The magic of photography has always been its ability to freeze an instant in time—to capture what Henri Cartier-Bresson famously termed the decisive moment. It’s magical because we can’t see the world in that way—we have no pause button to savor our experiences stopped in time. But a single, frozen instant doesn’t express motion very well, and that’s where long exposures can add another dimension to still photography—the dimension of time. You can take what would be a static image captured at a fast shutter speed and transform it into something dynamic. An effective tool for artistic interpretation, it’s also fun and, with just a little practice, easy to do with ordinary photo gear.

Autumn Maples, Great Smoky Mountains National Park

The Water Ballet

For a nature photographer, no other subject presents better opportunities for capturing long exposures than moving water. Waterfalls, cascading streams, and ocean waves are but a few examples.

You’re going to need a tripod, a remote shutter release or the camera’s 2-second self-timer to avoid camera shake, and preferably overcast lighting conditions. The lower light in them makes it easier to achieve longer shutter times, and the light is more aesthetically pleasing, too.

I approach a waterfall or stream scene just as I would any other landscape. I work in aperture-priority auto mode (Av or A), choose an f-stop that gives the desired depth of field, then adjust the ISO until I get the shutter speed I want—higher ISO for faster speeds, lower one for longer exposures. I often need a smaller aperture than necessary to slow things down.

That’s because one problem encountered in long-exposure photography is too much light. If you just can’t leave the shutter open long enough without overexposing the image, opt for a neutral-density (ND) filter. These reduce the amount of light entering the lens, allowing for longer exposure times than would be possible otherwise. The key is that they reduce light uniformly, so contrast and dynamic range are not affected—unlike a split neutral-density filter.

ND filters are available in different strengths designated by either the number of stops they soak up or in terms of optical density. A 3-stop or 0.9 density ND is ideal for waterfalls in bright sunlight, slowing the exposure to a second or so. A strong 10-stop or 3.0 ND can blur clouds over several minutes, even on a bright, sunny day. Variable ND filters are also available, although these can be expensive.

How much you should slow things down is a matter of personal taste. The volume of water plays a big part in making the decision: Longer exposures work best with lighter streams and help express grace or fragility. Relatively faster shutter speeds are more effective for heavier cascades, as they help convey the feeling of power or strength. My own preference is to keep some texture and detail, and that means shutter speeds of 0.5 to 4 seconds for most situations, but there are plenty of exceptions.

For ocean waves, a very long shutter speed—20 seconds to several minutes—can smooth out the water and reduce distraction in the image. Waves, surface undulations, and refracted light all blend together into a creamy, smooth surface, leaving only the essential elements that make a powerful composition.

Tree in Wet Sand, Hunting Island State Park, SC

Tracking Motion

Panning is a technique in which you move the camera parallel to the subject. The subject remains relatively sharp, while the background blurs due to the motion of the camera. This is a great technique for moving wildlife or birds in flight.

I will use shutter-priority auto (Tv or S) since I am looking for a very specific shutter speed and the depth of field is nearly irrelevant—everything but the moving object will be blurry anyway. I usually start with a shutter speed of 1/15 sec and modify if needed. If there is too much blur in the moving subject, I will speed up to 1/20, 1/25, or 1/30 sec. For subjects that are moving too slowly for a good effect, I’ll try a slower shutter speed. It pays to experiment until you get the effect you want.

A tripod isn’t necessary when panning and will probably be more of a hindrance than a help. Set both autofocus and drive modes to continuous, and turn on image stabilization if you have it. (Many newer lenses will automatically stabilize along the opposite axis you are panning; older lenses have a manual switch for panning mode.) Use a smooth turn of the torso and begin focus-tracking the subject well before you shoot.

Gently press the shutter release and hold it down to take many exposures. Continue to track the subject until after the exposures are taken, which will help avoid the tendency to stop panning once the shutter is pressed.

The more blur you capture in your image, the more abstract the moving subject becomes. I like to see literal elements in the image, with just a hint of blur to give it a dynamic feel.

Snow Geese, Pocosin Lakes National Wildlife Refuge, NC

Panning for Abstracts

Panning stationary subjects or scenes vertically or horizontally is a great long-exposure technique that creates a dreamy, painterly look (click here for a slight diagonal pan)). One ideal situation is a forest or stand of trees with many strong vertical elements within it. Here, you can pan the camera vertically along the prominent tree trunks during a long exposure. Horizontal panning of a clean, even horizon along a coast can also produce some beautiful results.

Shutter speeds of 1 to 6 seconds are best for these images, but you should try others on your own. Pan slowly with a long-er exposure, or quickly with a shorter one. Try keeping the camera still for half of the exposure and moving it though the other half; this imprints more literal elements of the scene while introducing just a touch of blur.

Clouds and Fog at Twilight, Clingmans Dome, Great Smoky Mountains National Park

Stretch it Out

Your camera’s meter helps give you the right exposure for shutter speeds of 30 seconds or less. But what if you want or need an exposure time of several minutes? Try this: In manual-exposure mode, select 30 seconds for the shutter speed, an ISO of 100, and the appropriate f-stop for depth of field considerations. During late twilight, early dawn, or if using a strong ND filter, your meter will likely indicate underexposure.

Now, increase the ISO in full EV steps until the meter indicates correct exposure. If it’s two steps—for example, ISO 100 to 400— then double the exposure speed for each step, here 30 seconds to 2 minutes. Then reset the ISO back to 100 and the exposure mode to Bulb.

Shutter speeds of several minutes can transform a raging ocean into a smooth, creamy, luminous sea, and a sky full of afternoon clouds into dynamic streaks of light that span the sky.

Richard Bernabe is a professional nature and travel photographer from South Carolina. He has written many photo instruction books and leads workshops and tours all over the world.

The post Introduction to slow shutter speed photography appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

It is often said that light is the lifeblood of photography. What exactly does that mean? Aside from the obvious fact that without illumination there would be no image, the quality and characteristics of light greatly determine the visual impact that a photograph will have with a viewer. Light, for better or worse, can turn an expertly composed scene into something bland and boring—or transform the ordinary into the extraordinary and magical.

For the novice, determining the difference between good and bad light can be confusing. There really is no objective scale for “good” and “bad,” only various degrees of accommodating light for different photographic situations. The key to mastering light is knowing how to match the available natural light to the appropriate scene, subject, or situation.

To help illuminate this process, let’s focus on three basic attributes of light: intensity, color, and direction.

The Brightness Factor

Intensity refers to the volume or amount of light the scene or subject receives from the sun, the primary light source for outdoor photography. Light of high intensity is most closely associated with the bright sun at midday, when many photographers put their cameras away and take their naps.

Pejoratively referred to as harsh or even idle light, the bright midday sun is usable as long as the entire subject or scene is evenly illuminated, avoiding distracting shadows and bright highlights (as seen in my photo of a charging bear). Working with natural reflectors—such as the surface of a lake—can fill in the darker shadows and make for a more balanced exposure.

Light of low intensity is soft and diffused, ideal for revealing important details in intimate landscapes and macro photos. Cloudy and overcast skies create these conditions, and a bright, overcast, midday sky is the best scenario. Soft light evenly illuminates the scene, and its tonal range is compressed. Waterfalls and stream scenes are ideal in cloudy, low-intensity light, as long as the featureless white skies are omitted from the composition.

Bounced light and glow are forms of soft light reflected from either clouds or some other surface, such as buildings or canyon walls. Glow occurs when the sole source of light reflects from the sky, usually during the twilight hours immediately before sunrise and after sunset (as in the picture of cranes in flight). Depending on whether there are clouds, the light can turn colorful shades of pink, red, or gold. Glow and bounced light are similar to overcast light in that it is soft and creates muted shadows and highlights.

Chiaroscuro (an Italian term meaning “light-dark”) describes the interplay of both direct light and shadows across the landscape—essentially variations in light intensity within a given scene. This type of lighting has often been employed by master artists to help create a sense of depth in their paintings. Partly cloudy days, with mottled sunlight cast across the landscape, create this condition, which can be utilized for a distinctive textured effect.

Powerful Hues

The light’s color can have strong implications for the impact of an image. The color temperature—its coolness or warmth—can be “corrected” by the white balance setting either in the digital camera (if shooting JPEGs) or on your computer during the processing and conversion of RAW files. But don’t be too hasty in removing these useful color shifts.

Cool light is most common during the “blue hour”—about an hour before sunrise and an hour after sunset—and in shade on bright days. Twilight blues add a moody, meloncholy feeling to an image (as in the photo of the blue mountains), while a snow-covered hillside or icy glacier can be rendered cool to give the psychological feeling of physical coldness.

As long as there are no clouds blocking the sun, the “golden hour” can flood a scene with a low-angled, warm glow both flattering to subjects and pleasing to the eyes (as in the shot of the grazing antelopes). Viewers tend to respond more favorably to warm images than cool ones.

The light near sunrise or sunset may provide the opportunity to include both warm and cool light in the same image. Look for blue tones in the shadows that contrast nicely with the warm yellows and oranges from the available sunlight. You can use color contrasts—such as the combination of blue and yellow in the Torres del Paine photo—to render an image much more dynamic and captivating than a strictly warm or cool scene.

Pointing the Way

There are basically three variations to consider with light direction: front light, sidelight, and backlight. Front lighting occurs when the sun is directly behind you, the photographer. If your shadow is pointing at or near your subject, you can be sure you are getting full front light. While this is relatively easy to manage—as the scene or subject is evenly illuminated and there are no shadows to worry about—the results can be boring and predictable, with little drama, and the subject often appears flat or two-dimensional.

Sidelighting—the effect of the sun illuminating the scene at about a 90-degree angle—is perfect for emphasizing texture, depth, or patterns. Sidelight can create the illusion of three-dimensional depth by creating separation between different elements in the scene. For example, a sand dune, where the ripples and texture in the sand are important elements in the image, is best captured with strong sidelighting.

Backlit scenes or subjects create numerous photographic difficulties—which is why beginners tend to avoid them—but they can also offer visual rewards. Backlighting can create highly dramatic effects, provided a little care is taken in the process. Subjects with translucent materials—such as grasses, fall foliage, or animal fur—can come alive with a gorgeous backlit glow or rim light.

One of the difficulties photographers encounter when using backlight is exposure. If your subject is placed in front of a strong light source, the general tendency of any camera’s metering system is to render it as underexposed. Unless you actually intend to create a silhouette, adding 1 or 2 stops of light will preserve important details in the subject.

If the sun’s rays strike the front element of the lens when attempting a backlit scene, the results may include nasty flare, ghosting, or light fogging. A lens hood can help if the sun’s rays are at the right angle, but it will be of little use when shooting directly into the sun. Try shielding the lens from any direct sunlight with your hand, a hat, or a book, as long as it doesn’t interfere with the image. Otherwise, try positioning the sun behind a tree or other obstruction, if the composition allows for it.

The challenge is to adjust your approach to the situation at hand. Once you learn how to manage variances in the intensity, color, and direction of natural light, the world is your canvas.

South Carolina–based nature and travel photographer Richard Bernabe has written many photo books and leads workshops around the world.

The post Recognizing good light for nature photography appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

Mention Iceland to a casual observer and the response will probably be an exaggerated shiver and a speech on how cold and forbidding it must be. The reality, though, is very different.

A small European island in the northern Atlantic just south of the Arctic Circle, Iceland enjoys weather influenced by the warm surface water of the Gulf Stream, which moderates the climate. Summer is indeed cool and comfortable, yet winter is relatively mild, similar to, say, New York City.

Icelandic light is pure magic. The “golden hour” near sunrise and sunset stretches into several hours because of the extended path the sun takes adjacent to the horizon. Twilight lasts just as long, and in summer never really ends—it morphs into dawn, and the magic hours start over. The only problem you’ll face? Finding time to put the camera down and get some sleep.

Shooting Waterfalls
The Icelandic word for waterfall is foss, and you will find a bounty of that suffix in unpronounceable words on signs all over the island. Iceland has more than 10,000 of them, enough to photograph one a day for almost 28 years. If you don’t have that much time, focus only on the highlights:

Near the northern town of Akureyri, Godafoss is the area’s favorite natural attraction. Icelandic for “Waterfall of the Gods,” it gained its moniker by being on the receiving end of pagan statues after Iceland made Christianity its official religion in the year 1000. The north bank of the river near the parking lot hosts several conspicuous rock outcroppings, the ideal perch for framing telephoto and mid-range compositions that emphasize the sheer power of the horseshoe-shaped falls. The south bank lets you climb down to water level and go wide. Experimenting with long exposures can show off its softer, elegant side—best when interesting clouds or sunset colors paint the sky.

Gullfoss, or Golden Falls, is Iceland’s most impressive in size, beauty, and power. On sunlit days, rising curtains of mist spawn 180-degree rainbows from horizon to horizon, creating a natural frame around the gigantic dual cataracts. Its relative proximity to Reykjavik and inclusion in the Golden Circle tourist route make this the island’s most visited falls.

Seljalandsfoss (on the opening spread), while not Iceland’s largest or most powerful, is one of its most elegant and graceful falls. You can walk behind the 200-foot cascade and view the expansive countryside through a wispy veil of falling water. It requires your widest-angle lens to capture in its entirety from top to bottom, especially when shooting from either side or from behind. If getting close is part of your photo strategy, cover yourself and your gear because you will get wet from the spray. The effort and mild drenching are well worth it.

Chasing Glaciers
Yes, Iceland has ice—six ancient glaciers, remnants of a massive icecap that once blanketed the island. Most are hard to reach without an experienced guide, a monster 4×4 vehicle, or a helicopter. But the largest, Vatnajökull, is a shortish hike from Skaftafell National Park in the southeast. Downwind of the latest major volcanic belch—Eyjafjallajökull in 2010—much of this Pleistocene-era ice looks dark and sooty.

At Jökulsárlón, one of Vatnajökull’s outlet glaciers pares itself down by calving into a lagoon full of icebergs. These beautiful, polished blue gems slowly get sucked out to sea with the outgoing tide. No matter how many visits you make here, it’s never the same scene twice. A telephoto lens is best for creating intimate portraits of each unique piece of ice. Work with shutter speeds of at least 1/60 sec for critically sharp images of these floating mountains.

Once in the Atlantic, many of the icebergs wash up on the nearby volcanic black-sand beach and scatter about like sparkling diamonds. Here, compelling wide-angle landscapes of ice, sand, sea, and sky become possible. Try to time the rhythm of the waves and position one or more beached bergs near the bottom of the image frame to anchor an expansive composition.

Geothermic Wonders
Know the origin of the word geyser? The Great Geysir in the Haukadalur Valley of southwest Iceland, a powerful spout capable of thrusting boiling water and steam 200 feet in the air. Although the Great Geysir has gone mostly dormant lately, the valley is still home to at least 30 other geysers, mud pots, and fumaroles.

The valley’s new reigning champion is Strokkur, an impressive geyser that erupts on a reliable schedule, about every 5 to 10 minutes. Its water and steam can reach as high as 100 feet when it goes off. Photography is best on sunny days when there is enough contrast between the steamy water and dark blue sky. Another option is to capture an eruption either late or early in the day with strong backlighting for a more dramatic effect.

Other reminders of Iceland’s distant and not-so-distant volcanic past are nearly everywhere on the island, from the barren lava fields that meet the horizon to the stunning black sand beaches along the southern coast. But the volcanoes themselves pose few photo opportunities, as most are buried under one of the major glaciers or ice caps. If you are lucky (or unlucky) enough to be present during a major eruption, you may not see much more than steam and a heavy ash fall. The rapidly melting glacial ice causes floods that can wipe out sections of road and bridges, and the ash cloud can cancel flights for a week or more.

Puffins and Other Wildlife
At just 20 million years old, Iceland is a relative youngster in geologic age. Its lack of maturity, coupled with geographic isolation, has prevented a progeny of fauna from evolving on its own in such a short time—it needed outside help. An example is the reindeer, which were imported from Norway around 1850 and now live wild in large herds in eastern Iceland. Telephoto lenses of 400mm or longer are necessary, as these wild animals should not be approached too closely.

The outrageously colored Atlantic puffin is a living icon of Iceland and a favorite photographic subject of wildlife and bird shooters. Over a half of the world’s population of the species breeds here each summer along rocky, remote coastlines. The sea cliffs at Látrabjarg, Breidafjördur, Lundey, Dyrhólaey, and the Westmann Islands are some of the best locations to find puffin colonies for photography. Again, a long lens of 400mm or more will help capture tight frames of these striking birds. Puffin hunting is legal in many areas, so they do not tend to trust humans.

Other photogenic bird species found in Iceland include arctic terns, ptarmigans, whooper swans, white-tailed eagles, several plover species, razorbills, and oystercatchers. Most species are migratory, so summer is the best season to come get your avian photography fix.

Almost-Wild Horses
A cross between the horses of Scandinavian Vikings and the Shetland, Highland, and Connemara ponies of Ireland, the horses of Iceland are a stately fixture of this rustic landscape. They are rather small (often mistaken for ponies), sturdy, friendly, and expressive, with full, thick manes and wide, muscular shoulders.

Although not technically wild, the horses do seem to possess the very essence of Iceland’s wild spirit. To photograph a band run across a windswept ridge, silhouetted against the stormy sea with their shaggy manes whipping in tow, is to capture this spirit perfectly. It’s not very difficult. Any short drive into the countryside will bring you in contact with dozens of these beautiful creatures.

The Aurora Borealis
Between the months of September and April, the night sky gets dark enough to see and photograph the hypnotic light show of the aurora borealis at its most intense. For best results, you want a dark, cloudless, moonless night far removed from the ambient light of any cities or towns. Two hours before and after midnight are prime time.

To photograph the aurora successfully, start with a wide-angle lens set at its largest aperture and manually focus it to infinity. Experiment with several 30-second exposures at different ISOs until the exposure is correct. Depending on the brightness and intensity of the aurora, an ISO of 1000 to 1600 (for f/2.8) and 2000 to 3200 (for f/4) should be just about right. The aurora slithers and slides across the sky but does so very slowly—30 seconds will allow for details to be held in the lights while still keeping the stars as static points of light.

Richard Bernabe is a professional nature and travel photographer from South Carolina. He has written many photo instruction books and leads workshops and tours all over the world.

GETTING AROUND ICELAND
While 20-hour days, midnight sunsets, and extended hours of magical low-angled sun make summer the most popular season to visit, equinoxes in March and September are most active for the aurora. And don’t rule out the surprisingly mild winter.

After flying into Keflavik International Airport (KEF), unless you take a commercial tour or photography workshop, the only way to see the country is by renting a car and hitting the open road. The airport is about 30 miles from the capital city of Reykjavik, and the smaller domestic airport there can take you on a short flight to other Icelandic towns. Taxi service from the Keflavik to Reykjavik is readily available.

Iceland Route 1, also known as the Ring Road, meanders around the perimeter of the island and affords easy access to many of the country’s photographic hotspots. The 832-mile, two-lane loop road is well maintained and clearly marked with signs, so getting around by car is a breeze.

The official language is Icelandic, but English, being required in schools, is also spoken widely. Euros and U.S. dollars are accepted in most places, but it’s still a good idea to carry Icelandic krónur just to be safe. Major credit cards are accepted nearly everywhere.

Seljalandsfoss

Iceberg, Jökulsárlón

Bruarfoss

Puffins, Dyrhólaey

Aurora Borealis, Tröllaskagi Peninsula

Icelandic Horses, Hveragerdi

The post Traveling Photographer: Iceland appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

Over the years, we’ve heard certain guidelines, maxims, and rules repeated over and over again by nature photographers. We’ve even repeated a few ourselves, before stopping to think, “hey, some of these have merit, but most don’t.” Here are 10 of our favorite “rules” that have little or no basis in reality. Go ahead and break them.

[ED. NOTE: While these entries are grounded in nature photography, many of them can certainly be extrapolated into just about any discipline.]

A good exposure has a bell-curve-shaped histogram

Break it: The shape of the graph doesn’t actually tell you whether exposure is “good” or not, just how tones are distributed. For instance, proper exposure for a dark backlit scene, with just a fringe of light and very few midtones, will have a histogram that resembles an inverted bell curve.

Although you should generally avoid overexposure of highlights (a histogram bulky on the right side) and underexposure of shadows (bulky on the left), this isn’t always so. In that backlit scene, keeping the highlights from overexposing will likely give you a dark image with some shadows ending up as pure black.

Shoot in manual for better exposure control

Break it: While there might be some learning value for beginners, manual mode doesn’t have any practical advantage over the easier-to-use—and more intuitive— aperture- and shutter-priority autoexposure modes. In fact, we’ve seen countless shooters struggling to find the proper settings using manual, while their autoexposing counterparts get the shot before fleeting conditions change.

Think of aperture and shutter priority as speed manual: You set just one variable, and the camera will set the other based on the meter reading. If you don’t like how it looks, you can brighten or darken it with the exposure-compensation control.

When shooting landscapes, we almost always shoot with aperture priority, because f-stop is often non-negotiable—when we need f/16 for sufficient depth of field, for example. For wildlife, the converse is usually true: Shutter speed is usually crucial.

Customize your white balance before every shot

Break it: Using a gray card or white-balance cube to set the “correct” white balance for a nature photo is not only impractical, it imposes a rigid standard onto a subjective, artistic decision. While ensuring a neutral color balance makes sense for situations where color fidelity is paramount, this is not often the case with nature photography. In fact, certain color casts—the blues of dawn and dusk, or the warm hues of sunset—create mood and inject emotional content into the image. Setting a custom white balance during a sunset shoot will only remove the magic quality of the light that attracted you to the scene in the first place.

And if you shoot in RAW format, you can easily set white balance during the processing stage without compromising image quality. This lets you tweak it precisely on a calibrated monitor.

For maximum sharpness, focus one-third of the way into a scene

Break it: Used mostly with wide-angle landscape photography, this guideline allegedly finds the hyperfocal distance—the focus point that optimizes depth of field from nearest to farthest objects. But it is usually imprecise, and often plain wrong. Say your composition includes flowers 3 feet away and mountains 3 miles away. According to this rule, your optimal focus point is about 1 mile away!

To find the real hyperfocal distance, you could consult a distance chart or app (e.g., dofmaster.com). Or simply double the distance of the nearest element in your composition and focus there—if those flowers are 3 feet away, pick something 6 feet away. Next, stop down the aperture until everything is acceptably sharp from front to back, and touch up focus as necessary. Live view makes it easier.

Always shoot with the sun at your back

Break it: With the sun behind you, subjects in front of you are evenly lit, with lower contrast, making exposure easier. But while front lighting might be the best approach in some cases, directional light can create wonderful nature photos:

Sidelighting reveals important texture and detail in the landscape while giving the image a sense of depth and dimensionality; backlighting lends drama to wildlife shots, creating glowing rim light and bold silhouettes. Working with directional light can be tricky, and flare is often a challenge—use a lenshood or a well-placed hand for shade.

Turn off image stabilization when shooting on a tripod

Set your aperture to f/8 or f/11

Break it: For wildlife, mounting the camera to an unlocked tripod head allows for quick repositioning whenever the subject moves, and IS can mitigate the shake that comes with this or with wind.

Shooting landscapes with long exposures? Many current IS lenses, notably Canons and Nikons, have tripod detection that can compensate for mirror slap. But many lenses, and cameras with sensor-shift IS, lack this feature, and on these you should definitely turn off IS—the IS may actually induce vibration. Consult the manual to be sure.

F/22 and be there

Break it: The flip side of the previous rule, this one is simple laziness that has evolved into accepted wisdom for landscape scenes in order to get maximum depth of field. But because of the aforementioned diffraction, your image quality will not be as good as it would have been had you used, say, f/13. Using a smaller aperture also requires a longer shutter speed—or a higher ISO—than you might need.

Prime lenses are better than zooms

Break it: Twenty years ago, this would have been true. The variation in optical quality between prime and zoom lenses back then did justify carrying a large assortment of primes, dwarfing the inconvenience. But now the quality differences are much less—and in some cases nil—while a zoom’s convenience, versatility, and portability often far outweigh any perceived image degradation.

For some specialized applications, such as wildlife, serious shooters will still prefer the superior optics and wider apertures of certain prime lenses—especially macros and long telephotos—but for the vast majority of uses, zooms are just fine.

You can always fix your photo later

Break it: Despite the powerful temptation to improve an image with Adobe Photoshop or other image editor, you’re still much better off getting as much of it right in the camera as possible. Crop later? Better to crop it now, in the camera, and not throw away those pixels unnecessarily.

While you should leave ome decisions (e.g., setting white balance) to the processing stage, many fixes, such as brightening a significantly underexposed image, can reduce picture quality. As much as editing is a part of the craft of photography, skill with the camera remains your most important tool.

The post 10 photography rules to break appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

Seljalandsfoss

Iceberg, Jökulsárlón

Bruarfoss

Puffins, Dyrhólaey

Aurora Borealis, Tröllaskagi Peninsula

Icelandic Horses, Hveragerdi

The post Shooting Iceland, A Photographer’s Paradise appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.