As we roll into the season of longer nights, we don’t think the extra darkness this should cut down on the amount of time you spend with your camera.
Low-light photography can be intimidating if you’re new to photography, but it’s easier than you think…. and you can take some amazing photos that take much more patience to capture when the days are bright and long.
Here are a few simple tips to keep in mind to keep you shooting (and sharing) photos through the darkest time of the year.
Know Your Gear
Photography is all about physics, but even if you weren’t a science major you can take a few minutes to learn the only tip you ever need to learn.
Photography is about capturing light, so low-light shooting means maximizing the amount of light hitting your sensor. There are three ways to do that:
- Allow more light through the lens
- Keep the shutter open longer
- Boost the sensitivity of your sensor
How? Widen the aperture of your lens, slow down your shutter speed, or raise your ISO, respectively. If you’ve never done any of this before, dig up your camera’s manual (or Google for the PDF version) and get to know these three things now. Shooting in your camera’s Manual mode is the most tricky – but most surefire – way to learn these principles, but you can also try Aperture Priority or Shutter Priority modes to fix one of the settings and let your camera automatically calculate the rest.
Knowing which buttons to push and which dials to turn is a priceless skill to have, and you should commit it to muscle memory now so you don’t end up panicking in the dark.
Additionally, your camera and lenses often have specific limitations. If you have an older camera, for example, you may not want to push the ISO above 1600. And some lenses simply don’t open up wider than f/5.6. If you’ve been thinking about trying new equipment but aren’t sure it’s the right gear for you, check out our own, in-house gear reviews to get an idea of what’s out there before you drop thousands of dollars.
Embrace Your Grain
Even if your images come out a bit grainy from pushing your ISO, that’s OK. Think about all the film photos you’ve probably seen from 30 to 50 years ago and you’ll notice the grain adds a lot of character to the image. It makes sense to embrace it and get to know it a little better.
Grain itself can contain quite a bit of color that may not be found otherwise in your scene. To minimize it, try third-party noise-reduction software, or experiment with the noise-reduction feature in programs that you’re already using, like Lightroom and Photoshop. Don’t be afraid to experiment!
Alternatively, try converting your image to black and white and playing around with the contrast. Photos that look weird at first look rock ‘n’ roll once the color’s stripped out. To do this, give it a quick conversion using SmugMug’s Image Editor, PicMonkey, or (our favorite) Lightroom.
Make More Light with Lightroom
Modern digital cameras give you quite a bit of leeway with the exposure, so if your image came out a bit dark (which happens because your camera’s LCD often gives a brighter impression of your image than you actually took), it’s OK to bump the exposure in post.
For most, pushing the “Exposure” slider is sufficient, but some pixel peepers may suggest using the more specific sliders you can find below that: highlights, whites, and shadows. These boost only the pixels you need without harming the rest. Experiment with what works best for you to get the look you want.
Once that’s done, don’t forget to publish your goodies to SmugMug and show the world what you’re capturing after the sun goes down.
Seek the Moment, Not Perfection
Above all, don’t stress about getting the perfect shot every time. Blurred motion, being too dark (or too bright) are all details that take your photo beyond basic shape and color. So be sure to capture the action, the intensity, and the joy of what you and your friends are doing. Even if it’s not textbook perfect, we guarantee that as soon as you share your photos, they won’t be thinking of anything except how much fun they had.
We’ll be sharing a few more low-light tips in the weeks coming, so stay tuned for more creative ideas to keep shooting in the dark!
Since today is World Smile Day (and we love to smile), we thought it was perfectly appropriate to share a few tips we’ve written that help you better create infectious grins throughout your circle of fans.
Keeping your smiles safe, sharable, and profitable:
- Smug Tip: Take Your Photos Further With These Smug Features
- 3 Flavors of Privacy: Are You Using the Right One?
- Share Photos to Make Lots of Money
Start smiling more… with photography:
- 10 Ways to Get Out of That Photography Rut
- Glare Aware: Photographing Portraits of People in Glasses
- For the Love of Photography: How to Organize a Photowalk by Scott Jarvie
- 5 Killer Locations for Your Photo Shoots
- Tony Corbell’s Top Tips for Stellar Portrait Sessions
- What Not to Wear (to That Photo Shoot)
Inspirational smile-grabbers (AKA People who get to do this for a living):
- SmugMug Films: Extreme Filmmaking by Devin Graham
- SmugMug Success Stories: iSmile Studios, Inc.
- Making Magic: Stylists in the Fashion Photo Shoot
- Sportraiture: Punch Up Your Portrait Photos with Levi Sim
- SmugMug Success Stories: Smilebooth
- Picture Perfect Pet Photography
Enjoy the day, and don’t forget to capture it in pictures!
The Smilers at SmugMug
Don’t let your photos die in the digital graveyard! Even though we live in the iPhone age and highly recommend that pro photographers offer digital downloads as part of their business models, we think that a trusty, traditional, physical print still has a place in every home.
Here are four reasons why.
1) Prints Bring Photos to Life
Prints have presence. There’s never any doubt about that, as any framed photo or tangible image in your home draws the eye every single time. It’s easy to dismiss the importance of a physical print when you’re not actually faced with one, but once you unwrap your print, feel the weight of it in your hands and see the light shining from its surface, you’ll see what we mean.
Particularly if you opt for metallic paper finish, or one of SmugMug’s modern print options like MetalPrints and Box Frame Prints. Guaranteed to stop every guest in their tracks.
2) Not Everyone is Online
Facebook may hold its fair share of friends with whom you share photos, but we’re willing to bet that your social group isn’t 100% online. For all the people you care about who aren’t on the web, prints are the medium of choice.
Whether this includes your mom, your grandpa, or your pen pal from 3rd grade abstaining from the internet, we’re pretty sure they’ll be delighted to receive a print, album or even a photo book in the mail.
3) Rare Means Care
Since we’re all guilty of taking digital photos for granted, prints are rare and (by basic laws of economics) will command more attention because of their relative scarcity. You know you’ll already captivate your online audience with your unlimited SmugMug galleries, but we’re pretty sure one meaningful print in your hallway will grab their attention, too.
For those of you looking for the most bang for your buck, prints are perfect for you. And who wouldn’t want something special hanging on their wall?
4) Your Memories Exist Even If Your Computer Explodes
Imagine you’re rummaging around your desk and find a priceless snapshot from 1992 that you took on one of those disposable cardboard cameras. Wow!
It’s definitely easier to drag and drop your files around folders on your hard drive (or in your SmugMug Organizer), but real photos are a joy to unearth. While not completely immune to discoloration, fire or fading, so many threads of history have been woven into a larger tale because of photos, crisp and bent with handwritten notes scrawled along the back.
Wouldn’t you want physical proof that you lived, even after the ‘Off’ button was pressed?
Let Your Photos Grow Up on SmugMug
We have four great print labs for you to choose from at SmugMug. EZ Prints is available for Basic subscribers, and Bay Photo, WHCC, and Loxley Colour are additional options (with additional print and mounting choices) for Portfolio and Business accounts.
To see the complete list of all print sizes and products available on your account, simply log in and view your Account Settings > Business tab to view your Pricelists by lab. Basic and Power Users can just click the Buy Photos button in any gallery to open the available items in the shopping cart.
Print your photos. No matter if you’re just snapping moments on your iPhone or documenting in RAW with a top-of-the-line DSLR, whether you just snap photos of your friends or if you’re a full-time pro, it’s up to you to make the most out of your life. So buy a print, hang it on the wall and keep those memories close at hand.
You won’t regret it.
Links to love:
- Pros, don’t leave money on the table. Sell digital downloads
- SmugMug’s four great print labs
- Paper pixel peepers, look here for full details on our print specs
- Photo Extras at Bay Photo: Frames, mountings, finishes and more
- Turn your SmugMug galleries into custom photo books in minutes
- 4 Reasons Why the Organizer is the Best Thing to Happen To Your Photos
- How to price, sell, and make money on SmugMug
- All about your Account Settings
Today’s post comes from extraordinary surf and landscape photographer Chris Burkard, who we recently featured in our short film, Arctic Swell. Chris has made it his life’s work to find wild, remote destinations and then capture the juxtaposition of humans in these environments. The world is an oftentimes harsh, humbling, and magical place, and Chris wants to photograph it all.
He shares his essential night landscape tips below. You can browse his portfolio and print store on his site.
It’s hard to beat the enchanting feeling of star gazing at a clear night sky. You soon become lost in its beauty like a giant kaleidoscope full of shooting stars, planets, and glow from the setting sun or nearby cities. I’ve traveled to countless countries over the past ten years and some of my fondest memories occur long after the sun has set. Whether it’s camping near my home in Big Sur or witnessing a rare northern lights show in the Arctic, I’ve had the privilege and challenge of documenting these night landscapes.
My introduction to night photography happened when I took a road trip in 2006 along the entire California coastline. My friend Eric Soderquist and I spent over two months on the road in his Volkswagon bus in search of waves in every California county. The trip was later turned into a book, The California Surf Project, and looking back through its pages you can see some of the early stages of my night photography. Camping under the stars literally every night made me that much more appreciative and eager to capture the beauty of the night sky. Fast forward 8 years and I’m still drawn to these dark moments where my friends and I are huddled around a campfire in Iceland or getting lost in the magic of the northern lights in Norway. Photographing in the dark certainly requires some adjusting but here’s some tips to prepare you for the next time you’re shooting night landscapes.
Night Landscape Photography Tip 1: Get Away From the City
The farther you are from city lights the clearer you will be able to see stars and the less light pollution you’re going to have. The photo pictured above was shot in Big Sur, CA a few hours from any major cities.
Night Landscape Photography Tip 2: To Infinity!
Set your focus to infinity or focus on far away light sources to make sure you get the sky in focus. If you want to focus on your subject shine a light on them.
Night Landscape Photography Tip 3: Trial & Error
Don’t be afraid to test settings to see what works best. The beauty of working with digital cameras is that you get instant feedback. I usually open my aperture as wide as it will go (f/2.8 or wider) and then vary my ISO depending on how bright the sky is. In this particular photo I exposed for 30 seconds at f/1.8 and 400 ISO. I like to keep my ISO as low as possible.
Night Landscape Photography Tip 4: Frame Up
Remember that the sky is your hero in the photo. Try framing the sky in the upper 2/3 of your image and then vary your angle depending on the scenario. With the northern lights creating a really dramatic light trail I framed up. You could do the same with the milky way or stars in general.
Night Landscape Photography Tip 5: Expose Long & Short
Long exposures are going to leave you light trails and short ones should make the stars nice and sharp. Try both methods for variety in your imagery.
Night Landscape Photography Tip 6: Bring a Headlamp
You can use a headlamp to light up your tent or even light paint a tree or waterfall. Practice the amount of light that you are shining out of your headlamp because it is easy to wash out the picture with too much light.
Night Landscape Photography Tip 7: Add a Subject
Adding that human element to a picture can give it a sense of perspective and depth. Play around with where you place the subject in your frame. The less busy your framing is the better.
Night Landscape Photography Tip 8: Mind the Moon
If you want to have clear stars shoot underneath a new moon or when the moon is below the horizon. If the moon is out you can play with the effects that it can have on your photograph. Use it to backlight trees or your subject but be careful not to let it wash out your picture.
Night Landscape Photography Tip 9: Use a Tripod
Or a rock or the hood of your car. A tripod is you’re most crucial piece of night photography gear. Joby makes great camping tripods cause they are small and packable. I also recommend a remote so you can make sure your shots are even more stable.
Night Landscape Photography Tip 10: Stay Up Late
Night skies are often darkest and most active late into the night. I’ve seen tons of meteor showers and northern lights shows way past midnight. Set an alarm and wake up if you have to or use a remote to take photos periodically throughout the night.
Check out our short film, Arctic Swell, to see Chris Burkard and pro surfers Patrick Millin, Brett Barley, and Chadd Konig brave sub-zero temperatures in the Arctic Circle.
Links to love:
They say your first 10,000 pictures are your worst, or that it takes 10 years to become an expert. While we can’t necessarily refute those words of wisdom, we can share tips from our team of passionate photographers that may help shorten that climb to the top.
1) f/8 Is Usually Best
Without getting too deep into the details about optics and light paths, your lens has a sharpest point within the range of f-stops that you see on it. As a rule, the largest and smallest ends of the range are the softest, or least sharp, and f/8 or somewhere in the middle is where you’ll get the sharpest images. This varies by lens of course, but we suggest shooting your own test shots of the same subject at different apertures, zooming in, and seeing how that affects your images.
Tip: Don’t know what f/8 translates to in your photos? You can search for any kind of photo on SmugMug and then refine your search to see just the photos shot within a specific aperture range. Neat!
2) Cropping is OK
Unless you’ve jumped straight into big league macro or wildlife communities (where cropping is “cheating”) it’s totally fine to take your original photo and crop it so you have a better, stronger composition. Or maybe you just used the wrong lens and need a bit more zoom. Either way, it’s your trade secret and artistic decisions like this are part of what makes you – the photographer – unique.
Tip: You don’t have to crop before you upload to your SmugMug galleries. Use our handy Photo Tools to crop your images, or even Make a Copy and crop that one so you can compare the two and see which version you like best.
3) Renting is OK
You don’t have to own the gear to shoot with the gear. So you can’t drop $14K on a 800mm lens to shoot the next game? No problem – pay a pittance to have one for just the time you need, then send it back and call it a job well done. We can’t all be big spenders… even if we strive to get the perfect shot every time.
Tip: Our friends at Borrowlenses.com have a huge variety of photo, video, and lighting gear for every reason that needs a camera. You can even customize the amount of time you rent, if the standard time spans won’t work for you. Plus, SmugMug customers get an extra 10% off your entire order.
4) Editing is Essential
While we’ve stressed before that getting your photos right SOOC is good practice, it’s rare when a photo looks better raw than polished. Even the most perfectly-lit, powerfully-composed photo can benefit from a few finishing tweaks to color, sharpness, and other aspects that make pop to the eye. So even if you think that sunset couldn’t get better than it is, just give it a boost and see what happens. You just might like what you find.
Tip: You’ve got the power of Photo Effects (in your Photo Tools) and Picmonkey for the photos that live in your SmugMug galleries. But take it a step further with Lightroom: with the ability to sync and publish direct to SmugMug and pro-worthy features simple enough for beginners, we think you’ll be hooked. Check out the tutorials and see why.
5) Technique Can Solve (Pretty Much) Anything
Backlit subject? Contrasty sunset? Wind in your umbrellas? White dress, red walls? All of these scenarios (and thousands more) can throw a monkey wrench into how you thought the shoot would go, but you can still get the final photo you had in mind with practice, practice, practice. Study hard, stay inspired, experiment, and make mistakes. Lots of mistakes. The more you know, the more you can overcome challenges that would throw photo greenhorns into despair.
Tip: We can’t promise to have a ready answer to every problem, but we’re trying. As photographers ourselves, we strive to write and deliver photography-, website-, and business-focused articles on our blog, the SmugMug School website, and through our email newsletters. It’s our mission to help make photography (and whatever you do with it) more fun.
Links to love:
- Smug Features You Didn’t Know You Had (like EXIF search)
- Cropping in SmugMug
- ClubSmug for exclusive photo discounts
- Getting the shot right the first time (and other tricks to speed up your workflow)
- Using the in-SmugMug Photo Tools to apply color effects
- Beginner-to-advanced Lightroom video tutorials
- How to use the free SmugMug-to-Lightroom plugin
- SmugMug School: By photographers for photographers
- See what you missed in our newsletter archives
We’ve long wanted to film famed surf photographer Chris Burkard in action, so when we heard that he was headed to the Arctic with professional surfers to tackle the brutally harsh seas, we packed our bags and followed. In our latest installment of SmugMug Films, we travel with Burkard on his journey with professional surfers Patrick Millen, Brett Barley, and Chadd Konig as they brave sub-zero temperatures to capture moments of raw beauty, adventure, and community. Keep reading after the video to get an exclusive interview with Chris about how he got his start, what he looks for in a fantastic image, and that time he got deported from Russia.
How did you get started with photography?
I did a lot of art in high school. And I transitioned to wanting to explore doing art out in the field, but I soon realized it wasn’t very fun. It wasn’t a very intimate experience to me. You’re just a bystander. When I picked up a camera and started taking photos of my friends surfing and landscapes, I realized I was in the moment. I was out there, and shooting these photos was an extension of the body. It was intimate. You’re a part of it, and you can take it anywhere: social settings, mountaintops, oceans. It was a perfect extension and a great medium of expression for me. To this day I’m seeking out new places so I can bring a camera and experience them.
If you hadn’t become a photographer what would you have been?
Probably a fireman. I don’t know! I worked for many years in random jobs. Before I was working to be a photographer, I worked on cars a lot. I loved old vehicles and the idea of making them how I wanted. It came down to the idea of wanting to do something where people will appreciate my craft and my talents, and I realized that was what made me want to turn machines into artwork. If I wasn’t a photographer, maybe I’d be working on cars somewhere.
How would you describe what you do today?
I’m always seeking out the adventures in life, whether I’m shooting surfing in a cold, harsh environment or shooting a commercial assignment. And that’s meant to speak to the idea of going to a new place, summiting a new peak, or surfing a new wave. It doesn’t matter to me how big or how small. My goal has always been to create images that inspire people to get off their couch and go explore something new.
The idea of exploration is the thing that really makes me want to push harder. It’s the driving force behind a lot of my work.
What do you look for when creating an image?
There’s a lot of technical things I’ll look for. I’m looking for light, contrast, and all those elements that make a good image. But I consider other elements when I’m thinking of how to capture something. Like if there’s historical value to a photo—where I’m shooting a place that might not be around for very long—that’s very important to me.
Coming from an art background, I’m used to trying to put everything I want into this easel shape. I’m just bringing in all the elements. When you’re shooting and photographing in this frame, you have to get everything inside it. You’re really constricted in being able to make it happen.
For me, it’s also super important to push your cameras as far as they can go to capture what you’re seeing. A photograph is usually a two-dimensional item. If there’s anything you can do to make it feel three dimensional, that’s the goal.
I also like the idea of creating images that will carry weight with people. Photos that aren’t driven by advertisements or logos. And it’s super important, too, when creating a body of work that you want to be around longer than yourself.
Given the adventurous nature of your work and the harsh conditions you’re in, are there any great pictures you didn’t get to take?
There’s always a lot of pictures I don’t get, or I feel I haven’t had a chance to capture yet. As a photographer, or anyone who’s a perfectionist, that’s all you think about: all the moments you didn’t get. And that’s just life. You’re striving for something better, and you always wish there’s something you could’ve captured, but if you get them all, you’ll have nothing left to strive for.
What do you consider the biggest challenge about your work?
It all depends on where I’m going. The nature element is the hardest thing, like if I’m going somewhere really cold or somewhere that has a harsh environment. Being in the water in high 30s or low 40s can be brutal on your body, mind, and psyche, and it’s always challenging. You’re always weighing out risk versus reward. Luckily, 90 percent of the time you’re not far from a warm car, but there are those moments when you know in order to get the shot you have to go out and suffer a bit. Those are the times I feel most alive. I have to put in more effort and lose a little bit of skin.
Your explorations often take you to off-the-beaten-path locations. What do you look for?
I’m drawn to places that feel and look more wild. I think it’s human nature to want to see these places, but the reality is most people don’t want to put in the time to find them. So a big part of what I do is try to find spots that will speak to that aesthetic. The location is almost as important as who I’m with and what I’m shooting. Each place plays a huge character role in these stories. Whether I’m on a remote beach in Norway or somewhere in Russia, I want to be in a place that people naturally associate with adventure.
How do you find these places?
There’s a certain recipe. There are a lot of amazing places I could go, but I have to have an assignment that takes me there. I have a list of places I would love to see and love to experience, but I don’t have opportunities to shoot there. But I have a list. And it’s something I tick off as I get to go to places.
With so many places yet to see, is there a favorite place you’ve already been?
Oh, yeah. I’ve been to Iceland 13 times. That place is pretty dang special.
What do you love about it?
The way the landscape is always changing really draws me in. It’s inspiring to me and makes me want to go back because the conditions and climate are constantly evolving. For a photographer, it’s what you’re always searching for. You could shoot only one day there and have so many different conditions.
I don’t like to go to places that wouldn’t be inspiring to me on a personal level. Because if you’re not excited about the work you’re doing, then it’s hard to want to photograph it.
Is there a photography project that’s been the most meaningful for you to date?
The trips I do, I invest a lot of my energy, heart, and soul. That’s why when they turn out successful, it means so much. Success can be measured many different ways, but for me it’s pretty simple: If I feel like I got the images I needed, or got the job done while still being able to experience the culture for myself, then the trip was a success.
I plan for three years or more to do these trips, and when I’m able to set foot on the landscape and experience it, I don’t want to leave anything behind. For me, that’s been Russia, Alaska, Iceland, and Norway. These are places I put a big part of myself into.
What’s been your most challenging to date?
I’d say Russia just because of the logistical challenge of getting there. It took three years to plan and find the place to go.
I went to Russia for the first time in 2009, and you have to fill out a visa request like three months ahead of time. I was in a crew with four people, and we had to go through customs. I get stopped. They look at my passport. They look at me. They look at my passport again. They look at me. And I realize the entry date on my visa was for the next day. It was the wrong date.
After a long discussion, they put me in a holding cell for 24 hours, and then deported me to South Korea. After recouping a day later, I flew back. It was scary. Really scary. I didn’t get food and water until I talked to the embassy. It was crazy.
It was one of the first places I traveled to that was really wild and remote. And it was such an eye-opening one because I realized for the first time what it felt like to have all your rights stripped from you. It makes you really appreciate being on American soil.
What’s at the top of list for a place you’d like to return to?
I really want to go back to Chile and explore Tierra del Fuego. It’s at the very end of South America, and it looks amazing.
In a lot of your behind-the-scenes shots, it looks like surfers are headed right at you. Have you ever suffered any collisions?
Oh, yeah. I’ve been run over. I’ve had surfers hit me with their board. Cut my nose and other things. Those are the experiences that make it exciting. You’re very much at risk. And it makes it that much cooler, really, being able to be a part of the action. Being hidden in the midst of it myself.
Ever lost any gear?
I’ve lost quite a bit of gear. One time I was on a little boat, and we got hit by a wave. Basically my entire kit went overboard, and I lost about $30,000 worth of gear. Luckily, I had insurance for it.
Speaking of gear, what are your must-haves?
I have a lot of must-haves. It comes down to the fact that I think, man, if I don’t need to use this it’s not going to be much of an adventure!
A multitool is super important when it comes to being somewhere remote and interesting. Obviously having a good, reliable camera is crucial, and that’s personal preference. I like to travel really light and really small, so I use a lot of mirrorless cameras, like the Sonys. There’s usually a solar charger of some kind, whether for cell phone or camera. An ultralight, ultrasmall water-purification device that uses UV light. Energy bars. A light rain jacket is always crucial. A lightweight tripod is always in there. Filters. Almost always a pair of gloves.
If you don’t need a headlamp, it’s not even a place you want to go. I can’t count how many times I’ve gone out driving around, having a great time, then coming back for a couple hours to sleep until dark. That’s when, as a photographer, you know the best light is going to be, or when the stars are going to come out. Nine times out of 10 we’re hiking back in the dark with a headlamp on.
It sounds like you have a survival kit with some camera gear versus a camera kit with some survival gear.
That’s really what it comes down to. I want to make sure that when I’m shooting photos that I’m able to relax, knowing that safety is taken care of. I occasionally have a small rope and carabiner just in case I need to lower down from somewhere. Usually the most unusual thing I have in there is a packet of gummy candy, because that’s one of my favorite things. It’s either a reward after the shoot because things have gone well, or I just got beat down by rain or no sun and I want to have something sweet.
Given the chaos you’re in for your shooting conditions, do you shoot manually?
Yeah, always. I love shooting manually. You really start to work with your camera, and it becomes second nature. I like to have complete control. I don’t want to have my camera trying to make decisions for me.
Do you have any rules when it comes to your overall process?
When I’m going somewhere new, I’m really careful not to research too many of the places I’m going to see because I don’t want to get some interpreted view of what these places should look like on a postcard. I want to be able leave my view and perspective unskewed so I can maintain ultimate creative freedom. That being said, I also want to make sure that I’m being educated on where I’m going, because the more unique the less you know. That’s a really important mantra to have at all times.
If someone decided to pursue a similar path, what advice would you give them?
I personally would tell them that I don’t think school is going to teach you the type of skills you need to do what I do. A big part of this is experiencing things. Learn from a magazine setting or an editorial conference. Study a photographer you like and really understand the hustle it takes to do what they do. Understand what it’s like to be in those commercial and editorial situations where you’re trying to make it all work for a client.
I look back at the time I spent driving down to Oceanside every week to intern at Transworld Surf, and a summer I interned with a landscape photographer. That’s where I feel like I gained the biggest understanding of what photography was really like. I realized what it means to run your own business. And if you still want to do it after that, you should.
Any advice for capturing a great image?
There’s great moments happening everywhere, but for me there’s two main types. There’s the one that happens all of a sudden, which requires being there and being ready, and knowing your equipment inside and out. And the second is the one you’ve preconceived. Sometimes those are really special to me because you have this idea and you get to see it through.
Look for unique lighting situations. Go out in storms and go out at a time when no one else is. That’s when you’re going to capture something unique.
And what about the best advice you’ve ever received?
My grandpa told me to kick ass and take names. I don’t know if that’s good advice or not.
I guess a personal mantra I try to follow is the more you know, the less you need. I’ve always been a big proponent of traveling with less and not being the person who has the biggest, most expensive camera. It’s not that I can’t afford it, I just like to experience moments personally as well as through my camera. If you walk away from any trip and it’s a complete blur because you were shooting the whole time, then you weren’t really experiencing it.
In the end, you should have all these cool stories to share with loved ones and family and friends. At least that’s how it is for me. I always try to be present in the moment and really experiencing it myself, too.
What do you find exciting about the photography industry today?
Now everyone is a photographer. People have cameras and video cameras in their phones. At any time I could have four or five cameras on me. It’s crazy.
What we’re seeing is the emergence of these smaller, lighter cameras being able to capture more real, intimate moments. And I think the idea of mobile photography and how it’s changed photography as a whole is really exciting.
I think we’re really seeing, too, a changing of the guard where a lot of established photographers have lost touch with the people who are interested in their work because they haven’t adapted to these new forms of social media or ways of promoting their work.
Photography as a whole is really moving toward those who are open to sharing. Nothing’s a secret anymore. If you try to keep secrets, people just aren’t going to embrace it. They want to find people who are sources of knowledge and are able to share that knowledge. That’s how I look at inspiration.
Find Chris online:
Subscribe to the SmugMug Films channel to watch and see future installments as soon as we set them free. If you enjoyed the film with Chris Burkard, you may like these artist profiles on underwater photographer Sarah Lee, YouTube superstar DevinSuperTramp, and lava chases Lava Light.