Photo Tips and Stories (Page 25)

Looking for great access to photograph a car race? Your local dirt track may hold that key for you. Sprint car racing and other dirt track events provide great photography experiences with typically easy access and lots of freedom. Check out the Dirt Track Racing Photography Tips page to learn much more about this topic.

The 1D X Mark II and EF 24-70mm f/2.8L II make a great combo for this event.

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The Canon EOS-1D X Mark II is an amazing camera, but I continue to use the Canon EOS 5Ds R a considerable percentage of the time. The primary benefit of the 5Ds R is its incredibly high resolution. Lighter weight, especially without the battery grip installed, is another advantage.
 
When planning my fawn photography trip to Big Meadows in Shenandoah National Park, I expected the higher resolution to be my preference and packed a pair of 5Ds R bodies along with many spare batteries. I also packed the 1D X Mark II, with expectations for this camera being more for additional in-the-field experience in support of the currently published review.
 
The Big Meadows meadow is thick with vegetation. Thick patches of thigh-high briars are found throughout and grass covers much of the balance of the meadow area. The grass is not exceptionally thick, but it sends stems and seed heads up rather high and there are few openings void of the tall grass.
 
While somewhat attractive, these seed heads create problem. The fawns are short – shorter than the grasses. While the fawn may be easily visible, a very high percentage of my fawn photos include a grass across an eye or blocking enough of the fawn's face to detract significantly from the image. With the sun at my back, the ideal lighting for wildlife photography, the grasses created shadows directly on the fawns and the shadows were just as detracting as the grasses themselves, creating double trouble. With careful timing, images could be captured when the fawn passes between the grasses. That is if the fawn was moving slowly and if the wind wasn't blowing.
 
The problem was that the fawns were seldom still or moving slowly and the grasses move in even the lightest wind, making accurate timing nearly impossible and even challenging with the fawn standing still. Compounding the problem was that grasses close to the camera were not so visible in the viewfinder, but they still contributed to a noticeable contrast reduction in the image. There are a lot of things to concentrate on when photographing a randomly moving animal (focus point selection to mention one) without having to keep track of blowing grasses and their shadows. Shooting from a higher position than ideal (ideal being level with the subject) was often helpful in getting above some of the grasses, but ... the 1D X Mark II's fast frame rate delivered a much greater number of keeper images than the 5Ds R was capturing.
 
Capturing images at 14 fps, there was often the right combination of body and grass positions in at least one of the frames from a burst. Or, subsequent frames captured so quickly could potentially allow portions of one image to be composited with the other, such as for removing an offending blade of grass.
 
I'm not sure if this fawn was playing or experimenting with a new food, but it was adorable for sure. I held the shutter release down for the short period of time it was holding the branch in its mouth. While I captured well over a dozen images, only one image gave me a clear view of the fawn's head.
 
Grass was my #1 nemesis in Big Meadows and was responsible for the delete button being pressed on thousands of images, but the 1D X II ensured that there were plenty of great shots remaining in the keeper folder.
 
Overall, the success of my three days in Shenandoah National Park was largely due to the 1D X II's capabilities. Even when the grass interfered visually, I was impressed at how adept the Canon EOS-1D X Mark II was at focusing on the fawn. Foreground obstructions are notorious for grabbing AF's attention, but very frequently the 1D X II figured out that the fawn was the real subject and remained locked onto it.

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The Ben Franklin Bridge in Philadelphia, PA has been on my to-photograph list for a long time and earlier this year, I was technically able to check this attraction off of my list (I decided to keep it on the list for images from a different angle).
 
Having not been to this location before (aside from driving across the bridge), I needed some daylight time to scout for the evening's photos. I knew the basics of the area based on my research, but onsite finalization of the plan is usually needed. Even though very far from the bay and roughly 90mi (150km) from the Atlantic Ocean, this location on the Delaware River is tidal. I knew that there was a tide and that the tide would be going out during my shooting time (incoming tides require more concern). What I didn't know was the significance of the water level change. My scouting determined that locations close to the early evening water appeared best and I had lots of flowing water in the foreground for the image I envisioned.
 
As prime time approached, I watched the water level rapidly decrease a significant amount until my side of the river became nearly empty. There was nothing I could do about the situation and I was not about to attempt walking out into the quicksand-like muck. As photographers must always be ready to do, I embraced what I had to work with. The good news is that, as the water level dropped far enough, I had wet mud and pools of water that nicely reflected the bridge and city, creating a look that I may like even better than the image I had visualized.
 
On a good day, Philadelphia is an over-3-hour drive for me. The ideal time of the day to photograph the city lights with at least a little color in the sky is only a small fraction of that time duration. Life is busy and when it comes to good images, more is rarely worse than less. If you are a professional photographer, you count on your images for your income. If your primary income is not generated by photography, you probably cannot spend as must time in the field as you wish. To maximize your image volume relative to effort expended, perhaps close to a doubling effect, run two complete camera setups.
 
If you read my Canon EOS 80D review, you saw an image showing one angle of the Ben Franklin bridge. With a very short period of time to capture images and each image taking approximately a minute to capture (a 15-30-second exposure followed immediately by a same-length long exposure noise reduction process), having at least a second complete camera and tripod setup nearly doubled my images for this evening. While the 80D and Canon EF-S 18-135mm IS USM came out of the MindShift Gear BackLight 26L later in the evening, I mostly used the 5Ds R and EF 24-70mm f/2.8L II on a Gitzo GT3542LS with an Arca-Swiss Z1, set up close to the bridge.
 
About 100' (33m) to the north, I had another 5Ds R mounted to an EF 16-35mm f/4L IS USM Lens on an Gitzo GT1542T Traveler with an Acratech GP-s Ball Head as my second primary camera and lens combination.
 
I very frequently utilize a pair of cameras when shooting landscapes and cityscapes before sunrise, after sunset or even when working with strong neutral density filters under bright sunlight. The process is simple. I find a unique composition for each camera. Upon finishing one camera's setup and triggering the shutter release, I run to the other camera (well, I sort-of ran and stumbled over the big rocks in this case) and did the same. By the time I return to the first camera, it is usually finished or nearly finished with its processing. I quickly evaluate the image captured, make any adjustments I feel are warranted and repeat the process.
 
If running two camera setups not immediately within reach, safety for the gear must be considered. I wouldn't call the area below the Camden, NJ side of the Ben Franklin Bridge the safest I've been in. It was dark, there were no other people around and I kept a very close eye on the second camera setup, watching for anyone sketchy approaching. Having the cameras setup this far apart gave me very different perspectives of the bridge and city vs. simply different framing of the same perspective. The 5Ds R would permit strong cropping to achieve a similar framing adjustment, so I wanted something completely different from the second camera.
 
With so many images that I like captured that evening, I struggled to pick out one to share (part of the problem of having perfectionist tendencies). Three months later, I forced myself to pick one. This was it. Hope you like it and hope even more that you can increase the number of great images that you capture.

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One of the keys to getting good wildlife photos around the house is of course having wildlife around the house. With even small yards able to attract wildlife (especially birds), the next key is having a camera with a good wildlife lens mounted and ready for immediate use when the wildlife shows up.
 
The incredible combination of the 1D X Mark II and EF 200-400mm f/4L IS lens has been taking on this duty for me recently. I have had a very high number of black bear sightings this spring (most frequently after the sun sets), and the range of focal lengths this lens has, including up to 560mm with the built-in extender, along with the f/4 aperture has been valuable.
 
On this rainy Wednesday, it was an ovenbird that made my day. This bird is typically found deep in the forest. While they tend to be low to the ground, the light levels there are dismal. On this day, heavy cloud cover provided reasonably bright and very soft lighting at the edge of the forest where this bird happened to be. The wet conditions provided a saturation boost and some tiny water droplets on the bird. The situation was ideal.
 
I quickly grabbed the camera and lens combo, threw the switch to place the extender in the optical path and went into action. I worked into a position that gave me an attractive background with a clear view of the bird, initially a profile. While I captured some ideal profile images, the bird began hopping into different positions and in this one, the tail wind ruffled its feathers. I'm still undecided between which of the two poses I like best, but decided to share this one as it appears more lively.
 
What is in the ovenbird's mouth? Good question. One item is an insect leg, perhaps from a grasshopper. The other is unknown, but perhaps a piece of moss or similar.
 
On this day, having a camera and lens ready to use for wildlife gave me a nice set of photos out of a very brief encounter with circumstances aligning nicely. The entire session only took a few minutes out of my day. Be ready and when opportunities arise, make the effort to go after them.

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I love close, frame-filling wildlife photos, but I also love wildlife photos that show animals in their environment. Getting close enough to fill the frame with an animal is often quite challenging, but I often find environmental images even more challenging to obtain. Another thing I love is a challenge and the environmental wildlife portrait challenge one was one I took on during a recent photo trip to the Big Meadows area of Shenandoah National Park.
 
Be in the Right Location
 
Location selection is a big part of environmental wildlife portraits. Basically, you need to photograph wildlife in an environment that invites the type of photos you desire. I would not describe the scenery of all locations that hold wildlife as especially photo-worthy and the tighter-framed option works better in these less-desirable landscapes.
 
Just as important as a photogenic landscape is that wildlife, or more specifically, wildlife that interests you, is in the location. Location selection resources have never been more readily available. Simply search your favorite image sharing site for the subject that has your interest. Then determine where that image was captured.
 
Timing for Photography
 
With the location selection made, timing the photography in that location can be done. If you want fall-colored leaves, there will be a week or two out of the year that needs to be targeted. If baby animals are on your list, there will be an ideal time, likely in late spring.
 
For the example I share here, I knew that early June was a good time to photograph fawns and I knew that Big Meadows in the heart of Shenandoah National Park was a great place to find them. SNP scenery is very nice, though as with most locations, it can be challenging.
 
See the Image Coming
 
Within the chosen location, wildlife cannot be controlled (unless baiting, calling, etc.), so a photographer must work with the animals wherever they decide to be. Learning wildlife behavior goes a long way to set up the ideal shot, but wildlife is generally unpredictable. While locating wildlife, visualizing ideal shots will keep your mind focused on upcoming opportunities, including those that may present themselves at a later time.
 
The key for this white-tailed deer fawn image, in addition to being in a good location at the right time of the year, was thinking ahead. The deer were moving in a general direction and I knew that the white tree trunks in front of ferns and fronted with tall grasses were coming up on their route. The shorter green grass foreground would be ideal and I surmised that these fawns and their mother may pass through this location.
 
Be Ready with the Right Gear
 
I was partly right. The mother went slightly off-angle, but the fawns cooperated briefly by walking, broadside, in line and both within the plane of sharp focus, right into the scene I visualized. I was ready.
 
Under 10 seconds. That is how much time the fawns spent in my scene. That is both extremely short and very long. I had very few other decent opportunities that lasted longer, but 9 seconds is not much time to capture an image of wildlife in motion even when standing (head and ear angles were constantly changing). This was one of the last frames captured before they turned different directions and leaped off to explore somewhere new.
 
The 1D X Mark II was in manual exposure mode with Auto ISO selected. The light levels were changing rapidly due to clouds and both deer and grass are kind to autoexposure, making Auto ISO a great choice. The adorable fawns were running/leaping/frolicking constantly, so I was using a 1/1600 shutter speed most of time. It is usually better to have more noise due to a high ISO setting than to have a motion-blurred subject. With the fawns slowing down and with their distance being greater than usual (their movement was crossing individual sensor pixels at a slower rate), I quickly rolled the shutter speed down to 1/800. Auto ISO took care of the exposure adjustment, immediately selecting a lower noise level ISO 1000. High speed burst mode with Case 1 AI Servo AF and a single AF point placed on the lead fawn worked ideally.
 
The Canon EOS-1D X Mark II and Canon EF 200-400mm f/4L IS USM Lens combo performed impressively on the entire trip. While this lens has many benefits (including incredible sharpness), being able to zoom to ideally compose a scene, especially one with multiple animals, is a big one. Though this image does not take in a wide, grand landscape, it includes enough surroundings to qualify for at least my own definition of environmental. At 362mm, this lens could be set to an even much wider angle. However, I didn't feel that additional surroundings were going to be positive additions to the image. I had enough angle of view at the chosen focal length.
 
I'll talk more about the 1D X II's amazing frame rate and why it was so important for this location in another post, but ... I made full use of the 14 fps. Just to clarify, there really are two different fawns in this picture. This particular frame taken from a burst captured both in nearly identical positions. Upon a quick glance, my daughter suggested that I may have clone stamped the second deer into the image. I assure you that was not the case – there really were two fawns there. The slightly different leg positions are the biggest clue.
 
The 1D X II's AF system performed especially well in the tall grasses the fawns were commonly found in and was ready when the fawns started leaping and playing.
 
Note that I used a monopod exclusively for support on this trip. While a tripod provides better support, a monopod is faster to use. With only one leg to retract or extend and with no leg angles to set, I could quickly move into positions and set up, a key to getting many of the images I captured on this trip. A monopod also means less weight to carry around. The wildlife I was shooting required shutter speeds fast enough to avoid motion blur, especially with the support of the monopod.
 
Seize the Opportunity
 
Be ready to take advantage of all wildlife photo ops made available to you. Even if focused on the environmental images, take the tighter-framed images when availed to you. Wildlife photography is extremely challenging and no opportunity should be passed on. Having a mix of subject framing will make a portfolio or gallery appear more complete.

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The Little Red Lighthouse, officially named Jeffrey's Hook Light, is a small (40'/12.2m) lighthouse located under the eastern span of the George Washington Bridge (AKA the Great Gray Bridge) in Fort Washington Park, Washington Heights, New York City. The official name of this lighthouse was surpassed by the name given it by Hildegarde Swift and Lynd Ward in their famous 1942 book The Little Red Lighthouse and the Great Gray Bridge. This book was one of my wife's childhood favorites, so ... it was fitting for me to have this location on my photo bucket list and circumstances worked out for me to cross off this line item.
 
Typically, big city landmarks are readily accessible and easy to visit. While the first applies to this one, for a non-local without a bicycle, the second ... not so much. The problem is the lack of local parking and the significant roads and railroad tracks separating Fort Washington Park and the Hudson River Greenway from the rest of the city in this area.
 
There are two entrances into Fort Washington Park. I chose the more-northern 181st St option over the southern 158th St entrance as it appeared logistically better. Parking at one of the closest parking garages, Alliance Parking Services (for GPS, use 649-699 W 184th St, New York, NY 10033) resulted in a just-over 1 mile (1.6km) hike to the lighthouse. The landscape in Manhattan and many other parts of New York City is mostly flat, but Washington "Heights" wasn't given its name without reason. While not a mountain by most people's definition, the ascent and descent into the park, over and under the roads and tracks, is noticeable under the weight of a heavy pack.
 
Loaded into my MindShift Gear BackLight 26L for this trip was the following:
 
A pair of Canon EOS 5Ds R DSLR bodies
Canon EF 11-24mm f/4L USM Lens
Canon EF 16-35mm f/4L IS USM Lens
Canon EF 24-70mm f/2.8L II USM Lens
Canon EF 70-200mm f/4L IS USM Lens
Gitzo GT1542T Traveler 6x Carbon Fiber Tripod with a Acratech GP-s Ball Head mounted.
Numerous accessories, food, plenty of water, warm clothes.
 
I hand-carried a second tripod, my current-favorite Gitzo GT3542LS Systematic Carbon Fiber Tripod with an Arca-Swiss Z1 Ball Head mounted.
 
This gave me two complete camera setups with plenty of focal length overlap in the range I expected to need the most. The redundancy was first and foremost to allow me to take twice as many photos during the short time period within blue hour that I was most-targeting. This shoot consumed most of a day (I arrived home at 2:30 AM) and with the small extra effort of taking a second camera setup, I was getting nearly twice as many photos when the exposure durations hit 30 seconds (with an additional 30-second-long exposure noise reduction) during prime time. I would start one image capture and go attend the second camera setup, located far enough away for a different composition, but close enough that I had a close watch on it from a security standpoint.
 
Backup in case of failure was the other reason for the second complete camera setup. I was investing heavily enough (time and other costs) in this trip to warrant a backup.
 
The Little Red Lighthouse shoot went as planned. Arriving late in the afternoon, I climbed around the rocks for an hour or so, trying to decide what compositions would be best for prime time. I ate, rested and went to work as the sun set behind the GWB.
 
As the sun set, the balance of sky brightness to the light hitting the lighthouse transitioned from silhouette to nearly the opposite. By shooting continuously during this time, I could select my favorite look later. A darker background is always an option, but a brighter sky is not available again until another day (without some post processing techniques).
 
For this image, I opted for the 11-24L lens set to 11mm to provide a dramatic perspective that included the entire river span of the bridge. To see a sample result captured from the other camera, with a lens choice made for a reason, one that you may not have considered (not focal length or sharpness), check out the pic I creatively titled The Little Red Lighthouse.

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When the clouds become turquoise, you are probably in a great place.
 
The day started out with no clouds in the sky. After having photographed for 6 days straight prior with good results, I was looking for more than what a clear sky would deliver, so some scouting was the task at hand. The selected location for the day was Wild Cow Run, at the end of Middle Caicos. From my base location in Whitby Beach, North Caicos, this meant a drive through most of North Caicos, across the causeway and through most of Middle Caicos. Then, at the end of the road, a 4x4 road was traversed until going further becomes impossible.
 
Your reward for this drive is one of the most beautiful beach locations in the world with seldom another person seen. I had hiked about a mile out when some nice clouds began forming on the horizon. Seeing great images beginning to materialize, I ran and swam back to the vehicle, grabbed a Canon EOS 5Ds R with an EF 16-35mm f/4L IS Lens mounted, threaded a circular polarizer filter onto the lens and put the setup in an EWA marine underwater housing.
 
I know, an underwater housing does not make sense for capturing an above-water image of beach, water and clouds, but ... you may have noted the "swam" part when returning to the vehicle. I had to swim (fins, snorkel and mask) through a channel with a swift tidal current to reach the island with the beach I was targeting. I was not using the camera underwater, but the housing was perfect for the water transportation to the scene.
 
Once across the water, I removed the camera from the housing, stowed the housing (and snorkel gear) high on shore and hiked over sand and shallow water to reach the desired location. The huge expanse of sand and shallow water had my greatest attention. I was looking for angles and heights that would work best while keeping the clouds in pleasing locations within the frame. The clouds were moving in rapidly and I was shooting quickly, monitoring mostly my manually-set exposures from time to time, keeping the brightest parts of the clouds nearly blown.
 
What I wasn't noticing was that, as the clouds came closer, they began reflecting the amazing fluorescent turquoise colored water behind the reef, which was located a distant 1.4 mi (2.25 km) from shore at this location. Upon uploading my images for the day, I realized that the clouds, as they came in closer than the reef, had picked up a very strong color reflection from the water below. The result was something I had not captured before, turquoise-colored clouds.
 
Photography (usually) rewards effort – effort pays off. It was definitely worth the effort of a round trip to the vehicle to add this (and many other similar) images to the collection. I'll leave the "foresight to take the camera with me the first time" topic for another day.

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With 9 students planning to arrive for prom pictures within a short period of time, I had to be ready. The entire week preceding the big day was extra cloudy with lots of rain. The forecast for the Saturday afternoon shoot was calling for clouds with a 30% chance of light rain. Clouds would be perfect for afternoon outdoor lighting, the grass was very green and the new spring leaves on the trees were a great color for a background, but that chance of rain required a studio setup be on standby.
 
White matches everything, so ... I went with white this year.
 
Setting up for a high key white background is not hard nor is it expensive. If shooting partial body portraits, a white wall, white reflector or white foam core can work well as the background. For full body portraits, rolled paper is often the best option and it works great. Savage Widetone Seamless Paper Background is what I use.
 
To hold the rolled paper in place, a background stand (I have Impact and Manfrotto brands) is needed. The rolled paper slides onto the top bar of the background stand and rolls out onto the floor to the front (get another person to hold the background stand up while unrolling the paper as the stand could easily tip over during this step). I gaffer tape the paper to the floor to keep it from rolling back up and clamp the roll of paper to the top bar to keep it from further unrolling.
 

 
More complicated than the background setup is the lighting and the balancing of the lights. I typically start my light balancing setup with the camera exposure settings. With powerful strobes in use, I have a lot of flexibility even at the lowest noise ISO setting of 100. With the EOS 1D X Mark II and similar-resolution full frame cameras, I generally start with f/11. This aperture gives me a lot of depth of field, keeping much or all of the subject in focus along with room for error (it is rare to get an out of focus portrait at f/11) without compromising image sharpness to diffraction. Note that, when using a solid-colored background such as rolled paper, there is little benefit to blurring the background via a wide aperture. A 1/160 shutter speed is about as fast as I trust the PocketWizards to trigger the first strobe and for the rest to optically trigger while the shutter is fully open, so that is what I go with. The f/11, 1/160 and ISO 100 combination is generally enough to overwhelm any ambient light present.
 
For lighting with consistent requirements, manual flash settings are ideal and ... the only option I have with my Elinchrom Digital Style studio monolights (Elinchrom ELC Pro HD Flash Heads are the current models).
 
For the high key background, I place a softbox-fitted strobe on each side of the paper with the power set high enough to blow out the background in the selected exposure (but not higher than necessary as flare could become an issue). I was tempted to place a 4x8' piece of clear Plexiglas on the floor under the subject to better reflect the bright background, but ... I feared that the parade of subjects flowing through my studio would not be kind to this relatively-expensive piece of plastic's useful lifespan.
 
To keep the background reflection from strongly influencing the lighting on the subject (a wrapping light the softens the transition from subject to the background), the subject should be positioned well in front of the background. The subject to background distance was about 10' (3m) in this example.
 
Prom is all about the dress (or tux) and a 54" octagonal softbox angled just slightly downward and directly at the subject from camera-left created an even light emphasizing the dresses. This light was adjusted to the output needed for proper dress brightness with care taken to not overexpose the dress as reducing brightness during post processing can reduce the background's whiteness. A 24x24" softbox on a Manfrotto boom was positioned above the subject to light their head with the appropriate brightness setting used for that.
 
While it takes multiple lights to effectively create a high key effect and light the subject, the light sources do not have to be studio strobes. I have done the same many times with Speedlites and constant lights, can also be utilized. And, the background does not have to be pure white as long as your background lights are bright enough to make whatever color is available bright enough. I've even shot high key corporate portraits using a light-colored wallpaper background. Hit it with enough light and it turns white.
 
Umbrellas can be used in place of softboxes.
 
By the time my first subject arrived (my own daughter was first and about 1 hour late), the day was bright, sunny and unfavorable for lighting in my preferred outdoor locations. It didn't take much thought to know that the indoor option was best.
 
With the lighting and camera settings all dialed in before any subjects arrived, I was able to take lots of photos in a short/compressed amount of time.
 
The Canon EF 70-200mm f/2.8L IS II USM Lens is an excellent portrait lens and 70mm is just wide enough for comfortably shooting full length portraits in my studio space. The just-arrived Canon EOS-1D X Mark II was my camera choice for this shoot. This scenario was a walk in the park for this camera.

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Have any questions? Ask!

Aspen trees do not all change color at the same time in the fall. This can be good or bad news. Good is that there is some flexibility in the timing of fall photo trips to aspen areas. Potentially bad is that there will likely be green or bare aspen trees in your targeted area.
 
In addition to leaf color, sky cover is a concern for aspen tree photography. While blue skies are beautiful, I much prefer to have photogenic clouds decorating a blue sky (with abundant amounts of sunshine coming through). My reasoning for this preference is probably obvious for images that include those clouds and the sky. But, clouds cast shadows and shadows can greatly contribute to imagery.
 
On the return hike from Crater Lake on this day, clouds blocked the sun just enough to shade Sievers Mountain while the foreground aspen trees glowed brightly in the sunlight. In the mid-ground was a patch of aspens with only their top-most leaves remaining (these are the last to fall). Also in the sun, these leaves appear as a flame over the trees. While it is not in the limelight, Sievers Mountain, full of character and framed in blue sky with white clouds further separating the sharpest peaks, makes this shot for me.
 
While a telephoto lens may not have been your first choice for a hike primarily focused on landscape photography, telephoto focal lengths are an integral part of my landscape kit. I often find composing landscape images with a telephoto zoom lens to be easier than a wide angle lens. The next time you head out to photograph the great outdoors, especially in big mountain areas, make sure that a telephoto zoom lens is in your bag.

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While exploring Middle Caicos, I came across this great little old boat on Bambarra Beach. I opted to go wide and move in close, emphasizing the boat relative to the rest of the landscape. As I worked the scene, I continued to move in closer and lower until ... cue the pelican ... I settled on this shot.
 
The Canon EF 16-35mm f/4L IS USM Lens is a great beach and seascape lens option, with or without a tripod.
 
Whether or not to use a circular polarizer filter when using the widest angles of this lens on a full frame body (and similar angle-of-view-equivalent focal lengths on APS-C format bodies) is a question that one must ask themselves. At very wide angles, a CPL filter can create an unevenly-darkened sky and tastes for such vary widely. One strategy is to shoot in the middle of the day. A high sun places the most-darkened portion of the sky evenly over the horizon. This provides a more-evenly darkened sky within the frame, as seen in this image.
 
While there is some gradient in this sky, I much prefer the CPL look and the high sky-to-boat contrast over the lighter sky (which naturally has some gradient even without the filter).

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While this beautiful bird had its eyes on dinner, I focused on getting a tight headshot with blue sky framing. The bird was in constant motion, so I aligned myself with the sun and held the single selected focus point (one to the right of top center) where I wanted the bird to be in the frame. As soon as the head turned to align with my vision for the shot, I pressed the shutter release. While my timing and/or framing was not successful on every attempt at this image, I really only needed to nail one of them. Persistence paid off.
 
The sky was clear (late in the day) and that meant the required exposure was not changing quickly. Stable exposure needs combined with a bright white subject shout "Manual Exposure" to me. I selected a manual exposure setting that made the brightest whites nearly blown and reduced brightness by 1/6 stop during post processing.
 
The sharpness of this image, captured handheld on the pixel-dense 7D Mark II with the 100-400 L II at 400mm, is really impressive. I see a lot of images, including a lot of sharp ones, but what I see here catches my attention. I highly recommend this lens (and camera), especially for birding and wildlife.

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There is no shortage of mountains in Denali National Park. However, a layer of snow adds greatly to how they look. Snow especially contrasts against the darkest-colored mountains.
 
Bright white snow and very dark rock can potentially be an exposure challenge. When photographing landscape under full sunlight with snow in the frame, setting the ideal exposure usually involves bringing the image brightness level up to the point where the brightest snow has a tiny area of blinkies showing on the LCD (be sure that these are enabled). This insures that detail remains in the snow while shadow/dark areas have as much color information as possible.
 
You may have noticed that this image is not showing as full-dimensioned for the Canon EOS 5Ds R used to capture it. This image was not cropped (the 100-400mm lens was not set to its longest available focal length), but as is often the problem with long distance photography, heat waves caused enough degradation that I opted to reduce the image size by 66%, using downsampling to improve image sharpness.
 
Note that I did not use a tripod for this capture. This lens' image stabilization system combined with a solid three-point sitting position (elbows on knees and forehead pressed into eye cup) were very adequate for sharpness in this regard, and a B+W HTC circular polarizer filter blocking less light than a standard filter also contributed to this run-and-gun shot.

A larger version of this image is available on Flickr, Google+, Facebook and 500px. If reading from a news feed reader, click through to see the framed image.

Kids, especially young ones, can generate a large volume of artwork. Sources include school, home, church and other events. When this art happens, the question in parents' minds becomes: "What do I do with these treasures?" While these memories have tons of value, that value may not be high enough to justify a room addition to the house just for art storage. The solution? Implement an artwork workflow that first involves digitizing.
 
Photograph the artwork (scanning also works great for flat art sized within the scanner's capabilities). Once the artwork is in digital format, the uses for it are nearly endless. Load the images into a digital picture frame or other electronic device for playback in a slide show. Print a collage from large numbers of these art images. It might be fun to pull this print out for display at a graduation party or other life milestone event. Put the images into a scrapbook (paper or digital). Memorialize life.
 
The digital artwork files take up nearly no space and they can be available for a lifetime and beyond. A large benefit to digitalized art is that it can be backed up, providing resiliency to the original artwork and, if backed up to an off-site storage location, resiliency extends beyond the house should something terrible happen.
 
Once the art projects are digitized, implement a FIFO (First In, First Out) art posting workflow utilizing the refrigerator, a door or any surface that works well in your home. As the available space fills, the oldest work of art enjoys a quiet, parent-guilt-free trip to the trash can (when the creator is in bed or away). Keep a few of the most-treasured pieces and enjoy the photos of the rest.
 
Once the kids start creating long-term-display-worthy art, you may need to up your game also. A more advanced approach includes capturing high resolution images permit reproduction at a high quality level. But, more advanced, does not have to mean complicated.
 
My daughter (Brittany) has developed a drawing skill over the years and, when she puts a bigger effort into a project, I make sure that I get a photo of it. My light source is the first priority. I want the art to be very evenly-lit. Because of light fall-off, this means that I minimally need equal light from at least two sides or even better, a light source so far away that the light fall-off is no longer noticeable across the paper. The latter, in the form of sun, is uncomplicated, easy and what I usually use for flatwork.
 
Some considerations for using the sun as the light source include the angle and the color temperature of the light. Shooting too early or too late in the day may cause your art to take on an undesired color warmth. The camera angle (directly in line with the art) must be such that reflections of the sun are not a problem. The light angle on the art must not over-emphasize the texture of the material, and a cloudy day may be needed to photograph 3D works of art using this light source. The latter may work best outdoors, but I shoot flat art placed on the floor where the sun is shining directly through a window or door, often in the mid-late afternoon (depending on the time of the year).
 
With the artwork in place, setting up the tripod is the next task. Care must be taken to not cause any hint of shadows on the art. This means that the sun is shining between two of the tripod legs. The higher the tripod is raised, the less likely the legs are to influence the lighting. To avoid any perspective distortion (including keystoning of rectangular art), the camera must be positioned directly over the subject.
 
Note that a tripod with a center column that can be adjusted to horizontal orientation makes positioning a camera straight downward easier. Also note that a camera positioned on a horizontal column can easily become unbalanced – use this feature with care.
 
Selecting a lens is another important step. In addition to good sharpness across the entire frame (keeping the corners of the art sharp), lack of linear distortion is important as barrel or pincushion distortion will change how the art appears. The choice of focal length is also important, but since the tripod can be raised or lowered to achieve optimal framing, there is often a range of focal lengths that work well. A prime lens is often the best option. If using a zoom, select one that has low or no distortion at a focal length that can be used for ideal subject framing (use our lens distortion tool to find this). Note that gaffer taping the zoom ring in position may be necessary to prevent gravity zooming when the camera is facing straight down.
 
While a flat piece of paper photographed from directly above requires very little depth of field and permits a very wide aperture to be used, most lenses are at least modestly sharper when stopped down and most show some vignetting or peripheral shading when used at their widest apertures. Thus, using an aperture narrower than necessary for adequate depth of field may be beneficial (use our lens vignetting tool to find the ideal aperture). While narrower than max aperture is likely desired, using a too-narrow aperture may result in a less-sharp result. Try to use an aperture that is wider or not too much narrower than the diffraction-limited aperture (look for the DLA spec for your camera in the camera specifications tool). If unsure about aperture selection, use f/5.6 or f/8.
 
With the aperture selected, the proper shutter speed for a desired-brightness at ISO 100 should be determined. Note that a mostly white paper is going to need an exposure that is brighter than the camera calls for. Ideally, shoot in RAW format with the brightest RGB (Red, Green or Blue) color value captured being at the right side of the histogram. Then adjust the brightness as necessary during post processing.
 
To capture the image without any camera motion, select mirror lockup with a 2-second delay in One Shot drive mode, use the 2-second self-timer drive mode with mirror lockup enabled or use Live View with 2-second self-timer drive mode selected. A remote release can be used in place of the 2-second self-timer, but ... I don't usually bother getting this accessory out.
 
Focus and take the picture. Review the result, making any adjustments needed.
 
Once setup, many similar-sized works of art can be photographed in rapid succession. I will often setup for the larger piece of art and not change the tripod height for modestly smaller works unless they are deemed very important.
 
Modern DSLRs produce a very accurate color balance when photographing under direct sunlight, but capturing a photo of a custom white balance target at the same time as the art may be good idea. This is an especially good idea if under cloud or shade lighting or using alternate light sources. This CWB image can be used to properly adjust the color balance later if needed.
 
If you are documenting the work of more than one child, consider having them sign or initial their art prior to photographing it. Otherwise, you may find it hard to differentiate between artists' work in 20 years.
 
Start now. Make plans to photograph the artwork around your house and begin your own artwork workflow.

While the Canon EOS 5Ds R is not marketed as the ideal sports camera, it is what I've been using for my spring sports photography so far this year. The reason? I sold my Canon EOS-1D X to fund the purchase of a Canon EOS-1D X Mark II. At the time of the sale, the 1D X Mark II was " ... scheduled to begin shipping to authorized Canon USA dealers in April 2016." [Canon Press Release] My spring sports photography starts in mid-April, so I thought the odds were good that I would have a 1D X II in time or just into this season.
 
B&H currently lists the expected 1D X II availability as May 1st. While this is only 1 day past "April", it is also 1 day past worst case from the press release's expectation.
 
So, I have been using a 5Ds R with a BG-E11 Battery Grip for spring sports photography. For this purpose, the 5Ds R has only one limitation. As we know, this camera has a great AF system and it has no problem tracking fast action. The image quality this camera delivers is likewise excellent and, with extreme resolution, high resolution images remain even after heavy cropping. This means that a focal length or focal length range can effectively be used to cover a much greater percentage of the field than the 1D X II will be able to.
 
That one limitation I referred to is the frame rate. Capturing frames at 5 fps is not fast enough to catch the ideal moments happening during a play, including providing the ideal capture of stride position for a running athlete. The workaround is to time the shutter press with what is expected to be the ideal point of the play. Using this tactic, anything happening prior to the initial shutter press will of course be missed. The first shot timing takes more skill than simply holding the shutter release down, but can be effectively used and once practiced, can be used very effectively.
 
I still hold the 5Ds R shutter release down after the initially timed press as additional good shots are often captured subsequently, but capturing at 10, 12 or 14 fps makes a huge difference in getting the ideal shot while reducing the skill needed to do so. While the 5Ds R is delivering great sports images for me, I anxiously await the 1D X II.