Post Production: Curves Adjustments

It's amazing what a little post production can do to lift a photograph to the next level. I'm not talking about HDR, or over saturating the colors, or even blending images (although all of those can 'lift' a photo when used in moderation), but I'm talking about the basics. The tools you can find in most photo development software. I personally use Adobe Lightroom for all my post production and cataloging and love it. I think it's a great program, but there are many others that work just as well, especially with the basics I'm discussing here. When you shoot in RAW format (as I do 100% of the time) the file NEEDS post production. The reason I shoot in RAW is to get as much information from the original photo as possible and also be able to control aspects such as white balance and exposure in post production without losing file information. Very seldom do I do nothing to a photo. Most often, a quick curves adjustment is all a RAW photo needs. That's what I've done here. The photo above is one that needed a slight curves adjustment, creating a cleaner finished product. 

Above is the difference between the RAW file (left) and the developed photo (right). You can also see the curves tool on the right hand side that looks like an elongated 'S'. On this photo I adjusted the darks to -25 and the lights to +38. It creates a bit more contrast and really shows off the details and colors in the foreground and sky.

If you are serious about photography and you're not shooting in RAW I would strongly recommend switching. You will notice a difference, especially in the digital darkroom.

Note: If you have tried to access my website in the last day or two you may have been redirected. I apologize for the inconvenience. I am working on a new and improved website that will hopefully be more informative and easier to navigate. Check back soon!

Different Shades of Light

These two photos were taken minutes apart, and although they don't seem much different there are subtleties I love in both. The first image is compact, warm with bits of waning light brushing the tips of the canyon walls. In the second, the light has faded, but brought out pinks and purples throughout the canyon. And that little bit of sky showing creates a grander feel than the first.

I love catching the alpenglow light on a mountain peak or canyon wall but sometimes the best light is just after the sun has set. The light is even. The deep contrast-y shadows are gone and you're left with a pure unadulterated scene. This twilight light can cast some incredible color our eyes often miss. Stick around the next time you're out shooting and watch for this moment. You'll be glad you did. Don't forget your tripod, though; long exposures are inevitable in this type of light.

Choosing the Right Lens

Near the Utah Nevada border north of Wendover. This scene beckoned for a telephoto lens to compress the layers of desert mountains. Used a 70-200mm telephoto at 200mm. 

Choosing the proper lens for any photographic scene is an integral part of producing your vision as a photographer. Your lens choice can produce radically different images of the same scene. Wide angle lenses (ex. 16-35mm, 17-40mm, 18-55mm) tend to distort the image, making objects look stretched out and elongated; perfect for wide open landscapes, not so perfect for somebody's nose. Speaking of people's faces, if you're into portraits the best lens to accurately portray someone's face is 50mm. This focal length is the closest to how we see. If you put your camera, with the lens at 50mm, up to your eye and then take it down, the scene should look very similar. Cropped of course, but as far as distortion and size, it should be the same.* There are some amazingly priced 50mm prime lenses that give you fast glass at a classic focal length. My favorite being the Canon 50mm 1.8, sitting at a cool $107. I like to use anything 50mm+ when shooting portraits and will oftentimes use my telephoto 70-200mm lens with fantastic results. Telephoto lenses (70-200mm, 300mm) are great for compressing a scene and bringing foreground and background layers closer together. Seeing in telephoto may be a little difficult, and you can miss a potentially great shot if you're not used to it. Something I do often is put the camera to my eye and scan the scene with my telephoto lens in search of nice compositions. I may not always see those shots in the beginning, but I've been successful using this technique and I think it is a great way to practice "seeing" in telephoto.

 I like to have a vision going into a scene, but if something unexpected unfolds right in front of me I'm going to want to be able to make the most of it. This is where knowing your lenses, and how they capture a scene, will set you apart from the crowd and keep you coming home with an arsenal of images. 

Beautiful Ogden Valley at sunset. Using a wide angle lens allowed the fence in the foreground to lead the eye into the scene and wide open background. I used a 24mm tilt shift lens. 

*Of course, there is a difference when dealing with camera bodies that have crop sensors compared to full frame sensors. Some photographers prefer an 85mm lens on a full frame body for portraits, but the idea that the focal range between 50mm-85mm being similar to the eye is still applicable.

 

Location: Yosemite National Park

Sunset on Yosemite Valley from the spot made famous by, the one and only, Ansel Adams. Tunnel View, Yosemite National Park.

The last time I was able to see Yosemite, I wasn't really able to see Yosemite. The combination of Memorial Day weekend traffic throughout the one-way loop of Yosemite Valley and low hanging clouds blocking my first views of El Capitan and Half Dome, made for an underwhelming experience. This time it was going to be different. Pre-planning and internet scouting several photo locations for different weather gave me the confidence that this time was going to be a success. Traffic was still apparent, but bearable, and there were hardly any clouds in the sky; perhaps a bit boring for photography, but at least the mountains were visible. I could have used a few more days inside the park, but for the time I had, it ended up being a perfect weekend trip.

Half Dome getting the last bit of light in the valley from Sentinel Bridge, Yosemite National Park.

El Capitan and the Merced River near El Capitan Bridge, Yosemite National Park.

Half Dome, Yosemite National Park.

Bridalveil Falls through the trees, Yosemite National Park.

Yosemite Valley and the Merced River near El Capitan Bridge, Yosemite National Park.

Tips for planning a photo trip to Yosemite National Park:

• Camp inside the park and make a reservation, as they are necessary. I would suggest sites just outside the valley, but still within the park. They are much cheaper ($20 compared to $35) and much less crowded. I stayed at Crane Flat, just 17 miles from the valley.
• Look at a map of the valley beforehand and study it. I, for one, love maps. Without one, I feel lost. Finding a photogenic scene in this park is not difficult, but it can be a breeze when you know of specific locations you want to shoot. Sunset is the magical hour in this park, but that's not to say sunrise can't bring some magic, too. For alpenglow on the soaring cliffs, sunset is the most promising. Some photo spots I would suggest:*
• El Capitan Bridge: There is a pullout right before the El Capitan Bridge that looks right over the river and toward El Capitan and the rest of the valley.
• Sentinel Bridge: Park in the parking lot just north of this bridge. Half Dome is reflected in the Merced River from the bridge and trees frame the Dome nicely. 
• Tunnel View: It may be over-shot, but this view can't be missed. Weather and light at the right time can make this view really spectacular. 
• Glacier Point: Explore the area away from the concrete platform and come away with views of Half Dome and both Nevada and Vernal Falls all in the same shot.
• Bring all your gear. Bring a wide lens, a zoom lens, all your filters, and a tripod. I used everything I had in my arsenal and you will find ways to do the same.
• And last but not least, explore, be careful and don't forget to have fun!

*There are several other locations that I didn't get to shoot, so I can't really say if they are better or not. However, after my extensive research of perfect photo locations these were the highest on my list. 

Location: Humboldt Redwoods

We got off Highway 101 and followed the signs for Avenue of the Giants. The small winding road led us through towering redwoods I had only dreamt about, until now. It’s incredible to see something so large and living in person. No picture can substitute the feeling. So, what is a photographer to do when you know any photo you take will only be trivial in comparison to the feeling of actually being there? I’m not sure I have the answer. I couldn’t plan to capture the enormity of the giants; I merely wanted to capture the aura. To say the Redwoods are grand and peaceful is an understatement. One step into the forest of giants and it’s like you’ve stepped into another world. I wanted to capture the scale of the place. I wanted to capture the journey it takes to get to such a peaceful place. So, I went in with a warming polarizer and a tripod and set out in search of shots that would satisfy my intent. 

I found most of my success included some kind of human element, whether it was a car driving through the walls of giants, or tourists trying to make a human chain around the widest tree. Without the human element in my photography, it seemed the trees lost their splendor. It’s funny, in such a place that could mask the human presence only a few yards away, the best way to capture it was to include that presence. I think it has to do with including a familiar object with an unfamiliar landscape. We need that familiarity to wrap our brains around such a magical place, and keep from being fooled by it.

The Avenue of the Giants actually goes through Humboldt Redwood State Park, home of some of the most brilliant redwoods in the state. We checked-in at the main campground and decided on the environmental camp (Hamilton Barn) a few miles from the center. We ended up avoiding the crowds at the main campsite and had the entire site to ourselves. The next morning we woke to a light drizzle of rain, just enough to saturate the colors of the forest. I didn't want to leave, but the next adventure was calling: Yosemite National Park.

The Importance of Composition

Greg Laswell at the State Room singing "Landline" unplugged. 

There are several factors that go into producing great imagery, but some of the most elementary photo lessons, such as the "Rule of Thirds" or leading lines, remain invaluable. One question I ask myself before I even click the shutter is, "How am I leading the reader's eye to the subject?" Most often it will be because of the composition or how the light falls on a scene. In the photo above, Greg is obviously the main subject. He's the front man, on stage, with a guitar in his hands. What makes this photo engaging is the composition. Technically, this photo is subpar. It's noisy (high ISO), a bit fuzzy, and not in the best light. But what it lacks technically, it makes up for in composition and emotion. It captures a moment: the audience listening intently, trying to catch a photo of the man on stage, and Greg, humbly playing his acoustic guitar, unplugged. You can't always get the perfect light, or the perfect moment. If you go into a situation trying to capture something that just isn't there, use other tools in your bag. Reach for the fundamentals. Putting all your eggs in one basket is constraining. Have a back up plan. Adapt to your surroundings and you'll come home with winning imagery.

Using the "Rule of Thirds" and leading lines.

I'd love to hear your feedback. Do you think this image works? Does the composition or moment make up for the lack of technical details? 

Location: Canyonlands NP

Pothole Point Overlook. Needles District, Canyonlands.  

Singh-Ray 3-stop reverse ND, 2-stop soft step graduated ND, Singh-Ray Warming Polarizer, Canon 5D Mark II, Canon 70-200mm, Gitzo Tripod, BH-3 Ballhead.

False Kiva. Island in the Sky District, Canyonlands.

Singh-Ray 3-stop reverse ND, 2-stop soft step graduated ND, Singh-Ray Warming Polarizer, Canon 5D Mark II, Canon 17-40mm, Gitzo Tripod, BH-3 Ballhead.

Pothole Point Overlook.  Needles District, Canyonlands.  

Singh-Ray 3-stop reverse, Singh-Ray Warming Polarizer, Canon 5D Mark II, Canon 70-200mm, Gitzo Tripod, BH-3 Ballhead.

 Newspaper Rock. On the way to the Needles District, Canyonlands.

Canon 5D Mark II, Canon 17-40mm.

I've been hitting up several National Parks in and around Utah this past year and have come to fall in love with Canyonlands National Park. Just west of the well known Arches National Park, on the other side of Moab, lies the beautiful Canyonlands National Park. The north entrance, just north of the entrance for Arches, takes you to the Island in the Sky District. At the edges of "Island in the Sky" you realize why it has its name; steep cliffs drop off into the canyon floor hundreds of feet below which continue miles beyond human sight. The Green and Colorado Rivers have formed much of the land, carving deeper canyons below. With the limited time I've had in the Island in the Sky District, and Canyonlands in general, I've only been able to hit some of the shorter hikes and closer lookouts. For a one or two day trip to Canyonlands, I would suggest staying in the Island in the Sky District and hitting the sites there.  These are some of my favorites:

• Mesa Arch is one of the most famous arches in the area and is best seen at sunrise. There will be 20-30 other people there, especially in the spring and summer months, so get there early if you want to set your tripod somewhere decent. Or you can always hope for an overly friendly European who will wave you over to set your tripod leg to leg with his, in the midst of a sea of Japanese tourists, to get the exact shot you were hoping for. But I wouldn't count on it. Get there early if you don't want to be fighting for your view of Mesa Arch. 

• False Kiva is one of the best kept secrets in the park. The trail is unmarked and followed only by the occasional cairn, but if you ask a ranger at the visitor center, they'll tell you exactly where to go. It is a very secluded hike. Chances are, you won't see another person the entire way. Keep that in mind, and be prepared, if you plan on going alone.  

• Any of the overlooks are amazing; I would suggest hitting as many as you can and choosing Green River Overlook or Grand View Point Overlook for sunset.  

For the majority of my most recent trip, I spent my time in, or getting to, the Needles District. None of the four districts in Canyonlands connect, and you have to drive out the same way you come in, so accessibility is not exactly easy. The road to get to the Needles District is north of Monticello, and from the 191 it's a scenic 35 mile drive in. The places I was able to see only made me disappointed that I didn't have more time to explore. This part of the park definitely requires pre-planning. Backcountry permits go quickly and can only be reserved if you call at least two weeks ahead. Very few are given out on a first come, first serve basis at the visitor center, and they start giving them out a day prior to the backcountry day.  I know the next time I go to the Needles I will have a backcountry permit in hand. It seems to me, the only way to really experience the Needles District is to spend a night or two in the secluded backcountry. Maybe in the next few months...

Elephant Hill Trail. Needles District, Canyonlands.

Singh-Ray Warming Polarizer, Canon 5D Mark II, Canon 17-40mm.

Pothole Point. Needles District, Canyonlands.

Canon 5D Mark II, Canon 17-40mm, Gitzo Tripod, BH-3 Ballhead.

Cave Spring pictographs. Needles District, Canyonlands.

Canon 5D Mark II, Canon 17-40mm.

Layers of sandstone on Elephant Hill. Needles District, Canyonlands.

 Singh-Ray Warming Polarizer, Canon 5D Mark II, Canon 17-40mm.

Needles District, Canyonlands.

 Singh-Ray Warming Polarizer, Canon 5D Mark II, Canon 70-200mm.

Mesa Arch. Island in the Sky District, Canyonlands.
Canon 1Ds Mark II, Canon 17-40mm, Tripod.

Cataloging Photos with Adobe Lightroom

I've been reviewing old photos and came across several that I had dismissed initially but are actually some of my favorites in their own series.  Amazingly enough this happens quite often, which is exactly why I never delete photos, always back them up, and continually review old ones.  You never know what surprises you're going to find.  I catalog my photos to keep them organized and filtered.  I use Lightroom for this purpose and I find that it works wonders.  You have to keep up on it, but with the help of a regular routine you'll be thanking yourself later. 

As soon as I am able to sit down with my computer and CF card after a shoot, I plug in my card reader and start downloading images.  Ideally, I am near my external hard drive and can do a back up then and there and forget about it.  No matter when I get to it I will back up my photos.  Backing up your photos may be the most important step, so don't forget it!  I can do this automatically with Adobe Lightroom and kill two birds with one stone on one download.  I've preset mine so that all I have to do is plug in my external hard drive and press OK and it'll automatically back up to my selected hard drive.  If it's not plugged into my computer Lightroom will remind me.  After I get all my photos into Lightroom and backed up on external hard drives, I start to go through and weed out the good from the bad.  I use a 'flag' for the ones that draw an initial reaction and I know are good, and a rejection flag for any overexposures or out of focus photos I know I don't want to keep.  Then, I go through the flagged photos and narrow it down even further to the best of the best with a rating of five stars.  I can filter the photos so that only the flagged photos are showing and develop from there, eventually focusing on the five star images.

When I am satisfied with my selection of "good" photos I start to play around in the digital darkroom.  Does the photo tell a better story in black and white?  Will it look better cropped?  What can I change to express my vision?  Aside from correcting exposure, color correcting and removing dust spots I don't like to "correct" too much unless I'm trying to achieve a certain look.  The point is to try and capture it in-camera as best you can.  Photoshop, Lightroom or iPhoto will only take you so far.  Getting an image right in-camera is the best practice and will improve anyone's photography.  I try to take that to heart.  

Last but not least, I go through my images regularly.  If I missed a back up I get it done as soon as I can. If I haven't gone through and edited dust spots, I'll do it.  Most importantly, I'll look with a fresh set of eyes at all the captures and if there is a photo I think should be flagged or even starred that isn't I'll do it then.  It's amazing what a fresh set of eyes can see.  I often find photos that were initially overlooked and wonder why I hadn't flagged them or given them a better status to begin with.  The best practice is to review, review, review!

RAW vs. JPEG

RAW

JPEG

If you are serious about photography, you should think seriously about shooting RAW.  I wanted to show the difference between RAW and JPEG in the photos above.  They were taken seconds apart, same settings, same light.  This example shows how much dynamic range a RAW image picks up vs. the JPEG image.  The colors are richer and deeper and more is being picked up on the sensor.  RAW takes up nearly twice the digital space, but, to me, it is well worth it.  RAW allows you to process your images without losing quality and provides you more to work with in post processing.  Your photos will be better and you'll be overall pleased with the outcome.  

Sure, there are times when shooting in JPEG makes sense and is sometimes your only option if you lack digital space and/or a RAW processing software.  If your camera does shoot RAW, which many do these days, then your camera should come with RAW processing software.  Having the right cataloging program such as Adobe Lightroom makes it easier to work with RAW images as well.  This can all add up, with new software, memory cards, external hard drives...the truth is, if you want to make photography more than a hobby (and an expensive hobby at that) make the jump and up your game with RAW. 

Southwestern Adventure: Antelope Canyon

What an amazing place!  Every corner and every turn seemed like there was a photographic opportunity.  It's no wonder so many photographers have a foundation of Antelope Canyon photos.  The light bounced around the walls to create a rainbow of colors inside.  Blue, purple, red, orange and yellow.  It was a bit more difficult than I thought to get a decent photo without someone in the crowd walking through it or getting the exposure right in the ever changing light.  I found that Manual mode was the only way to get the exposure I wanted and stopping down about 2 stops gave me an overall better exposure.*  The most important thing I could recommend for a place like Antelope Canyon is to protect your camera!  I (luckily) did my research beforehand and found that guides will throw dust up into the air to create the light beam effect, and with dozens of people walking through on the sandy floor dust is bound to get into the air.  The essentials in protecting your equipment?  A plastic bag (whether you make it to fit over your camera or you buy a camera specific one) and lens filter (a cheap one is probably best although you don't want to sacrifice too much quality).  After spending a few hours in the canyon I came out with one dirty, pretty much useless, filter.  Imagine if that was my lens!  All those tiny particles of sand scratching the glass, I was glad I did my research.  Some other things to keep in mind if such an occasion arises that you happen to get the opportunity to photograph such an amazing place; do not change lenses, stick with a wide angle lens, and go to the tour booth set up just to the east, down the road from the sign for Antelope Canyon Upper and get the 11:00-1:00 photo tour.  It is well worth it.  The guide for my tour was excellent and made sure everyone got the shots they wanted. 

I did a bit of experimenting with my Singh-Ray ND Graduated filters and was pleasantly surprised by the results.  With so much range in light there were several blown out shots that had potential.  With the help of my 3-stop graduated filter I was able to hold back enough light to catch the details in the brightest spots that were naturally visible to the eye.  On shots 2, 3 and 6 of the series below the variation of light was so broad I couldn't get it all without compromising one way or the other in exposure.  However, with the graduated filter I was able to get the correct exposure of the darker (blue) areas while holding back the brighter (yellow) areas enough to get the detail in the rocks. 

Essentials:

• Tripod - it sounds crazy to take one with the lack of space and crowds, but there is no other way to get the photos you want.  Long exposures are a must.  Not only is flash not allowed, it does nothing for the photo.
• Protection - plastic bag for camera, lens filter.
• Shutter release cable.
• Singh-ray ND graduated filters.
• Patience!  You have to realize everyone else feels entitled to be there, too.  Get your shots and be considerate of others' shots.

*note:  The blacks in these photos are essential to accentuate the depth and rich color of Antelope Canyon.  

Lightning Over Salt Lake

I have wanted to get a shot like this for some time.  It seemed every time I tried I was too late, or in the wrong spot.  A few Sunday's ago the west sky was full of lightning and I knew it was the perfect time for some shots.  I wanted to add more elements to the scene instead of just taking a picture of lightning so I went to a viewpoint I had scoped out some time before and composed as best I could for the unpredictable lightning.  It may seem daunting at first, but capturing lightning is actually pretty easy once you know how.  So I put together some tips below.

Capturing Lightning:

1. Use a Tripod.  This is a must for the length of time the shutter will be open.  To reduce any movement during the long shutter speed here are some other tips you should keep in mind*:
1. Turn off IS (Image Stabilization).  If you have your camera on a tripod it is still going to try to compensate for hand holding and make your image a little blurry.
2. Enable Mirror Lock on your camera.  Read the manual or search in your menu to find this.  One shutter click flips the mirror up inside the camera before taking the shot and a second shutter click will take the shot. 
3. Use a Shutter Release Cable.  Touching the camera will produce camera shake.
4. Use a low ISO.
2. Use a longer shutter speed.  Lightning comes and goes quickly, so make it easy on yourself, use a slow shutter speed and any time lightning strikes while your shutter is open (say during a 15 second stretch like the photo above) will show up on the sensor, and on your photo.
3. Find an interesting foreground/subject and work with the lightning around it.  It’s just a shot of lightning if there is nothing else interesting in the photo.
4. Take lots and lots of shots.  You’re not going to get it the first time.  Keep at it.  Find the best (safest) place and shoot away!

*These tips should be practiced any time you use a tripod.  

Summer Storms: Sunsets

Cecret Lake Trailhead looking down Little Cottonwood Canyon, Utah.  

When the clouds gather grab your camera and get out there!

Photographing Sunsets

Essentials:

1. Tripod

2. Filters - Graduated Neutral Density Filters

3. Shutter Release Cable (or use the 2-sec timer)

Tips:

1. Get set up before the sun sets - this moment lasted only a few minutes, if that.

2. Pre-visualize your shot beforehand so you can have everything ready (composition, lens selection, filter, camera settings, etc.)

3. Stay until the stars come out.  The most dramatic colors can, and usually will, be when the sun has set and just before it gets dark.  As the great Yogi Berra once said, "It ain't over 'til it's over".

4. Be in the right place at the right time.  I would say this is possibly more important than any gear or knowledge you can have of photography.  Being there is half of it.  What good is it if your content is boring?  

5. Watch the clouds, watch the skies.  Dramatic skies during the day will most surely develop dramatic sunsets.  Figure out which clouds and conditions bring the best light and at what time?  This takes a lot of practice, but can be one of the most important bits of knowledge for a landscape photographer.  

Adjusting to the Light

These past few weeks have produced some great summer light with the late gathering storms coming over the Wasatch Mountains.  Some of the best light and color comes from dramatic clouds.  Which is why getting out before and after the storm can produce some really stunning imagery.  So, don't shy away from clouds.  Even complete cloud cover can break up at the last minute and give you a light show at sunset.  It's all about being patient.  Even if nothing happens nine times out of ten, it's that one time that will keep you coming back for more.  

Salt Lake City Downtown Library in the foreground of summer storm lighting

You don't always get that light show you were hoping for, so what do you do when the sky is boring?  Cloud cover can be a great "soft box" for flowers and moss and produce much needed saturation in foreground elements.  It can also be useful for slowing your shutter speed for river and waterfall shots.   With a boring sky, go to the ground.

Cloud cover at midday made this photo without a filter.

Most people head in during a storm, but for photography, getting out in the wet and cold can be very gratifying in the end.  Note: Just make sure to protect your gear and yourself.  Plastic bags are a must in wet conditions.

The subtle snowfall and icy conditions give this photo depth.

Being a weekend warrior of adventures and photography, I find myself taking what I can get.  Weather and light conditions can make or break a photo, but being able to adapt to those different conditions can make the photographer.  Sure, that one photo you were hoping to capture may not work out, but try something different.  What makes the conditions unique?  How is the scene different?  Explore, discover, adapt.  

Beginner Tips: Aperture

Image courtesy of Photoluminary

To continue with some beginner tips I wanted to talk about aperture.  If you know what aperture does and how to use it your photography will improve and be even more enjoyable.  There is a setting on most cameras to control aperture only leaving all other settings in auto, called aperture priority mode (Av: Canon, A: Nikon, see manual for other).  First, you need to understand what the aperture does.  In every lens there is a fan-like circle that controls how much light comes into the sensor, which is called the aperture.  With a small number like 1.8 the hole is very large and let's in a lot of light, making it easier to shoot in low light with a faster shutter speed.  A high number like 22 makes the hole rather small and allows very little light to reach the sensor, making your shutter speed longer.  Now, there is another factor that is in play and that is Depth of Field (DOF).  When you use an aperture of 1.8 you're going to have a very shallow DOF and most everything, besides what you've focused on in that plane, is going to be out of focus.  This is very effective when shooting portraits or when the background is distracting.  If you want everything to be in focus from near to far, an aperture above 8.0 is usually effective.  Many photographers have found the "sweet spot" in each lens as to not lose quality and still have a deep DOF, and it's usually around 8.0-10.  If you want to slow the shutter speed on purpose, using an aperture of 22 will do just that.  I like to play around with the apertures from 8-22 and see if there is much difference in a certain scene.

In addition to talking about aperture, lenses are also tied in to the subject.  Lenses with really low aperture numbers are referred to as fast lenses and usually carry a high price tag.  For example, a 70-200 mm lens with image stabilization and a constant aperture of 2.8 is a very fast lens and is about $2,500.  Whereas a similar featured 70-200 mm lens at a constant aperture of 4 (still a pretty fast lens) is priced around $1,200.  Both pretty expensive lenses, but you get the idea.  If you're looking for a really fast lens at a low price I would strongly recommend a prime lens like the 50 mm f/1.8 (The number after the f is the lowest aperture possible).  This lens is by far the best bang for your buck at around $100.  If you ever shoot indoors or in low light this lens is a must.  Also, a great lens for portraits as the distance is how our eyes see and won't distort any part of the image.

As I've said before, the best way to learn is to go out and experiment on your own.  The best way to see the difference in aperture is to focus on something around two feet in front of you with the background further away, take the picture at different apertures and compare. 

Beginner Tips: Quick Tips

Photography is a great hobby, passion or even profession.  If you’re thinking about getting more involved in taking pictures there is no better time than the present.  Digital has made photography easy and affordable.  Many may consider themselves photographers because they have the equipment, but nothing can make up for the learned or natural ability to take a photograph.  There is so much more than I ever thought to creating a good photograph.  There is much more art, thought and consideration into a photograph than just pointing a camera in a general direction and clicking the shutter.  So, if you want to take your photographing skills to the next level I have put together a few beginner tips and will continue to include beginner tips entries.  To start out, I put together some quick tips.  

1. Get your camera off Auto Mode.  If you set your camera to Priority Mode (P) you have control over settings without needing to know how to set aperture or shutter speed.  As you learn how to control aperture and shutter speed I would suggest shooting in Aperture Priority Mode (Av for Canon, A for Nikon).  That way you can control the aperture and benefit from being able to control depth of field without worrying about shutter speed.  
2. Composition.  Whether you’re a novice or a pro, your composition can make or break a photo.  It doesn’t matter what kind of gear you have, your composition and subject can be the most important factor in your photography.  For some people it comes natural.  For others not so much.  Look at how other great photographers place their subject in the frame.  How does your eye travel through the photo.  Are you distracted by something in the background?  Decide what needs to be included and what should be left out.  Some rules to keep in mind:
1. Rule of thirds:  Break the frame into thirds and put your subject(s) at those intersections.  
2. Fill the frame:  To repeat the great Robert Capa, “If your pictures aren’t good enough, you’re not close enough.”*
3. Decrease distractions: That lady in the muumuu in the foreground of your amazing picture of the Pyramids of Giza may be a little distracting.  Unless, of course, ladies in muumuu’s in the foregrounds of majestic monuments is your style. 
4. Lead the runner:  Usually, you don’t want the person looking off the edge of the frame, or the car driving out of the frame.  Give your subject room to go wherever they’re headed. 
3. Light:  Lighting is probably the most important aspect of photography.  The best light is early morning and late afternoon.  Middle of the day is flat and boring.  Light at the beginning or end of the day has deep shadows, rich color, and overall dramatic lighting. However, don't miss an opportunity just because the clock says noon, other factors can contribute to dramatic light.  For example, some of the best light can come before or after a storm.  Be aware of how light is hitting your subject and search out the best light.
4. Know how the flash works, then turn it off.  It’s amazing how an on-camera flash can ruin a photo.  If you use flash a lot consider investing in an external flash, but first try without by speeding up the shutter speed, cranking up the ISO, and/or start with a low aperture.  
5. Be experimental.  Try night photography, find a different angle, break the rules. When you try new things you figure out how to slow the shutter speed or make a starburst.  

*I actually believe this quote may mean figuratively rather than literally, but either way, it's a great photography quote.