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Three Tips to Blur Water

March 11, 2025April 2, 2025 Jason4 Comments

After posting about exposure triangle and how blurring water means decreasing aperture, I got a few questions about other ways to blur the water in your composition. So, here you go.

It seems that water always seems to attract attention in photography…whether it’s an ocean at sunrise, dew on a flower, or waterfalls gushing through a mountain stream, the impact that water can have on our imagery is very powerful. Harness that power to your own creative ends by recognizing 5 ways to blur it to your advantage:

Slow Down!

1. Slow that shutter speed down! Your shutter speed is the best way to blur water…taking things down to at least 1/4 of a second, if not longer. This is what I did in my last post about the exposure triangle. It’s still my favorite way of blurring water to a creamy smooth texture in photography.

Use a Tripod

2. Steady those shots – even without slowing your shutter speed, to seconds, keeping the camera stable to prevent shake when hand holding is near impossible, so please take and use your tripod! Of course, it goes without saying that when shooting at slower shutter speeds, it helps immensely to be solidly mounted on a good set of legs. Without getting into the pros and cons of various features and qualities of various tripods, if you are shooting a 10 second exposure of a beach at sunrise, you need legs!

ND Filters

3. Sometimes even with slowing shutters and using tripods, it’s just not enough. So, you need to find another way to control the light. ND filters are the answer. I’ve seen a lot of people run into an invariably brighter exposure… and to combat extra ambient light in the scene, they use ND filters. These filters essentially prevent those extra rays of light from hitting your sensor. Polarizers can work too, but they are less effective as they can have some downsides to them including elimination of reflections, casting a specific tone on your entire image, and more. When in doubt, always use ND filters.

As always, there’s more than one way to skin a can (or blur water)! More involve shutter dragging with fill flash, and lots of others. What ways do you use to blur and control waters’ appearance in your images? Sound off in the comments with tips and tricks of your own! Happy shooting all, and we’ll see you back here again next time with more photo goodness!

Hardware review: Sigma 8-16

November 16, 2021November 15, 2021 JasonLeave a comment

As an avid proponent of doing due diligence, I’ve always encouraged people to do research on lenses before buying them. Whether it means renting them from vendors like LensProToGo, Rent Glass, or through vendor relationships, it’s a great way to get a first hand look on how lenses perform under a variety of circumstances. This was the case when I’d been the benefactor of a solid relationship with the folks at Sigma. I spent about a month kicking the proverbial tires on one of their latest lenses to hit the market: the Sigma 8-16mm lens. Continue reading “Hardware review: Sigma 8-16” →

Wordless Wednesday #27: Boulder Tulips

April 10, 2018April 9, 2018 JasonLeave a comment

I’m coming out of silence for Wordless Wednesday…primarily because so many people are asking me questions via email, Twitter, and FB to share details about the composition, post production, and other details. Instead of just spitting out metadata and other information, I’ve got questions and answers from now on:

#1 – What rule of composition did I use and why?

I chose the Rule of Thirds for this shot, and specifically chose the lower left third to be the grabber. I didn’t want this to be an overpowering shot, for the eye to just enjoy the plethora of tulips…but the little tiny yellow and red amongst the larger red ones struck me for some reason, so I framed it to the lower left – thus giving more space for the eye to expand out from there to the rest of the scene.

#2 – Are any rules of composition broken?

Here, I don’t think so – in general, the Rule of Thirds applies, and the Golden K also applies if you look at it for more than a second or two…see the K lines appear in the red tulips? Kinda neat, eh?

#3 – What camera/lens combo did I use?

For this shot, I was on my trusty Canon 40D, and the lens mount was none other than the Canon kit 18-55mm (nonIS)! I went with the 18-55 mm lens because this is a very good lens for approximating the equivalent of what the human eye sees, and for this photo shoot, I wanted that effect.

#4 – What lighting did I use?

Here, there were no lights…it was au naturale: S=1/60th, f7.1, focal length = 50mm, and an ISO of 1250! (Yep, ISO 1250 – I was hand holding and wanted to keep it bright! The scene was actually much darker, because the sun was going down, and I really wanted the colors to pop! Depth of field was also important to me, because all the flowers needed to stay relatively sharp. Since I was shooting light and on the fly (no tripod or monopod), my only option for getting the brightness in the scene that I wanted was to push the ISO settings up to maintain correct exposure.

#5 – How did I process it?

I processed this in Lightroom, using just a few tweaks on the right panel: I had under-exposed a little (especially given the fading lighting conditions), so upped that by .76. I also set Clarity, Vibrance and Saturation to 50, +10, and +10 accordingly. These settings helped bring out more of the color and vibrance that I was seeing but was not in the default raw file. My sharpening and noise levels were also set to +73 and +50…the sharpening was up that high because,w ell, we always have to sharpen at least a little, and a went a little higher to help define that depth of field. Lastly, the noise levels were pushed up to help counter the impact of the ISO when I was shooting.

Hopefully this will help those of you who are interested in learning what I see with my eye and why I capture certain images. If you have more questions, or thoughts on improvement, feel free to share those in the comments!

Hardware Review: Sigma 18-250

March 4, 2018March 25, 2018 Jason15 Comments

The subject of today’s post: The Sigma 18-250mm lens review! You read that right – Sigma has a lens that covers the range of 18-250. This allows you to go from relatively wide angle shots at the 18mm end to zooming pretty far in at 250mm on the opposite end. But, is the quality really there?

I took the lens through its paces over the weekend and here’s what I found out about the Sigma 18-250! In the interests of full disclosure, I should also note that this was actually requested by myself for review, and that I am not being compensated in any manner by the good folks at Sigma. So, this is, in fact, a loaner and I am required to send it back no later than June 26th. Since I will be busy next weekend, decided I should get the review shots done with this weekend so the lenses can be shipped back on schedule.

Pros:

Weight – this has a nice solid feel to it. With I think a total of 13 elements in here, it’s no surprise that it doesn’t feel the slightest bit flimsy. The weight adds a certain durability, but I still took things carefully as this is only on loan from Sigma for the purposes of this review. Compared to the 70-200, it certainly felt heavier, but I am not sure what the comparative weights are. All in all though, I think the weight is a good thing.
Noise – Excellent! My prior experience with Sigma is my own 70mm Macro, which does not have the HSM (hypersonic motor). That thing is NOY-ZEE! This, on the other hand, rivals the USM operation of Canon lenses. Compared to the 70-200L glass I own, the two are pretty close to each other in terms of silence in operation. The test I did for this was switch focus to manual, then take the lens all the way out to the opposite end of its last focus point. I then switched it back on to AF and listened for the motor operation. Sure, I could hear it when listening, but man was it quiet!
Range – This is without a doubt, my most favorite element (bad pun) of this lens. The fact that I could go from wide angle work to close up work with such ease makes this an ideal lens for things like photo walks (which are becoming more and more popular), or for just a go-to lens on a regular basis without having to switch out.
OS – Optical Stabilization – the equivalent of IS on Canon lenses. While I don’t own a Canon IS lens for direct comparison, I will say that it went a full stop faster than my 70-200mm CanonL f4.0 did at the same focal length/light. In a day and age where fast glass is becoming pretty much the standard, I would say this meets the mark.
Size – This lens is remarkable compact – standing at almost half the height of my 70-200 comparison lens. Think about that – a wider range of zoom and half the length. I can store this vertically in my bag, saving precious cargo space for other accessories and accouterments. Alongside would be the 70mm Macro, the 10-22mm, lensbaby, flash and other such items. Very tempting for that reason alone.
Feel – The signature brushed metal feel of Sigma lenses is present here and it just exudes “cool” and “professional”. No bells or whistles, no fancy L rings or anything, just brushed smoothness. Gotta love it!
Image Quality – The bugaboo, the real deal, the end result – the pictures! So how does it stack up? Pretty well actually, but rather than wax on, I’ll just share some images I took for you to judge the IQ – just remember to distinguish IQ from compositional quality! 🙂 Here’s the results…

Cons:

Weight – Yes, I am listing weight as both a pro and a con – the weight did get to me after a while of shooting on the 40D. While it’s durability is not in question at all, the heaviness can get on your wrist and forearm. I should put this qualifier out that I am still recouperating a tender arm from our move last July, which I am for the most part over, but it still flares up with extended use. So, things like shooting for a day can wear on me. Lighter is always better, but if I had to choose between durability and lightness, the former would win every time. Take what you wish from this con then…’nuff said.
Cost – It retails at B&H for $529, which is always a big price tag to swallow no matter what you are buying. Then again, when you look at a comparable lens from Canon that has the OS/IS built-in, the Canon counterpart goes for almost twice that at $1025 (and you still don’t get the same range of focus). While it may be a lot to pay on first glance, you really are getting quite a bit of bang for your buck.

Truth be told, I couldn’t find much else to nit on. I also liked the fact that they made this lens so you can put the lens hood on while also leaving the cap able to attach. Don’t ask me why, but I like that… Believe it or not, the lens also performed fairly well with portrait work too. I did a few test shots with yours truly as the subject and even got one I liked! So, would I recommend this lens? Absolutely! To see a complete gallery of photos I took this weekend, including the portrait ones, and even a few of the moon last night with a TC attached), follow this link:

Sigma 18-250 Gallery of Images

Well, that should be enough content for the day (I know, my reviews are long-winded), so get out and shoot (with a Sigma if you like! 🙂 ), and we’ll see you back here tomorrow. Happy Shooting! Don’t forget – would love to hear reader thoughts and ideas for product reviews – let me know in the comments or via email!

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Wordless Wednesday #20: Fireworks

October 18, 2017March 3, 2018 JasonLeave a comment

Continue reading “Wordless Wednesday #20: Fireworks” →

Photography Location

May 1, 2017October 17, 2017 Jason1 Comment

A lot of the time people ask me what suggestions or recommendations I can give them when they look for a photographer. It’s usually because the person is not in an area I can get to, or it’s a family member or a friend that wants to pick my brain (even though it hurts sometimes! 🙂 ) When I get this question, I tell most people that choosing a photographer is much like choosing a house or real estate: It’s all about location!

What do I mean by this? Simply put: a photographer can shoot on-location. I see many photographers speak to their ability to shoot on-location, and this is an important aspect of many genres ranging from wedding photography, to band photography, and even architectural work. Heck, last week I did a maternity shoot that was “on location.” So, why is this such an important thing to be able to stake claim to? Three key things come to mind for me:

1. Adaptability – Being able to shoot on location means you can adapt. If the surroundings are beautiful, you can adjust your composition to include elements of the scene to give a sense of time and space to an image. If the surroundings aren’t so beautiful, then it equally means you are able to diffuse things so that you can’t tell where a shot was taken – only that it’s a beautiful shot!

2. Controlling – Yes, being able to shoot on location means you are adaptable, but it also means you can control for a number of factors, and of utmost importance here is the ability to control the light. You can bring flash to fill shadows, or scrims to bring shadows to harsh light. If a photographer can control for the light in a scene – the shot will improve by a factor of ten in most instances.

3. Fundamentals – Given the above two factors are in place, this also usually means that the photographer brings a certain set of fundamental skills to the table. He or she knows an aperture versus a shutter setting, and can likely tell you whether ISO 100 is better or worse than ISO 32000 (depending on the look of course!). Although many like to wax esoteric about photography in abstract terms (myself included), there are certain fundamentals that every photographer worth their salt would and should know. If you can shoot on location, you likely have these fundamentals.

These are just three of the factors that I think about when I see a photographer say they are an “on-location” photographer. Of course the proof is in the pudding, and while I certainly would not pick a photographer solely on whether or not that term is included in their online presence, the ability to back up statements with a solid portfolio (and yes, an interview if you have the time to talk to a potential photographer!)

While we all like to think we have these traits, and in enough of a capacity to “bring it” for any client – let’s face it…some photographers are better than others. Either they’ve got a natural knack for it where others have to work harder at it, or they’ve just simply been shooting a lot longer. Seriously…time means practice, and the more you practice, the better you are at anything! There are photographers who have been shooting for decades and some of us can’t hold a candle to them. Meanwhile, others have been shooting for days, and I often stand in awe of their work. So, consider the above three things when you decide to hang out your own shingle – because people will likely be looking for these traits. Do you have them? Do you have more? Less? Something different? Something new?

What traits do you bring to the table? Or better yet, what traits do you think are important for potential clients to consider when hiring a photographer? The above is just my opinion – but that doesn’t mean it’s the ultimate answer! Am I right or am I way off base? Sound off with your own thoughts as the conversation is always the best part about this blog! Can’t wait to hear what you have to say! Until next time, keep the comments coming – oh yeah, and keep on shooting!

What Is Zoom?

April 4, 2012September 4, 2022 JasonLeave a comment

A great question came up in my Twitter feed a while back, and felt it was worthy of putting together a short post to help explain the whole concept of zoom on cameras. The original tweet asked:

“What’s the best focal length on a lens to reach 400 yards so I can see a 1 inch square at that distance?”

We started talking about different long length lenses, such as the 400mm, 800mm, and 1200mm lens options from Canon. All were (are) very pricey and beyond the budget for my friend. he then started asking why a 35x zoom point and shoot wouldn’t be an option. So, the discussion turned to a teachable moment! How exciting for a teacher! The recap is two simple points:

Point #1 When manufacturers refer to the zoom of a lens, whether it’s a P&S camera, binoculars, or digiscopes, they are referring to how much of a magnification one can get over “normal viewing conditions”. Notice how I put the last part in quotes. What are normal conditions anyway? What kind of vision is normal? 20/20 vision? And what are we looking at? Something 10 yards away or 400 yards away. The point here is that there are so many subjective factors, the “zoom” isn’t really has hard and fast a number as one would think. We can approximate sure, but it’s not set in stone, and certainly a measurable distance is nothing more than a rough guess.

Point #2 The zoom of an SLR lens isn’t at all on par with the zoom of other equipment – it actually is a hard and fast number. Simply put, the zoom of a lens is the ratio of it’s longest reach to it’s shortest reach. A 70-200mm lens starts with a focal length of 70mm and ends with a focal length of 200mm. This is the distance from the focusing point to the sensor. So, a 70-200 lens has a “zoom” of 200/70 or almost 3x. A 100-400 lens would have a zoom factor of 4. it’s simple math for SLR lenses.

This is a classic example of where the same term can mean different things to different people.

So, my answer to him? Well, to see something at 400 yards large enough to take a decent picture you would likely need an 800mm lens or 1200mm lens. You also probably need a 1x or 2x TC to really get far enough. The problem with taking a picture at this distance is that heat, atmospheric conditions, and just the physical limitations of optics would not make for appropriate conditions to capture decent images. Most wildlife photographers I know of like to get closer than 400 yards from a subject to take their picture, and for good reason. The distance to subject is of prime importance in capturing wildlife photos. Zoom or no zoom (prime lenses), there’s no substitute for proximity! Photography all too often comes down to something along the lines of real estate mentalities…location, location, location!

My best example? A hummingbird I shot from a mere 15 feet away!

Puerto Angel Vacation Photos

May 18, 2011January 19, 2017 Jason1 Comment

As you may or may not have noticed, the blogging schedule has sort of gotten re-aligned again. I had slipped from the 5-day schedule down to a 2-day schedule, but during a recent getaway, I was able to get things back on track. Hopefully there won’t be any more changes to what is now a Mon-Wed-Fri setup, but news-breaking or other earth shattering info may trump the normal order of the universe! In any case, during the break, I happened across a few really good photo ops. Some gorgeous vistas and scenery, plus an occasional animal sighting from the trip to Puerto Angel Mexico (you’ll get more info if you subscribe to the free PhotographyBB magazine as a full-length article with many more photos is due out next month).

Nevertheless, since photos have not been at the forefront, I wanted to dedicate an entire post to sharing some photos from the trip here with you. So, without further ado, some selects from the trip!

The Permanent Portfolio Photo?

May 4, 2011January 19, 2017 Jason3 Comments

One of the cardinal rules I’ve always heard in the field of photography is to update your portfolio often – show fresh work to show you haven’t stagnated, and that your creativity is always expanding and changing with the styles and facets of the times. On the flip side, I know of many photographers who quietly admit that they have a stable of “permanent portfolio shots” that they fall back on to use in promotion and marketing mechanisms if they haven’t had new projects that they want to promote.

Leave it to the Libra, but for me, I can see both perspectives and understand the pros and cons of each. To those ends, I’ve not really made up my mind. Sometimes I waffle one way, other times I go in the opposite direction. It’s never good to stagnate, but I do think that some photography is timeless, and to that end, some photos are worth keeping in your portfolio. I’ve got a few that I know will always be in mine, but others I rotate periodically. Here’s one of my all-time favorites:

What do you do with your own portfolio?

Three Top Tips for Posing Your Subject

April 1, 2011 Jason2 Comments

As the Spring weather comes upon us, so does the urge to get out and shoot more. Models are also more willing to brave the warmer temps, so it’s easier to get some willing subjects. As you start to venture out of the warm caves, here’s a couple tips to getting your subjects to pleasing postures:

1. Turn and Burn: So many photogs want to get facial expressions but in doing so, forget that most of the time we never see someone’s full face toward us. It’s usually more of an angled shot, and that’s why it’s often recommended to turn your model to one side. Some models will swear that one side is better than the other, but when it comes to photography, my thought is not so much shooting their best side, rather shooting an expressive side!

2. Breathe! – That’s right, so often when a model poses, the natural inclination is to “hold that pose” which subconsciously puts them in a state where they hold their breath. Help them remember by even telling them to do so. “Turn here, great, now chin up, awesome, and just a little to the right, excellent! perfect! Hold that pose….! Oh, and don’t forget to breathe! Take a deep breath and now exhale…fill those lungs with air!” Not only will it surprise the model, but you may get a more natural smile – and if you’re lucky, even a laugh!

3. Encourage the lean! – When people start to get in posing mode, there is a tendency to lean forward. Leaning into the front shoulder is common, as is leaning to accentuate cleavage for a woman. If you think about it though, the forward lean does make everything look a little bigger! That’s not always a desirable thing, so encourage your models to lean back just a tad. Not too much as you don’t want them to fall over, but at least make sure their weight is shifted to the back leg.

The other thing to remember, (kind of sneak tip for you), is that modeling rules work for both men and women, so even though the ones here are all women, many of the same rules apply! There ya have it – 3 tips to get you started with subject posing and portraiture! Got your own tips? Share ’em in the comments! Have a great weekend and happy shooting!