Tie-ups can boost M’sia-Thailand tourist traffic
PHUKET (Sept 3, 2010): Travel and tour operators in Malaysia can collaborate more with their counterparts in southern Thailand to boost tourist traffic between Penang and Langkawi in Malaysia and Phuket.
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Schlagle Library Butterfly Festival soon
The F.L. Schlagle Library and Environmental Learning Center will host the fifth annual Lawson Roberts Butterfly Festival. The festival will be held on Saturday, Sept. 18, from 10 a.m. – 2 p.m. It’s free and open to the public. Those who attend will get an “up close look” at butterflies and caterpillars. During the event, participants will attempt to capture and then release butterflies. An …
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Malaysia, Thailand can work closer to boost tourist traffic
PHUKET: Travel and tour operators in Malaysia can collaborate more with their counterparts in southern Thailand to boost tourist traffic between Penang and Langkawi in Malaysia and Phuket.Tourism Minister Datuk Seri Dr Ng Yen Yen said Malaysia and Thailand had a huge potential for such partnership as both had their…
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Lastest Photography Event News is a post from: Your complete Guide to digital cameras, reviews and news

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Buy Cheap Fuji Cameras

Lately, more and more people are becoming practical and frugal. If they’re into photography, they do their best to pursue their hobby but at the same time save. That is why some photographers are looking for cheap Fuji cameras.

By opting for these models, they get to save their money and get the job done. It’s like shooting, erm, hitting the birds with one stone. But then again, they also have to make sure that the quality of the cheap Fuji cameras that they are using is what they deserve and is their money’s worth.

The first question that one must ask when looking for cheap Fuji cameras is what exactly are you looking for? Are you looking for a digital camera or a film camera?

Notice that these kinds also vary when it comes to prices as well as uses. It helps to have a budget and stick to that budget. One can check out the stores or go online.

There are cheap Fuji cameras that may be within one’s budget but for you, it may be expensive, so cheap is still relative.

If you are a photographer and you are doing landscape, then we suggest that you get the best cheap Fuji cameras that can get the work done for you. The good thing about cameras that use film and aren’t digital cameras is that in terms of photography, they give better results.

However, if one is investing in photography and knows that this is a hobby that he would do in the long run, then we suggest that you get the best Fuji camera that you can early on. However, if that is not possible then one can settle for cheap Fuji cameras that get the work done nonetheless.

There are so many models to choose from and one wouldn’t have a hard time deciding what is meant for him.

Manufacturers of Fuji really made sure that the cheap Fuji cameras are available for their potential customers. They know that in order for them to get more customers in the long run, they should show that they still deliver despite the cheaper rates.

Therefore, it means more people will go and buy their cheap cameras from them. This will increase their sales.

Budding photographers should not worry anymore about additional expenses of the hobby that they are engaged in.

They can just go and get the cheap Fuji cameras because it has been proven to be one of the best models that they can use in their endeavor.

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• ISBN13: 9781554071951
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A master photographer’s guide to capturing the natural landscape — written for hobbyists and pros. Step-by-step instructions, pictograms, and before-and-after comparisons provide a complete course in capturing a landscape’s natural beauty. Renowned photographer Tim Fitzharris reveals foolproof techniques he has used through decades of fieldwork in a wide variety of settings. His own outstanding examples are accompanied by detailed information on the equipment, exposure, film, shutter speed

Rating: (out of 38 reviews)

List Price: $ 24.95

Price: $ 15.39

More Photography Society Products

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I am really into sports and portrait photography. any tips

take lots and lots of pictures, you can always delete them afterwards and you'll get better from your mistakes.
try lots of different angles, etc. that way you can learn what looks best
most of all have fun, that way you'll enjoy it more

Make sure that you know how your camera works so well, that you do the right things instinctively when you need to work quickly.
Photography is all about using light to make a picture. when you are taking a portrait learn about the light effects that work for you. Study the work of other photographers and decide what you want before you have your chosen model in front of your camera.

get a decent long lens for the sport to get more of the action…

70-250mm

for portraiture…

50mm f/1.8

They're two quite different disciplines and the best advice I can give you is to get the right camera equipment (ie fast shutter speed on the camera, tripod maybe to steady it) for the sports to get clear images, and good lighting equipment and background drapes etc for the portraits as lighting is one of the most important factors for successful portrait photography.

Hope this helps, good luck with your photography!

You know that people write books about this stuff. So why should I waste my time rewriting something someone already has written, because it's so open ended I could literally spend days writing my answer if I wanted to.

Switching the camera on always helps!

When taking a pic of a stationary object (even some moving objects) like people, trees, mountains etc… don't center the main object, you may want to, but if you place it off-center it will make people really pay attention to the background too, not just one object in the middle of a photo

Interchangeable lenses
Flash sync connector – so you are not limited to the manufacturers flash options
Good tripod
Pistol grip for when you are outdoors and/or motor drive for fast shooting sequences
Good resolution for digital cameras – 10Mpixels plus
Image stabilization for digital cameras
Good lenses with a diaghram – important for handling depth of field and focus stuff
I can't think of any more right now

Don't forget to take the lens cover off.

practice, parctice and practice some more. its how people become good at what they do and make it look easy

Good Photography tips?

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Best books to teach you photography techniques and basics. ideas?Their are so many good books out there. it really depends on what you are looking for. I enjoyed Tom Ang’s books when I was starting with photography but now I enjoy books that do discuss technique but in the context of a specific image.

In particular, Joe McNally’s books (if someone was going to try and list the greatest living photographers, Joe would make the list) are amazing, as is David Ziser’s book, Captured by the Light (he is a wedding photographer, but the techniques he describes are fairly universal).

For straight up photography learning (what shutter speed, aperture and ISO are and how they relate etc.), there are so many, the fundamentals have not changed and you might be able to pick up a good one used for cheap.

But I find now that so much information is available online. The Strobist blog is the best place anywhere to learn how to light, for example. Other amazing blogs are Chase Jarvis’s, Zack Arias’, Joe McNally’s and Scott Kelby’s.

That said, a good library of books you enjoy returning to as a reference or for inspiration is invaluable. One amazing resource is peach pit press. they publish many books online that, for a reasonable fee, you can access. you can review hundreds of books and then decide which ones you would want to purchase (I have no affiliation).

Best of luck and keep reading and learning!

What are the best photography teaching books?

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This is a small insight into the work of Jarrad Nelson, looking a variety of work over 2009. – created at animoto.com

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Willie Waddell holds up the award-winning photo she took in North Africa, entitled “African Dawn,” which shows thousands of birds flying to a tree in the early morning light.

Photo by Shelley Lipke, Lookout

Amateur shutterbugs looking to take their photography to the next level don’t have to register for expensive classes. the Victoria Camera Club has 180 members ready to share their experience and knowledge with like-minded people. the club offers everything an up-and-coming photographer could ask for including workshops, seminars, photo processing, lessons in the digital darkroom and field trips. Whether you have a point and shoot camera or a Single Lens Reflex (SLR), this club provides a reason to take out your camera and start shooting, and anyone can join. “If I could sum up the Victoria Camera Club in one word it would be opportunity,” says member Willie Waddell. “It gives us an opportunity to access information and get to know people who share the common love of photography.” During their recent bi-weekly fair Weather Tuesday outing 12 members of the club used CFB Esquimalt as their subject. “It was really interesting shooting at CFB Esquimalt,” said Waddell. “It was a venue that I hadn’t been to before, and since my passion is travel photography it was a different type of shoot.” normally on field trips photographers break apart from each other to shoot subjects and then regroup at the end, but on the base they stuck together as A/SLt Marisa Hughes guided them around and explained different aspects of the base while the photographers, with lenses pressed to their faces, snapped shots. “Trying to keep 12 photographers together was like trying to herd cats, but she did a great job,” said Waddell. “It was very interesting to learn about the base.” Every second Tuesday the club hosts a field trip at a new location. they go to places like Bastion Square, Mount Finlayson and sporting events to allow members to experience different subjects of interest and reflect on their images. Every second weekend, they take field trips further afield such as Botanical Beach, Spokane, and Christie Falls. there is no charge to take part in the field trips unless there is a gated admission fee, and the photographers car pool to keep costs down. “Before a field trip we are always given a list of possible things to photograph and the type of equipment to take. It’s fun and it’s a great way to learn,” said Waddell. Members share tips, methods and individual approaches to all facets of photographic arts through the club. “We have people who are semi-professionals within the club and they teach us editing and lighting and focus on a variety of other topics,” she said. “There is a lot of expertise in the club and it’s a great way to get to know people.” “We also take part in national and international photography competitions. I shot a photo in Mali called ‘African Dawn’ two winters ago. It was entered into the Camera Club year end Digital Nature category and won Image of the Year – judged by outside judges. the image was then entered along with 19 others into ‘Natures Best’ competition sponsored by the Smithsonian. seven, including mine, were chosen for exhibit and the Victoria Camera Club won International Camera Club of the Year. We were presented with a plaque. I don’t care if I ever make a nickel out of photography I do it because I really love to do it.” an annual scavenger hunt with a different format each year keeps the members on their toes. “Last year we had to take 12 shots in different places and were only allowed to shoot one image at each place. We received points to do them in order and points for being the fastest and the best. We have several meetings a month to host speakers and we have a members’ night where we submit images to different categories,” she said. anyone with a solid interest in photography?is encouraged to join the club. Annual membership fees for the club are $65 for an individual and $85 for a family.?The fee includes a subscription to “Close-Up,” the club’s newsletter. “I recommend that anyone who is interested should go to a few meetings and see if they think they can get something out of it. I went several times and then decided that this would be really good for me,” said Waddell. Visit the website?at victoriacameraclub.org for details and attend one of the planned field trips coming up or come out to the first meeting of the year at 7:30 p.m. on Sept. 9 at Norway House (1110 Hillside Avenue). the theme for this meeting is “What competition judges look for in winning images.” three meetings a month are held on the second, third and fourth Thursday September through April from 7:30 – 9:30 p.m. at Norway House. the Victoria Camera Club was established in 1944 from the union of the Victoria Photographic Society (1941) and the Civil Service Camera Club and then was registered under the B.C. Societies Act in 2009.

<a href="http://www.lookoutnewspaper.com/top-stories.php?id=314tag:news.google.com,2005:cluster=http://www.lookoutnewspaper.com/top-stories.php?id=314Mon, 16 Aug 2010 22:34:50 GMT 00:00″>CFB Esquimalt, Home of the Canadian Pacific Fleet

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Aurora youths learn the value of photography
Darius Finley didn’t need to look far for subjects to shoot with a borrowed digital camera this summer. The 12-year-old Aurora middle school student found material right outside his front door as he captured images of a vibrant sunset, the contrast of shadows and sunlight on an oak tree and the smooth face and bright eyes of a young relative. Photos by Finley and 12 other youths were featured at …
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Coming Events
An RAOB GLE Buffaloes group has formed locally and is looking for new and old members. Contact Jeff at 604-946-4794 for more information.
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A PRE-SCRIPT…

I am sitting in Port-au-Prince, Haiti right now trying to work on this guest blog post, but all I can think about is that across the street from me at this very moment, not far from the collapsed National Palace and Ministry of Finance, taking up every available green space, there lies rows and rows of improvised tent cities. “Tent” is a generous phrase. these are mostly tarps strung loosely over sugarcane framed boxes. Discarded cardboard and worn vinyl. It’s hot and it’s raining. Water trucks show up nearly everyday to throngs of people clamoring for their allotted 700 ml. it is chaos, it is overwhelming, and most surprising, it is the new normal.

I say all of this only to remind us that in so many parts of the world tonight families will sleep on the ground without shelter. For many, clean water is a rarity at best. many are hungry. many are sick. the world is an impossibly beautiful place and photography is such a conduit to truly seeing that beauty. But the truth is that when you really start to see, and I mean really, really open your eyes to the world around you, you find dichotomy. Beauty and suffering seem to co-mingle. I only bring this up so that we may not forget the silent majority in this world that lack even the most basic of elements. Water. Food. Shelter.

A BRIEF INTRODUCTION…

Now I know that you don’t have any idea who I am. And for that reason alone, I am thankful that you are reading this post. I, like many have said before me, am honored that Scott and Brad have asked me to share with you today. I appreciate that they give the opportunity to those of us who may not be recognizable names. most of us, as media professionals, hobbyists, semi-pros (or whatever moniker we operate under) labor away in the “shadows” struggling to get better, to create compelling images, to tell moving stories… we are explorers, adventurers mining the deep well of craft and experience. I know that it can feel like no one knows who you are or appreciates all the work that you put into developing, but trust me, it is worth all the effort.

When someone connects (and I mean really connects) to something that I’ve made, then everything just feels right in the world. there really isn’t a feeling like it. I believe that media professionals endeavoring to create things that cause people to pause and reflect more deeply on their lives and what they believe is important. When I think about it like this, I find that I don’t need to be a well known creator to find satisfaction in my work and in my life. I hope that you feel the same way.

A BRIEF HISTORY…

Five years ago, I began my professional life. I graduated school and essentially flipped a coin. Los Angeles for filmmaking or Nashville for music. You see, I still didn’t have a clue what I specifically wanted to do. the only thing that I knew is that stories were intriguing to me. I had a sneaking, yet-to-be-solidified belief that the chief function of art (of media, of literature and film and painting and photography) is that of conveying story. to help us to see the world not just as it seems, but as it really is. I knew that I wanted to be a part of this long tradition. I just had no idea the form (discipline) that it would take.

Through an interesting series of events, I threw my few belongings in the back of my car and was Nashville bound. I had the opportunity to work in a recording studio for an incredibly generous producer/engineer who took me on as an assistant though I had absolutely no audio training. I got coffee, I met and worked with some of my favorite bands. I wrapped cables. I worked late. I learned how to start and to finish a project. Then one day, a few months after starting in the studio, the first record that I ever worked on showed up in the mail. Standing there in the front yard, album in hand, leafing through the cover art for my “assisted by” credit, I knew that music would be part of my professional life.

My camera was my constant companion during my time in the studio. I used it for making portraits, documenting, and generally experimenting with storytelling through image-making.

Then, through an interesting series of events, I found myself on the back of a Tuk-Tuk flying through the streets of Siem Reap, Cambodia, camera in hand, on my way to shoot under the direction of Gary Knight (a VII photographer). it was a ten day, life-changing experiment in visual storytelling. I created a photo essay over that ten days by wandering down streets and dark alleyways. I moved in and out of homes, shops, and shacks. I saw extreme poverty butting up against extreme wealth. it was overwhelming and exhilarating to really see the world outside of what was familiar. I knew right then and there, standing on a busy street corner during the Angkor Photo Festival looking at my work projected for the town to see, that storytelling through still photography would be part of my professional life.

I bounced back and forth between audio and stills for the next couple years…

My producer boss in Nashville used to tell me over and over again; “the key to this job? When someone asks if you can do something, always say yes. just use the time between saying yes and the gig to figure out how to do it.” Now of course he was exaggerating, but the general idea had already worked its way into my professional life. I said yes to the first video gig I was offered. I didn’t even own a DV camera. I had to scrounge up gear from friends and rental shops, hire an editor, and consult with some friends to help me with deliverables. it was terrifying. yet, not long after that initial yes, somewhere outside of Chicago, sitting in the back of a tour bus making shot lists waiting to interview the band, I was suddenly taken with the three dimensional nature of storytelling through moving images. I knew that this kind of storytelling would be part of my professional life.

This began the next few years of bouncing back and forth between audio, still, and moving image projects…

“FINDING YOUR VOICE”…

I’m not sure if you dread the “so, what exactly do you do?” question as much as I do, but given that I make records, shoot still images and create motion projects, the question tends to come up.

I’ll be at a party or dinner or something (I live in a big city in Texas, so most of the guys are engineers for oil an company, or lawyers for an oil company, or in a service business selling to an oil company), and guys are standing around “talking shop.” Finally someone turns to me and says, “so what exactly do you do?” In the second before I answer, a loop begins to play on repeat: should I answer photographer? Yeah, but what kind of photographer? Am I a documentary photographer? Sort of. I did just shoot that gig in Uganda. But I guess I’m shooting that album cover soon. Music photographer? Wait, but should I answer audio engineer? Yeah, I have tracked 5 albums this year. But I’m currently shooting a couple promotional videos right now. I guess I should say video. No wait, I’m starting that record next week… All I usually manage is some form of, “Uh, I’m a media producer…”

It isn’t that this isn’t accurate, it’s that it just feels incomplete. I haven’t found that succinct, tied-up-with-a-bow-on-top, elevator pitch length answer that both impresses and provides enough information to satisfy the question asker. really though, I dread the question because it hints at a much more foundational issue. not what do I do, but rather who am I as a media professional. In other words, what and where is my “voice?”

As a photographer/storyteller, I can’t tell you how many times I’ve been told that you have to find that one thing that you have to say that no one else can. the thing that is yours. the “ah ha” moment, the place where style and substance intersect. And to be totally honest, I feel haunted by this statement. it isn’t that I don’t believe it. I do. I absolutely do. I know that our “voice” is what allows the images/songs/films/media we make to truly connect with people. Sure, we might make fancy looking stuff, but it is YOU, your voice, the way that you see the world, that is that undefined secret ingredient that makes stories stick. Your “voice” is what causes us to connect, regardless of whether or not we can relate to every facet of the story that you are telling.

Yet, given that my work is a mash-up of my experiences, my taste, my mood, my history, my age, I often stumble over questions. how do we know when we have found our unique “voice?” how do you know when you’ve arrived at that place? do you ever arrive? how do I know when I am just making something derivative? I see the Boy (and Girl) Wonders of the world seem to figure out this “vision” part while they are still teenagers. I’m not intimidated by their talent because, amazingly, talent alone won’t get you there. And for that matter hard work alone won’t get you there either (though you obviously need generous portions of both). it goes beyond that. I shake my head in disbelief because it seems that some people are able to stumble upon their style, their substance, their sense of who they are and what they want to say so quickly. Because, for me, sometimes it seems that the only thing that I can really articulate is that I know, but know that I want to be a storyteller.

AN EXPLORATION IN SMALL VICTORIES/FAILURES (PERSONAL PROJECTS AS YOUR VOICE)…

This year, I have been taking stock of these first five working years. I’ve been thinking about where I have been and where I’d like to go. I’ve been thinking about what I’ll say next week at that party when the question inevitably comes up. I realized that I’ve really spent the vast majority of my time shooting paid gigs. I have been bouncing from one client to the next, one discipline to the next, meeting expectations, pitching ideas that fit within their directive, bringing their vision to life. It’s been wonderful practice, but without that “voice” guiding you, you tend to say yes to anything, regardless of whether or not it is a good fit creatively, financially, or professionally. I finally put it together that the sage advice from the pros to not wait for a paid gig and to shoot personal projects has less to do with practice, per se, but more to do with the fact that often it’s through the shooting and exploring and experimenting (and the inevitable missteps) that you begin to find your “voice.”

When you execute a personal project (and not just start, but FINISH it), you are forced to make creative decisions without someone else’s money or timeframe or direction dictating the choices. In other words, you don’t have anything to hide behind. Personal projects begin to reveal the patterns that lead you to this elusive “vision” that we all have tucked away somewhere.

For me, I realized that I had been neglecting this part of my creative work, and so I have set out on an exploration of sorts. an exploration in occasional, small failures. I’m making room for attempting things beyond my reach and for working without worrying about getting paid (what a novel idea!). 2010 has been the year of “personal projects” for me. I wanted to quickly share three of them with you in the hopes that you might join me on the journey:

The anywhere Portraits:

This idea is simple. anywhere is a good place to make a portrait. to set up a backdrop on a sidewalk in a random town to make portraits of those passing by isn’t a unique idea. I’ve seen Avedon’s street portraits. I’ve seen Irving Penn’s Worker portraits. I’ve seen Clay Enos’ Street Studio. But for this particular project, that wasn’t the point. the point is to set up and to practice being brave. it is terrifying to ask someone who is busy going about their day to stop. especially if that particular someone doesn’t speak the same language (or particularly if that person is flying down a busy street in Manhattan).

I have put up a backdrop in cities across Texas, SoHo, Uganda, Mexico, the Dominican Republic, and all over my neighborhood. I am rejected at least five times to every portrait that I make. Occasionally that rejection feels pretty personal. I give each of the subjects a card with a portrait number and an email address. if they email me later, I send them a copy of the photo. Nearly everyone who stops for a photo sends me an email. the interactions I’ve had throughout shooting for this project have been completely worth any of the rejection experienced.

Canon and Vimeo – beyond the still:

I am sure that you are probably aware of Canon’s beyond the still film contest running the past several months on Vimeo. it was conceived by Vincent LaForet as a way to provide a structured outlet for still photographers to explore the world of narrative filmmaking. In case you are unfamiliar with the contest, LaForet was supplied a still image by Canon and then created a 3-4 minute short film to expand on that image. He then ended his piece on a still image. That final still was downloaded by hundreds of participants who then used it as the jumping off point for their own 3-4 minute narrative short film (ending with their own still). Judges (some Hollywood guys with impressive resumes) select their five favorite films for the round and the Vimeo community votes on the winner. Then the chapter winner’s final still becomes the starting place for the next round. (There are six user submitted chapters).

I knew from the first moment that I heard about the contest that I had to enter. of course I was terrified, but it was a perfect opportunity to try my hand at narrative filmmaking. besides, being afraid of something is usually a good indication that you should go for it. I called some friends and batted story ideas around. I called friends to be my actors. Slowly a script emerged, a plan formulated. I had no idea what kind of coverage I needed. how do you shoot a two page dialogue sequence? how do you film in such a way as to ensure you have enough to cut together in the end? I ended up attempting a chapter and completely missing the deadline. I mean, not even close. I put in a ton of work and just completely missed it.

I had bitten off way more than I could chew and it left me with a decision to make. should I start over for another chapter? or perhaps I should just let this one be a lesson learned through failure. I was frustrated with myself. I had to regroup. I called my friends back, re-wrote, re-shot, re-edited, re-scored and this time, made deadline.

And a funny thing happened… I won the chapter. I was completely taken aback. Is the film perfect? of course not. I see all of the little mistakes. I see everything that I wish that I could change. However, I made something that I could stand behind. And now, sometime this fall, I will get to go make the final chapter with Vincent and an entire crew. I’ll get to watch and work with the big boys.

*A caveat: the above short film is part 5 of a continuing narrative, so if you feel lost, don’t be alarmed. the other winners’ films can been seen here.

SerialBox Presents:

I have long been thinking of ways that I could bring something to the table that combined my facets of experience in the music world. I share a studio space with a few other guys that is located within blocks of many of the major mid-sized music venues in town. I suddenly had an idea. what if we invited bands that were coming through town to come to our place to record performance videos. All of us had Canon 5Dmk2 cameras with various lenses, grip, and lighting gear. My audio engineering work meant that I had access to plenty of audio equipment, as well as engineers to run it if need be (including myself). we decided to record the songs as multi-camera, multi-track audio (mimicking a recording studio set-up), one-take live performance videos. No overdubs and no pickups. I asked the bands to play different arrangements of the songs so that it wouldn’t quite be what you would hear at a normal concert and it wouldn’t be quite what you’d hear on the record. it could be a new point of contact.

I knew that we had a shot at making something really interesting, so I got on the phone and pitched and pitched and pitched. Finally we had a band bite and come in and play for us. it was intense. the band only had half an hour to track. we ran four songs, made portraits, nabbed a quick interview on tape. Then the dominoes started falling. All of a sudden we had recorded eight sessions and had to think about how to present the project. we just launched with part one of our Paper Route session. We’ll see how it goes…

IN THE END…

Now, every piece of work I have shown you today was made as “personal work.” I haven’t shown you anything that was made for hire, under the direction of a client, or to pay the bills… This is a small body of work I’m making time to create in the in-between moments. the paradox, of course, is that these projects are paying out enormous dividends in my paid gigs. I have a clearer sense of myself as an audio-engineer/photographer/filmmaker. As a storyteller. I really do believe that we are all Storytellers. the particular disciplines that we choose to endeavor in are tools in the service of Story.

The reality is that very few of us will ever be just photographers. these days, even the pros are often what I call hyphenated content producers. we must learn to create across mediums. we are photographers-entrepreneurs. we are photographer-filmmakers. we are insurance salesman-photographers. we are teacher-photographers. This isn’t something to run away from, but rather, we must learn to survive in this brave new world.

Think of your life experiences as tools in a tool bag. I engineer records. I make photographs. I write and direct films. not to mention all of the other life experiences I have been collecting. All the mountains I have stood atop, all the books I’ve read, all the road trips I’ve taken with friends. these all mysteriously add up to a unique “voice.” You have this voice and vision too. I don’t care if you sell insurance and shoot on the side. I don’t care if you are a wedding photographer who is beginning to shoot video. I don’t care if you are a photojournalist who is contemplating a buyout. I don’t care if you are stay at home mom who photographs flowers. there is that something that you (and only you) can say.

My opinion? these personal projects are one significant way in which we can undertake drawing that voice to the surface.

What are the tools that are in your tool bag? what are the projects that you are using to root around for this vision and voice?

I’d love to hear about them because trust me, we are all in this together…

Find me on twitter: http://www.twitter.com/ryanboothRead my blog: http://blog.ryanbooth.netLook at my photography portfolio: http://www.ryanbooth.netCheck out my music project: http://www.serialboxpresents.com

PS: thanks for reading. I know it was a marathon…

Scott Kelby's Photoshop Insider Blog » Photoshop & Digital Photography Techniques, Tutorials, Books, Reviews & More » Blog Archive » It’s Guest Blog Wednesday featuring Ryan Booth!

Scott Kelby's Photoshop Insider Blog » Photoshop & Digital Photography Techniques, Tutorials, Books, Reviews & More » Blog Archive » It’s Guest Blog Wednesday featuring Ryan Booth! is a post from: Your complete Guide to digital cameras, reviews and news

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Outdoor Photography in Bad Weather – Keep your equipment and yourself dry!

Let’s face it, the weather in most parts of the world is not always picture perfect. Where I live on the west coast of British Columbia, Canada we have our share of rain and what I like to call heavy mist. As a photographer what do we do to prepare ourselves for this?

On a recent trip to Botanical Beach near Port Renfrew on the west coast of Vancouver Island the weather was a typical heavy mist with occasional rain mixed in. Rather than putting the camera away and forgetting photography completely I took this opportunity to capture what in many ways is a unique landscape. All landscapes do not look like a Tahiti beach at sunset!

Keeping the camera gear dry while shooting is of course one of the primary concerns. While I don’t go overboard in buying raincoats for my gear I also don’t leave it sitting out on a tripod either. I try to change lenses under cover of trees or cliffs or when there is a slight break in the drizzle. Often I’ll wear a baggy raincoat that I can slide the camera under when I’m not shooting images and I will drape plastic bags over the camera if needed. What I don’t do is seal my camera gear in plastic or anything else that can’t breathe as I think this will just cause more issues with moisture. A little air circulation is a good thing! I try to have a light towel or in a pinch my tee shirt to wipe off the camera if a little too much moisture lands on it.

I’m a strong advocate of using your lens shade at all times and not just to shade the lens from sunlight and glare. These shades are also very effective at keeping rain off the front element of your lens or filter. It’s amazing how a few drops on your front element can make unpleasant blurred areas in your photos. If I do get drops or mist on the element I wide it off with a dry cloth or tissue and wait for it to clear. You have to be patient here as it may take a while! Lens shades can also save your lens if you are moving quickly and give the front of the camera a smack against a tree or rocks and this does happen, at least to me!

I really don’t worry too much about my camera bag getting a little damp but try to keep it closed as much as possible. On occasion I have slipped a garbage bag over my camera bag if the weather gets extremely ugly and while this works well for the worst of it, it also makes access to equipment very difficult. The harder it is to access your equipment and shoot the less likely you will be shooting photographs; trust me on this!

My biggest concern with equipment is getting it dry when I return to the vehicle or to my house. I find returning to a vehicle is the easiest as the temperature inside is about the same as outside so I tend not to get condensation. I wipe my gear off as well as possible, open up my camera bag so it can breathe and don’t think too much about it. As the vehicle warms up the air temperature inside slowly warms the equipment and condensation generally isn’t a problem.

Coming into a warm home or trailer is another issue however as condensation will form very quickly if a damp and cool camera is brought into a warm and dry environment. A few options work reasonable well. Generally I dry my equipment off the best I can outdoors and let it sit in a covered area for an hour or so. At this point I bring it indoors and haven’t had any issues. Another option is to dry the equipment as well as possible and place the items in plastic bags. When brought into a warmer environment any condensation should form on the plastic and once that equipment has warmed up to ambient temperature it should be fine. I’m a little skeptical on this as I have always thought I likely have rain clouds forming inside the plastic bags and this can’t be good! At any rate, in my many years of shooting I have only had major condensation issues a few times and while I have had anxious moments watching all my lenses fog over they have always dried out fine without lasting damage. Yes, I’m sure damage can be done but do your best with drying out your equipment and you likely will be OK.

What do you do if the weather is just so awful that you don’t want to risk your valuable photography equipment? I always come up with a few different options. My first is to shoot in the forest or another protected area and concentrate on close up photography and not the grand landscape. It’s certainly easier to protect cameras without heavy rain and wind. The second is to stay at home and wait for another day. While I hate to admit defeat, this does happen on occasion. The third for me is to find a warm cafe or pub and just sit the weather out for an hour or two. The weather often changes hourly and your photography day may have just been delayed a little.

Our equipment is surprisingly tough, get out there and shoot even when the weather isn’t perfect, you will be shooting memorable images that aren’t that common.

Outdoor Photography in Bad Weather – Keep your equipment and yourself dry! is a post from: Your complete Guide to digital cameras, reviews and news

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