nevilleb

June 12, 2010

Heya Steve!!!!

Wassup my man? Please note my new email addy (on my website) - the one you have gets spammed a lot and I rarely check that.

May 13, 2010

OK, here's the dope, in no particular order:

1. For starters, don't land up at the Taj on a Friday; the premises aren't open to visitors on that day. Avoid visiting it on Sundays or other holidays too, as the premises get quite crowded then.

2. Get to the Taj complex from the East Gate, the standard gate (South) will have huge lines with local visitors going throu the ringamole of buying tickets and getting frisked by security

3. Vehicles cannot go all the way to the Taj (attempts to cut down vehicular poolution from affecting the structure); there's a ticket counter a few meters away from the East Gate parking lot, buy your ticket there and hop into a CNG Rickshaw to get dropped at the East Gate itself. Or, it's a ten minute walk from the parking lot. I mention the time so that you don't miss sunrise at the Taj itself.

4. Just to the right of the East Gate runs a narrow lane that leads to the banks of the River Yamuna (the river flows behind the structure itself). Earlier, one could catch a boat from there to the other side of the river and make some images from across the river. That is no longer possible as there is a percieved security threat, and the far bank is now a police camp of sorts. However, you may be able to catch a boat ride itself, and shoot the taj from the boat - something best done at sunrise or sunset.

5. Once you pass through security and enter from the East Gate, you walk for a minute or two before entering the main compound where the monument is, along with the fountains pools etc. Immediately to the left and right of the entrance are some superb arches; look at making some images from there (see image attached to this message for what I mean - it is a very unusal image of the Taj, I've been told, and I'm positively proud of having made it).

6. In the image I've put up herein, I'm facing a bearing of around 355 degrees or thereof, 360 / 0 being due north. East is hence to my right, the structure itself faces due south. Just to the WEST (left) of the Taj monument itself - is another stucture that lies within the complex. It's a mosque (you can see it just above the treeline on the column on the left in the image) - you can head there before the sun comes up and posit yourself there, facing due east or south-east, so as to make images of the Taj and the sun as it comes up.

You may need to make at least two visits in my opinion. Go a day early in the afternoon while the light is BAD - yes, BAD - around 3-4 hrs before sunset! Take an hour's guided tour, familiarizing yourself with the locale and scouting for locations. Once the tour is done with, shoot the Taj in better light (you'll have to figure out sunset timings and factor that in). Use this opportunity to plan the next day's morning shots. Revist the next morning before sunrise, get in there and do the needfull. Later that afternoon go take a boat ride and shoot from the river.

Hope that helps, if you need any more inputs, please feel free to ask. Either here, or you could email me.

Best,

Neville

May 12, 2010

Edmond, the problem is that local guides wouldn't really understand the importance of light and being at the right place at the right time - factors which are so crucial to photography. What I'd suggest is that you hire a guide just to get a feel of the place in terms of history & highlights, leaving the shooting for the next day. This will also help as most guided tours are time-bound; they'll want to finish off and head back to net another tourist. And time at place should NEVER be a constraining factor if you're planning to do some serious photography.

I'll log in later today and post a few observations (based on my experience) that I think should help with respect to shooting the Taj.

Best,

Neville

March 13, 2010

Umm, we do have some scheduled ones, the site has been updated since query was put up.

Mods - please feel free to delete my response if it goes against any guidelines.

Neville Bulsara

June 25, 2009

Excellent post, Ben!

As for me, I usually go with evaulative in most cases where there isn't too much of a mish-mash of tonal values, the lighting isn't too variable (brightly lit in some parts, parts in deep shadow... essentially, it comes down to determining the range of tonal values and how they're distributed across the scene AND lit. If the variables aren't too many, I use the "set of rules" I've formulated over the years (note that you really need to understand just how your evaluative meter functions in each scenario, AND what degree of EC to dial in for each case).

If I have the slightest doubt, I switch to spot metering... which you really can't go wrong with imho. Determine what tone you wish to assign to what is being spot metered, dial in EC as needed and that's that.

Viva la spot, viva la manual! :D

nevilleb<div></div>

June 18, 2009

And besides, there are some situations where you just can't use a graduated filter. <a href="http://www.nevillebulsara.com/wlm7.htm">This one </a>for example.

Observe where the brightest highlights fall in the frame in relation to other tones and you'll see what I mean. As you rightly put it, they work in a lot of conditions (depends on what you're shooting actually), but not all.

Best,

nevilleb

June 18, 2009

Unless you use graduated ND filters to control contrast. Filters aren't perfect but they work amazingly well in a lot of conditions

:) In which case, the brightest part is no longer in zone 7+ Mid-tone being zone 5), i.e. to say it doesn't fall beyond the 4-5 stop latitude of slide film.

The bottom line that I wanted to stress on is that you can't overcome the film's range of 4-5 stops of light that it is EXPOSED to.

nevilleb

June 16, 2009

The fogging effect you speak of is nothing but motion blur. With flowing water, it's typically achieved with shutter speeds of 1/12th of a second or slower.

nevilleb

June 16, 2009

The fogging effect you speak of is nothing but motion blur. With flowing water, it's typically achieved with shutter speeds of 1/12th of a second or slower.

nevilleb

June 16, 2009

The most important thing in slide film is to ensure you don't blow out the highlights. And based on my experience the way to go about it is follows:

1. Throw the scene out of focus. This helps you identify the tones in the scene. Note which are the brightest areas of the scene and which are the darkest.

2. Take a spot meter reading off the brightest part

3. Take a spot meter reading off the darkest part

4. If the difference between them DOES NOT exceed four to five stops, assign the brightest part of the scene to a zone (I'm assuming you're familiar with the zone system), dialing in +EC as needed. Of course, you would never dial in more than 2 stops of + EC unless you wanted to deliberately blow out the highlights

If the difference between the darkest and brightest parts of the scene are more than 4-5 stops, you have to make a choice - you can't have [detail in] your shadows and highlights too, not with slide film. In such a case, you could use fill flash to fill in shadows, if possible.

The steps spelt out above may seem cumbersome, but once you get the hang of it, it becomes second nature.

Incidently, I have an <a href="http://www.nevillebulsara.com/why-light-matters.htm">article</a> up on my site which you may wish to check out. All the shots in that "article" were shot on slide film, using fill flash to fill in the shadows. You'll see how the principles I spelt out have beeen applied there.

Ideally, you'd actually need to CALIBRATE your meter to each batch of slide film, which is a topic too long to go into here.

I hope this helps, let me know if you need further assistance.

Regards,

nevilleb

May 13, 2009

If you plan to be in Mumbai, do let me know and we can meet up for a drink or two and maybe exchange tales about our travels. :)

On a more serious note, if you need any assistance on areas to visit etc, dash me an email and I'll do my best to help.

Regards,

Neville

July 10, 2008

As Jeff has pointed out there is a difference between "photography tours" and tours touted as photography tours. I define the former as "getting people to the right place at the right time of day in order to make images that capture that elusive sense of place"

Photography involves seeing, and you can't see in a hurry. One needs to look, then see the wealth of photo-ops inherenet in a place, then make them in your mind (which is what seeing logically leads to). Set up your equipment and then make the image. This takes time - time that is just not available on a normal shot.

Another thing that you need to factor in is whether the photography tour you join is a GROUP photo tour or a private, customized one. With a group tour, one usually has a set itinerary and the number of diversions you could make would be limited and subject to a majority vote by participants (the final call being that of the tour leader). More flexibility is available on a custom photo tour, obviously.

I'd quite agree with you on "not going there to look at the hotels" - if your objective is travel and photography, you're going to spend as much time out there in the field, making images. Do keep in mind though that if it's a photo tour you sign up for, the early afternoon hrs are gonna mostly be indoors (on my workshops, I refer to them as INT - Instructor Nap Time). Of course you need to have a decent place to stay in, but creature comforts and glitter are not THE objective.

Regarding Pushkar, my two (actually several) bits:

1. Get there a few days PRIOR to the fair and leave the day before. Rates go INSANE once the fair actually starts, and it just ain't worth your buck. Don't worry about missing any shots; you'll more than get your share of shots during this period.

2. Camels aren't exactly the docile creatures they're made out to be. They have a really nasty side kick (yeah, you don't need to be behind them to experience one), have a habit of snarling, biting, spitting and what have you not. This behaviour is not just limited to the juveniles. And I swear to God, they're highly intelligent creatures, bordering on the wicked -- there'll be this camel posited just how you want it, a national geographic shot in the making and just as you raise your camera to eye level... bingo, he/she decides to move. This has happened one too many times to me on photo tours to be put down to accident. I have a strong feeling that camels have a knack for recognising a pro/serious photographer (I wonder how they do it) and spoiling the shot! And you don't need to be really close for them to spot you! Bah!!!

3. You'll have people sliding up to you from every nook and cranny offering to be photographed for a few rupees... avoid paying for your shots. It really encourages begging and destroys culture.

Hope that helps,

Besties,

nevilleb

January 31, 2008

Cuts off reflections, saturates colors as a result. Darkens the sky. Pay attention to angle of polarisation vis a vis the position of the sun when shooting outdoors. Works by cutting off reflections off surfaces indoors too, but be aware that polarisers will cost you a stop or more of light - results in slower shutter speeds.

January 8, 2008

Christian,

India is so diverse in terms of geography and culture that it becomes impossible to stereotype "images of india". Each region has it's own flavor of sorts, and that flavor comes through via radically different images depending on which part of India you're visiting.

Things be as they may, here are a few of my favourite links to some:

http://www.ladakhphotogallery.com/

http://www.photojournal.co.uk/timothy_allen_india_photos/timothy%20allen_india_photos.html

http://thedigitaltrekker.com/

http://www.robinsonchavez.com/asia-gallery.shtml?gallery_id=structure.gallery.0&image_id=0

I've also got a modest collection up on my site - and far more that need to go up there. Some time soon hopefully!

December 20, 2007

16 to 160mm would pretty much cover the range for palaces, forts, temples etc in Rajasthan. As Praveen pointed out, a longer lens would fit the bill for wildlife, but you ain't going there anyway.

Abstraction? Could do pretty much with a 100mm prime for that (and I do!)... just get closer. :)

Best,

Neville Bulsara

India Photo Tours, Workshops & Expeditions for the Discerning Photographer

October 31, 2007

Across the river is definetely accesible, by boat would be the best option as David has pointed out. Late afternoon would be a good time for that, though you could flip that over on it's head and make a silhoutte from there in the early morning too.

Neville Bulsara

October 11, 2007

Jason,

Others have already mentioned why the * button is used to lock focus, and depressing the shutter button midway is used to lock exposure.

I just wanted to add that locking exposure off another part of the scene and then recomposing is only valid if one is using partial / spot metering, not if the camera is set to use evaluative metering.

Neville Bulsara

India Photo Tours, Photography Workshops & Expeditions for the Discerning Photographer

September 5, 2007

Some sage advice there on not taking your eyes off your gear for a second. And, if traveling by trains, don't go about accepting food (including biscuits or soft drinks) from people -- they tend to be laced with a little something that knocks you out cold. And when you surface... kazaam! Houdini at work!

India is really such a melting point of cultures that you'll have to categorize your shooting pretty much. Tremendous similarities. And variety! The north is full of exciting monuments, but the further north you go, you'll see a lot of tibetan and central-asian influence there. The south is great too, and don't forget Goa! Some brilliant temples as well as portugese era architecture there!

Neville Bulsara

India Photo Tours, Expeditions and Workshops for the Discerning Photographer

June 6, 2007

Some sage advice there from Jim & John & Terry... go with the flow. Fill the frame with your subject(s), and keep asking yourself, what it was that drew your attention to what you want to click in the first place.

Generally speaking, get three types of shots:

1. Establishing shots - wide shots, trypically from an elevated position that capture the environment and the 'players'.. this sets the tone for what comes later.

2. Medium shots . Medium zoom shots that fill the frame with the dog(s)

3. Close-ups . For story-telling details. A dog's collar for example.. whatever that allows the viewer to 'get up close and personal.

Don't forget to get shots of dog owners and the crowds too... they tell the story at the end of the day. Again, establishing, medium and close-ups.

It may also be worthwhile to experiment with some 'unusual' perspectives. How would the world look from a dog's eyes? Lie down on the floor, level with the dog... you get the picture? :)

All said and done, it's perfectly normal to get butterflies in the stomach - I still do at times after all these years! Just don't let them bother you too much. Have fun!

All the best!

Neville Bulsara

India Photo Tours, Photography Workshops & Expeditions for the Discerning Photographer

June 3, 2007

For starters, do keep an eye on the status in Rajasthan (Jaipur, Udaipur, Jodhpur) - the state is on the boil currently.(google news rajasthan)

While in Rajasthan (and actually the rest of India) do factor in dust. Can be a major headache with dust getting on the sensor.

Photographing locals is usually not an issue, though quite a few may try to get some dosh out of you for taking their images. I'd reccomend that you avoid that - it just encourages begging!

Neville Bulsara

India Photography Workshops, Photo Tours & Expeditions for the Discerning Photographer

May 13, 2007

I think Giampi hit the nail on the head. And of course there is the issue of getting the first shot bang on especiaqlly if its 'going somewhere'

What is 'going somehwere'? <a href="http://en.wikipedia.org/wiki/Image:Photo_cartierbresson_europe.jpg"> THIS is</a>. Think of checking your histogram at a time like this and you'll miss that ONE shot in the series. That's where the knowledge of exposure helps you make the choice of shutter and aperture combinatiob BEFORE you trip the shutter.

Neville Bulsara

May 13, 2007

@ Alec Myers

Neville, why is a histogram more of a crutch than, say, an accurate flash meter, or autofocus? Or even a viewfinder? ("Real photographers don't need to see exactly what's in the frame, they use the Jedi Force to get the picture they want!") They're all technological aids to getting the picture you want as smoothly as possible, so you can concentrate on the difficult stuff.

Alec, there is nothing - and nothing - wrong with technology as long as they aid - I repeat - aid. Which is what I said in my earlier post. The problem begins when people fail to use it (the histogram) as an aid, rather relying on it to get the exposure right in the first place. Or, should I say, after the shot is taken.

Nothing wrong with chimping, I do it myself. But that is merely to confirm what I've already determined in my mind (mainly when shooting in evaluative mode - rarely have I messed up a shot when shooting using the spot / partial meter over the past several years). And that too only if the scene ain 't going anywhere.

To cut a long story short, the histogram can be a great learning / verification tool. But as I've already said, I've seen one too many people relying on it too much to get the exposure right to start with. There never has been, and never will be, a substitute for knowing your tools, and how they function under varying circumstances.

To give as direct an example as I can - I somehow just can't visualize Arthur Morris taking a shot of a bird in flight, and then looking at the histogram (to make compensations if needed), before raising the camera to his eye again to make a series of shots. He'd probably miss a wealth of photo-ops in between.

Correct me if I'm wrong.

Neville Bulsara

May 13, 2007

Why does this matter in real terms? The camera display histogram is simply an aid for exposure determination. It's not meant to be a precise tool.

As long as the histogram is a tool - an aid - its fine. Too many people make it a crutch, and that's where the problem lies.

Of course, we 'oldies' who graduated from slide film (what with it's need for 'perfect' metering and exposure) to digital don't suffer those drawbacks *ducking and running for cover as I see a duluge of fim canisters and film bodies being hurled my way*

Neville Bulsara

India Photo Tours, Photography Workshops & Expeditions for the Discerning Photographer

May 10, 2007

Sharpening can make quite a difference too. Something like photokit sharpener can help in some cases.

Neville Bulsara

India Photo Tours, Photography Workshops & Expeditions for the Discerning Photographer<div></div>

May 6, 2007

Adobe Camera Raw.

Neville Bulsara

India Photo Tours, Photography Workshops & Expeditions for the Discerning Photographer

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