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Practice makes perfect

Knowing your camera well is crucial for adventure photography. You may be cold, scared and exhaust ed up on a mountain, but when the act ion unfolds you need to be ready to react . Miss your focus or get a full buff er, and the moment is gone. Take the time to practice at home. Photograph a friend running in a park and observe their movement; decide which part of their motion looks good in an image. Study your camera manual then go out and apply everything you've learned while tracking birds in flight or while photographing a dog running aft er a ball. Practice changing your camera settings without using the viewfinder. It will all pay off later, I promise.

Spomenik Stevanu Filipoviću #Valjevo #Srbija

Spomenik Stevanu Filipoviću

Crni Čovek

Prijatelju moj, prijatelju moj,
Bolestan sam mnogo, mnogo!
Sam ne znam otkuda dođe ovaj bol.
Valljda što vetar pišti nad pustim poljima,

Vetar iznemogo,
Il što ko on šumu u septembru,
Pustoši i mozak – alkohol.

Glava moja maše ušima,
ko krilima ptica bleda.
Na vratu su joj noge
Što gube sve više moć.
Crni čovek
Crni, crni,
Crni čovek
Na krevet mi seda,
Crni čovek mi ne da –
Da zaspim svu noć.

Crni čovek
vuče prstom po odvratnoj knjizi
I, mrmljajuć nadamnom
Ko nad umrlim monah,
Čita mi život
O probisvetu i nekoj kulizi,
Zadajuć duši tugu i strah.
Crni čovek,
Crni, crni!

„Počuj, počuj –
Mrmlja mi i veli –
Mnogo je u knjizi
misli bez mana.
Taj čovek je
Živeo u zemlji
Najodvratnijih
Hulja i šarlatana.

U decembru, u zemlji toj
sneg je djavolski čist,
I mećave počinju,
Prela, bez jeda.
Bio je taj čovek avanturist
Veliki
I prvog reda.

Bio je divan,
uz to poeta,
Mada s nevelikom
Al ozbiljnom snagom,
I neku ženu
Od preko četrest leta
Zvao je laficom
I svojom dragom.

Sreća je – zboraše on –
Veština uma i ruku.
Sve nevešte duše
Nesrećne su, ko cvetovi,
ne mari ništa
što veliku muku
zadaju skrhani
i lažni gestovi.

U oluji, u buri,
Kraj nedaća svih,
Uz teške gubitke
I uz tugu kletu
Biti nasmejan, prirodan, tih,
Najveća je umetnost na svetu.“

„Crni čoveče!
Dosta. Kakva šala!
Ne zabadaj svud nos,
I zato ne presedaj!
Našto mi život
Pesnika od skandala!
Drugom ti to brajko,
čitaj i pripovedaj.“

Crni čovek me gleda,
Uporno pogled mu kulja.
Već je i skrama plava
tiho na oči pala –
Ko da mi reći želi
Da sam lopuža, Hulja,
Koja je nemilosrdno
Nekoga opljačkala.

***********************

Prijatelju moj, prijatelju moj,
Bolestan sam mnogo, mnogo!
Sam ne znam otkuda dodje ovaj bol.
Valjda što vetar pišti nad pustim poljima,
Vetar iznemogo,
Il što ko on šumu u septembru
Pustoši i glavu – alkohol.

Noć, puna mraza.
Raskršća pokoj gluv.
Sam sam kraj okna,
Ne čekam ni gosta, ni druga.
Svu ravan pokrio
Krečnjak prtinast, suv,
I drveta, ko konjanici,
U vrtu stoje sred kruga.

A negde ptica plače,
Noćna, zloslutna, bleda.
Drveni vitezi seju
Kopitom topot lak.
I opet onaj crni
U naslonjaču mi seda,
Podignuv svoj cilindar
I zabaciv nemarno frak.

„Počuj, počuj! –
Krklja mi u lice i klima,
I naginje se
Sve više, pogledom prati –
Ne videh nikoga dosat
Međ podlacima
Da tako nepotrebno
Od nesanice pati.

Ah, recimo, grešim!
Jer mesečina je „bona“.
Zar još dodati nešto
Svetu sna, uz mimiku?
Možda će, okruglih bedara,
Tajno doći „ona“,
Da joj čitaš svoju
Trulu i tešku liriku?

Ah volim pesnike!
Divan svet i svita.
U njima uvek nalazim
Romane znane i bolne –
Kako čupavoj studentkinji
Dugokosa rita
Priča o svetovima,
Dršćuć od strasti polne.

Ne znam, ne pamtim
U jednome selu,
Možda u Kalugi,
Rjazanu, snu, javi
Življaše mališan
U kući seljačkoj
Žutih vlasi
I očiju plavi…

I porastao je,
Uz to poeta,
Mada s nevelikom,
Al ozbiljnom snagom,
I neku ženu
Od preko četrest leta
Zvao je laficom
I svojom dragom.“

„Crni čoveče!
Ti si gost strašna soja.
O tebi kruži davno
Ta slava mrska.“

Besan sam, razjaren,
I leti palica moja
Pravo u njušku
Da mu nos razmrska.

******************

Umro je mesec,
Svitanje u oknu drema.
Ah, ti, noći!
Šta isprede, kao ala?
Pod cilindrom sam.
Nikoga sa mnom nema.
Sam sam…
I parčad ogledala…

Sergej Jesenjin

Breza

Pod prozorom mojim
Bela brezica je
Ogrnuta snegom
Ko srebrna da je.

Na punim granama
Ledenim po strani,
Razvile se rese
Ko beli đerdani.

U tišini stoji
Breza, ko u gaju,
I plamte pahulje
U ognjenom sjaju.

A zora, polako,
Naokolo plovi,
I na strane sipa
Srebrni prah novi…

Tell your story aloud

Try to vocalise exactly what the story is. If you can’t instantly come up with something more significant about the scene than ‘it’s pretty’, then it probably won’t be a great shot. If, on the other hand, you can say something like ‘it’s a small, lonely figure exploring a wild, untouched landscape’ or ‘it’s an exhaust ed trekker expressing his joy at reaching camp aft er a long day out’, then you are on to something. This is an exercise I have found invaluable whenever I am considering taking a shot or making my select ion during the editing process.

Protecting your Gear

The second most common reason photographers come back empty-handed from their adventures is that they are scared of damaging their gear (reason number one is that the camera stayed in their backpack the whole time). While some damage is prett y much inevitable if you are taking your camera into the mountains day aft er day, you’d be surprised at how much you can throw at even entry-level cameras before they completely give up. Here are a few tips on how to protect your kit in the wilderness:

1/ The number one killer is humidity and condensation. The only time I will really st op shooting is in heavy rain, but fog and drizzle can also be dangerous to the electronics. Snow, on the other hand, is completely fine.

2/ Dropping a camera is a definite possibility. Having lost a Nikon D700 and a 70-200mm lens, I now attach a simple safety leash to my strap and climbing harness or backpack. You can make one with two small carabiners and a piece of cord, or get the smart Peak Design Leash system (which doubles as a camera st rap).

3/ Lens front elements do get scratched. I use clear UV filters and lens hoods. On the other hand, I never bother with lens caps, as they always end up at the bottom of a mountain.

4/ Very low temperatures are never an issue, as long as I have a few spare batteries I can keep warm (usually in an inside pocket, close to my body). Temperatures will need to drop to at least -30ºC before shutters begin to freeze and electronics fail. By then, you’ll probably have other things to worry about.

5/ Going from cold to warm and humid (typically entering a heated building) too quickly will create condensation, which can be nasty. Make sure you warm the camera slowly; consider putting it in a sealed plastic bag. Also, try not to go back out into the cold while condensation is st ill present, or it can freeze.

6/ If you’re shooting in humid environments, especially close to the sea, watch out for corrosion. Store your equipment in sealed bags with silicate gel packets. If you happen to drop your camera in saltwater, rinse it liberally with clear water and let it dry, with the card and battery removed, for a few days. They usually survive.

Why to buy dSLR

Ultimately, only you can decide if a dSLR is the right camera for you. Every system, every camera, and every technology has trade offs. Digital SLRs aren't as small as compact cameras, as handy as your phone, or as simple to use as a door stop.

However, they have a lot going for them.

You’re going to like what you see. Ultimately, it’s about the pictures.
That doesn't mean dSLRs are better than other camera types in every situation and scenario, but they take potentially amazing pictures. When my family upgraded from a compact digital camera to an entry-level dSLR, we were immediately amazed at how much better the photos were, even using Auto mode.

As a matter of fact, your photos will get worse when you venture away from your dSLR’s Auto mode and start taking photos where you set up the camera, evaluate the exposure, and focus. It takes time to learn how to use your dSLR fully and develop as a photographer. Don’t give up.
Your photos will get better with practice!

You’re impatient. I don’t like waiting to take photos. I don’t like waiting for the camera to get ready. I don’t like pressing the shutter button and having to wait (without moving) to hear the shutter click. If you’re like me, that makes dSLRs a perfect fit for you. dSLRs start up faster and have less shutter lag (the time between pressing the shutter release button and when the photo gets taken) than compact digitals.

You can practically do the splits. Digital SLRs are incredibly flexible. You can shoot close-up macros or sweeping landscapes, ultra-wide angle or telephoto, intimate portraits, family gatherings, fast-action sports, slow waterfalls, and everything in between — large, small, fast, slow.

Sensor size: Even cropped-body dSLRs (whose sensors are smaller than a frame of 35mm film; see a full explanation later in this chapter) have larger sensors than compact digitals and super zooms. Interchangeable lens compacts (compact cameras with dSLR sensors that also let you change lenses) now compete with dSLRs in this regard, but you still get tremendous advantages to using a traditional dSLR.

Large viewfinder: The worst dSLR viewfinder is still larger and better than the one most compacts have. Well, that’s if a compact even has a viewfinder. Most don’t, which makes you rely exclusively on the LCD monitor on the back of the camera.

Interchangeable lenses: Changing lenses isn’t a cure-all, but you can tailor your camera to take the photos you need. To me, that’s an enormous benefit. Being able to take off a lens when you need to and take a portrait instead is tremendously valuable.

Manual control: I can’t tell you how many times I’ve been frustrated with compact digital cameras. They never seem to have just the right automatic scene I need at the time. That, and it takes me ten minutes to find it. Automatic shooting modes can make photography easier, but being able to exercise manual (even partly manual) control over your camera when you need it can be a real help. You make the creative decisions. You set the priorities. You manage your shots.

Automatic controls: You don’t need to be a rocket scientist to use a dSLR. In fact, entry-level dSLRs have enough automatic shooting modes to satisfy the casual photographer in all of us. The truth is that most digital SLRs, even those that cost thousands of dollars, can act like a point-and-shoot camera. Digital SLRs have manual controls and complexity if you want them.

Hot shoe: Digital SLRs have a hot shoe on top of their viewfinder. A hot shoe is mainly to mount external flashes and other accessories.

Accessible to all: dSLRs come in enough designs and models to make everyone happy. If you’re new to photography, you can pick up an entry-level model and start taking photos right away. If you’re a professional, you have access to cameras with much more power and flexibility. You can shop for the dSLR that meets your demanding need sand find it. That you can use a dSLR both professionally and in your backyard is a testament to excellent design.

Tough: dSLRs, which are much more rugged than compact digital cameras, are built to stand up to more punishment without breaking. That doesn’t mean go out and hammer nails with them. High-end dSLRs emphasize the fact that their bodies are made from magnesium alloy, but even low-end dSLRs with plastic (also known as polycarbonate) bodies are rugged. People with magnesium bodies tend to claim that theirs are better, and people with polycarbonate bodies tend to say that theirs are better.

Accessories: Have I mentioned that you get to buy and use everything from a bubble level that mounts on your camera’s hot shoe (you can see whether your camera is level or not) to sophisticated external flash units, amazing flash unit accessories and other lighting modifiers, Global Positioning System receivers, and more? If you’re the type who likes installing spoilers and underbody lighting, dSLRs deliver.

Cool factor: Nothing says cool (or maybe nerd; but nerd is the new cool) like walking into a cocktail party with your significant other on your arm and a huge dSLR around your neck.

Introduction

Digital SLRs (dSLRs) are fantastic cameras. If you want the opportunity to take great photos and high-def movies, you can’t beat the combination of power, flexibility, growth potential, and “accessorize-ability” of a dSLR.

I find its versatility breathtaking. With a dSLR, you can take photos (and movies!) of people, plants, animals, planes; action shots, still lifes, close-ups, far-aways, and everything in between. Much of this is due to the fact that the lenses are interchangeable. If you want to shoot distant objects on safari in Africa, get yourself a telephoto lens. If you’d rather photograph weddings and receptions, find a good prime lens. If you want to take great landscapes while on vacation, invest in a wide-angle zoom lens.

The sky is the limit. Deciding what to do and how to spend your time and money is up to you. I hope to help you along your journey into dSLR photography by showing what it’s all about.

Petnička pećina #Valjevo #Srbija #Pecina

Petnička pećina