5 TIPS TO GET YOU OUT TAKING PHOTOGRAPHS

This sun flare photo was featured on Flickr's blog as part of a Flickr Friday project and now is one of my most popular photographs on the service with over 2,000 views and favorited 47 times.

Do you find yourself with a desire to head out shooting but are really stuck for inspiration? Maybe you have a new camera or lens and want to put them through the paces and make wonderful photographs but can't think of anything compelling to shoot. Or worse, maybe you have a mental block and just can't visualize yourself taking photos.

First, let's understand that this happens to everyone, professionals, amateurs and all levels in between. There are some days you just aren't feeling it. And it's easy to think just pick up the camera, get out there and shoot, but that really isn't an answer or you would not have to read any further.

Professional photographers can normally push through those thoughts and so can you with these helpful tips to get your creative photographic juices flowing.

1. The reason professional photographers push through those thoughts is because the fear of returning from an assignment without a usable image forces them to. So why not start by simply giving yourself an assignment. It can be anything from pretending you are a National Geographic photographer sent to document a location or making a commitment to show others your results. How would a Geographic photographer approach a subject? And nothing motivates a professional more than having to show images to their editor following an assignment so think who could play the role of editor in your life.

I was looking for a reason to get out of the house, so I headed to Glen Echo Park in Maryland, a location I've been wanting to photograph for some time. Once there I decided my theme would be the Victorian architecture and while I don't think I captured any particularly compelling images, I know it is a location I will return to again.

2. Pick a theme. It could be anything from shadows, color, texture or something broader like weather, love, aging. This theme allows you to begin really observing the environment around you. And maybe while searching for photographs to fit that theme, you begin to see something else that catches your eye. Keep an open mind, but if you can stick to your original theme it really forces you to "see."

3. Participate in an online photo community and look for assignments there such as Flickr Friday or Instagram's Weekend Hashtag Project. In this case you don't even have to pick a theme yourself. For instance, every Friday Instagram's community team picks a theme and provides a hashtag so you just shoot and post the photos. Find out if there is a Google Plus Drink & Click photo walk in your area or any photo walk for that matter. Or just find a friend who also is looking for a reason to get out and shoot and get together.

Photograph taken with my cell phone at the U.S. Postal Museum in Washington, D.C. as part of an Instagram Hashtag Project. #WHPsentbymail. I don't have a big presence on Instagram, but this photo drew eight likes and I picked up followers.

4. Think beyond that one day with your camera and look for longer term projects. Is there something in the news that sparks your interest or are you a member of a group or club that is looking for someone to document their activities. These projects keep you thinking long term and will have you looking forward to shooting every chance you get. It is still helpful to set goals along the way and sharing your work will help you refine the project.

5. Think about a technique you want to get better at and develop a photo shoot around that. You can watch tutorials on the web all day long, but if you never attempt to try them, then nothing is gained. Say you just watched a video on shooting portraits with off camera flash, then grab a friend and get out there and try it. Both Adorama and B & H have YouTube channels that offer great tips for photographers at all levels. Additionally, websites such as Creative Live, Kelbyone and a whole host of other free and paid sites are available to find both instruction and inspiration.

I find myself returning often to Rosslyn in Arlington, Va., where i'm drawn by the shadows, shapes and architecture. This photo was taken during the 2013 Scott Kelby Worldwide Photo Walk I led and subsequently was featured on Ibaroinex Perello's  YouTube channel on finding the extraordinary in the ordinary .

So even if you find yourself going to the same location over and over again, I hope that following some of the tips I've offered will force you to get out and shoot, force you to dust off that camera and most importantly force you see differently.

Anything that gets you out of the house with a camera in hand means that there is a potential for wonderful photographs and the potential for you to improve.

Remember that even if you don't take any photographs that thrill you each time you are out shooting, you've lost nothing, except the guilt of not trying.

AS SCENE FROM A TRAIN - FIVE TIPS FOR BETTER PHOTOGRAPHS

Photographing an urban scene like this one as the train left Central Station in Montreal offers a different viewpoint of the city. Fujifilm X100S, 1/200 @ f5.6, ISO 200.

Traveling by train can be a wonderful experience, sitting comfortably and watching as the world passes by just outside your window. I suppose if you commute daily by train you might not see it as some wonderful experience, however, whether the train you are on is traveling through a beautiful countryside or the forgotten parts of a city, there is no reason why you shouldn't be able to take out your camera and make some amazing photographs.

We have all seen photographs out of airplane windows. Instagram anyone? Perhaps they are a bit cliche, although I actually don't mind them. Less often though do you see photos taken from a train and that's a shame. Maybe it is because more people fly, I don't know, but the opportunities to capture unique views from a train are endless. And many times it is not even possible to tell from the photograph that it was taken through a window while traveling upwards of 60 miles per hour.

Taking advantage of the stopped train while waiting to cross the border from Canada into the United States allowed me some extra time to compose this shot which would have been difficult with the train moving due to the strong back light. Fujifilm X100S,  1/950 @ f5.6, ISO 400.

So what do you photograph? Think about the difference between trains and cars, besides the fact that trains are on rails and cars are on the road, but what does that offer you visually. If you think about it, roads generally pass by the front of buildings and houses, whereas trains travel behind, which makes it possible to capture a unique perspective. If you are out west or up north, it can be about beautiful landscapes, but most trains travel through urban and industrial areas as well so you see the back side of the city or urban landscape. Take advantage of both and you will be surprised at what you capture.

Notice how the foreground is a blurred. I still think it adds some interest. Fujifilm X100S, 1/500 @ f5.6, ISO 200.

Before you break out your camera on the next trip from Washington, D.C., to Philadelphia or beyond, let me offer some tips to help you start making beautiful images from the comfort of you train seat. And you barely have to put down your drink to do it.

Five Tips to make better photographs during your next train journey:

1. Pick a good seat. It might seem obvious, but you really should choose a window seat, otherwise, you better get to know the person you are sitting with very well. Somewhat joking, but there a few ways to ensure you will get a window seat and a good one at that. Use the red cap or a similar service even when you don't need assistance with your luggage because they will get you on the train before everyone else and that is well worth a few dollars. Boarding early also gives you the option to pick a seat with the cleanest, least scratched window. Finally, not all window seats are created equal, so make sure you get one that is more or less centered on a window.

I selected the left side of the Amtrak Adirondack train from New York to Montreal because I knew the Hudson River would be out my window during most of the trip. The ice was a bonus. Fujifilm X100S, 1/1250 @ f2.8, ISO 400.

2.Select the side of the train that will afford you the best views. If it is not a route you are familiar with, then a little research will go a long way. Google maps do show train tracks. Another consideration when selecting which side to sit will be the direction of light. Shooting into the sun can create some interesting photos, but remember that you are shooting through a window so the sun glare and reflection may not allow for photographs. Compare it to sun glare on a dirty windshield, it is the same thing.

Downtown Albany, New York, as the sun goes down. I like the empty parking lot and elevated shooting position. A view that would be difficult if not for riding on the train. Fujifilm X100S, 1/1250 @ f2.8, ISO 400.

3. Pay attention to your aperture. Selecting a wide aperture, f 2.0 - f 5.6, will limit the effects of shooting through the window, similar to shooting through a fence. If you have the time and can do it safely, clean the window from the outside prior to boarding. Of course, you should check with train personnel before you do this just to be on the safe side. But at a minimum, wipe the inside of the window. You don't have to shoot wide open though because you do want some depth of field, but too much and you will be spending a lot of time cloning out spots caused by dirt on the window.

4. Shutter speed matters. Objects close to the train will blur even at relatively fast shutter speeds. If you are shooting objects in the distance without a foreground then you can get away with a slower shutter speed even on a fast-moving train. If a fast shutter speed is not possible or you are just looking to get more creative, then slow the shutter speed way down and blur the scene as you pass by. Instead of you panning with the camera, let the train do it for you. Think about this technique to photograph trees during the Fall.

Photographing the backside of the city. The slightly burred train structure at the right adds just enough context to let the viewer know that this photo is taken from a train. I like the industrial look and hints of color in this image. It can be hard to frame a shot while the train is traveling at 60 m.p.h. so take plenty of shots.  Fujifilm X100S, 1/160 @ f5.6, ISO 200.

5. Always be prepared to shoot and when possible try to anticipate what's coming up. Even when you are very familiar with the route, the view outside will pass by quickly so you need to keep your camera ready and as close to the window, without touching it, as possible. This might be a good time to mention that a wide angle lens works best, especially in a changing landscape. Fast moving trains make framing and shooting with long glass difficult. If the train is moving slowly or you are traveling the great plains, then this may not be a problem.

Take the time to shoot lots of pictures on your next rail journey and let the results surprise you and your friends. Besides, there is much more to see from a train window than from a plane window.

Check out Amtrak train routes and start planning your adventure today.

STAR GAZING - PHOTOGRAPHY TIPS AT NIGHT

Monument Valley at 3 am. Camera settings: ISO 2000, 20 sec., f 2.8.

Much like my recent post offering five tips on photographing in Upper Antelope Canyon, I admit that this post offering my thoughts on photographing stars doesn't come from years of experience. In fact, this was my first real attempt.

So why should you continue reading?

Because with any photographic technique there will always be a first time. And because I come to these new situations with years of photographic experience behind me, I think my approach and the lessons learned can help you as you expand your photographic horizons and explore new areas or genres of photography.

I mentioned briefly in my post about planning for my Arizona trip that one of the things I wanted to do was try shooting at night. Coincidentally, I also realized that I was going to be in Monument Valley during a large meteor shower, so my expectations were high.

What did I learn?

Star photography is much more that putting you camera on a tripod, setting a long exposure and sitting back while the magic happens.

And of course, you already know that you'll need a sturdy tripod, cable release and a flashlight (headlamp works best), right?

Horseshoe Bend at 5 am. Camera settings: ISO 1600, 20 sec., f 3.5.

Probably the first thing I learned was to crank up the ISO. I went as high as 3200 but found that 1600 worked best. Normally when using a tripod, your first thought is to use the lowest ISO available since the possibility of camera shake caused by a lower shutter speed is minimized. But when you consider that the planet your tripod sits on is moving, a slow shutter speed causes the stars to blur, thus making everything seem out of focus.

Speaking of focus, the second thing I learned is that obtaining sharp focus at night is really difficult. While you think you might be able to set your lens to infinity and all will be good, you'd be wrong. If there is something in the foreground such as a tree or barn that you can shine a light on to set focus then you are fine. Absent that, I would set my focus to infinity, then back off just a bit, take a series of photos, go to the laptop and check focus. I was never able to determine true focus using the back of the camera, even when using a Zacuto Z-Finder Pro.

Even though it appeared very dark, lights from a far-off town became visible on the horizon during the long exposure. Camera Settings: ISO 3200, 30 sec., f 2.8.

Monument Valley was dark, really dark, and remember that darkness is your friend when shooting the night sky, despite the focus issues previously mentioned. Light pollution is all around us, so the farther from civilization you can get, the better. Even as dark as it was in the Arizona desert, I noticed bright spots on the horizon from far off towns would appear after long exposures.

I found a shutter speed between 20 and 35 seconds worked best. Anything longer and you will definitely have soft stars. I set the f-stop somewhere between 2.8 or 3.2, which again seems to go against conventional thinking when using a tripod and trying to achieve a deep depth of field with everything in focus from near to far.

However, if you think about it, you need to strike a balance between getting the most light into the camera without too long of a shutter speed, which is why you crank up the ISO. Luckily today's cameras can handle the higher ISOs.

Remember, even if the temperature is warm during the day, it can get really cold at night, so dress warmly, bring extra layers and maybe a thermos of hot chocolate or coffee. You want to be comfortable when you settle in for a long night of shooting the stars.

5 PHOTO TIPS FOR SHOOTING ANTELOPE CANYON

The entrance to Upper Antelope Canyon.

Located about ten minutes outside Page, Ariz., Upper Antelope Canyon is one of those magnificent natural wonders that should be on every photographer's must shoot list.

An authorized Navajo tour guide is required to gain access and while there are a number of tour operations available in the Page area, I choose Roger Ekis' Antelope Canyon Tours and specifically signed up for the photographer's tour. Most of the tour operations offer some sort of a photography option which will cost you a little more money, but does give you more time on location, ensures that you can use a tripod, and most importantly, means you are with other photographers whose sole purpose is the same as yours.

This was my first and only visit to Upper Antelope Canyon and I spent a total of two hours taking photographs. I mention this because I don't want to give the impression that I know everything there is to know about photographing here. However, I think you will find these five tips useful if you ever get the opportunity.

Photographed with a 10.5mm lens and corrected in Adobe Lightroom 4.

1. Take your time. You've anticipated this shoot, have seen incredible images taken by others and know that you have limited time, so you can't wait to drop the tripod legs and begin shooting. In our case, we walked immediately to the back of the canyon where it is much shallower and more cave-like with less light reaching the canyon floor. We then proceeded to shot while working our way back to the entrance. Two hours doesn't seem like a long time, but you don't have to make all your images in the first ten minutes either. Also in this case, I think the better shots are closer to the entrance of the canyon where it is wider, brighter and the sunlight filtering down from 120' above brings out the most colors and patterns in the sandstone walls. So use your first half hour of time to get used to shooting in this environment and don't rush.

My guide tosses a handful of sand onto a ledge creating a nice visual effect as it then "flows" over the edge.

2. Cooperation and communication are key. You will be shooting alongside other photographers in addition to sharing the canyon with other tours so you need to be cognizant of that. Your guide can help by warning when other groups are approaching or maybe even assist with moving lingerers along, but mostly it will be up to you to plan, frame and execute your shot, then get out of the way for others. Again, don't rush and with four photographers in my group it never was a problem getting the shots that I wanted. Rely on your guides advice, they have been visiting this location for years, observing it in different light and at different times of the year and can quickly point out the best shots or locations. I know you want to discover a shot that has never been made before, but with the limited time, a little assistance goes a long way. It is still your photograph the moment you release the shutter. 

Detail pointed out by the guide is only seen by looking straight up. 

3. Environmental awareness. When looking at the photographs, they look bright and colorful as if there was a lot of available light. Don't be fooled, the average exposure time for all of these shots was 1/2 a second. It's not so dark that you can't see, but it is dark enough that focus can be an issue. In fact, it was the one thing I had the hardest time with. Other than a tripod, I highly recommend that you bring a flashlight to not only assist with setting up your camera but to shine on the walls in order to assist with focus. Again be aware and courteous to other photographers. I started off at ISO 200, but found that my exposure times were too long, especially when shooting two stops under while bracketing, so I ended up shooting mostly at ISO 400 and in some cases ISO 640. It does get brighter nearer the entrance and I was back at 400. 

Having the right equipment, including a tripod and remote shutter release, are essential.

4. Equipment. I went with a Nikon D3S attached to a Gitzo tripod and three lenses, the Nikon 10.5mm, Nikon 14-24mm and the Nikon 24-70mm. Most of the photos were shot using the 14-24mm and the 24-70mm. In my backpack, I also had a Nikon D700, Nikon 70-200mm VR, and an SB900 flash, but really should have left those in the car. My advice, bring the widest, fastest lens you own. The canyons are narrow and as mentioned before, there are other people moving by and you really want to concentrate on taking photos and not worrying about gear or lens selection. The floors of the canyon are covered in sand which gets stirred up as people and you move about, so be cautious if you change lenses and be sure to have a lens cloth handy. Lastly, I was using a pocket wizard plus to trigger my camera, but only because I didn't have a cable release. If you don't have a way to release the shutter remotely, use the self-timer. 

Three shot bracket taken at -1.0, 0.0 and +1.0. 

5. Take plenty of photographs at various focal lengths and multiple f-stops. Almost everything I shot during my two hours was bracketed by either three or five stops. Originally I thought I would process these photos using the high dynamic range or HDR technique, however, in the end none were. The bracketing was critical though when it came to selecting the best exposure to process. I would shoot the multiple exposures, check focus, then shoot another sequence.

As I mentioned at the start of this post, this was my first visit to the canyon so I only have this one brief experience photographing in the mid-December light. The look in this canyon will change depending on the time of year, so if you want to photograph shafts of light then you will need to visit during the summer months. Of course during the summer you will also contend with large crowds which would certainly add to the anxiety of getting the photographs you want.

In addition to Upper Antelope, there are other slot canyons in the area including, Lower Antelope, Canyon X or Cardiac Canyon. These locations are less frequented, meaning they are also less photographed, so would offer additional opportunities to produce never before seen images. Apparently some of these canyons do require hiking and more time, so they are not as accessible as Upper Antelope.

And don't forget to just stop, take the camera away from your eye and absorb the surroundings. As photographers we often get caught up in the scene and forget to just take a moment and enjoy what is around us. While we tell ourselves that we will have the photographs to remember it by, nothing compares to being there. More on this in a future post.

Additional tour companies to consider:

http://www.overlandcanyontours.com/

http://www.lowerantelope.com/

For more information on Navajo Nation Parks & Recreation visit http://www.navajonationparks.org/

5 TIPS TO UP YOUR PHOTOGRAPHY TRADE SHOW EXPERIENCE

Sports Illustrated photographer

Robert Beck

gives a presentation at the Nikon booth.

Last week I attended

Photoplus Expo

at the Javits Convention Center in New York City and thought I would share a few tips on getting the most out of your trade show experience.

First, many conferences, such as

Photoshop World

or Photoplus offer free access to the expo or trade show portion, so even if you are not attending the conference sessions themselves, you can still get access to camera manufacturers and vendors.

And it's not just hardware and software. Many booths have speakers throughout the day offering presentations on how they use the latest gear or software.

So how do I approach these opportunities? Below are five tips on attending a trade show.

1. Take the time to make a plan and do your best to stick to it. I normally find out which photographers will be presenting at booths and make a schedule of who I want to listen to, either for inspiration, or because they will be demoing software or hardware I'm interested in. With that speaker schedule set, I can move on to the next step.

2. I look over the list of exhibitors and put a check next to those manufacturers or vendors I want to engage with. Looking at the floor plan, I then decide where I will start, normally on the outside edge and then move up and down the aisles stopping at the vendors I've marked while making a note of additional booths that I might return to. Unless you are at a show the size of NAB in Las Vegas, you can normally make several passes around the entire show floor.

3. Do a little homework before you go. While you may see something that is completely new, most of the time, you'll have an idea about what will be on display and have read the press release and followed user reviews. The purpose of visiting a booth then is to get your hands on a piece of equipment as well as the direct access to those that should be able to answer your questions. However, sometimes the first person you meet at a vendors booth is not a subject matter expert and may not know more than you can read online. Be nice, but if you really want an answer, ask if there is someone else present that you might be able to speak with. And if that person is swamped, see if you can make an appointment to return.

A chance to check out video capabilities and get my hands on a D4 and a D800.

4. Don't avoid exhibitors of products that are competitors of what you are currently using. Normally on the second trip around the show floor, I will make a point of visiting other camera manufacturers just to see what they offer. Knowledge adds credibility when talking with clients or answering a question from another photographer. Even though I had a Nikon over my shoulder and a Think Tank bag around my waist, I still checked out Canon, Panasonic, Lowe Pro and Kata, for example. And I do own some of those products as well. Also, if you are completely satisfied with a piece of equipment, let those at the booth know. This is your chance to offer positive feedback or make suggestions.

5. Finally, make sure to take care of yourself. Your comfort will go a long way in making this a positive experience. Wear comfortable clothes and shoes. Eat and drink throughout the day. Get off your feet (booth presentations are a great time to do this but get there early). Bring a camera so that you can capture products or ideas that you want to investigate further.

If you leave the show frustrated and tired, then you haven't done it right. You may be tired, but you should also be energized and ready to get out and take photos. I came away inspired after listening to Robert Beck and

Corey Rich

at the

Nikon

booth. I received a $500 off coupon from 

DriveSavers

 and a small

GorillaPod

from

SquareSpace

, both services I'm planning on using now.