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| Jelena #April 2015 |
Thursday, April 30, 2015
Photographic Jargon
Terms
used in photography can often confuse a photographer, especially a beginner.
Here is a list of photographic jargon, with as-simple-as-possible explanations.
APS-C: Describes a imaging
sensor size or a camera using this size of sensor. APS-C stands for Advance
Photo System, type C. Sensor size 15.7 x 23.7mm approximately. Varies slightly between
manufacturers
Aperture: Set of metal blades that control the amount
of light entering a lens (same as Diaphragm)
AVCHD: Advanced Video Coding High
Definition. A format for digital recording and playback
AF Sensor: A sensor used in
achieving autofocus
Buffer: Temporary storage of
data before the images are written to the memory card
Bridge camera: Describes
a camera that fits between a compact and a D-SLR. Also known as Prosumer camera
Ballhead: (Used on a tripod).
Performs similar functions as a pan and tilt head but uses a central ball as a
pivot to allow for camera movements
Battery Grip: A
device that attaches to the base of a D-SLR. The battery grip, not only provides
better grip for vertical shooting, but uses extra batteries to supply power to
the camera when the camera battery dies down. In some cases, it helps to
increase the frames-per-second firing rate
Burst mode: A camera mode that allows
continuous firing
Barrel distortion: The
outward bulging of straight lines in the center of the frame due to lens imperfection
Bit: Refers to a binary
digit – the smallest unit of computer data, either 0 or 1
Bit depth: A measure of the
number of possible colors/tones in an image. Our images are basically formed
using the three primary colors (also known as channels), red, green and blue. JPEG
files are 8-bits per channel (which is the same thing as 24-bit. When we say
24- bit, we should not say “per channel”). Raw files can be 12-bits per channel
or 14-bits per channel that is 36-bit or 42-bit respectively
Bracketing: A method of taking
three or more shots in succession (using different exposures), with a hope that
at least one of them will be accurate. We also bracket when shooting for HDR imaging.
Bracketing could also be for White Balance and ISO
CCD/CMOS: Types of imaging sensors.
CCD stands for Charged Coupled Device. CMOS stands for Complementary
Metal-Oxide Semiconductor
Compact camera: Describes
a small, point-and-shoot type of camera
Center-weighted meter: One
of the in-built exposure meter that places greater emphasizes on the central
area of the frame. The user generally has the choice of selecting the area (8,
12, 20mm circle at the center)
Circular Polariser (CPL): A
polarizing filter designed to be used with digital cameras (as well as certain
film cameras). A CPL prevents secondary polarization of light at the reflex
mirror, thereby preventing exposure/focussing error.
Contrast-detection AF: A
system of autofocussing wherein the camera uses contrast as the basis of
evaluating correct focus
Chromatic Aberration: The
inability of all the three primary colors (Red, Green, Blue) to focus on the
same plane. This manifests itself in the form of color fringing at the edges
and is most noticeable against high-contrast elements in the picture
Clipping: Overexposing of
highlights. Underexposing of shadows.
Crop factor: A factor by which the focal
length of a lens needs to be multiplied to get the equivalent focal length of a
full frame 35mm sensor
Close-up lens/filter: A
magnifying glass that is attached to the front of a lens to make the lens focus
closer. The magnifications are described by the term ‘dioptre’. Eg. +1, +2, +3
etc.
CMYK: Cyan, Magenta, Yellow,
Black. These are the colors used in books/ magazines printing
Color temperature: A
measure of the color of light.
D-SLR: Digital Single Lens
Reflex camera. An interchangeable lens camera that uses a reflex mirror for
viewing
Diaphragm: Set of metal blades
that control the amount of light entering a lens (same as Aperture)
Depth-of-field: The
zone of sharpness in a photo.
DOF Preview Button: A
button on the camera that allows you to visually check the depth-of-field.
Dynamic Range: The
range of brightness that can be captured by a film or digital imaging sensor.
This range is much lower than the dynamic range of our eyes
Digital zoom: In-camera
electronic enlargement of the central area of a frame. Use of digital zoom
should be avoided if high image quality is required. The same effect can be achieved
during post-processing, by cropping an area and enlarging it
DPI: Dots per Inch. A
measure of print Resolution
Diffuser: (1) A camera filter
that softens an image (generally used with portraits). (2) Any material that
softens the light from a ‘hard light source’ like the sun or a flashgun. Placed
between the light source and the subject
Exposure meter: A
light-meter that recommends the aperture and shutter speed for a given lighting
condition. An exposure meter can be built into the camera or can be an external
hand-held variety. To use any light meter, you first need to set the ISO
sensitivity.
EVF: Short form of Electronic
View Finder
Evaluative meter: One
of the in-built exposure meter that divides the frame into various segments and
based on thousands of pre-set exposures built into the camera’s memory, selects
a suitable exposure depending on the lighting conditions and the set ISO sensitivity.
Also known as Segmented/ Matrix meter
Frame rate: A measure of how many frames
a camera can fire in one second
Flare: Image degrading,
unwanted reflection of light within the lens
Full-frame: Denotes a
camera/imaging sensor that is the same size as a 35mm film (24 x 36mm)
Focal plane: Describes the location
of the film/imaging sensor within the camera
Focal plane shutter: A
type of shutter used in SLRs/D-SLRs. This shutter is placed in front of the
film/sensor.
Focal length: In
a simple convex lens (a magnifying glass for example) and with light coming
from infinity – the distance between the vertical center of the lens and the
point where the light rays meet. Focal length tells us how much of the scene will
be covered by the lens and what the magnification will be
Firmware: A downloadable
software offered by the camera manufacturer. Generally used to upgrade/improve on
a camera’s performance
Filter: (As applicable to a
camera) a thin glass/plastic or gelatin placed in front of the lens to modify
the color/quality/ quantity of light entering the lens
H.264: A standard for video Compression
Hardware: (In terms of
computers) the physical elements that make up a computer system
HDR Imaging: High Dynamic Range Imaging.
A technique of extending the dynamic range beyond the normal capacity of the
imaging sensor. Three (or more) shots are taken from various areas of the scene
(one from the shadows, one from the highlights and one from the midtones) and
then combined in a computer program to create a picture with good detail in
shadows as well as highlights. HDR technique is used when the lighting contrast
is very high.
Histogram: A graph showing the distribution
of tones in an image. The horizontal axis shows the gradation of tones from the
darkest to the left, to the brightest at the right. The vertical axis shows how
many pixels are there in any particular tone.
HSB: Hue, Saturation,
Brightness. The standard color model for adjusting color in image editing
programs
Intervalometer: A
device that allows you to automatically take pictures at fixed intervals
IS: Image Stabilizer– a feature that eliminates/reduces
the effect of handshake
ILCC: Interchangeable Lens Compact
Camera. Describes a mirror-less digital camera with interchangeable lenses,
Incident Light Meter: A
hand-held light meter that reads the amount of light incident to (falling on)
the subject.
Interpolation: (As
related to digital imaging) the act of introducing new elements (pixels) in an
image
JPEG: Joint Photographic
Experts Group – a compressed (data losing) file format
Jitter: Another way to
describe the effects of hand-shake
Kelvin: A unit of measurement
of color temperature based on absolute zero.
Lateral CA:
Chromatic aberration in which all the colors are in focus in the same plane but
are not placed along the optical axis
Longitudenal CA: Chromatic
Aberration in which different colors do not focus at the same point
Leaf shutter: A
type of shutter used in rangefinder cameras. Situated between the lens element
Linear Polariser (PL): A
polarizing filter designed to be used with film cameras that do not use a
‘light-splitter’ in the exposure metering system
Live View: A camera feature that
allows the LCD to be used as a viewfinder
LCD: Liquid Crystal Display
– the display (monitor) at the rear of digital cameras
Luminosity: Brightness of color, without
considering hue or saturation
LZW: An option while saving
TIFF files. LZW compresses the file size without loss of data. LZW actually
stands for – Lempel – Ziv – Welch, the names of three persons who devised it
Matrix meter: See
Evaluative meter
Multi-segmented meter: See
Evaluative meter
Micro Four Thirds: A
sensor format jointly created by Kodak, Olympus and Panasonic. Sensor size
approx. 13 x 17mm
MOV: A common multi-media
format for saving movies and other video films.
Macro lens: A special lens
designed for life-size (1:1) photography
Memory card: The removable module within
a digital camera that stores the images
Mid-tone: Average tone. Neither
too dark or too light; an in-between tone
Noise: The digital equivalent
of film grain. Noise is caused mainly due to underexposure.
Normal lens: A lens having a focal length
equivalent to the diagonal of the given format
Optical Viewfinder: The
normal viewing device in a camera, through which you view and frame a subject. It
uses optical glass as opposed to Electronic Viewfinder that uses electronic
circuitry to boost the information within
Pan and Tilt head: A
camera support used along with a tripod, that allows the camera to be tilted
(up/down) and panned sideways. It is different from a ‘ballhead’ in that it
uses separate levers to control the pan and tilt
Perspective Control/Tilt-Shift lens: A special lens designed for correcting perspective
distortion
Polariser: A filter that cuts off
polarized light from entering the lens. This filter, when used correctly, has
the ability to darken blue sky, cut reflections from water, glass, painted
metal, wood, paper etc.
Phase-detection AF: A
method of autofocussing that splits the image in two and compares the images
for similar light intensity patterns
Perspective: The size relationship between
the foreground, mid-ground and background objects in a photo.
Pin cushion distortion: The
inward pulling of straight lines in the center of the frame due to lens
imperfection.
Prosumer camera: Same
as Bridge camera
Partial metering: Found
mostly in Canon cameras, roughly 10-15% of the frame is measured in the center.
Pixel: The building block of
any digital image; the smallest unit of any digital image. Short form of
Picture Element
Plug-in: A software designed to
supplement a computer program’s performance or features. Generally created by
third parties
PPI: Pixels per Inch. A
measure of image resolution (applies to images on the computer screen)
Raw: Refers to the data
received directly from the imaging sensor, without any image parameters applied
to it
Reflected Light meter: A
light meter that reads the amount of light reflected from a subject. Light
meters built into cameras are reflected light meters.
RGB: The primary colors
(Red, Green, and Blue) of the additive color system
RAID: Redundant Array of Independent
Disks. A stack of hard disks, functioning as one
Reflector: Any material that can
reflect some light back onto a subject
Resampling: The act of increasing
or decreasing the resolution of an image by interpolation
Sensor: (Imaging Sensor): Digital
equivalent of film.
Spot meter: One of the in-built exposure meter that reads a very small area of the frame
(typically 3-5% area). External, hand-held 1-degree spot meters are also available.
Softbox: A type of light modifier,
generally used with studio lights
Software: A computer program
that instructs a computer what to do, when to do and how to do
TIFF: Tagged Image File
Format – a lossless file format
Telephoto lens: A
lens having an angle-of-view narrower than that of a Normal lens (E.g. 70, 85, 100,
200, 300mm etc.)
Teleconverter: A
lens that fits between the camera body and the main lens. Its job is to increase
the focal length, thereby offering a larger image
Umbrella: A light modifier in
the shape of an umbrella
VR: Stands for Vibration
Reduction – a feature that eliminates/reduces the effect of hand-shake
White Balance: A
process of getting rid of color casts. White objects should appear white in
prints (there could be several reasons why that may not be so). Once white
objects appear white, all other colors appear without any color casts
Wide-angle lens: A
lens having an angle-of-view greater than that of a Normal lens (E.g. 35, 28,
24, 20mm etc.)
X-sync speed: Shutter
speeds compatible with electronic flash
Zoom lens: A lens having multiple
focal lengths
Inside Your Digital SLR
You
don’t need to know anything about internal combustion to operate an automobile,
and you really don’t need to understand digital technology to use a
point-and-shoot digital camera, either. Both devices are so automated these
days that there’s not a lot for the driver/shooter to do other than point the
machinery in the right direction and press the gas pedal or shutter release.
Even if you decide to use manual controls on a non dSLR, the only things you must
understand are that this button makes the picture lighter or
darker, that one helps freeze action, and this other button changes the way the
camera focuses.
However,
if you really want to master a digital SLR, you can benefit from understanding exactly
how the camera’s components provide you with a much finer degree of control over
your images than the typical point-and-shoot camera. Unlike digital snapshot photography,
where it’s almost impossible to adjust depth-of-field, and usable ISO ratings range
from ISO 100 to ISO 100 (just kidding!), the technology built into a dSLR does
allow you to make a difference creatively and technically,
if you know what you’re doing. And for the average serious photographer, that’s
what taking pictures is all about.
With
a digital SLR, it’s easy to use depth-of-field to manipulate your images, but
you need to understand how digital cameras work with lenses and their
apertures. The “graininess” of your pictures is under your control, too, but it
depends heavily on things like the size of the sensor, the sensitivity setting
you’re using, and what kind of noise reduction technology is built into your
camera, and how you choose to apply it. If noise is bad, then noise reduction
must be good, right? Yet, when you really delve into how your camera works, you’ll
understand that noise reduction can rob your image of sharpness and detail.
There are certain types of pictures in which less noise
reduction is a better bet, even at a cost of a bit of “grain” in your image.
Or,
would you like to take a picture in which a runner is frozen in time, but a
streaky blur trails behind him like The Flash in comic books? You’d better
understand the difference between front-sync and rear-sync shutter settings. Interested
in using a super long telephoto lens without a tripod or switching to high
shutter speeds? Step up and learn about image stabilization.
If
you’re who I think you are, you don’t see understanding digital SLR technology
as a daunting task, but as an interesting challenge. By the time someone is
ready to use all the features of their digital dSLR, he or she is looking forward
to taking greater control over every aspect of the picture-taking process.
The
most comforting thing about digital SLR technology is that, for the most part, these
cameras were designed by engineers who understand photography. Many of the point-and-shoot
digital cameras I have used appear to have been designed by a techie who was
creating cell phones or PDAs last week, and then moved over to digital cameras this
week. They operate like computers rather than cameras, have features that nobody
in their right mind actually needs, and often are completely unusable for the kinds
of photography for which they are intended. For example, one alarming trend is towards
pocket-sized digicams that have no optical viewfinder at all.
For the majority of the latest models, it’s necessary to frame every picture using
the back-panel LCD, which, unfortunately, washes out in bright sunlight, and
almost forces you to hold the camera at arm’s length, guaranteeing that
powerful image stabilization features are going to be required to nullify
camera shake.
In
contrast, digital SLRs are designed by people who understand your needs. They
have, for example, large bright optical viewfinders that provide a reasonable
display of approximatedepth-of-field, and which can be used under a variety of
lighting and viewing conditions. The designers of dSLR models have been
creating such cameras for many years and know from the feedback they receive
what photographers want. So, learning dSLR technology will be rewarding for
you, because you’ll come to understand exactly how to use features that have
been designed to help you be a better and more creative photographer.
This
chapter explains that technology, and will help you when you’re shopping for
your next digital SLR. You’ll have a better understanding of the kinds of
technology you should be looking for in your camera. If you already own a dSLR,
after reading this chapter you’ll know how to put those features to work.
David Busch
Wednesday, April 29, 2015
How to choose a tripod?
Here are some tips to help you choose a tripod -
1. Consider your application and choose as per the table
Application Type of Tripod
Travel / trekking Light and compact, four leg sections, ball head
Wildlife / birds / sports High load capacity to support heavy lenses, ball head or gimbal head
Macro / table top Individually adjustable leg angles, tiltable center column, pan head
2. Your height: A tripod should allow you to work comfortably (that is the viewfinder of the camera must be at your eye level) without craning your neck too much or otherwise you will get neck cramps. Choose a tripod that reaches this height without extending the center column by more than 5 centi-meters.
3. Material of legs: If you can afford, legs made of carbon fiber are the best. If not, go for aluminium or its alloys.
4. Material of head: The head should be strong and made of metal. Just avoid plastic heads. Period. Plastic heads flex and are not good.
5. Load capacity and Stability: The legs and head you are going to buy should have sufficient load capacity to handle the heaviest equipment you have or plan to have (as explained). Plus a heavy head can cause instability due to top heaviness. To avoid this, the weight of the tripod legs must be 2.5 times that of the head (either ball or pan or gimbal).
6. Number of sections: It is best to choose tripods with three (telescoping) leg sections than those with four sections unless compactness is very important to you.
7. Leg locks: Go for twist locks if you are going support heavy loads. Otherwise flip locks are easier to use.
8. Quick Release: Do not buy a tripod head (or a tripod with a fixed head) without a QR adapter. If you already have one that does not have a QR adapter, you should get a QR clamp and plate(s) for it. The best and the most popular QR system is the Arca system. It is made by several manufacturers including Manfrotto.
9. Pay careful attention to the feet. The most versatile are the retractable or interchangeable type. If these are not available go for rubber feet.
10. When buying a tripod remember the old adage - “buy smart buy once, buy cheap buy twice”.
1. Consider your application and choose as per the table
Application Type of Tripod
Travel / trekking Light and compact, four leg sections, ball head
Wildlife / birds / sports High load capacity to support heavy lenses, ball head or gimbal head
Macro / table top Individually adjustable leg angles, tiltable center column, pan head
2. Your height: A tripod should allow you to work comfortably (that is the viewfinder of the camera must be at your eye level) without craning your neck too much or otherwise you will get neck cramps. Choose a tripod that reaches this height without extending the center column by more than 5 centi-meters.
3. Material of legs: If you can afford, legs made of carbon fiber are the best. If not, go for aluminium or its alloys.
4. Material of head: The head should be strong and made of metal. Just avoid plastic heads. Period. Plastic heads flex and are not good.
5. Load capacity and Stability: The legs and head you are going to buy should have sufficient load capacity to handle the heaviest equipment you have or plan to have (as explained). Plus a heavy head can cause instability due to top heaviness. To avoid this, the weight of the tripod legs must be 2.5 times that of the head (either ball or pan or gimbal).
6. Number of sections: It is best to choose tripods with three (telescoping) leg sections than those with four sections unless compactness is very important to you.
7. Leg locks: Go for twist locks if you are going support heavy loads. Otherwise flip locks are easier to use.
8. Quick Release: Do not buy a tripod head (or a tripod with a fixed head) without a QR adapter. If you already have one that does not have a QR adapter, you should get a QR clamp and plate(s) for it. The best and the most popular QR system is the Arca system. It is made by several manufacturers including Manfrotto.
9. Pay careful attention to the feet. The most versatile are the retractable or interchangeable type. If these are not available go for rubber feet.
10. When buying a tripod remember the old adage - “buy smart buy once, buy cheap buy twice”.
Tips and techniques while shooting a wedding
• Never complicate the lighting setup. You should try to keep the setup as simple as possible. It is advisable to carry portable lights and reflectors to get better shots. At the same time, in low lighting conditions, use the widest possible aperture or smallest possible f-value to get correct exposure. You can also boost your ISO value but it increases the noise in your images.
• The official shot is better done before the reception and not right after the wedding.
• Capture candid bridal moments especially when she’s getting dressed, her jewelry, her preparations to look her best. These shots can be caught from different vantage points with a prime lens and have no one feel that you are intruding. Shooting using a zoom or prime lens lets you capture some close shots from a distance and can be used to capture photographs of props such as wedding rings, bouquet, etc, as well.
• Create fine compositions instead of asking the subjects to move, and be aware of the lighting. If, in your viewfinder, the lighting looks harsh on your subjects’ faces, it may look even harsher in the final image.
• For getting a close-up image of the couple so the lighting is flat and even... It’s pretty easy to achieve this effect – all you need to do is place two soft boxes on either side of your subject at the same angle and at an equal distance. Set the power so it’s the same from each light. Try using a reflector under the face – your model should easily be able to hold this. This will bounce light up and onto the face
• In case of shots of friends and relatives, try taking images from the side lines while others have their photograph taken in front of them for a more natural looking shot.
• While capturing bride and groom portraits always aim to take natural images which convey love and happiness rather than endless posed images. For getting these types of wedding shots, shoot from a distance and from different angles to create interesting compositions.
• You can capture the wide angle of emotions of family, friends, and the groom during the ‘Vidaii’ by creating a panorama and also use two cameras to get those candid shots. You can also try a more creative approach to capture these shots using a fish-eye lens. Fish-eye lenses create some distinct images with radial blurs and curved looks which will distinguish your pictures from other photographers.
• The official shot is better done before the reception and not right after the wedding.
• Capture candid bridal moments especially when she’s getting dressed, her jewelry, her preparations to look her best. These shots can be caught from different vantage points with a prime lens and have no one feel that you are intruding. Shooting using a zoom or prime lens lets you capture some close shots from a distance and can be used to capture photographs of props such as wedding rings, bouquet, etc, as well.
• Create fine compositions instead of asking the subjects to move, and be aware of the lighting. If, in your viewfinder, the lighting looks harsh on your subjects’ faces, it may look even harsher in the final image.
• For getting a close-up image of the couple so the lighting is flat and even... It’s pretty easy to achieve this effect – all you need to do is place two soft boxes on either side of your subject at the same angle and at an equal distance. Set the power so it’s the same from each light. Try using a reflector under the face – your model should easily be able to hold this. This will bounce light up and onto the face
• In case of shots of friends and relatives, try taking images from the side lines while others have their photograph taken in front of them for a more natural looking shot.
• While capturing bride and groom portraits always aim to take natural images which convey love and happiness rather than endless posed images. For getting these types of wedding shots, shoot from a distance and from different angles to create interesting compositions.
• You can capture the wide angle of emotions of family, friends, and the groom during the ‘Vidaii’ by creating a panorama and also use two cameras to get those candid shots. You can also try a more creative approach to capture these shots using a fish-eye lens. Fish-eye lenses create some distinct images with radial blurs and curved looks which will distinguish your pictures from other photographers.
Daleka Vesela Pesma
Neko pesmu veselo pevuši,
Daleko je, daleko od mene.
Ja bih hteo da mu se pridružim,
Al’ ne daju grudi razbijene.
Daleko je, daleko od mene.
Ja bih hteo da mu se pridružim,
Al’ ne daju grudi razbijene.
Uzaludno duša za njom žudi,
U grudima traži slične zvuke,
Zato što su i snagu i grudi
Iznurile nevolja i muke.
U grudima traži slične zvuke,
Zato što su i snagu i grudi
Iznurile nevolja i muke.
Odveć rano misli mi poleću
Ka snovima zemlje ideala.
Rano počeh da ropćem na sreću
I mislim šta prošlost mi je dala.
Ka snovima zemlje ideala.
Rano počeh da ropćem na sreću
I mislim šta prošlost mi je dala.
Rano dušom, strasnom, uzavrelom,
Tražih sebe u dane sumorne,
Pa ne mogu da pevam veselo,
Nemam snage, grudi su umorne.
Tražih sebe u dane sumorne,
Pa ne mogu da pevam veselo,
Nemam snage, grudi su umorne.
Sergej Jesenjin
Cvili Harmoniko
Cvili, harmoniko. Puca glava…
Naviru zvuci vodoplavni.
Pij sa mnom, kučko šugava,
Pij sa mnom.
Naviru zvuci vodoplavni.
Pij sa mnom, kučko šugava,
Pij sa mnom.
Obljubili te, opoganili-
Pripadaš ulici.
Zašto mokriš tim plavim pogledom?
Hoćeš po gubici?
Pripadaš ulici.
Zašto mokriš tim plavim pogledom?
Hoćeš po gubici?
U baštu bolje idi, strašilo,
Da plašiš vrane.
Do bola si me zajašila
Na sve strane.
Da plašiš vrane.
Do bola si me zajašila
Na sve strane.
Cvili, harmoniko. Cvili, stradijo.
Pij, mešino šuplja.
Ja bih onu sisatu radije-
Još je i gluplja.
Pij, mešino šuplja.
Ja bih onu sisatu radije-
Još je i gluplja.
Među ženama nisi mi prvina.
Ja sam vas mnogo…..
Ali sa takvom, kao ti, strvinom,
Prvi put smogoh.
Ja sam vas mnogo…..
Ali sa takvom, kao ti, strvinom,
Prvi put smogoh.
Što bolnije, to bučnije,
Čas tu, čas tamo, bez traga.
Ja neću da se ubijem,
Idi do vraga.
Čas tu, čas tamo, bez traga.
Ja neću da se ubijem,
Idi do vraga.
Sa vašom psećom skućnicom
Vreme je da se oprostim.
Draga, ja plačem, mučim se,
Oprosti….Oprosti….
Vreme je da se oprostim.
Draga, ja plačem, mučim se,
Oprosti….Oprosti….
Sergej Jesenjin
Cveće Mi Veli, Zbogom Ostaj
Cveće mi veli – zbogom ostaj,
I krunice sve niže sleću:
Njeno lice i rodni kraj
Da nikad više videti neću.
I krunice sve niže sleću:
Njeno lice i rodni kraj
Da nikad više videti neću.
No, šta ću, draga, i šta znam –
Ja videh njih i zemlju ovu,
I samrtnički drhtaj sam
Primiću kao miloštu novu.
Ja videh njih i zemlju ovu,
I samrtnički drhtaj sam
Primiću kao miloštu novu.
I zato što cilj, celoga veka,
Postigoh, idući s osmehom zdravlja –
Ja i sad stalno tvrdim, bez jeka,
Da se na svetu sve ponavlja.
Postigoh, idući s osmehom zdravlja –
Ja i sad stalno tvrdim, bez jeka,
Da se na svetu sve ponavlja.
Nije li svejedno – drugi će doći,
Tuga rastužiti otišlog ne sme.
A ostavljenoj u tihoj noći
Drugi će lepše pružiti pesme.
Tuga rastužiti otišlog ne sme.
A ostavljenoj u tihoj noći
Drugi će lepše pružiti pesme.
I prateći pesmu dušom žene,
Draga uz drugog, usred slavlja,
Setiće se možda i mene,
Ko cveta koji se ne ponavlja.
Draga uz drugog, usred slavlja,
Setiće se možda i mene,
Ko cveta koji se ne ponavlja.
Sergej Jesenjin
Tuesday, April 28, 2015
The usual suspects
Always on the lookout for interesting urban wildlife photo projects, Tomos Brangwyn discovered
one of the UK’s greatest nature spectacles happening in a supermarket car park
With my chin pressed firmly to the ground, a flash in one hand and a fisheye lens in the other, this was one trip to the shops I was never going to forget. I was surrounded by a gang of mischievous iridescent starlings, whose lustrous feathers sparkled in the glow of the mid-morning winter sun.
It was a special moment, undeniably. Starling numbers have declined dramatically in recent years and finding a remaining stronghold is not easy. Getting up close, in the hope of creating a strikingly personal image, was even harder.
My father had told me stories of great murmurations taking place within sight of Buckingham Palace in the 1960s. A tale also persists of there once being enough birds to halt the movement of Big Ben when a large group landed upon one of its hands in 1949. But sadly, times have changed and none of my visits to either places yielded anything more than small and isolated flocks.
Things became more promising when I was told of a supermarket car park where starlings arrive daily, tempted in from the countryside by the promise of crisps, sandwich leftovers and the odd piece of dropped fruit. They drink from puddles, pick through mud that has accumulated between the tread of car tires and perch upon windscreen mirrors. It sounded just too good an opportunity to miss.
At 10am the following day, as if by clockwork, the first birds began to trickle in from the south. There were only a few starlings at first, but as the minutes went by, more and more gathered. The birds were hungry and were soon scurrying about, scanning the ground for breakfast scraps. One found a discarded apple core and raucous bickering among the group quickly followed.
Not long after, danger loomed overhead. Silence fell and heads were tilted up towards the sky. They remained dead still and alert. A great whoosh could be heard as every bird, perhaps 200 at this point, ascended high into the sky. A peregrine was soaring high, barely within sight, and the starlings twisted and turned as one, evading the threat until it eventually passed.
As the starlings gradually returned to the ground, it was time for me to leave. I smiled all the way home, my spirits lifted by a wild encounter that many of us can enjoy within our towns and cities, for now at least.
one of the UK’s greatest nature spectacles happening in a supermarket car park
With my chin pressed firmly to the ground, a flash in one hand and a fisheye lens in the other, this was one trip to the shops I was never going to forget. I was surrounded by a gang of mischievous iridescent starlings, whose lustrous feathers sparkled in the glow of the mid-morning winter sun.
It was a special moment, undeniably. Starling numbers have declined dramatically in recent years and finding a remaining stronghold is not easy. Getting up close, in the hope of creating a strikingly personal image, was even harder.
My father had told me stories of great murmurations taking place within sight of Buckingham Palace in the 1960s. A tale also persists of there once being enough birds to halt the movement of Big Ben when a large group landed upon one of its hands in 1949. But sadly, times have changed and none of my visits to either places yielded anything more than small and isolated flocks.
Things became more promising when I was told of a supermarket car park where starlings arrive daily, tempted in from the countryside by the promise of crisps, sandwich leftovers and the odd piece of dropped fruit. They drink from puddles, pick through mud that has accumulated between the tread of car tires and perch upon windscreen mirrors. It sounded just too good an opportunity to miss.
At 10am the following day, as if by clockwork, the first birds began to trickle in from the south. There were only a few starlings at first, but as the minutes went by, more and more gathered. The birds were hungry and were soon scurrying about, scanning the ground for breakfast scraps. One found a discarded apple core and raucous bickering among the group quickly followed.
Not long after, danger loomed overhead. Silence fell and heads were tilted up towards the sky. They remained dead still and alert. A great whoosh could be heard as every bird, perhaps 200 at this point, ascended high into the sky. A peregrine was soaring high, barely within sight, and the starlings twisted and turned as one, evading the threat until it eventually passed.
As the starlings gradually returned to the ground, it was time for me to leave. I smiled all the way home, my spirits lifted by a wild encounter that many of us can enjoy within our towns and cities, for now at least.
Shoot into the sun
One thing we cannot fully control is the light, and sometimes the sun is simply too bright and high in the sky. A good tip for these situations is to forget everything you've ever learned and shoot straight into the sun, getting the subject lightly underexposed (no matter what you do, the sun will be blown out). You can then recover a lot of detail in post-product ion and create a very dynamic image, especially if you used an ultra-wide lens.
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