A Canada goose about to take off from Oak Bay, Victoria, British-Columbia in 2014
Obviously, the Canon 5D MKII is not the ideal camera for sport photography, but it still can offer very good results with its full frame sensor. You don’t get a high number of frames per second, but you get the benefit of a bigger image than one produced with an APS-C sensor. I was thus able to capture the full take-off run of this Canada goose in Victoria, British Columbia, while leaving enough space on the right side of the frame, which was essential for a balanced photographic composition.
Deer on a private property in Uplands, Victoria, British-Columbia in 2014
Deer move freely in Victoria’s Uplands sector and you can easily find them on private property lots. Since they are so numerous and have no natural enemies, the city has imposed new regulations to control their ever growing number. The picture above was taken from my vehicle: it was only necessary to slow down and proceed quickly to capture the animal while it was looking at the car.
Heron in flight in Oak Bay, Victoria, British-Columbia 2012
There are numerous herons in Victoria’s Oak Bay sector. This picture was taken very early in the morning, while there was a mixture of mist and low clouds and the rising sun was still blocked by some low clouds. The wind was calm. A graduated filter was nonetheless necessary to tone down the contrasts caused by a horizontal light.
Fighting herons in Oak Bay, Victoria, British-Columbia in 2012
Every bird has to fight for its own territory and those two herons are no exception.
Eagle observed in the Campbell River region, British-Columbia, Canada. Summer 2012.
While taking a little scenic cruise in British-Columbia’s Campbell River area, we were able to see numerous eagles diving to catch fishes then climbing back up in high trees to deliver the catch of the day. Pictures were hard to take since the captain had to keep the boat at a good distance from the eagles to respect their hunting territory. Moreover, it was windy and the boat was constantly moving.
Two eagles near Campbell River, British-Columbia, Canada in 2012
The two pictures of eagles were taken with a Canon 5D MKII equipped with a Canon 70-200 f2.8L IS II USM telephoto lens. An extender (2X) was also added to increase the focal distance to 400mm. Even then, I had to crop quite a lot to bring the birds to an acceptable distance, which increased the digital noise. A quality APS-C equipped camera (like the Canon 7D MKII) would have been very useful here (10 frames per second and a reduced amount of cropping, if you are ready to compromise on the size of the image).
A full frame camera like the Canon 5DSr would have also been appropriate, with its 50.6 MP resolution, as long as a high shutter speed is selected. Due to all those pixels crammed on a regular full frame sensor (not a medium format), the slightest camera movement is recorded. But if you succeed in totally freezing a long distance shot, the exceptional resolution of the Canon 5DSr would allow you to greatly increase the size of the bird while protecting the sharpness of the image, especially now that the low pass filter has been neutralized in the model R.
Chipmunk near highway 93 towards Jasper, Alberta
On the car ride between Lake Louise and Jasper, we had to stop on numerous occasions to take pictures in the fantastic Jasper National Park. At one point, a little chipmunk, familiar with rest areas, paid us a visit hoping to add something new to his diet. The picture’s depth-of-field has deliberately been adjusted to make sure the chipmunk would be easily visible, since both animal and background had the same colours.
Mountain goats in the Jasper National Park, Alberta, Canada in 2014
It was hot, very hot, during summer 2014 in the Jasper National Park. The car’s thermometer was recording 38C between Lake Louise and Jasper. Numerous forest fires were raging. So much so that we had to delay our trip towards Jasper by 24 hours since Highway 93 had been closed by authorities. Mountain goats nonetheless had to endure part of their winter fur in that very high heat…
Canadian bighorns near Kamloops, Alberta, Canada in 2014
Near Kamloops, in Alberta, we were able to observe about twenty Canadian bighorns coming down from the surrounding mountains to help themselves from the cultivated lands in the valley. The picture above was taken with a Canon 70-200 f2.8L IS II USM telephoto lens, almost without cropping, the bighorns being close enough.
Brown bear near the Yellowhead Highway, Alberta, Canada in 2014
The picture above was taken alongside the Yellowhead Highway in Alberta. We saw the bear in a field and when he detected our presence, he changed direction and started moving toward us. Here, everything is about moderation and although I love photography, comes a time when a bear is big enough in the viewfinder to indicate that it is time to retreat…
Other pictures on Western Canada will be available in the coming months…
For more articles in the category « Photos of Canada », click on the following link : Photos of Canada
Livre de photographie: “The new street photographer’s manifesto” par Tanya Nagar
Tanya Nagar is an award-winning photographer from London. Her book, “The new street photographer’s manifesto” is perfect for those who aim to improve their street photography techniques. The present article is not a comprehensive critic of her book but an overview of what a reader will find. I also highlighted some tips in photography that will help to improve the street photographer’s performance.
Tanya’s manifesto not only contains technical advices helping a photographer to improve his shots but also some tips to avoid common mistakes. Subjects include: timing, composition, shooting portraits, framing and juxtaposition, perspective and angles, the choice between landscape and portrait, depth of field, shutter speed, exposure, night photography, rule of thirds, etc.
The book’s content is divided in six categories: 1. Street Photography 2. Where & What to Shoot 3. Seize the Moment 4. Equipment 5. Digital Processing 6. Showcase.
1. Street photography requires the ability to seize a life moment with precision and timing. It is about candid shots and does not have to include humans, as long as it fixes a moment in life. It certainly can include animals (in fact, animals are a very popular subject).
2. It is best if you use a light, discrete camera (even an I-Phone). Walking with a huge camera with big lenses makes you look like a professional photographer and people will see you coming. The trick is to avoid drawing attention. Coughing while clicking drowns out the sound of the camera. You might also think of “shooting from the hip” or “shooting blind”. Those techniques are explained in the book and can be mastered with a bit of practice.
3. It takes a bit of courage to photograph situations that include people since you never know what to expect when you raise your camera. Respect the different cultures and personal space and don’t be afraid to smile and explain what you are doing. If somebody refuses to be photographed, move on, don’t dwell on the situation.
4. In order to gain experience and a feeling of security at taking pictures of people on the street, start with protests or parades.
5. It is a good thing to know the laws pertaining to photography of the country you are visiting. Police officers in some countries might be tempted to order you to delete a shot while they actually don’t have the right to. Often, a misunderstanding by police or security guards of anti-terrorism legislation leads to different interpretations and subsequently to abuse towards a photographer. Just make sure you stay up to date with the country’s regulations.
6. You might think of shooting from within your vehicle to obtain interesting results (while respecting the country’s laws).
7. Use graffitis, signs, graphical billboards, text and advertising logos.
8. Use contrasts like big versus small, light versus dark, rich versus poor, etc.
9. Bear attention to details and look for second degree interpretation of a situation.
10. Look for amusing, funny and unusual captures.
11. Make sure you master your camera in order to be quick when the perfect opportunity comes. Set most of the parameters of the camera before actually arriving on a scene (you already have an idea of the light intensity in the area and the ISO setting that will be required to obtain the speed you desire).
12. Be cautious when it comes to taking pictures of children. Societies change and authorization from the child’s parents is required almost every time.
13. “The only way to avoid missing a moment is by carrying your camera at all times”. Therefore, get something small and light.
Endos du livre de photographie “The new street photographer’s manifesto”
The book holds a section dedicated to multiple types of cameras: rangefinders, SLR and DSLR, four thirds and micro four thirds, medium format, point-and-shoot compact cameras, camera phones, toy and pinhole cameras. Their advantages and disadvantages are clearly explained.
The reader will also find some information about lenses (the best for street photography and what to avoid) and the effects obtained through the use of different type of films (colored, black and white, expired).
The fifth section of the book relates to digital processing and the basic image editing techniques like cropping, rotating, the use of the “Curves” command, as well as dodging and burning.
The final section, “Showcase”, presents many well-known street photographers from around the world, including few photos taken by each of them to allow the reader to have an overview of each photographer’s personal style and creativity. Presented in order are: Antonio Navarro Wijkmark, Brian Quentin Webb, Charlotte Gonzalez, Claire Atkinson, Danny Santos II, Felix Lupa, Ferhat Çelik, Mustafa Abdulaziz, Ronya Galka, Seamus Travers and Severin Koller.
This is certainly a very interesting and practical photography book that will help you avoid costly mistakes (missed photo opportunities or buying the wrong photography equipment) while helping you to improve your knowledge on street photography as much as the quality of your shots.
Here is a link towards Tanya Nagar’s website: Tanya Nagar
Here is some information aimed at helping tourists visiting Toronto, who like photography and aviation, and would think of booking one day during their visit to head to the Toronto Lester B. Pearson international airport (CYYZ) for a plane spotting photo session.
Initial planning
If you can, get a scanner or download an app on your cell phone to get real time information on air traffic around the airport: you will then know in advance the type and nationality of inbound or departing aircrafts.
Search for websites giving you access to Toronto airport VHF frequencies and program your scanner if you decided to get one.
Have a look at different plane spotting websites for the Toronto airport: there are many precious advices from experienced plane spotters that will prove useful in heading to the best spots and avoiding common mistakes.
Print two or three maps of secondary routes around the airport so that you can orient yourself when there is a change in runway use due to different winds or if you use a taxi ride to move around the airport: the driver will always ask you details on how to get there since those secondary routes are not a common destination for him (and chances are that he will not know where to go if you ask him to head to threshold of runway 05. Basically, he needs road names, not runway numbers).
Cessna 560XL S5-BAV Toronto 2016
British Airways Boeing 777-236 G-ZZZA in Toronto 2016
Before leaving your Toronto hotel
Before you leave the hotel, look at the Toronto weather forecast, among them the TAF, to know the wind pattern for the day. The Nav Canada site has everything you need to know and there is a possibility to choose between coded or plain aviation language.
Don’t forget to bring many snacks as well as a bottle of water since you will possibly be at a good distance from a restaurant for many hours, depending on which runway is in use. The same goes for additional batteries and memory cards for the camera.
Don’t forget the scanner, the cell phone (to call a taxi driver or get access to the arrivals and departures information) and all the photo equipment needed, as well as an abnormally high number of clothing layers necessary in case of winter photography: eight hours almost immobile outside in February calls for an appropriate preparation if you want to appreciate your experience. If you economize on clothing, it is certain that you will have to shorten your photography session.
I chose February for its very interesting light and not for its temperature! Most of the shots in this article were taken in only one day at the Toronto airport, between 10h30am and 18h30.
American Airlines MD-82 N482AA final 05 Toronto 2016
From the hotel to the airport
If you chose to stay at a downtown hotel in Toronto, the best way to get to the Toronto international airport is to use the UP Express train, from the Union Station on Front Street. Its use is very simple and departures are made every fifteen minutes. In February 2016, the cost was CDN $44.00 for a return trip to the airport, while a taxi ride cost $130.00.
UP Express Toronto 2016
The UP Express ride only takes 25 minutes and the train stops at Terminal 1.
It is preferable to avoid using your car around the Toronto international airport since some secondary roads are private and no stopping is allowed. You will take more time to look for police than to enjoy your plane spotting photography session.
Once you are at Terminal 1
Once you exit the UP Express at Terminal 1, get your scanner and monitor the ATIS frequency (120.825) to get the latest information on the runways in use for take offs and landings. For my photo session, the ATIS announced that runway 05 and 06L were in use, both for arrivals and departures. I took a taxi, showed the map with secondary roads to the driver and within few minutes I was where I needed to be and started the photo session.
Air Transat Airbus A-330 C-GTSN Toronto 2016
A preliminary internet search allowed to discover that heavies mostly arrive from Europe during the afternoon et that runway 05/23 is favored for Emirates Airline Airbus A-380 arrival. I thus decided to position myself near runway 05 instead of 06L.
There are two or three quite isolated spots around the airport that provide interesting point of views for aircraft photos but that can present security problems for a photographer working alone with expensive equipment. Experienced plane spotters suggest that you should be accompanied by friends if you decide to opt for those spots (see the “plane spotting” internet sites suggested at the beginning of this article).
Emirates A-380 final for Toronto (CYYZ)
Emirates A-380 on final for Toronto (CYYZ) 2016
Emirates A-380 on final 05 for Toronto (CYYZ) 2016
Technical advices
For precise photos of aircrafts in movement, I use the following parameters with my Canon 5D MKII camera:
1. Only the central AF Point of the auto focus system is selected and not the surrounding ones in order to avoid that the camera sets the focus on other objects than what I desire (trees, ILS structure, buildings).
2. The AI Servo setting is more efficient than the AI Focus or One Shot. The aircraft will be followed precisely.
3. If I want to include surrounding objects in the photo, I adjust the aperture to 7.1 or 8, instead of 11 or 13. I thus avoid increasing the ISO too much, which would affect the picture’s quality if it has to be enlarged with Photoshop.
Westjet Boeing 737-8CT C-GWSV Disneyland Livery in Toronto 2016
4. To take pictures of an approaching propeller powered aircraft, a speed adjusted to 1/125 is generally adequate. You must pivot according to the aircraft movement so that it looks like it is immobile in your viewfinder. The picture is easier to take when the aircraft is farther away but becomes more of a challenge when it gets closer and flies by you since you must constantly change your pivoting speed.
Porter Q-400 C-GLQD on final for Toronto Billy Bishop airport (CYTZ) 2016
Air Canada DHC-8-102 C-FGQK Toronto 2016
5. A shutter speed that is too high will immobilize the propeller of an aircraft and make it look like the engine is not working, which will take away realism.
6. Throughout the day, position yourself so as to have the sun behind you (if there is any sun!), unless you are looking for special effects.
Global 5000 GL5T C-GJET in Toronto 2016
7. A very high quality lens, like the Canon 50mm 1.4, allows for beautiful pictures during the evening since there is no compromise on ISO, as the lens does not need much light. The grain size stays relatively small.
Air Canada Boeing 777 final 05 Toronto 2016
8. I use a very low ISO if the photo includes an interesting but far away aircraft, in order to be able to crop the picture with Photoshop. Since I cannot compromise on the speed to avoid a blurred picture, it becomes obvious that it is the aperture that pays the price.
Air Canada Airbus A-330 final 06L Toronto 2016
9. If the situation allows it, add visual references other than clouds to get a bit more variety in your aircraft photo collection.
Air Canada Boeing 777 final runway 05 Toronto 2016
10. Try a black and white photo if the cloud formation is particularly interesting.
C-GQBG CL-415 and cirrus clouds on a black and white picture
11. RAW+JPEG files allow for important adjustments when necessary. A JPEG only photo gives you little leeway when you want to correct mistakes or during problematic lighting conditions.
12. Variable sky conditions and constant direction winds are preferable for your photo session since the runway in use will not be changed in the afternoon and your pictures will benefit from different light intensity and cloud formations.
13. If you want to take the aircraft in relation to the ILS poles and you are looking for a symmetrical photo, just move few inches to the right or left while the aircraft is approaching or going away from you. You will also want to avoid that the horizontal poles of the ILS cut the plane and make it difficult to see.
Westjet Boeing 737-800 final 05 Toronto 2016
14. Have fun experimenting, like taking a shot just above your head while including other objects for added interest.
On the ILS 05 for Toronto 2016
15. Instead of always showing the whole aircraft, try a close-up view.
Air Canada Boeing 787-9 C-FNOI in Toronto 2016
16. The close-up view might be such that even passengers of an aircraft on final will look at you while you immortalize them.
United Express on final at the Quebec Jean-Lesage international airport.
17. Chances are that you will meet other enthusiast plane spotters in the same area as yours since they also prepared themselves for a successful photo session.
Westjet Boeing 737-800 C-FYPB in Toronto 2016
18. Since you are in Toronto, head to Toronto Harbour when you are back downtown. You will witness the air traffic surrounding the Toronto Billy Bishop airport (CYTZ), formerly known as Toronto Island, and possibly take some original shots.
Porter Q-400 C-GLQM and C-GLQB at Toronto CYTZ 2016
19. This is the photo equipment used for my Toronto airport plane spotting session: Canon 5D MKII camera and the following Canon lenses: EF 50mm f/1.4 USM, EF 16-35mm f/2.8L II USM, EF 24-70mm f/2.8L USM, EF 70-200mm f/2.8L IS II USM. No polarizer was used that day since I wanted to increase my margin of manoeuver with fast moving aircrafts under the February low intensity light.
Air Canada Rouge Boeing 767-300ER final 05 at Toronto 2016
American Eagle CRJ-701ER N523AE Toronto 2016
Aviation photography requires much planning for successful photos. But all your efforts will rapidly bear fruits once you are on site and you will not see time pass! Have a great plane spotting session and give me some news of your experience if you can!
Air Canada Boeing 767-375 (ER) C-FCAB in Toronto 2016
You can have access to other aircraft photos taken at Toronto through this link on my site: photo galleries/aviation only
For other articles on aviation and photography, click on the following link: Aviation photography
Street photography – Le savoir-faire du photographe de rue (french version of The Street Photographer’s Manual)
We buy this book with the initial intent to learn about the different aspects of street photography, the goal being to increase our practical knowledge. We close the book with the feeling that we learned way more than we anticipated.
David Gibson’s work offers more than advices. In order to make it more fulfilling for the reader, the writer takes care of adding twenty very interesting portraits of renowned photographer’s working method and interests. Those names include Blake Andrews, Johanna Neurath, Matt Stuart and Maria Plotnikova. The reader improves his knowledge of photography history at the same time as he acquires new tools that will help him in his street photography practice.
Photographing people on the street is not necessarily easy. It takes determination to carry out a project that will include a person, especially if you are not working with a telephoto and you want to capture a scene where all the faces are visible. The author explains what kind of preparation is needed and he insists on the importance of avoiding disrespect toward others.
But street photography is not only about people, although approximately 75% of those pictures include a person. Other subjects of interest are, for example, experimentation with objects, shadows, empty spaces, abstraction, photographing through glass or wet surfaces, etc.
The writer has divided his book into twenty projects, to which he added, for each project, a road map. The latter can be used as a concise guide every time the street photographer puts in practice his newly acquired knowledge. If he wishes, the reader can rapidly get to work, using the ideas proposed within the twenty different themes.
The book is easy to understand and goes straight to the point. If the reader wishes to dig deeper in a specific aspect of street photography, he is given multiple internet site references.
This high quality book will surprise you and certainly be an inspiration in the preparation of your next street photography session.
1. A picture you would never have thought possible, because of extreme contrasts between brightness and darkness, is now accessible to you through HDR.
2. For a good HDR picture, you need at least 1) an interesting subject 2) an appropriate setting or background 3) the appropriate light and 4) a wide range in contrasts. That seems basic, but HDR will not save a picture that was not thought through.
3. You need a software like Photomatix, to transform several pictures taken at different exposures into one HDR picture. But this is only the first step. You will also need another editing software to improve the general result after Photomatix has been used.
4. A tripod is required to help Photomatix align the pictures and create the HDR effect.
5. As with your normal pictures, it is always better to try to use the lowest ISO as possible.
Gruyères, Switzerland, 2013.
6. It is safer to work with manual focus. This way, none of your shots will have been influenced by external objects without you noticing. It will always be the exact same focus throughout the HDR photo session. With automatic focus, you generally notice your blurred pictures when you’re back home and then it is too late (it will often happen under low light conditions).
7. The greater the contrast, the more exposures you need to take (up to nine) in order to match the dynamic range of your eyes.
8. The idea is to take each exposure at a different exposure setting. If you need seven exposures, an example of settings would be: -1, -2/3, -1/3, 0, +1/3, +2/3, +1. You might decide that three exposures only are necessary and go for -2, 0, +2 or -1, 0, +1. The choice is yours but you must take only the required number of exposures to avoid including too much noise in your shots.
Canon, 16-35mm, HDR format.
9. Throughout your HDR exposures of a specific scene, always keep the same aperture.
10. A scene is rarely perfectly balanced with light and shadows. If there are many shadow areas in the photo you want to take, then take more exposures over the recommended settings to ensure that you caught the whole dynamic range of the scene.
A house in Sainte-Pétronille, on Île d’Orléans, autumn 2012. HDR picture.
11. Inversely, if your scene has lots of highlight areas, take more exposures under the recommended settings.
12. Setting your camera to “automatic bracketing” is preferable because all the pictures are taken quickly thus avoiding to show any blurred picture in the final HDR picture. But if you want to show the movement of water in a creek, you don’t need bracketing: just take few shots with different time of exposure (in number of seconds). Just don’t overdo it otherwise it will give place to an uninteresting undefined white surface.
13. Check your LCD monitor so that none of the highlights are blown out. There would be a loss of details. For the same reason, you must avoid to block the shadows.
14. Always work with RAW files, it gives you better results. The RAW file already provides you with more f/stops then the JPEG file, and this before the transformation in HDR has even started).
15. Of all the lenses I’m using, the wide angle lens is my preferred one with it comes to HDR photography.
Spring light in the lower town of Quebec City
16. To improve the composition or enhance the general impact, crop the picture.
17. Not all pictures are appropriate for HDR transformation. If you want a dramatic silhouette as the final result, for example, HDR will not be appropriate. It will reveal too many details in the shadows and you will lose the high contrast effect that you were looking for. With practice, you will recognize where HDR is the most effective.
18. Whether you want a realistic picture or not, you can obtain surprising results with the combined effects of softwares like Photomatix, Topaz, Photoshop, Nik Software, Lightroom, Lucis Pro and so on. It’s only a matter of taking your time to experiment.
19. If you have only one picture on hand, like a shot you took years ago, and you would like to give it an HDR effect, you can use a software likeTopaz Adjust. There is an HDR effect section in that software that allows you to get a wide range of effects. But this is not going to be nearly as good as the real HDR resulting out of many pictures. The final editing step is, most of the time, done using Photoshop.
20. An unpretentious book about HDR is “Rick Sammon’s HDR Photography Secrets for Digital Photographers”. It is simple, colorful, well written and loaded with practical informations.
Eiffel Tower at night with HDR effect
Note: All the photos were taken with a Canon 5D MKII
Cumuliform clouds add energy to any photo. Even photos in black and white benefit from them largely, whether it is for a normal or an HDR photo.
Cumuliform clouds add dynamism to this Abbaye du Mont St-Michel scenery. France (1978)
Black and white HDR picture of lamp posts installed along the St-Lawrence, Quebec City 2012.
The stratiform clouds add to the tranquillity and the stability of a photo.
Daytona Beach under stratus clouds in 2011. The end of the afternoon allows the fresh air from the sea to move over the heated land, which helps create few cumulus fractus, visible near the buildings.
Clouds including a stratiform and cumuliform components (stratocumulus) produce an effect that is more energizing than the simple stratus, while avoiding the explosion of energy of the cumuliform clouds.
A stratocumulus adds to this otherwise peaceful scenery captured on board the Lyria train between Paris and Geneva in 2013.
The cold front
The approach of a cold front enhances the possibility of interesting photos. If it is a fast moving cold front of moist and unstable air, the photos will probably be more spectacular, as some thunderstorms will be associated with the system. A dew point of more than 15 C indicates the presence of a lot of water vapor which can be transformed into precipitation, thus releasing a lot of energy. When these conditions are combined with a really strong contrast between the new air mass which approaches and the one which goes away, the produced meteorological phenomena will certainly be intense.
In the photos below, the meteorological system approaching the Quebec Jean-Lesage international airport also had to cross a small mountain range.
A roll arcus cloud in development ahead of a thunderstorm approaching the Quebec Jean-Lesage airport in 2012.
A roll arcus cloud in development ahead of a thunderstorm approaching the Quebec Jean-Lesage airport in 2012.
View under a developing arcus cloud at the Quebec Jean-Lesage international airport (2012)
An arcus cloud ahead of a thunderstorm approaching the Quebec Jean-Lesage airport in 2012
A roll arcus cloud ahead of a thunderstorm heading for Quebec City in 2012
The morning fog
The morning fog offers many opportunities for interesting photos. You can choose an isolated tree and capture the combined effects of the morning sun and fog. Or you may choose a cluster of trees, for a completely different effect. Both photos below were taken in Domaine Cataraqui, Quebec City.
Trees in fog at Domaine Cataraqui, Quebec City 2009
Sun and fog provide for a special atmosphere at the Domaine Cataraqui, Quebec City 2009
A morning fog resulting from a cold cloudless night will persist for hours if there is no wind. The cold morning air, motionless over a slightly hotter stretch of water, creates a fog that will finally disappear just before noon, when the atmosphere has been heated enough. If there had been an overcast sky during the night, chances are that the air over the water would have remained at a higher temperature, preventing the formation of fog.
The opportunities for more interesting photos arise when you witness the first holes in the fog layer.
The Ocean tugboats during a dense fog in the Bassin Louise in Quebec (2012).
We can take into account the season to estimate the speed of the diurnal reheating of the lower atmosphere. A morning fog will need more time to dissipate from late autumn to early spring: that leaves more time for the photographer to prepare. The forecasts can announce the disappearance of fog while it will not be the case if, over your sector, there is an invading layer of stratocumulus preventing the morning sun from reaching the ground.
To determine if the fog is going to dissipate as expected or will remain and possibly intensify, watch the difference between the temperature and the dew point on the hourly meteorological observations issued by weather stations near your place of residence. If the temperature and dew point spread increases, the fog is going to lift. If the difference between those two decreases, the fog is going to persist and possibly intensify.
The mist
The mist can be qualified as such when the visibility is superior to ½ mile, but do not exceed 6 miles for an observer on the ground. If the visibility is of ½ mile or less, it is called fog. This photo of the Bic National Park, near Rimouski, shows the interesting effect that the mist adds to a beautiful landscape.
Mist in the Bic National Park, Province of Quebec (2009)
Hot and unstable air in winter
When there is a warm and unstable air advection (about 0 degrees) while winter has already settled, there are good opportunities for photos. A moderately developed cumulus produces significant snow showers and this snow sticks on all the surrounding objects. All that snow would have begun to melt on contact of objects if the latter had had a temperature superior to zero degree. But, the winter being already settled, the snow persists. It gives enough time to capture some souvenirs.
A Quebec City street after a snow shower
The local effects
A photographer might benefit from learning about the meteorological local effects influencing the regions he intends to visit. The local effects are often simple to understand and they repeat themselves regularly, according to wind and season changes. The knowledge of these effects allows the photographer to be ready and position himself even before the phenomenon occurs. It limits the comments like: “If I had known that it would occur, I would have settled down here one hour earlier!“
The local terrain as well as large size bodies of water produce predictable meteorological phenomenon that can be used by a well prepared photographer. It can consist of persistent fog, repetitive snowstorms over a small sector, strong winds, cumuliform clouds alongside the mountain summits, etc. By being positioned at the right place, at the right time, the desired photo can be realized.
A change in the wind direction
A change in the wind direction suddenly increases the opportunities of interesting photos. It might announce the approach of a cold front, a warm front, a sea or land breeze, etc. In the photo below, a bit of fresher air suddenly began crossing the St-Lawrence seaway at the end of the day, thanks to the approach of a weak cold front. The water was still relatively warm and the moisture which was present over the surface became visible due to the cool air supply. The conditions were now ideal for a short-term thin fog, as long as the wind speed would not increase. Just in time for a photo.
The new wood pellets silos in Anse au Foulon in Quebec City en 2014
Familiarization with weather radars
It can be useful to get acquainted with weather radars which, for the needs of photography, remain simple to interpret. Multiple echoes of small dimension with a steep gradient of various colors indicate precipitation resulting from cumuliform clouds. The showers associated with these clouds are often moderated or strong and will be the result of approaching towering cumulus or cumulonimbus (thunderstorms). A towering cumulus presents a dark base and a white summit to the photographer. At sunset, their vertical development can be used to emphasize the last rays of light.
The side of a towering cumulus (TCU) is benefiting from the remaining sunlight over Quebec
Large echo areas of similar colors of low intensity indicate a relatively stable air generally producing steady light rain or drizzle. This should be understood as a possibility of increased humidity limiting the visibility through mist or fog.
Hoar frost
Hoar frost is a short-term phenomenon. It is thus necessary to capture the scene before the sun melts everything. The photo below shows some small twigs on which hoar frost has settled. It was taken at the beginning of the seventies. Although the quality of the photo is not exceptional, the meteorological phenomenon is well demonstrated.
A combination of snow and hoar frost observed on a Quebec field in 1976.
Forest fires
Wishing to make photos of western Canada during summer 2014, I came up against a season where hundreds of forest fires were raging. The smoke was covering some parts of Alberta and British Columbia. Some fires were important enough to require the closure of the sole highway connecting Lake Louise to Jasper. I thus decided to include the effects of those fires in the holiday souvenirs.
A visibility reduced in forest fire smoke allows a photographer to obtain, without special editing, sunsets with interesting colors.
Sunset and smoke from forest fires in Kamloops in 2014
The smoke also produces an effect similar as fog, but a fog which would be impossible to obtain at the end of a summer afternoon while the sun shines and there is a 38 degrees Celsius temperature.
An area near Kamloops, Canada, that was touched by forest fires in 2014
At dusk, the residual smoke is visible near tree tops while the setting sun strikes the mountain side. The effect is of two horizontal lines of complementary colors, blue and orange.
Forest fire smoke and sunset combined in Lake Louise, Alberta en 2014
Empress Hotel at dusk, Victoria Harbor, Canada 2014
1. Ensure you bring : tripod, remote cable, flashlight and timer.
2. Use of RAW (.TIFF) is highly recommended. There is a greater potential for corrections afterward, if something is not according to your taste.
3. Noise reduction activated on the camera.
4. If the winds are calm: ISO between 50 and 200.
5. If there are strong winds: ISO 400 might be useful to avoid a blurred picture caused by the continual small vibrations of the tripod due to a long exposure. That is why a heavy tripod is always preferable.
Trailing lights on boulevard Champlain, Quebec City
6. If you wish to take a picture of people moving at a normal pace, and you have access to quality lenses, it will often be necessary to use ISO 800 to get a clear shot. This setting could allow the shutter speed to be adjusted at about 1/200 which is plenty to obtain a picture that is not blurred; that is unless you are not using a long focal like 200mm or more.
7. For people shots, it is better to have your back to the remaining light on the horizon, unless your goal is to capture a silhouette.
8. For extended exposure, use the autofocus “one shot” setting until it stops working due to insufficient light. Then use manual focus. Or use manual focus all along, with Liveview, if you prefer it that way, for extra precision.
9. Mirror lock-up function must be activated to avoid vibrations caused by the shutter action.
10. Use a remote cable when taking the picture to avoid useless vibrations.
Old Québec at dusk.
11. If you wish, you might think of selecting a specific AF point to ensure a better focus if there is a small area that matters the most to you in the picture.
12. Do not use the FULL AUTO mode during night photography.
13. The three most important modes are 1. Aperture (taking care of slightly overexposing for surrounding lights) 2. Speed 3. Manual. There is one more reason to overexpose a bit if you work with the RAW format: there is more data information in light than in shadow, so once the picture is taken you have access to more data to play with to adjust the dark sections of the picture.
14. If you expect an exposure longer than 30 seconds, use BULB mode.
15. Night pictures are best taken using the camera bracketing funtion (-1,0,+1) and this, every two minutes.
A Christmas tree in Sillery
16. The best period for night shots is 15 minutes after sunset, until official night time, which you can find on the internet. As this period is quite short, it is important that you know in advance what is of interest to you and where you will position yourself when comes the time for the picture.
17. Total darkness is not what is the most favourable in night photography. But you can certainly obtain interesting results using black and white.
18. Beware of surrounding light reflection in your lens.
19. Histogram has to be reviewed to ensure that there is no serious overexposure.
20. It is preferable to choose an aperture between F11 and F16 for maximum sharpness as well as an adequate depth-of-field.
21. If shooting a subject against the remaining light over the horizon, there might be quite a contrast in lighting between where you stand and where your subject is positioned. You might think of using grad filters (3-6-9-10) to help correct this huge light difference, or you can transform the standard photo session into an HDR one. Or both! There are also filters specifically designed for sunrise and sunset periods that can improve your shots.
You must decide the ideal combination between the following: aperture, speed and ISO. All three are interrelated and choosing one has a direct influence on the other two.
You are facing a beautiful landscape in which you want everything to be in focus: you decide that the aperture is what matters the most. Choosing aperture as the priority is a very popular choice. Let’s consider that you choose F16, which should give you a very interesting depth-of-field but will demand a lot of light. You have to compensate somewhere. If there is not much movement in the scene, and you have access to a tripod, you might decide to choose a slow speed, which allows more time for the light to enter the camera. Doing so, you won’t need to crank the ISO and you will avoid adding useless noise to your picture.
In the picture below, aperture is set at F16. The vegetation in the left corner draws the viewer’s eye toward the pedestrians, and then progressively to the quai des Cageux. We finally see the Quebec bridge, the longest cantilever bridge in the world.
Quai des Cageux, Québec 2012.
If you decide that speed is a priority, you will have to compromise ISO or aperture. ISO will have to be increased to improve light sensibility, but doing so will increase the size of the grain in the picture. Depth-of-field will have to be adjusted as well since a higher speed does not let much light enter the camera. You won’t be able to pick F16 this time. So you will eventually find that there are some out of focus areas in your picture. With a bit of practice, you can be less demanding on the speed, providing you can follow the subject with your camera (it is like if you were slowing down the subject, so less speed is required).
The picture below was a bit particular: it was taken when I was on a boat rocked by waves. The eagle was far away and was traveling in the opposite direction, thus increasing the relative speed of the subject. The Canon 5D MKII was hand held and 400mm focal was necessary. Speed was crancked at 1/1600 and the ISO required was set at 5000. Naturally, the grain in the picture being larger, slightly diminishes the quality. This was a necessary compromise if the eagle was to be taken in flight.
Eagle observed in the Campbell River region. Summer 2012.
It is getting dark and you want a photo with absolutely no noise and you decide that the aperture is what matters the most. You make no compromise and choose ISO 50. This setting requires a lot of light, because the lower the ISO, the higher the demand for light. In order to make sure that your picture will not be blurred, a tripod will be necessary, since there will be an extended exposition time. In the picture below, the shutter has been opened for ten seconds, with a 9.0 aperture, 200mm focal and 50 ISO. Only the small branches in the foreground are blurred.
Note: in general, it is better to use a tripod as often as possible, even in daylight, in order to optimize quality. Choose a heavy enough tripod to prevent vibrations under windy conditions. A light tripod is easy to carry but does not allow for acceptable pictures in adverse weather. It’s obvious that this Queen Mary II photo would not have been as precise if a light tripod had been used. In this case, it would have meant that continual vibrations would have been recorded during 10 seconds. The boat would have been totally blurred.
