Vogrin - Basics of Nature Photography

Milan Vogrin
Equipment
Cameras
In selecting a camera, first define what you want to do with it.
Nature is a broad genre and different subjects may require
different equipment. Some categories to consider are
macro / close-ups, scenics, wildlife, and birds. Fixed-lens
(point and shoot) cameras can be used for the first two but
are generally not well suited for wildlife and birds, and will
have limitations for any subject that you may find
frustrating as you progress.
A DSLR (digital single lens reflex) camera with
interchangeable lenses will give you versatility and the
ability to grow and upgrade over time. The instant feedback
provided by digital as opposed to film will vastly accelerate
your learning curve.
Tripods
A sturdy tripod is a necessity for the serious nature
photographer. For macro and scenic work, you need the
stability for fine-tuning compositions, as well as for long
exposure times. For wildlife and birds, you need the
support for the weight and size of the lens to achieve the
sharpest images. Look for a tripod that is capable of going
low to the ground, i.e., that has no (or short) center column
and no supports between legs that limit this ability. Ball
heads are generally preferred for shorter lenses and gimbal-
type mounts, such as the Wimberley head, are generally
preferred for super-telephotos.
From the hand
There are times for handholding, such as when shooting from
a motorized boat to avoid transferring the engine vibration
to the camera, or for flight shots of birds. For handholding,
a general rule of thumb is to keep shutter speed faster than
1/lens length. For example, with a 200mm lens, shoot faster
than 1/200 second. With vibration reduction (VR) / image
stabilization (IS) technology you can go a couple stops
slower than this.
To achieve best sharpness, support the lens with your left
hand under the barrel, tuck in your elbows, hold your
breath and squeeze the shutter gently using the muscles in
your finger and not those in your arms or shoulders.
 Flash
The need for flash, and type of flash, depends on your choice of
subject. It is not commonly used for scenic photography or many
wildlife subjects. Most bird photographers carry a flash along
with a “Better Beamer” Flash Extender to increase the reach of
the flash. For macro work, there are specialty flashes and flash
brackets that are used to get light into very small, close objects.
The pop-up flashes found on some cameras are not particularly
useful for most nature photos.
You take the photo, not the camera
Exposure: correct exposure

Achieving correct exposure is fundamental to making good
photos.
The camera’s meter assumes the scene is middle-toned, not
light or dark, and will give correct exposure for mid-tone.
But nature is full of subjects that are not middle-tone, such
as sunrises and sunsets, white objects in snow, black birds
on snow, white birds on dark bg.
You must learn to identify these situations and how to
compensate from what the meter indicates for settings.
Compensation is done differently depending on what you
are metering
 Shutter speed (exposure time) and F-stop (aperture)
Shutter speed is how long the shutter is open, and varying
this controls the amount of motion blur of a moving
subject.
F-stop controls the depth of field, or how much of the image
front to back is in focus. These are critical in all nature
photography; you will want to make these choices
consciously in your image. Make sure you know how to
operate these controls on your camera.
The size of the circle represents the size of the lens aperture – the larger
the f-number, the smaller the aperture.
Light
Light is another element that has important effect on the outcome

and artistry of an image. The type of light and color of light are
important factors in your image.
Light can come from a point source such as the sun or a flash. This
type of light has direction and casts shadows. The direction has a
huge impact on your photo.
When the light comes over your shoulder and directly illuminates
the subject, it is called front lighting. This type of light renders
the most detail in your subject and is commonly used for birds
and wildlife.
Light coming slightly from the side adds depth, dimension and
texture and can be very effective for landscapes or to create a
mood in the image.
Backlighting is the trickiest to deal with in terms of exposure but
creates drama and mood and can give very artistic results.
Light is constantly changing throughout the day, and can even
change minute to minute in conditions where storms are a factor.
You can greatly enhance your pictures by paying attention to the
light and how it is (or isn’t) changing.
The time of day also matters. In midday, cloudless conditions, the
light is bright and harsh. There are few shadows. Pictures taken
at this time of day tend to look flat and lifeless.
Early or late in the day, when the sun is lower in the sky, more of
the blue color is scattered by the Earth’s atmosphere and what
comes through is more orange / reddish, or “warmer.” Between
this warmth in the light and the dramatic shadows you get this
time of day, photographers refer to these times as “magic hours.”
Many landscape and nature photographers organize their day so
that they are taking pictures early and late, and midday they nap,
travel, or scout new locations. It may be a little extra effort to get
up and get out early, but it can be well worth it. This has benefits
if you like to photograph in popular parks or tourist locations, as
these times will be much less crowded than midday!
Diffused light, such as that on an overcast day or in open shade,
casts no (or minimal) shadows and so has no apparent direction.
This type of light is ideal for a situation where you want detail, as
nothing is obscured in shadow. Close ups of flowers, leaves and
other objects, as well as waterfalls, forest and fall color scenes are
a few examples where diffuse light works well.
Composition is VERY important!
Composition is the purposeful arrangement of the elements of a
photo. Although it is highly subjective, there are some basic rules
of composition that should be learned. These are tried and true
methods (some are centuries old painting rules) that will give
good results. Once you understand these rules, intentionally
breaking them can give dramatic results.
For nature photos, here are some additional considerations for
composition.
Focus on the eyes. If your subject has eyes, the viewer will be drawn
to the eyes as a center of interest of the image. As such, the eyes
should be in crisp focus, even if other parts of the subject are not
due to depth of field or motion.
Give room for the subject to”move into.” If your subject is moving,
and you place it near the edge of the frame in the direction it is
moving, the viewer’s eyes are taken right out of the image. Leave
space in front of the subject, not as much behind it. Similarly,
with a static subject, leave space in the direction the subject is
looking, rather than having it looking out of the frame.
Pay attention to the background.
Avoid white spots. The eye is naturally drawn to the brightest area
of an image. If that is not your subject, the eye will be drawn
away from the subject to that bright spot. Look for white or
bright objects in the background and try to eliminate them by
changing your point of view.
Avoid horizons cutting through the subject. When there is an
abrupt color transition or horizon line, try to place the subject
entirely above or below that line or eliminate the line all together
by raising or lowering the camera.
Don’t clip the edges of your subject. If you’re going to crop in on the
subject, crop in far enough so that it is intentional, don’t just
leave the tip of a leaf or wing out of the frame. If your subject is
standing in something where the feet are hidden, include
enough space at the bottom to include the “virtual feet.”
Shoot at your subject’s level. This is particularly true for animals or
birds, and will achieve a more intimate feeling than shooting
down or up at the subject. It may mean getting down on your
belly or up on a hillside. Of course the inverse of this can also be
used! Dramatic angles, subjects photographed at a different
perspective than normally viewed, can be extremely effective.
Watch for unwanted objects in the background creating a merge
with the subject. An example might be a tree that appears to be
“growing” out of the subject’s head. Try moving slightly, or
waiting for the subject to move, to eliminate the merge.
Thank you!

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Milan Vogrin

Exposure: correct exposure

Light is another element that has important effect on the outcome

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