settings as in the daytime will result in, you guessed it, pitch black images.
That’s why we need to make some compromises.
Using a higher ISO means that the camera sensor is more sensitive to light and allows for a shorter shutter speed in order to get the same exposure. A high ISO also means introduces a significant amount of noise and grain to the image; which is why we tend to keep it as low as possible.
Depending on the moon phase and artificial light, I typically use an ISO between 1600 and 3200. In certain scenarios, I might get away with using a lower ISO such as 800 or 1000.
The Shutter Speed Shouldn’t Be Too Slow
Right now you might be asking: why can’t I just keep a low ISO and narrow aperture, but a very slow shutter speed instead?
The answer is quite simple.
A too slow shutter speed will result in blurry stars. Shutter speeds of several minutes, or even hours, are often used to create star trails.
To keep the stars sharp you need to calculate the maximum shutter speed for your lens. Luckily, there’s a formula! Take the number 500 (for full-frame sensors) or 300 (for crop sensors) and divide it by the focal length:
14mm: 500/14 = 35 seconds (300/14 = 21 seconds)
16mm: 500/16 = 31 seconds (300/16 = 18 seconds)
20mm: 500/20 = 25 seconds (300/20 = 15 seconds)
24mm: 500/24 = 20 seconds (300/24 = 12 seconds)
Use the formula above to calculate the maximum shutter speed for your lens to keep stars sharp. The use of a slower shutter speed will result in the stars appearing as blurry oblong trails.
By now you should have a fair idea of what settings to use the next time you’re out photographing the night sky, but let’s summarize:
While the exact settings will change from picture to picture, the ideal settings for night photography is a high ISO (typically starting at 1600), an open aperture (such as f/2.8 or f/4) and the longest possible shutter speed as calculated with the 500 or 300 rule.
Do you need to know more about your camera? Download an ebook from Taming Light Photography and discover the structure and settings of your DSLR.
Night landscape photography used to be a challenge and the low light can play havoc with your camera settings. But with the modern DSLRs today and a few tricks to learn, photographers already find the night time a great time to produce some great landscape images.More
Capturing the beauty of nature through photography might just be one of the most rewarding experience for both travelers and hobby photographers.
Seasons change every year and this cycle can provide you with unlimited photo opportunities to capture. But even if you are presented with tons of subjects to photograph, sometimes, you end up bringing home images that are less appealing.More
All of these photography mistakes have something in common. They are easy mistakes to make, and they are all easily preventable.
Why do we make such common mistakes over and over again? Either we’ve never been told why these issues are mistakes, or we simply forget when we’re in the excitement of taking photos.
The easiest way to prevent mistakes is to slow down, pay attention and make deliberate captures. No more spray and pray.
- Wrong White Balance
Forgetting to set your white balance causes color casts on your photos. They may be too blue or too orange. Skin tones look awful.
We’re often reminded that you can easily fix this if you shoot in RAW, and that’s mostly true. Of course, that doesn’t mean it’s always easy.
The easiest way to fix white balance in post processing is if you have a photograph with a neutral grey color in the same light. Then all you have to do is grab the eyedropper tool in Lightroom or Photoshop boom – you fix your white balance.
Of course, not every photo has a perfect neutral grey color in it. So we click something that we think looks close to a neutral color and then that’s close enough.
It’s much easier if you just set the correct white balance before you start taking photos. That gets you in the range. If you want to be more specific, start carrying a grey card with you.
You can create a custom white balance in-camera using this grey card, or at least use it in post processing with the eyedropper. Just remember to set your white balance or take a photo of this grey card when you change lighting conditions.
- Bad Horizon Lines
Nothing can ruin a travel, landscape or architecture photo faster than a horizon line that isn’t level.
It doesn’t matter whether you place your horizon high or low in the photo, but having a horizon that dips down to one side or another just screams amateur snapshot.
Your DSLR should have a mode to turn on an overlay inside the viewfinder. Most people use these for the Rule of Thirds. These lines give you a ruler to use for your horizon. Line it up. Make sure the horizon is level.
If you don’t have the guidelines enabled in your viewfinder, check your manual.
At the very least, use the top or bottom of your display or viewfinder to get the horizon level, and then lower the camera until you have the
composition you want.
Can you fix this in post processing? Sure. Lightroom makes it very easy. However, that will also crop out part of your photo, so be prepared to lose some detail if you wait until after the shot to level your horizon.
- Failing to Pay Attention to the Direction of Light
There are three aspects about light that photographers should understand:
You can’t always change these attributes, but you can pay attention to them.
The Direction of Light ought to be the easiest one to recognize. You can tell if it’s coming from the left or right, above or (oddly) below. You can see how the light falls on your subject and where it casts shadows based upon the direction of light.
So please, use that knowledge and observation to make better photos.
It’s annoying for your viewer when you take a photo of a person and there is more light on an ear or shoulder than on their face. You can fix this by moving your subject a few inches to take advantage of the light.
Maybe you’re photographing something besides a portrait and you can’t move your subject. That’s fine.
Can you walk around your subject to get to better light? Can you wait for a time when the light looks best on your subject? Hint: there’s a reason why so many photographers like to shoot at sunrise or sunset. They’re waiting for great light on their subject.
What happens when you can’t move your subject and the light never moves into a good position for your subject?
Then bring some off-camera flash or lighting.
If that can’t happen, then you don’t have a decent photo. Without good lighting on your subject, you don’t have a good photo.
Pay attention to the direction of light and you can create much better photos. Don’t think that you have to shoot everything head-on form the light. It’s fine to get creative with backlight, sidelight, and different angles.
If you aren’t sure what angles look great, start studying photos that you like. Pay attention to where the source of light is relative to the subject. You’ll develop a feel for what works and what doesn’t.
- Blurry Subjects or Poor Focus
Sometimes, you’re in a hurry and you don’t quite nail the focus. Maybe you’re shooting an event and there isn’t a chance to do it over. You got a shot, but the focus isn’t sharp.
What do you do?
Many people think they can fix it later in post processing with some extra sharpening. You know what that does?
It creates a blurry photo with some crunchy bits around the edges. In other words, it sucks.
Despite what you see on TV, you cannot add detail to a photograph after you’ve taken the shot. You can remove it, such as by adding blur. You just can’t make it in-focus.
Sharpening is a process that adds blacks to the edges to provide more contrast, a pleasing effect that we think makes photos look sharper. The problem is that it only works if those edges are clear and in focus when you capture the photo.
Adding blacks, or sharpening, a blurry photo just makes it look crunchy. There’s no saving it. Throw it away.
In some cases, you may be able to fix this while you’re still taking photos. Trying to zoom in to a photo on the LCD screen of your camera is often misleading.
If you can’t be sure while you’re looking at your subject on the LCD, take another photo. And then another one. Take a few. Your odds of getting a usable photo increase and your photography mistakes decrease when you have more choices. Check your focus with each shot.
As for those fleeting moments, you either catch them or you don’t. If you’re trying to photograph a breaching whale and you didn’t get the focus, then you don’t have a shot. Delete it and try again, or pretend you never got anything in the first place.
- Busy Backgrounds
There are three elements you can combine to make a beautiful photograph:
Screw up any of those and you may have a snapshot, but you don’t have a photo that makes you proud.
The most common thing to screw up is the background. So, pay attention to your backgrounds and surroundings.
Distracting elements will draw the viewer’s eye away from the subject. You want to eliminate distractions and distilled your photo down to a little as possible. When there’s nothing left to remove, then you can take your shot.
Sometimes the easiest way to eliminate a distraction is to move. Change your position. Re-compose the photo. A few inches can provide surprising results.
Get rid of the distractions in the background. Minimalism is your friend to avoid photography mistakes.
- Bad Cropping
Bad cropping happens when you cut off part of your subject or an element in your photo at an awkward angle.
Let me give you an example. If you’re going to take a full length portrait, don’t cut off your subject’s feet.
It just looks odd to crop someone at the ankles.
If you just can’t fit in the feet, then crop the person mid-thigh. Similarly, don’t crop off a hand at the wrist, or some other point that just looks awkward.
If you shoot a head and a neck, then give some more room and include the shoulders. A head and neck without a body is pretty creepy to me.
Not sure where to crop? Do your research and look at other photos and portraits. You’ll see what you like and what just seems awkward. The key here is to pay attention to the norms and avoid the awkward stuff.
What if you aren’t photographing a portrait?
The same rules still apply. A shot of a building just above the ground level is on the odd side, but you can get away with shooting up at a skyscraper from a low angle.
We have expectations of things that go together. Buildings don’t float, so we expect to see a sidewalk or something where you step inside. On the other hand, it’s not unusual to look up at a skyscraper without worrying that you can’t see the ground.
Include the things that you take for granted.
- Poor Composition
Most of us see things in 3D, but our camera can’t do that. So we have to use composition to add a sense of depth. Fake 3D.
The way you do this is to have elements in the foreground, middle and background. You don’t have to go overboard for depth. It can be quite simple, as in this photo below.
The table and reflection is my foreground. A wonderful Cuban woman who invited us into her home is the subject in the middle, and her kitchen appliances and utensils along the wall make up a background.
Simple and effective. The photo tells you who she is and delivers a sense of depth in a small space. She’s in a space where she belongs.
The people are going to either be minuscule foreground elements in front of a great photo of a statue, or the statue won’t be recognizable in the shot.
They’re too close together to capture on an iPhone.
Sometimes showing depth means adding space. Large background objects need to be far away from your subjects, who are closer to your camera. Trying to compress both subject and large background together is a recipe for disaster.
Remember, your background is there to support your subject, not dominate it.
- Bad Exposure
Exposure can be a matter of taste or style. Some images are supposed to be dark and others bright. Then there are times when you just screw up your exposure.
Don’t make a mistake and call it art.
Modern DSLRs have very good light meters inside these days. Trusting them to get a correct exposure generally works, and then it’s easy to tweak the exposure to your taste.
Poor exposure happens whether you use an automatic mode or manual exposure adjustment. It’s usually because you aren’t paying attention to the meter indicator built into your viewfinder.
Let’s say that you’re shooting in manual mode and you have your exposure just right for your location. Then there’s a change in the light, but you’re distracted by your subject or something else. Basically, you aren’t paying attention to your meter.
Maybe a cloud rolls over, or you move from outside to inside. Something changes the light and you keep on clicking.
OK, so you think the better way to go is with Aperture Priority or Shutter Priority. Set it and forget it.
Not always. Yes, you get more range using these modes, but you also open up other potential for exposure issues. Now you’re no longer using a consistent exposure from one shot to the next. Changing your metering by moving from a face to a dark shirt will change your exposure.
In other cases, you could move into different light that is beyond the range of the automatic exposure triangle. Maybe you need more or less ISO, or a change in shutter speed.
I’m not suggesting that there is a perfect mode. You just have to watch the meter reading to make sure you’re not allowing your exposure to go wonky.
As with focus, there are some things you can recover in post processing and some things you can’t. When your exposure is so bad that you lose detail in the highlights or shadows, you’re not going to magically get it back. You can do a lot these days with a RAW photo to reduce highlights and raise shadows, but there are limits.
- Boring Subject
Let me ask you a question.
Have you ever seen a photo of a person on vacation holding an object up to the camera because they thought it was interesting? If so, did you think it was an interesting photo?
Of course not. That’s because there is nothing interesting about a person standing there holding a vase or a fish. Maybe the item was interesting to them and they wanted a snapshot memory, but it’s a crappy photo because it means nothing to anyone else.
On the other hand, let’s say the object actually is interesting in it’s environment. Would you rather see the dead fish in someone’s hands, or a shot of it as they’re reeling in the fish and it breaks the waterline? How about a shot of the person reeling in the fish, the rod bent into a curve while your subject has an expression of excitement on her face?
Now it’s no longer a boring subject.
Still photos of dead fish aren’t interesting, but an action shot grabs you and brings you into the photo. Action, motion and expression add interest to your photos. Static objects mostly just seem boring. Especially if they aren’t even visually appealing static objects.
If you want to avoid boring photos, work on adding some emotion, action or sense of character into your subjects.
- Failing to use Post Processing Software
Do you have a friend who gets excited showing you a photograph that’s “straight out of the camera?”
If they’re JPEG, then your camera applied some post processing presets to tweak the colors and sharpen the images.
If they’re RAW, then it’s up to you to apply those post processing tweaks and sharpening. RAW isn’t a photograph. It’s a database that’s used to generate an image. You can manipulate it in a lot of ways, but the default result is flat, boring and needs sharpening.
All RAW images need sharpening. If you do nothing else, sharpen your RAW photos before you share them.
As for color tweaks, that depends upon your taste. You can use Lightroom or Photoshop.
If you’re sharing or printing RAW photos without post processing, then you’re not showing your photos at their best. This is one of those photography mistakes you can eliminate with a few seconds in Lightroom or other post processing programs.
Avoiding Photography Mistakes Isn’t Difficult
I’ll say it again, I’ve made every mistake on this list and plenty more. These mistakes happen when you aren’t paying attention to some basic details.
The easiest way to avoid these 10 photography mistakes is to slow down. Take your time. Craft your shot.
Every photographer eventually learns that in landscape photography, it’s about the landscape, not the equipment. So during your wanderings in nature, keep your eyes open, or take inspiration from other photographers. And for the places that you know are good, come back in good light conditions—during the sunset or sunrise.
You might find taking long-exposure landscape photos during vacations at the sea better than any other setting. You have fun all day, walk on the beach, and seek the right place for a great seaside photo. Once you find it, you just have then to go back and photograph it during the sunrise or sunset.
Let’s review the essential steps you need to take to create compelling long exposure images of landscapes.
It’s All About Location
The first step in creating a gorgeous long exposure image is choosing a landscape that is conducive to this kind of photography. Long exposures are ideal for conveying movement, so whatever landscape you choose, ensure that there is something in the scene that will indicate the passage of time – a river, a waterfall, waves crashing on the beach, or passing clouds come immediately to mind as ideal subjects.
Once you’ve identified a location, think about ways that you can incorporate static objects into the shot to give the moving element a greater feeling of motion. Boulders in a stream, for example, create a nice juxtaposition with the movement of the water as it rushes by. A building set in front of a sky full of blurred clouds works nicely as well.
Consider Your Timing
Because you’ll be working with long shutter speeds, lighting is a crucial consideration for long exposures. Shooting at dawn or dusk, before the sun rises and after it sets, allows you to extend your shutter speeds to highlight the movement discussed above, but do so without overexposing the image.
Alternatively, you can use a neutral density filter to make daytime long exposures a possibility. A neutral density filter blocks out light such that you can utilize a longer shutter speed. Neutral density filters come in a variety of strengths, from those that extend the shutter speed to a few seconds to those that make hours-long shutter speeds a possibility. As a general rule of thumb, a 10-stop neutral density filter is a good starting point for daytime long exposures.
When thinking about timing, you also need to consider the best time of day or year to capture the photo you have in mind. For example, a beach shot of the waves coming in would be best at high tide, so you’d need to know the tide schedule to capitalize on that. Springtime is when most thunderstorms occur in many areas, so to get a long exposure of a passing storm, you’d need to plan to be most active during that time of year.
Get Geared Up
Aside from a neutral density filter, you’ll need a few more pieces of gear that are essential to a successful long exposure image:
- A camera body with the capability of long shutter speeds, including bulb mode. A DSLR or mirrorless body is a good choice.
- A wide-angle lens, which allows you to capture more of the scene, and thus more movement as well. This isn’t to say that you can’t create long exposures with longer lenses, but wide-angles are simply preferred.
- A sturdy tripod that will remain absolutely still throughout the exposure. A tripod with a center column hook is a great idea because it allows you to hang a bag to add weight, thereby making the tripod more stable.
- A remote shutter release is essential because it allows you to trip the shutter without actually touching the camera. This reduces the chance of vibrations, which can ruin a long exposure photo.
Quick tip: Remove your camera strap from the camera body before mounting it to the tripod. The camera strap can catch any breeze that’s present and cause the camera to shake during the exposure.
Dial in the Settings
This is the most complicated aspect of creating a long exposure because every situation will be different. That being said, because the shutter speed is prolonged, no matter what the situation, you’ll need to adjust the aperture and ISO setting to ensure you get a well-exposed image.
Generally speaking, this means using the lowest possible ISO setting (which is usually 100 or 200). Remember that ISO determines the sensitivity of the camera sensor to light, so using the lowest value means that the sensor is minimally sensitive. Additionally, by using the lowest ISO you can minimize digital noise in the shot, which looks like grain in a photo taken with film. The less noise there is, the higher the image quality will be.
Use the Smallest Aperture Without Sacrificing Sharpness
You’ll need to step down the aperture as well. However, don’t use the lens’ smallest aperture. As you approach a lens’ smallest aperture opening, diffraction, which causes blurriness around the edges of the frame, starts to occur. Instead, opt to shoot as near the lens’ sweet spot (it’s sharpest aperture value) as you can. This is usually in the f/8 to f/11 range, which is plenty to give you a nice depth of field while maintaining sharpness throughout the photo.
Manage Movement With Shutter Speed
The movement indicated in the long exposures you create depends on the shutter speed. For greater indicated movement, use a longer shutter speed. For less movement, like in the image above, dial in a shorter shutter speed.
Of course, the shutter speed you use will depend on the subject as well. Very fast-moving subjects, like passing cars on a highway, might be blurred with just a one-second exposure. Conversely, a slow-moving stream might require several seconds just to get a little bit of movement.
The point here is that the shutter speed you use will require a good bit of experimentation. Each subject will be different, and your creative vision will change as well. Just be prepared to try a wide range of shutter speeds before you begin to get an idea of what will work best for the shot.
Shoot in RAW
Where a JPEG is a lousy format, a RAW file maintains all the information collected by the camera’s sensor. By shooting in RAW, you’re doing yourself all kinds of favors when it comes to post-processing because you’ll have much more data to work with. What’s more, you can make non-destructive edits to RAW files, so no matter what you do in terms of processing, the original RAW file will be unchanged.
Better still, RAW files open up many more possibilities for processing. You can adjust white balance, levels, curves, saturation, brightness, and correct for lens distortion, among other things, right from the RAW editor.
Mind the Composition
Once you arrive at your selected location, take a few moments before setting up your gear to think about the composition of the shot. This involves a number of considerations:
- Where is the movement occurring? If you’re photographing water, take a lower shooting position such that you can incorporate as much water into the shot as possible. If you’re photographing the clouds, adjust your shooting angle such that you can capitalize on the sky.
- What elements of interest can you include? As mentioned above, adding static elements to the shot will help enhance the feeling of movement. Look for natural or manmade objects that you can incorporate into the scene to add interest, like the dock and the boat in the image above.
- Consider the foreground. Foreground interest will help draw the viewer’s eye into the shot. Leading lines, like the dock in the image above, are especially powerful foreground elements.
Quick tip: When composing the shot, think about how you’d compose it if it were a traditional, static image. Meaning, watch your framing to ensure there aren’t any elements like tree limbs or street signs protruding into the shot. Look at the background to ensure it isn’t distracting. Examine how any shadows fall across the scene and if they enhance or detract from the shot as well.
But, also consider how movement will occur as the shutter is open. In that regard, you have to anticipate where the object will be when the exposure ends. For example, if clouds are your chosen subject, don’t just frame the shot based upon where the clouds are at the outset – think about how far the clouds might move over the course of the exposure and frame up the shot accordingly.
Process the Image
Though you should strive to get everything right in-camera, a little post-processing can go a long way to enhance the look and feel of your long exposure landscape images. Consider enhancing colors by boosting saturation or vibrancy. Adjust the levels and curves to create an image with a more robust dynamic range. If you find areas of the shot are too bright or too dark, try your hand at dodging and burning to create a more well-exposed image throughout. A little sharpening might be in order as well.
Ultimately, however, what you do in post-processing will be a personal preference that is as much your own creative spin on photography as it is to compose the shot in the field. Make the adjustments that you feel are necessary and create the image that you want to create. By following the steps outlined here, you’ll be well on your way to making long exposure landscape photos that match your creative vision, whatever it might be.
Not enough? Learn more tips from the renowned photographer and owner of Taming Light Photography in a photography adventure like no other! This June 2019, Colin Smith takes a group to Tuscany to teach everything he knows about landscape photography and post-processing. Don’t miss the opportunity. Register now on www.taminglightphotography.com.
Road trips have been hailed as one of the greatest pastimes ever, and something that everyone should do at least once in their lifetime. It is a great way to experience a lot in a short span of time, and as a photographer, there will be many opportunities and moments awaiting your perspective.More
While learning how to use your camera and further develop your technical skills is an important factor in improving your landscape photography, there are several more aspects involved in this process. Landscape photography is more than just technical skills; it’s about vision, creativity, connection and so much more.More
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With so many great places in the world to take stunning photos, why should you pick Tuscany for your next photography adventure?
Misty shadows slow-dancing across quiet green valleys at sunrise; walled medieval villages that sit high on hilltops overlooking the vineyards and olive groves that grace this beautiful land – Tuscany is all this and much, much more.More
Your relationship with photography is like a real-life romance with a real person. Deliberately ignore it and the fire starts to flicker out and die. Stop tending to it and you will eventually forget what made you fall in love with it.More
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Photography Classes for beginners are overrated, overpriced, and aren’t helpful at all.
These are what most self-proclaimed photographers these days tell to enthusiasts who are trying to pave their own way professional photography too. Let’s acknowledge that there are masters of photography that, indeed, were self-taught, but not everyone can have the same story as theirs.More
There are a lot of classes and workshops people can enrol to these days to help them learn more about photography. But what could be a better way than to experience photography in actual through a photography tour?More
Hold on to an iPhone, take a couple of shots using its high-tech camera and innovative filters, and we all feel like we are already great photographers. But in reality, success in a career like photography comes after a long journey. We all have to be beginners at some point who will make mistakes too.More
The Top Seven Photography Locations In Venice
Venice is one of the most beautiful cities in Italy. The Top Seven Photography Locations In Venice with its priceless artistry and historic heritage.
It is a unique city, built entirely on the water with impressive architecture and a magical scenery.
It is a photographers haven. If you happen to love history, architecture, churches, water or bridges(common you’ve got to love one of these at least).
The photographic possibilities in Venice are so many in that regard.
With all these pulchritude, this picturesque city tends to be overcrowded with tourists virtually all year round making it somewhat difficult to take shots without interference.
However, here are seven top spots where you can take astonishing pictures in the lovely city of Venice.
Spot One Of The Top Seven Photography Locations In Venice is Piazza San Marco:
- This spot is often known in English as the St Mark’s Square is the main centre of tourism in the city. It has a lot of amazing architecture adorned on the cathedral and in the piazza surrounding it. The square is overlooked by the great church of Saint Mark on its eastern side. The whole west façade of the church is adorned with beautiful marble decorations, great arches and Romanesque carvings around the central doorway. To get unique shots you might want to wander off a bit since this place is usually crowded and the lighting not ideal for shooting most of the time. The best time to take shots is in the early morning or early evening when the square is usually deserted and the light is truly magical.
Spot Two Of The Top Seven Photography Locations In Venice is The Gondolas in St. Mark’s Square:
- With the island of San Giorgio Maggiore providing a nice background. Photographing this area especially during the blue hour just before sunrise or after sunset will produce really spectacular images. Sometimes during the autumn and winter months, fogs might cover up the San Giorgio. This occurrence, in turn, gives rise to the beautiful unique scenery.
Spot Three Of The Top Seven Photography Locations In Venice is Palazzo Ducale, San Marco:
- The Palazzo Ducale which is known in English as the Doge’s palace is an architectural beauty. This lovely palace sits in the St. Mark’s square and is next to the St. Mark’s Basilica. The walkway around it features columns from the Venetian gothic period. Inside the former palace now turned museum, you can take shots of the beautiful courtyard which offers an alternative view of the saint mark church or just take shots of the beautiful exterior architecture.
Spot Four Of The Top Seven Photography Locations In Venice is Museo Storico Navale Di Venezia:
- Strolling along the Riva Degli Schiavone, a beautiful wide–opened promenade between St. Mark’s square and the waterfront, from the Palazzo Ducale to the naval museum at sunset is something every photographer should do. While strolling you’d come across at least six bridges offering views down a myriad of canals which lie next to the main waterway with views over to the island of San Giorgio Maggiore. Although some of these areas might be a little bit crowded once you walk past the Venetian mask stands and cafes, the areas become relatively deserted allowing you the opportunity to take uninterrupted shots, you can try out some slow shutter shots on the moving water and gondolas with the skyline of the city behind, shots like this usually turn out stunning.
Spot Five Of The Top Seven Photography Locations In Venice is Ponte Dell’accademia:
- The Ponte Dell’accademia is the bridge that joins together Dorsoduro and San Marco, a beautiful scenery appears once you’re on the bridge facing back eastwards towards the Piazza San Marco; gondolas gliding by alongside polished wooded water taxis, the St. Maria of salute basilica and the historic facades of buildings that appear to float over the grand canal.
Spot Six Of The Top Seven Photography Locations In Venice is Scuola Grande di San Rocco:
- The Scuola Grande di San Rocco is just behind the basilica dei frari. This building is noted for its collection of paintings by Tintoretto, so if you’re a lover of art this is a destination you should visit. It is said to have some of the finest works of Tintoretto.
Spot Seven Of The Top Seven Photography Locations In Venice is The Campanile in Piazza San Marco:
- This is the bell tower of St. Mark’s Basilica. It is one of the most recognizable symbols of the city, taking isolated shots of this landmark to make for good photos although most people tend to incorporate it into photos while taking shots of the border scene. To take lovely shots of the city, you can climb the tower to get an over-the-city view.
Top Seven Photography Locations In Venice There’s a whole lot more to see and shoot at Venice, there are amazing photos at every corner down every ally. So usually, wandering a bit is the best way to enjoy all the beauty the city has to offer.
Athens, the capital of Greece is one of the oldest cities in the world spanning over three thousand four hundred years. When people think of Athens they usually associate it with Greek mythology, Plato’s Academy and Aristotle lyceum but there’s a lot more to this beautiful city that meets the eye.
Athens is a city rich in culture and history, it is a city that portrays a congruent mix of an ancient city and urban civilization. Its architectural beauty, lovely topography and serene weather conditions make it one of the best photography destinations. To get the best out of your trip as a photographer there are a few key locations to visit, but first, of, you have to be in Athens at the right time.
The months of April, May, September and November are the best months for visiting Athens, the weather is usually favourable during this period and the probability of encountering lots of people is low thus allowing you the opportunity to take shots without interference.
Most photographers tend to focus on the Acropolis alone but if you want to really explore the full potential of this city here are a few other places including the Acropolis you can explore:
Why Acropolis One of the Six Places to Photograph in Athens
This is one place people associate with Athens with the most. Situated on a rocky surface just above the city, Acropolis is an ancient citadel containing remains of several temples. At the entrance to the Acropolis lies a monumental gateway called propylaea, to the south of propylaea, is the tiny temple of Athena Nike and at the centre, the famous temple of Athena Parthenon. Due to its location, the Parthenon temple is the most visible from any place in Athens, you can either take shots of this temple within the Acropolis or from its surrounding. If you’re looking to take a close up photo, you should consider taking the shot from east to west as this angle produces a better image of the temple. If you decide to take long shots of Acropolis you can visit the neighbouring Filopappou which gives you the best view of Acropolis, you can also take photos of the row of statues at the temple of Athena.
Why Monastiraki Square One of the Six Places to Photograph in Athens
Monastiraki is a flea market neighbourhood and a home to lots of clothing boutiques, souvenir shops, and speciality stores. It’s the major shopping district in Athens and an important tourist attraction. Located at the north from acropolis, this area projects a combination of ancient remains and the modern side of the city, there are numerous restaurants scattered around fenced archaeological sites full of relics. The Thisidiraki mosque and the Acropolis which lies high on the horizon provide a nice backdrop for street photography.
Why Parnitha One of the Six Places to Photograph in Athens
This area would be of more interest to wildlife photographers. Parnitha is a densely forested mountain range north of Athens. It is the highest on the peninsula of Attica and a designated national park protecting the wildfowl and also a native habitat to its red deer which has been around since ancient times. Parnitha has other places of interest like the fortresses which were built on the mountains, a typical example would be the Phyle fortress. It is best to photograph these areas during the early hours of the morning. An unsaid advantage of these locations would be the sparse population of tourists around these areas.
Why Agora One of the Six Places to Photograph in Athens
The ancient Agora of Athens is located to the northwest of Acropolis and bounded on the south by the hill of Areopagus, it’s basically between Acropolis and Monastiraki, this area has so many photogenic structures like temples, churches, and statues. In between these structures are also a lot of green bushes, the most notable structures are the South Stoa and the Hephaistos Temple. It is preferable to take photos of this area during midday.
Why Lycabettus One of the Six Places to Photograph in Athens
This stunning limestone hill close to the historic centre of Athens is about 300 meters above sea level making it a perfect observing and panoramic point for photographers, from this point it is possible to shoot Acropolis with the sea and port in the background and also capture the chapel of Saint George.
Why Plaka One of the Six Places to Photograph in Athens
This town is situated right below the east side of Acropolis and is known mainly for its small streets filled with a mixture of luxurious villas and old decaying houses surrounded by nice lovely flowers. There are also houses sprayed with graffiti and modern architectural buildings like the Acropolis museum.
Lastly, other sites like temple of the Olympian Zeus and the Arch of Hadrian, or the Syntagma Square which is considered the center of modern Athens dominated by the view towards the parliament building, and the Panepistimiou street a major boulevard in Athens are all great spots from which you can capture the true beauty of Athens as well.
You love photography. You live it, you breathe it, and it’s all you can ever think of doing in your life. And you’re good – better than some of the other people you know who also love photography.
4 Top Security Tips Whilst Traveling With Your Camera
Security, security, security, Security Whilst Traveling With Your Camera. These days, talks about security never seem to end: