The rule of thirds
When composing a picture, there often are inclined to put the main subject - be it a peak, a person, or a flag of prayer - in the middle of the frame. Although this can work at times - as measured by Steve McCurry's iconic portraits - often leaves the image opaque. A quick and simple remedy for this that liven up your images and the composition is to use the rule of thirds. The technique is simple: share your fame into thirds, andplace the main subject on the left or right, up or down, one third of the image rather than the center. This simple technique - a minor change of location - create energy and movement in the image and a dynamic and engaging composition.
Leapfrog!
Let's face it - head shots just do not work. Sure, they are easy to create - see your friend to get over you, pull out my camera, and insert an image. What comes out, however, is more often than not withoutof emotion in the face of the climber - the part that shows their emotion and tells more about the scene - is hidden. So from now on remember that childhood game of leapfrog. As a photographer shipping - that is the summit ridge of Everest or Mount Rainier - are constantly playing leapfrog with my subjects. I start the day in front of them, arrive at a good location with a dramatic setting to take a picture, set, shoot as I pass, baggage, pass, and set up another shot higher onthe mountain. It is not easy, but it makes a difference. Are you the rope, do not worry, wait until you are sure (in a break or when someone is tied off safely) and take pictures like that. Just avoid the infamous head shots please!
More is not always better
Our eyes, working in tandem with our brains are amazing devices. In the blink of an eye, you can pan around a scene, choose the interesting parts, and zoom in on them in our brains while still seeing the wholeview. With still images, however, we often need to help our viewers do not get distracted and refine the best part of a scene. And he often does nothing for our image, but it takes away ... and we better get more from less. To do this, use a zoom lens to pull an interesting topic in its own right in the frame ... or use the old tried and true tool - the legs. Yup, it's true, if your goal is not close enough to the subject to make the frame visuallyattractive approach, compose and shoot. It 's all in perspective!
PANORAMA
Northeast Ridge of Everest Camp VI on the north wall. It is a vision of a place's iconic symbol, but one whose imposing size and nature can not be captured in a frame of film (or sensor). The solution? Shoot multiple frames and stitch them together with the software landscape. Shoot multiple frames of your soon-to-be-scene, overlapping the edges of each image byat least 25%. Later, you can use one of the many views stitching programs available through a Google search, or, if you have Adobe Photoshop, use their built-in program Photomerge to put pictures together - works like a charm! Here are a few tips to make your views even better:
1. Look for the distortion: Many wide angle lenses display some distortion at the edges of the frame, this is easily visible when a straight line is placed at the sides of the frameand is folded or bent. Make sure you use the lens has no distortion (not a fisheye for a fixed focal length) or larger is sufficient to eliminate any distortion on the telephoto.
2. Use a tripod: Shooting a scene - and then stitching together effectively - requires a precision that is difficult to achieve without a tripod, especially if we are standing on the rocks shaky and labored breathing. Then, use a tripod (or a rigid and immobileas a rock) to make sure that the plane of the scene remains constant through all frames.
3. Lock the exposure: As you move from shot to shot the scene, the lighting of the scene will inevitably change. If you leave the camera in program mode, you will find the best exposure for each frame, sometimes causing drastic changes in light from first to last frame ... and making it impossible to put together later. The solution is to first pot back and forthacross the landscape, noting the exposure recommended by 's your meter. Then, find a middle ground between the range of f / stop and aperture. Lock this setting in exposure by using the manual mode and fire away!
4. Locking the white balance: Just like the above exposure, white balance will adjust as you pan your camera through the shot and the results are sometimes annoying. Be sure to lock the white balance to the appropriate setting: the sun, cloud, on request,etc.
They Room ... Will Get Shot
It sounds simple, but you'd be surprised how often people either leave their camera behind - and of course miss the pictures - or have pulled it out of reach that is too hard (or too dangerous) to get it out when that perfect moment arise. For example, take May 1, 1999: I walked through the north face of Everest where Conrad Anker was standing on the remains of George Mallory. The scene I walked into stateperfect - I pulled out my camera, snapped a few frames, and within seconds Conrad was looking in a different direction and the moment was gone. He had my camera was not on hand, the moment would be lost forever .... My solution is to keep my camera in a fanny pack (I use a MountainSmith Aurora II), turned toward the front. This package is my camera, spare lenses, batteries, and cards, plus a couple of activities to keep handwarmerseverything works fine when I shoot.
Stop It Down!
As good as modern digital cameras are still lacking in some areas, especially in the realm of dispatch and outdoor photography. A common problem occurs when shooting in snow - lots of bright white contrasting sharply against the vivid blue sky and dark rocks. Basically tricks sensors and, if left to themselves, the cameras to create images with blown outpoints out, that is, the snow will be all white volume with little or no details. The solution is to manually set your exposure compensation to under-expose the image of 1 / 3 to 2 / 3 stop (-0.3 to -0.7 on most cameras.) Block in this setting the camera and shoot in any shooting modes and your pictures will come out with details in the highlights (snow), but is good in the darker areas.
'Fill Er Up!
Another common problem faced during the shootingof shipments is a climber on a snowy background or bright sky. Take a picture without backlight compensation and will most likely not end up with a properly exposed background and a dark, underexposed the main subject. To resolve this problem, use a little 'fill-flash. But, just insert the flash and shoot away ... Flash is calibrated to balance a person in daylight conditions, and in doing so splash too much light on the subject which gives an unnatural appearance. Goin your flash settings and, as with the exposure compensation mentioned above, manually shut down the flash output. I usually keep my flash stopped up to -0.7 to -1.0 (2 / 3 of a point), and sometimes go even lower depending on your situation. Play with it, and remember that film saying it is cheap - this truism is even more true with the digital!
Sun Star
One of my favorite techniques during the resumption of shipments is to shoot straight at the sun, but getting theexpected results can be frustrating. However, if done right, the result is a dramatic image with the sun (or any bright point-light source) was transformed into a dazzling star. To make it work, you must be able to set the aperture manually (it is not possible on many point-and-shoot cameras). Set the aperture to F-16 or higher - in general, the larger the aperture (the smaller the hole of light-input) the best for this output. Then, with the camera in manual mode, dial theimage and lead exposure ½ to 1 ½ stops under-exposed, adjusting shutter speed. Shoot a frame and make sure the sun is as it is to be interpreted and that the rest of your image is exposed correctly as well.
Zoom in or pull back
As I said before, the perspective is everything. You can turn an image into a monotone one star ... or transform what could be a shot in another shot. Then, try different perspective, and throughthe legs to move and with different lenses to change the view. Sometimes a shot requires a wide angle of view to show all the great view, while others may need to be really tight to emphasize the details. In my ship kit, I am always looking for a balance between flexibility and weight - not always an easy balance, but with modern equipment and a couple of dollars, is feasible. Being a Nikon shooter, I always go with Nikon lenses. My standard kitincludes my Nikon DX Fisheye 10.5 mm for wide angle and telephoto 18-200mm DX VR for a wide range of focal lengths. In my package is my big gun - a 80-400mm VR Nikon telephoto ... heavy, but very useful. With that combination of three lenses, I can get a large ultra-perspective fisheye incredibly close to the 400mm (which, on a Nikon DSLR sensor is equivalent to 600mm on a 35mm camera - powerful enough to bring the summit of Everest up closeand personal base camp!). In addition, we are able to create unique images by simply moving our cameras and our bodies. Lying on the ground and shoots toward the sky or climb up a bit 'higher and shoot a bird's eye view.
Try some 'all
Although today's equipment is amazing, the best photographs require a combination of equipment and personal vision. Rarely has a simple point-and-shoot image to the cover of National Geographic. So, try a bit 'ofeverything on your next outing or expedition. Have fun, play. Understand what I want to tell the story, and then decide what images will be better to tell that story. The best shot is often the one who decided not to take!
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