Friday, June 30, 2017

3 things that will bug photographers about the Polaroid movie trailer

If you want more proof that the youth are taking an interest in film photography, you'll have to travel no farther than your local multiplex this summer. 'Polaroid' the film – but not that kind of film – arrives in US theaters this August, and promises plenty of 'Ring'-style scares and thrills. In fact, it's produced by the same minds that brought us 'The Ring' and 'The Grudge,' so you can pretty much guess how things go when a high school student stumbles across an antique Polaroid camera and starts photographing her friends.

On the surface it looks like your average popcorn-friendly flick, but photographers may have a hard time looking past a few bothersome details we spotted in the trailer. Here they are in no particular order.

The flash is comically bright and doesn't do anything

Is the flash on this camera powered directly by the sun? How has anyone who’s been photographed by this camera retained their eyesight? It’s unbelievably bright. On top of that, it doesn’t even seem to have any effect on the image – the first subject we see photographed looks to be lit only by the tungsten bulb next to her despite a blinding flash that lit up the whole room.

The screeching flash capacitor

Not only is it needlessly bright, the flash makes a piercing noise as the capacitor supposedly charges it. An entire studio of professional strobes all re-charging at once wouldn't make that much noise. It's way too loud for a small on-camera flash, and should be an obvious clue that demons inhabit this camera.

The pristine instant film that comes with an antique camera

This camera came out of a dusty old box with a bunch of film in mint condition? Okay, sure. Maybe possessed Polaroids have a much longer shelf life than the garden-variety stuff. If that's the case, somebody let the Impossible Project know.

Be sure to watch the full trailer (if you've got the stomach for it) and let us know in the comments if we missed anything.

from DIYS

Lee launches new set of high-end ProGlass IRND filters for stills shooters

Two years in the making, Lee Filters has just announced that it is bringing its highly-regarded ProGlass IRND cinematography filters to the world of stills photography. The company calls these 'a new standard' in ND filters, claiming they are, "remarkably neutral, with almost no color shift and extremely accurate stop values."

The high-end filters will be available through the Seven5, 100mm and SW150 systems, and since they block both IR and UV pollution, they should deliver cleaner colors that require far less work in post-production.

This example, available in interactive form on the Lee website, comes from an unedited RAW file:

The new line will come in six different strengths: 2-stop, 3-stop, 4-stop, 6-stop, 10-stop, all the way up to an impressive 15-stop filter. And the 6, 10, and 15-stop models each feature additional foam light insulation to ensure there are no light leaks, no matter how long the exposure.

Shot with a 0.6ND medium grad Shot with a 0.6ND medium grad and the 4.5ND (15-stop) ProGlass IRND

For more information, and to watch a demo video, visit the Lee Filters website. The ProGlass IRND Filter systems are available to stills shooters today in Seven5, 100mm and SW150 versions for £132.00 ($172 USD), £150.00 ($195 USD), and £346.00 ($450 USD), respectively.

Press Release

ProGlass IRND Filters

Two years in the making, the ProGlass IRND range from LEE Filters sets a new standard in neutral-density filters.

ProGlass IRND filters were originally designed for the film industry, to meet the exacting needs of the world’s leading cinematographers, and have already been hailed as the best neutral-density filters on the market. Now, they are available to the stills photographer, in sizes to fit the LEE Filters Seven5, 100mm and SW150 systems.

Advances in coating technology mean that the filters, which are manufactured from 2mm-thick, optically flat glass, are available not only in strengths of two (0.6ND), three (0.9ND), four (1.2ND) and six (1.8ND) stops, but also in ultra-long 10 (3ND) and 15-stop (4.5ND) versions. Not only this, but all filters in the range – whatever their strength – are designed to be free of colour casts, with extremely accurate stop values, ensuring consistency in all shooting conditions and allowing for absolute precision when exposing images. Their neutrality also means less time spent tweaking colour balances in postproduction.

In addition, filters in the ProGlass IRND range are designed to block both infrared and ultraviolet pollution. As a result, blacks are rendered truly black, whites are clean, and results reveal a crispness that is second to none.

The 6, 10 and 15-stop versions of the ProGlass IRND filters come with a foam seal to prevent light leaks during long exposures, and should be placed into the filter slot closest to the lens. While the 2, 3, 4 and 6-stop versions do not feature a foam seal, it is still recommended also to place them into the slot closest to the lens.

All filters in the ProGlass IRND range can be used in conjunction with other filters, including neutral-density grads and the polariser.

ProGlass IRND Filter (Seven5 System) – £132.00 each (Excl VAT)
ProGlass IRND Filter (100mm System) – £150.00 each (Excl VAT)
ProGlass IRND Filter (SW150 System) – £346.00 each (Excl VAT)

For further information, contact LEE Filters on +44 (0) 1264 366245;;

from DIYS

CineStill 50D Film in 120 format goes up for pre-order

CineStill has launched its 50D film in 120 format, currently offering it for pre-order with an anticipated August 2017 shipping date. The 50D is a color-balanced daylight (5500K) color negative motion picture film; CineStill explains that its 'Premoval' process, which is proprietary, enables photographers to safely process the film at home or using standard C-41 chemicals. CineStill first introduced this film in late 2014.

This fine grain ISO 50/18° speed film is ideal for landscape and portrait photography, according to CineStill, which claims that its 50D product offers 'unrivaled highlight and shadow latitude.' The company says this film has been tested to have a shelf life of up to 1.5 years, though buyers are advised to use it within 6 months after purchase; price is $11.99 per roll.

The full list of features as provided on the 50D product page:

  • Color Balanced Daylight (5500K) color negative motion picture film stock for use as still photography film
  • ISO 50/18° in C-41 or ECN-2 Process
  • Factory spooled with self-adhesive labels inside
  • Remjet backing free, resulting in a unique halation effect
  • Unrivaled highlight and shadow latitude
  • Dynamic accurate color rendition
  • High resolution with maximum sharpness
  • Enhanced Scanning Performance
  • Great for portraits and landscapes
  • Recommended to process C-41 without worrying about remjet

Via: PetaPixel

from DIYS

Make your own DIY Jerk Stopper for tethered shooting with a humble rubber band

For many photographers, shooting tethered is a way of life. For others, it’s something we only do occasionally when the need arises. The big problem all tethered shooters face, though, is the cable not falling out. Sometimes, with a long cable, it can fall out under its own weight. Sometimes it gets tugged, yanking it […]

The post Make your own DIY Jerk Stopper for tethered shooting with a humble rubber band appeared first on DIY Photography.

from DIYS

R.I.P., Richard Benson: Photographer, Printer, and Educator

I think the first time I actually met Richard “Chip” Benson was at Wellesley College in the 80s. It was at an opening reception and Chip and Lee Friedlander were being honored as they had both just received MacArthur grants. I knew the Bensons were from Newport, RI and were friends of my sister and brother-in-law Marc Harrison, an industrial designer and chair of the ID Department at RISD.

Richard Benson died June 22, 2017 at the age of 73.

From time to time I’d hear that Chip had done something extraordinary and knew he was printing his 8 x 10 negatives on aluminum with the result being these incredibly flat prints that seemed to go on forever. He was friends with John Szarkowski, the photo curator at MOMA and I remember seeing his work on display once at the museum. During those years Chip was heavily invested in making separations for photo books. An example is the four volumes on Eugene Atget produced for the Museum of Modern Art.

By the late 80s and early 90s digital was beginning to be the hot topic. Kodak built a research center for all things digital in Camden, Maine called the Center for Creative Imaging. I wrote grant applications to allow me to take classes and do research and found, of course, when I arrived, that Chip was already there. I was struggling to understand how to move a mouse around and what this thing called Photoshop was all about and Chip was scanning his 8 x 10’s with a drum scanner and writing back to 8 x 10 film in a special restricted “cold room”on the Center’s single large format LVT.

A large format LVT (Light Valve Technology) recorder

By 1992 or 1993, I had asked for and received “special status” at the Center, which gave me free reign over all the Center’s operations. I had also been given a show the next summer in the first floor gallery. That year I was up there every time I got a chance, hanging out in classes, now scanning and film writing my own 8 x 10 negatives and occasionally running into Chip, who was always doing something incomprehensible, reinventing photography.

In the early summer of 93 (I believe) I loaded up the car full of framed prints and drove up to Camden to install my show at the Center. We hung the show over a weekend. Chip came to the opening and invited me to a lecture he was giving the next day on the “History of Photography”. I decided to hang around.

I thought I knew something about the history of photography myself. After all, I was teaching it back at my university, along with a course in contemporary directions every other year.

But Chip changed all that, as his lecture, given without notes, to a mostly Camden summer tourist crowd, was a revelation. I came from the Beumont Newhall school of the history of well-off western white guys inventing the medium, with an occasional Dorothea Lang or Bernice Abbott thrown in the mix for good measure. Chip revealed that, amazing as it seems, photography was taking place in the mid 1880s in places like India, Asia, South American and Africa. Of course, much of it was brilliant. His perspective and the depth of his research and knowledge was mind blowing. I have never quite looked at my chosen discipline the same way since that day. It was clearly evident that I was in the presence of a genius as well.

I wanted more of Chip’s brilliance but by this time he was regarded as a real resource. Most years at Northeastern I taught a view camera course and inevitably we would head off in a school van for field trips. I would tend to head us toward Newport, RI where Chip lived. I would call up Chip a couple of days in advance and ask him if he could join us for lunch. Mostly, he would dodge me as he had some fierce deadline for something and didn’t want to be diverted but I convinced him a couple of times to meet with us.

I remember one day. We’d been out at Fort Adams in Newport in late March in spitting snow and rain trying to take pictures. After, we piled into a restaurant and Chip arrived. There were probably 8 of us. We sat at a big table in a mostly empty restaurant in the late afternoon. Me, these students who didn’t know who Walker Evans, Diane Arbus, or Alfred Steiglitz was, let alone Richard Benson, and Chip.

We settled in and Chip said, “well, Neal, what do you want me to talk about?” Oh my God, caught speechless. Then I thought, selfishly, this isn’t going to be such an import thing for the students because this is way far above where they are, but it could be for me. So I asked Chip to talk about what he was working on right now.

That’s all it took.

I got another blast of genius. All you needed to do with him was to prime the pump. Separations, masking, and some sort of hybridized system of film and digital capture, stochastic curves, tweaking dynamic range, some stuff about optics, and working with the limitations of present day technology, predictions of short range and longer term challenges and solutions, some chemistry, enough to fill my teeny tiny brain in five minutes and he went on for what must have been an hour.

I have no recollection of anything else, driving us back to school, what the students thought or even said to me the rest of that day.

The final story and the last time I saw Chip was in the late 90s. He was by then the dean of the Yale Graduate School of Design (1996-2006) and had invited Frederic Sommer to give a talk (for more on Fred search the blog for “Sommer”). I drove down to New Haven that afternoon for the presentation. When I got to the hall where Fred was to speak, I found a couple of my students had made the trip as well.

Chip introduced Fred, Fred gave his talk and then the two students and I went nearby for a beer and maybe a slice before driving back to Boston. Soon, in walked Fred Sommer and Chip Benson, with a few graduate students, there to do the same thing. They walked by me and didn’t take any notice. But there were two of the most brilliant people I’d ever known, hanging out, having a beer and pizza after a talk on a weeknight at Yale. Damn.

Thank you, Chip, for your huge contribution to photography.

Want to know more about Chip Benson? His work is represented by Pace MacGill Gallery and he created a website that explains much of his research.

About the author: Neal Rantoul is a career artist and educator. After 10 years teaching at Harvard and 30 years as head of the Photo Program at Northeastern University in Boston, he retired from teaching in 2012. You can find out more about him or see his photographic work by visiting his website. This article was also published here.

from DIYS

Photographer Travels the Globe to Capture ‘The World in Faces’

Alexander Khimushin is a Queensland, Australia-based photographer who has been on the road for 9 years. During that span, he visited 84 countries. 10 months out of a year he’s on the road shooting photos in remote places. He’s currently working on a series titled “The World in Faces.”

“The World in Faces is a project that I started in 2014,” Khimushin tells PetaPixel. “I was writing a story for My Planet TV, a Russian TV channel when I was looking for some pictures of landscapes. I saw there were many portraits from the different places I had visited. I suddenly realized that it was these people who made my travels so unforgettable. I started to recall circumstances behind all the pictures. What if I put it all together?”

Khimushin started assembling the images and ended up with about 200 portraits all over the world. At that very moment, he says, he realized that it was what he should have been doing all along. His project was born, and he began traveling more off the beaten path instead of to popular tourist locations.

Hamar Tribe Girl, Hamer Woreda, South West Ethiopia © Alexander Khimushin/The World In Faces

The World in Faces project would be “portraits of ordinary, yet extraordinary people around the world.” He wanted to be bold and challenge bias and inequality. Khimushin wants to show the diversity of the world we all are living in through the portraits of people of different ethnicities, primarily ethnic minorities that are disappearing.

“Sometimes I wonder when so many people are there to protect rare species of animals, but not many worry about ethnic groups that are on the edge of extinction,” the photographer says. “I believe it is my mission to photograph them. So basically there are two main drivers for me—tolerance, peace, multiculturalism first, and paying attention and tribute second.”

Wakhi Girl, Wakhan Valley, Afghanistan © Alexander Khimushin/The World In Faces Rajasthani Man, Jaisalmer, Rajasthan, India © Alexander Khimushin/The World In Faces Bodi Tribe Man, Hana Mursi, Ethiopia © Alexander Khimushin/The World In Faces Cuban Man, Havana, Cuba © Alexander Khimushin/The World In Faces Bodi Tribe Young Man, Omo Wareda, Ethiopia © Alexander Khimushin/The World In Faces Wakhi Woman, Wakhan Valley, Afghanistan © Alexander Khimushin/The World In Faces Kaqchikel Maya Girl, Solola, Guatemala © Alexander Khimushin/The World In Faces

The World in Faces is in its third year, and Khimushin does not know how long it will continue before he is satisfied. There are more than 10,000 ethnicities in the world, and he would like to bring as many as he can in front of his lens. Being a perfectionist, he covered only half of Siberia in six months after 6 TB of shooting and 15,000 miles driven.

“I want to meet real people in real places, not visiting some countries’ capital cities and take photos of some people wearing carnival costumes,” says Khimushin. He has portraits of people from around 35 countries and about 60 to 70 ethnicities thus far.

Khimushin is a “photographer by soul, adventurer by heart.” In the last two years, he has changed his travel style from backpacking to driving. This way he can shoot till late, as he knows if necessary he can eat and sleep in his SUV.

This has its downsides too as once in the Gobi Desert in Mongolia when he returned to the car at night he realized that he had dropped the keys on the way. Next, he tried to retrace his steps and ended up losing the car. After having spent the night sheltering from the wind in a ditch, the early morning light helped in finding the car keys and he was on the road again as though nothing had happened.

Sakha Girl, Sakha Republic, Siberia © Alexander Khimushin/The World In Faces Mam Maya Young Man, San Juan Atitan, Huehuetenango, Guatemala © Alexander Khimushin/The World In Faces Xhosa Woman, Mgxotyeni, South Africa © Alexander Khimushin/The World In Faces Afghanistan Wakhi Woman, Sast, Wakhan Valley, Afghanistan © Alexander Khimushin/The World In Faces Meitei Man, Moirang, Manipur State, Noth East India © Alexander Khimushin/The World In Faces Kyrgyz Man, Sary Tash, Kyrgyzstan © Alexander Khimushin/The World In Faces Djiboutian Girl, Djibouti, Djibouti © Alexander Khimushin/The World In Faces Ladakhi Young Monk, Diskit Monastery, Ladakh, India © Alexander Khimushin/The World In Faces Nyangatom Tribe Woman, Kangaten, Ethiopia © Alexander Khimushin/The World In Faces Wakhi Boy, Wakhan Valley, Afghanistan © Alexander Khimushin/The World In Faces Ladakhi Woman, Lamayuru, Ladakh, Himalayas, India © Alexander Khimushin/The World In Faces Ixil Maya girl, Nebaj, Ixil Triangle, Guatemala © Alexander Khimushin/The World In Faces Shughnani Girl, Korog, Gorno-Badakhshan Autonomous Region, Tajikistan © Alexander Khimushin/The World In Faces Tsemay Tribe Girl, Key Afer, Ethiopia © Alexander Khimushin/The World In Faces Daasanech Tribe Woman, Omorate, Ethiopia © Alexander Khimushin/The World In Faces Samoan Boy, Savaii Island, Samoa © Alexander Khimushin/The World In Faces

“I realize that I may have only one unique chance to photograph that ethnic minority person,” Khimushin says. “I will never be able to get back to the same place and take another photo of this grandma, who is 93 years old and wearing her ancestor’s clothing especially for me.”

There is a lot of pressure to get it right. A few years back he would shoot just 1-5 frames on average per person, but now it is over 100 frames… or even more.

Wakhi Girl, Wakhan Valley, Afghanistan © Alexander Khimushin/The World In Faces Mursi Tribe Girl, Mago Area, Omo, Ethiopia © Alexander Khimushin/The World In Faces Bodi Tribe Boy, Omo Wareda, Ethiopia © Alexander Khimushin/The World In Faces K’iche’ Maya Man, Chichicastenango, Guatemala © Alexander Khimushin/The World In Faces Hamar Tribe Woman, Hamer Woreda, South West Ethiopia © Alexander Khimushin/The World In Faces Old Believer Russian Woman, Tarbagatay, Buryatia, Siberia, Russia © Alexander Khimushin/The World In Faces Afar Woman, Afar region, North East Ethiopia © Alexander Khimushin/The World In Faces Japanese Girl, Kyoto, Japan © Alexander Khimushin/The World In Faces

You can follow Alexander Khimushin and see more of his work on his website, Facebook and Instagram.

About the author: Phil Mistry is a photographer and teacher based in Atlanta, GA. He started one of the first digital camera classes in New York City at International Center of Photography in the 90s. He was the director and teacher for Sony/Popular Photography magazine’s Digital Days Workshops. You can reach him via email here.

Image credits: All photographs © Alexander Khimushin-The World in Faces and used with permission.

from DIYS

How to shoot 10 powerful street photographs in one ugly location

When I started out, I always thought: If I could shoot in New York City, Tokyo, Paris or Amsterdam, my street photos would be much better… It turned out that it’s all about your imagination, creativity and patience. To be honest, I’ve captured my favorite street photos in the ugliest of all places. Sure, it’s […]

The post How to shoot 10 powerful street photographs in one ugly location appeared first on DIY Photography.

from DIYS

How to shoot 10 powerful street photographs in one ugly location

When I started out, I always thought: If I could shoot in New York City, Tokyo, Paris or Amsterdam, my street photos would be much better… It turned out that it’s all about your imagination, creativity and patience. To be honest, I’ve captured my favorite street photos in the ugliest of all places. Sure, it’s […]

The post How to shoot 10 powerful street photographs in one ugly location appeared first on DIY Photography.

from DIYS

This Kendrick Lama Music Video Pays Tribute to Gordon Parks’ Photos

In the new music video for Kendrick Lamar’s track ELEMENT, Lamar pays tribute to renowned American photographer Gordon Parks.

Parks was born in 1912 and passed away in 2006. He was prominent in the world of photojournalism in the 1940s through the 1970s. Parks paid particular attention to African-American, civil rights, and poverty issues.

He was the first African American photographer to work for Life and Vogue magazines, in a career that spanned fashion photography, as well as working for the government. Not only this, but he was the first to shoot and direct major Hollywood films, too. Consequently, he was the pioneer of the blaxploitation genre with his 1971 film Shaft.

People online were quick to point out, and praise, the similarities in the video. Clearly, a lot of thought and creativity went into the Lamar video in recreating such poignant photos.

Here are some side-by-side comparisons. Parks’ photos are on the left and still frames from the music video are on the right:

“The Gordon Parks Foundation is pleased to see Kendrick Lamar recognize Gordon Parks’ important photography while working at Life Magazine and honoring his legacy,” Peter W. Kunhardt Jr., the foundation’s executive director, told Okayplayer. More information about Gordon Parks is available on the Gordon Parks Foundation website.

(via Kendrick Lamar via Fstoppers)

from DIYS

How to build the ultimate DIY smartphone projector

Smartphones are fantastic tools for showing off our work, watching movies, or even playing games. Their “big” problem, though, is that their screens are rather small. This means if you want it bigger, you must connect it up to a TV or use a projector. Projectors for phones have been on the market now for […]

The post How to build the ultimate DIY smartphone projector appeared first on DIY Photography.

from DIYS

Ep. 189: The Canon 6D Mark II Is Fine. Just Fine. – and more

Episode 189 of the PetaPixel Photography Podcast.
Download MP3 –  Subscribe via iTunesGoogle Play,  or RSS!

Featured: Landscape photographer and podcaster, Nick Page

In This Episode

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Landscape photographer and podcaster, Nick Page opens the show. Thanks Nick!

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Canon announces the 6D Mark II, photographers and industry press are underwhelmed, but there is a logical explanation. (#)

Micron is looking to unload Lexar or discontinue the brand entirely. (#)

Seriif hints at digital asset management coming…perhaps within Affinity Photo. (#)

Lensbaby announces its Velvet 85mm f/1.8 for soft portraits and macro. (#)

Canon announces its Rebel SL2 (EOS 200D) for those wanting a smaller DSLR . (#)

ShutterCount updates to include support for newer Canon bodies and more. (#)


Connect With Us

Thank you for listening to the PetaPixel Photography Podcast! Connect with me, Sharky James on TwitterInstagram and Facebook (all @LensShark) as we build this community.

We’d love to answer your question on the show. Leave us an audio question through our voicemail widget, comment below or via social media. But audio questions are awesome!

You can also cut a show opener for us to play on the show! As an example: “Hi, this is Matt Smith with Double Heart Photography in Chicago, Illinois, and you’re listening to the PetaPixel Photography Podcast with Sharky James!”

from DIYS

Tips from a pro: photographing fireworks with John Cornicello

Photographing fireworks with John Cornicello

Seattle-based photographer John Cornicello specializes in portraits, but has been photographing fireworks for years. He's presented a class on it for CreativeLive, and with the Fourth of July weekend upon us, we figured we'd take a look at some of the major takeaways from Cornicello's class.

For the nitty gritty details, check out Cornicello's blog post on the subject here. All images and content used with permission.


Once the show starts, you're not likely to spend much time running around for different vantage points, although this of course depends on the length of said show. If possible, scout in advance, and look for clean views without power lines or trees in the way.

Scouting in advance is particularly advisable because it's harder to spot these distractions in the darkness, and if you're not careful, you can have black silhouettes intruding in your otherwise perfect image.

Looking for establishing landmarks can give your photos a little more context, to "establish a setting and help tell a story," Cornicello says.


Most obviously, a tripod is the best tool for the job here. If you don't have one and can't get one in time, other options – outdoor furniture, fenceposts, the roof of your car – can all work in a pinch, but you won't have the flexibility a tripod offers.*

If you must use those other options, keep in mind you can adjust the height angle of your camera with whatever props you can find to wedge underneath it; a wallet and cell phone combination can be all you need to get your lens up to the correct height.

If you have the means, a remote trigger can help keep the camera from moving at all from a press of the shutter button. Lastly, since you'll be focusing near infinity and likely not moving much, it's best to stabilize your focus by locking it in manual focus if your camera allows that.

* It's true that many cameras have extremely effective built-in image stabilizers these days, but few of them are up to multi-second shutter speeds, regardless of whether you're zoomed out or in. The possible exception may be Olympus' newer interchangeable lens models, but you're still likely to get more keepers by stabilizing your camera externally.


Now this is one that Cornicello says people tend to overthink. As he says, 'Fireworks are bright!' You don't necessarily need to raise your ISO to astronomical levels or have a fast lens to get good results. So let's switch into 'Manual' mode and get everything dialed in.

Keep your ISO around 100 or 200 and stop down the lens – F8 is a good starting point, though Cornicello notes that displays have been getting brighter, so F11 or F16 may be necessary. Start with a 1/2-second or 1-second shutter speed time, and adjust your shutter speed from there as necessary depending on how many bursts you want to capture in a single image.

Also, it's okay to chimp here to check that your settings are working as intended – just don't get too carried away and miss the whole show.

And please, if your camera has a built-in flash, make sure it's disabled. "The flash won't help with the fireworks... but it will tend to annoy the people around you," Cornicello says.


You'll need a camera of some sort; having a full-frame DSLR or high-end mirrorless camera is obviously great, but even an app offering manual control of your smartphone camera will get you some usable images.

Zoom lenses are great for fireworks, as they let you change up your framing without having to leave your carefully scouted location. And since we're stopping down, even a kit lens with a basic interchangeable lens camera or fixed-lens camera will work fine.

Cornicello points out that a zoom lens not only allows you to zoom to change your composition between shots, but you can also experiment with zooming during your exposure; you can also play with the manual focus during your exposure to mix things up further. We've touched on this earlier, but if your camera or lens features in-camera stabilization, it's best to shut it off as they are mostly meant for handheld applications.

A few other goodies to have on hand? Cornicello recommends a small flashlight to help you change settings in the failing light, as well as extra batteries and a large memory card. Earplugs are, of course, down to personal taste and requirements.

The wrap

Photographing fireworks can be a fun way to turn a social outing you were already planning for into a photo outing with relative ease. If you're new to photography, or just got your first interchangeable lens camera or a pocket camera with manual controls, it's a great way to experiment and become more comfortable with exposure settings.

Head on over to John Cornicello's blog for, in particular, more details on exposure and useful gear to have for the occasion.

And of course, we mustn't forget the most important piece of advice Cornicello has to offer: Have fun!

Do you have any other tips or tricks you use when photographing fireworks? Have some images of your own you'd like to share? Let us know in the comments!

from DIYS