This is one of the most famous and recognizable underwater images of our times. The photo of me working underwater was taken by Brian Skerry. I was with him in Auckland Island, Sub Antarctic, New Zealand covering a feature for National Geographic Magazine on Right Whales. Photo credit goes to Brian Skerry.

As a wildlife underwater photographer I have seen first hand the changes that have occurred and continue to transform our natural world, in particular our oceans, lakes and streams. The list is long and would take many pages to address. The highlights though are clearly the loss of coastal habitat and coral, the increase of pollution, the acidification of our seas and the immense over fishing of all marine species, in particular our apex predators such as Shark.

All these will affect the long term health of our seas, which will in turn affect the feeding of humans around the world. The indiscriminant killing of intelligent marine mammals such as whales and dolphins and seals simply has no excuse and cannot be tolerated at any quota. The ocean is not an open refrigerator for human consumption- it can take just so much of our uncontrolled appetite. Greed, mismanagement and simply not carrying of what lies beneath cannot be sustained for much longer.

I fear that the natural events that I have been so privileged to photograph will not be there the next time I set out to find them yet through my lens I see a clear picture of what the core root of the problem is and that is Man.

Clear and simple, there are just too many of us on this planet for it to remain a healthy viable ecosystem. Too many of us that is, if we all want to have a standard of living such as the over consumption of modern society.

I believe in policy and in education but I think time for the implementation of both of these takes too much time. In many respects this time has run out.

We, the modern societies of the planet must take more concrete, direct action to implement the changes necessary for the immediate reversal in this degradation of the core land and aquatic ecosystems of our planet.

I would like to ask that all of us take time out to educate ourselves and vote with our wallet. We need to simplify our lives and lower our consumption in all aspects of our daily living. Talk to others and take the time.

Are we out of time? I believe that maybe we are. Yet I also believe that mankind can make a change, but it needs to be now.

You can read more about Mauricio Handler and view samples of his work at his homepage, www.handlerphoto.com . You can also join his professional Facebook page Mauricio Handler Photography where he posts short essays and photographs from his many adventures.

Oskar Barnack Award International Photo Competition 2012

Leica has announced that it will open its Oskar Barnack Award photo competition to submissions starting January 16th 2012. An international jury awards a prize to the photographer best able to capture and express the relationship between man and the environment in a sequence of 10-12 images, documented with contemporary, creative, unintrusive, and groundbreaking style.

Contest Rules

The contest is open to professional photographers or aspiring photographers(for the Oskar Barnack Newcomers Competition) and all photos must be submitted online. Photos may not be manipulated or digitally altered in their essence.The digital images prepared for uploading must be no larger than 1920 pixels wide and 1200 pixels high, but have to have at least one of these two maximum dimensions. At least one photo must have been taken within the last year and all images are to be submitted by March 1st, 2012.

Contest Prizes

Lerica is offering generous prizes to both the winner of the Oskar Barnack Award and the winner of the Oskar Barnack Newcomers Award. Winner of the Oskar Barnack Award will receive a Leica M9 camera and a lens worth 9,500 Euros in addition to a cash prize of 5,000 Euros. Winner of the newcomer award will receive a Leica M9 camera and a lens.

For more information on the contest, check out http://www.leica-oskar-barnack-award.com/#/en/information/leica-oskar-barnack-award
Happy Shooting!

This photo was taken freediving and on the surface as two Sailfish, male and female came to the water's surface. Nikon D3 - Nikkor 17-35 mm lens and 2x Ikelite strobes.

What lies below the sea seems a mystery to many of us land dwellers. However, marine photojournalist, Mauricio Handler, does an incredible job of capturing the deep blue sea and shooting images of what occurs beneath the surface. He uses light in an incredible way to portray the creatures that live beneath the surface most beautifully. Handler has had photographs published countless times and is a well known marine photo journalist, represented by the National Geographic Image Collection.

Handler is among the most talented and talked-about underwater photographers of his time. In the following interview, he shares with us his passion for revealing what happens in and around all bodies of water.

This is one of the most famous and recognizable underwater images of our times. The photo of me working underwater was taken by Brian Skerry. I was with him in Auckland Island, Sub Antarctic, New Zealand covering a feature for National Geographic Magazine on Right Whales. Photo credit goes to Brian Skerry.

Have any underwater or marine photographers inspired you?

Though Handler’s work is extremely unique, he credits part of his initial success to other photographers who have greatly influenced him. Chris Newbert, Bob Talbot, Howard Hall, and David Doubilet, with whom he worked for in the beginning of his career, were all great inspirations to Handler. He says, “Hall’s guide to underwater photography was a classic in a time where there was little printed matter on the subject. David Doubilet in particular influenced my visual refinement and I have to credit him for my initial photography perspective”.

Handler has now grown to also greatly respect and admire many other photographers, in particular from the National Geographic realm. “I have gotten to personally know cold water specialist Paul Nicklen and my friend, one of the best in the business, Brian Skerry who I worked in the field for many years. I love their essays on wildlife and the dedication they have given their particular stories”.

He also looks up to underwater black and white photographer, Ernie Brooks, who he claims has greatly moved him. “I would have loved to have been part of his original student base at Brooks institute in California way back in the 80’s,” says Handler of Brooks.

Rolex add campaign poster. Campaign ran for 7 years worldwide from 1998-2003 (more or less). The image is that of David Doubilet surrounded by Galapagos Sea Lions- Galapagos Islands. Image is from the Nat Geo story we did in 1998.

Can you talk a little bit about publishing your underwater photography?

Handler was first published when he lived on the island of Tortola in the British Virgin Islands. He had become seriously interested in photography and had spent countless hours practicing his new passion. It was in the country’s tourist magazine, “The Welcome Magazine”, that Handler first was published. “I made $50 for my effort and I was hooked! I could now make a living….”.

Since then, Handler has been published in many magazines and books and has worked with commercial clients of all types. “I work closely with National Geographic books and National Geographic Digital media who use my work regularly and my images are represented exclusively by National Geographic Stock. I no longer keep tabs but especially now with the digital age, my work is in print all the time somewhere.” describes Handler.

One of his favorite published works was an ad campaign done for Rolex watches in 1997. Handler remembers it fondly, “It showed an image I made of David Doubilet surrounded by sea lions in the Galapagos Islands and the image ran for 7 years across the globe. It was a sepia tone image done on film and it remains one of my favorite campaigns”.

One of my favorite moments. One of my expedition guests and photographer Jim Rakowsky is encountered head on by a giant Whale Shark of the coast of Mexico. We are in about 20 feet of clear blue water.

On your Wale Sharks assignment, were you free-diving while taking photos? What diving gear do you recommend for those serious in underwater photography?

Handler leads many underwater photography expeditions amongst which are two back-to-back Whale Shark photography trips that he leads every summer. Describing the expeditions, he says, “There is no SCUBA diving on either one. All images are taken while snorkeling and most images are really done on the surface as the giant fish come right up to you! You can achieve professional images on these trips and you will only need mask, fins and snorkel”. Handler believes the key to good underwater photography is to be comfortable with the gear and to be comfortable in the water in general. “You do not want to be dealing with a foggy mask or loose fins when the action is happening in front of you. For underwater photography on SCUBA the key is buoyancy and being, again, very comfortable in the water. You need to know your gear inside out so you can concentrate on image-making,” he advises.

Handler also says it is extremely important to float, drift, rise, and fall without disturbing the surroundings. From experience, he knows how necessary it is to observe and understand the behavior of the animals one is photographing.

I have many memorable images, but I like to bring the newer work to the forefront. This is a large gathering of Sailfish feeding on a baitball of sardines. Isla Mujeres, Mexico. This has been the direction my work has been heading. Telling stories of special moments....

What advice do you have for anyone that may want to become an underwater photographer and maybe even try to earl a living as one?

Most importantly, Handler emphasizes, “First rule of thumb is DO NOT quit your day job”. Handler’s advice is quite risky and it is clear he is extremely passionate about his career. He jokingly advises, “Keep your day job, dive and take pictures for the fun of it and slowly see what happens. In time you will sell a few prints and show your work to others. Earning a living is another thing. Seriously, unless you have a trust fund (and many of my counterparts do) take it slow before you jump in and keep that job. If you are single, then stay so! Marriage, a dog, a house and life, will get in the way of this career path” He then shows his true colors, saying “Now, if you really, really want to be a professional underwater photographer, then go out and do it and forget all I just said”.

Please note that Handler is happily married, has twin girls and yes, has a dog! His wife Julia is his business partner and an essential element to his success. To Handler, photography involves taking risks but risks that are worth being taken.

Do you have any advice how emerging photographers can publish their work and stay ahead of the curve?

Harsh but realistic, Mauricio Handler does not tiptoe around the possibility of failure. He is an example of success, however, and gives some tips as to how to go about publishing.

“If you simply get into underwater photography to sell your work you will most likely fail. Take pictures first of all for yourself. If someone wants a photo you took, sell it as a print- never let go of the original RAW or JPEG files. The photo stock market is indeed cluttered and even the best in the business are struggling to move their images through stock”. He also suggests self publishing a portfolio photo book using a company such as www.blurb.com to showcase your work to others but advises the photographer to remember an important rule of thumb, “Not everything we do in life needs to have a financial reward attached to it. Diving and photography can be done for the simple pleasure of being out in the wild, underwater”.

Suppose National Geography would sponsor one and only one photography expedition, what would that be?

“I would like to document the complete coast of Chile and the many natural history and human stories within this, one of the longest coastlines on the planet. I was born in Chile and have always wanted to return for a very extended stay”.

An unfulfilled dream of Handler’s is to document and tell the stories that lie within Chile’s coasts, rivers and lakes. “Chile is an amazing place. I think more than a National Geographic story assignment, I think I would like to convince them to do a book on the country- A book and series of documentaries. That sounds like a project indeed!”.

Handler’s excitement for his passion is contagious and it only creates anticipation to see what he will come up with next.

You can read more about Mauricio Handler and view samples of his work at his homepage, www.handlerphoto.com . You can also join his professional Facebook page Mauricio Handler Photography where he posts short essays and photographs from his many adventures.

Remarkable underwater and marine photographer, Mauricio Handler, is an expert at using lighting, composition, filters, and a variety of other techniques to capture incredible shots. He is one of the most talented underwater photographers in the world and has great insight of the techniques it takes to get a beautiful shot. In the following article, Handler shares his knowledge.

This is a photo Mauricio Handler did of Nat GEO photographer Brian Skerry in Izu Japan. Note the use of multiple lights here: 2 strobes on the camera are illuminating him while his two on camera strobes are turned on to the Modeling light position. In the background, a hand held HMI light separates him from the background. Total of 5 light sources plus the sun.

Before Shooting underwater: Most Important Factors

Before Handler begins shooting, there are a few factors that need to be in order. For one, Mauricio Handler uses many light sources during shooting and it is extremely important for him to be at the site at the right time of day. For Handler, “This continues to be usually in the early morning and late afternoon although, special moments are there throughout the day” as long as it is a low-light setting. “I for one, love cloudy days!”.

Another very important factor is complete manual control of the camera, lenses and lights. “You need to control aperture and speed separately to be able to push your camera’s sensor to its limits,” says Handler.

Lastly, remember to use many lights, including strobes and incandescent lights which are crucial to molding an image.

This photo has many elements and was done during one of my early British Virgin Islands' workshops. Frame within frames allow the viewer to focus on the subject at center. It was shot with a Mamiya RZ 67 film camera and uses again multiple light sources to create mood. Hand light, HMI cinema light in background, Sunlight and two on camera strobes. The composition is traditional yet the subject is ventured.

Through the Lens: Framing and Composing

From many years of trial and error, Handler has developed a casualness in shooting. Spontaneously shooting from the hip, he usually captures an image and leaves the composition the way he has taken the shot, almost never cropping it. He has a few rules of thumb he uses in mastering the art of shooting a perfect composition.

“Basic rules of composition like the rule of thirds, frame within frame, off centering your subject, etc. are all present in my images. If you master these basic rules then in my opinion you earn the right to break them if you wish, but not until you learn them,” says Handler. He strongly advises new photographers to pay close attention to the basics and not to experiment too much prior to mastering these rules of thumb.

Shooting Techniques: Lighting

Quite famous for his unique lighting and perfect use of it, Handler shares his interesting technique. While shooting, he primarily uses two strobes, a few hand lights and on occasion a large HMI cinema light. He also controls the exposure in many ways.

However, with so much lighting used underwater, there can be quite a bit of backscatter. Using strobes usually returns backscatter and the contrast with reflective subjects on a dark background is extremely challenging. Handler overcomes this by simply moving closer to his subject. In his words, “If you think you are close to your subject…then get closer!”. He suggests cutting the distance between you and your subject as one way to diminish backscatter. Another technique he uses is to angle his strobes downwards a bit so as not to create such direct lighting. Handler also solves such issues by pushing his camera and knowledge to the edge.

He suggests,

“Slow shutter, low strobe power and getting very close to your subject usually do the trick. Using a camera with a low light capable sensor helps tremendously these days. All these tools are made for this kind of moment”.

An interesting suggestion he makes, however, is to try to use backscatter to the photographer’s advantage. Especially in journalism type work, he feels it can add a bit of realism to the shot.

“If an animal lives in a silt environment then it must remain that way. We cannot just clean every frame up to make it look like crystal clear water…”.

This is one of my favorite images, shot before sunrise in N'gali pass on the Island of GAU, Fiji. The grey reef shark was hunting in the strong current. I broke all rules here, motion, blur and long exposure make for a dynamic action shot.

Underwater Metering Technique

Underwater, Handler pays initial attention to the histogram and overexposure warning signals to guide him, rather than the actual meter. However, after so many years of experience, Handler now tends to guess a lot while shooting, having his own personal formulas drilled in his head. However, he suggests using matrix metering for wide-angle shots and spot metering for macro lenses.

On land, metering is more forgiving as the complete spectrum of color, depth and tones, unlike underwater, are all present.
Here matrix, centered and spot are used as each scene requires it.

Post Processing Technique: Software, Filters, and Work Flow

Handler uses Photo Mechanic to upload, caption, sequence and to initially screen and catalog his uploads. The images he selects to edit are then converted from RAW format with PhotoShop CS5. He also uses Lightroom, which he highly recommends, though he has not yet put all his library through it. Other programs he uses are NIK Color Efex pro 3.0 and Silver Efex 2.0 for some creative color and B&W file conversion.

However, since the images he produces fall into the natural history and marine documentary/ journalism categories, Handler isn’t a big advocate of altering or manipulating this kind of work other than for the basic file conversion using level (exposure), curves (contrast), some saturation and finally sharpening of the final image. Again, he seldom crops and most definitely never over post process any of his images.

Great White Shark, Guadalupe Island Mexico. Natural Light shot with a Nikon D2x and 17-35 lens in an Aquatica housing with 8" dome port.

Handler still recommends putting images through a filter such as Silver FX to get the most of them in black and white. He also uses PhotoShop to clean backscatter up in post production if the images are going to be used commercially as otherwise they would never sell. He uses the clone tool and stamp tools in CS5 (same as using it in Lightroom or Aperture for that matter) to clean out any backscatter.

According to Handler,

“The image needs to be created in camera and the image must stand alone on its own merits and content without the aid of too much post processing. This is the challenge I place myself in as an underwater wildlife photographer. Being there at the right time and having the right tools and knowledge to successfully capture a fleeting wildlife moment that will never return is for me what it is all about.
Nothing more, nothing less.”

You can read more about Mauricio Handler and view samples of his work at his homepage, www.handlerphoto.com . You can also join his professional Facebook page Mauricio Handler Photography where he posts short essays and photographs from his many adventures.

Mauricio Handler during a British Virgin Islands workshop. Note the early rig- a Mamiya RZ67 housed in an Aquatica Housing. Photo Credit: RAUL TOUZON

With an addiction to jet fuel and a passion for adventure, Mauricio Handler created a career for himself in marine photojournalism. His photographs reveal mysteries that exist both above and below sea level, capturing the grace and beauty of marine life. Passionate about documenting life, landscapes, and peoples living close to any and all bodies of water, he set out in 1982 to pursue a career that most can only dream of. In his words, he set out to “invent a career”.

In love with the underwater world

After graduating with a degree in art from the University of Puerto Rico in 1982, Handler decided to travel and he quickly fell in love with the underwater world. He slowly began shooting a few stories through his jobs as a divemaster and a sailing yacht captain, and before long he began getting published enough to make a small living.

“When I started out as a diver with interest in image making, I never thought I would end up making a living and traveling the planet because of my photography.”

Along the way, Handler met incredible people, inspiring and motivating him to continue to pursue a career in photojournalism. His persistence brought him to well-known underwater photographer, David Doubilet, at National Geographic Magazine who served as a mentor and encourage Handler to truly grow as an image maker.

Photo of David Doubilet and Brian Skerry to his right. This was during a National Geographic shoot where I was working with Doubilet. Brian Skerry was yet to be a regular in the magazine - he was there to see how David approached his projects.

Starting out in the mid 80’s, Mauricio Handler shot only with film and with quite an extensive bit of it. Working with Doubilet, he started by being in charge of all cameras, housings, strobes, and film, shooting up to 15 cameras in the water at one time.

“These were very rewarding days.”

Handler learned mainly on his own, since without any Internet he had no options but to use trial and error and a lot of film processing as practice. He also credits some of his acquired knowledge to magazines and other photographers that provided him with inspiration. He now of course, shoots entirely his own projects and has focused on large and often endangered marine life such as whale sharks, sailfish, and marine mammals and has photographed in a variety of different locations accross the globe.

“Early in my development as a visual artist, I followed closely the work of Ansel Adams, the father of black and white photography and one of the greatest photographers of our time.”

Handler’s career took off and since he ended working as Doubilet’s assistant in 2000, he himself has worked very closely with the National Geographic Society as well as campaigns for other companies such as Rolex watches. He leads back to back photography workshops and expeditions throughout the year and has become very involved in sharing his underwater diving and snorkeling photography techniques. A detailed description of his techniques will follow in an upcoming article.

Mauricio Handler seeks neither attention nor praise but only wants to pursue his passion for adventure and enthusiasm for creating images. It is safe to say that this image-making genius is best understood through his own words. “It has been a very rewarding journey that continues to this day and it is this journey and uncertainty in tomorrow that keeps me on my toes and passionate about what I do”. Handler encourages any aspiring photographer to realize that there is no formula or path, only a great reward that is discovered when following one’s own dream. His work can be viewed at www.handlerphoto.com . You can become his fan on his Facebook Fan page at http://www.facebook.com/MauricioHandlerPhotography for updates of his up coming workshops and new projects.

“The only possible risk of failure is that of not trying at all.”

Keep an eye out for future gear, technique, workshops and interview articles about Mauricio Handler.

Nikon D3x, Nikkor 14-24/F2.8

Night and nature photographer, Alister Benn, has mastered the ability to capture incredible shots using even the slightest amount of light available. His talent and innovation, when paired with a variety of gear he uses, create beautiful images. Below, he shares with us his detailed gear recommendation.

Best Cameras and Brands for Night Photography

When Benn started out in photography, he started with solely Canon gear, using a Canon 10D with a 28-1351S lens. He later switched over to Nikon for the purpose of better ISO capability, a wider lens, and to find a camera that could better deal with noise in images.

He sold his Canon equipment and purchased a Nikon 700 and later a Nikon D3x for great detail and great resolution as his printed images can often be up to six feet wide. The D3x does not have as great ISO capability but as his images are usually not single exposure, he can easily work around it with more exposures and blending.

Night Photography Lenses

For night photography, Benn uses only three different lenses. He uses Nikkor 14-24/F2.8 Nikkor 24-70/2.8 and Nikkor 70-300/4.5-5.6. In general, he thinks lenses with wider apertures are better at night so f2.8 etc. He also had a Canon EF 24mm f1 a few years ago which was brilliant for night captures. With these lenses, he says it is much easier to capture the right images with less noise.

“The exposure is correct in camera is key. Trying to drag details out of an under-exposed night shot just generates lots of noise”.

“The Nikkor 14-24 is superb – I use it all the time, and love it”.

Filters

Benn has used Graduated Neutral Density Filters over the years, although virtually never now. He still uses ND filters a lot, most often 3 stop & 10 stop, and a Circular Polariser.

Wildlife Photography Gear

Most of Benn’s bird images were taken with a Canon 1Ds and a EF 500/F4. However, he doesn’t own them anymore as he infrequently shoots images of birds or wildlife.

Gear Recommendations for Beginners

If you are just beginning in night photography with a tight budget, Benn recommends a second hand camera with BULB mode that you should be able to find for under $500. With a budget, comes limitations, however, and the photographer can learn to work around them. Without the greatest ISO, a photographer can work around it by shooting when there is a lot of moonlight and using a shorter exposure time. “I don’t think it is healthy to get too hung up on gear. A camera is a tool, every one has limitations, even the Nikon D3x. If you feel restricted by your gear, there are often ways to work around it with blending etc.”.

However, if you do not have a budget, Benn recommends Nikon D3s and a 14-24/2.8, timer cable release, sturdy tripod and a Really Right Stuff Ballhead, though none of these should be ridiculously expensive in terms of photography gear.

Necessary Outing Accessories

When going out for long shoots at night in extreme locations, it is necessary for Benn to bring the appropriate equipment to stay warm and safe. He covers this extensively in his eBook where he makes a nice list of everything needed. Outside of the necessary camera gear, he writes how important it is to bring a good flashlight, a backup flashlight, a mobile phone, warm clothes, food, and a hot drink. In his words, “No shot is worth dying for”.

“Even in the desert it can get damned cold at night. Survival and safety are vitally important”.

Nikon D3x - Nikkor 14-24/F2.8 - This shot is based on 2 images blended manually about an hour after sunset.

Alister Benn, a master of night photography, uses a variety of techniques, gear, and innovation to create beautiful images. He is well known for his blending techniques as well as his incredible use of color in his images. In the following post, Benn shares his post-processing techniques.

Night Photography Post Processing Software and Editing Technique

Once Benn has captured an extensive amount of images, he is ready to post-process them as the final step in producing his art. He recommends using either Lightroom 3 or Photoshop CS5 to do this.

He tries to treat his images as individuals and recommends doing this so as to not trap yourself into a standardized work flow. Of beginning the editing process, he says,

“I don’t have a one-click 5 minute fix. This year I forced myself to slow down and start to really look at my images in a more critical and analytical way. Treating them as individuals, rather than being on an assembly line”.

Blending Software for Night Photography

According to Benn, the basis of any blending procedure, whether, at night, twilight or during the day is the same.

“You take multiple exposures of the scene and combine them to create a rendition of the scene that satisfies your creative interpretation of the original experience”.

Nikon D3x, Nikkor 14-24/2.8 -- 90 images @ 30 seconds, Big moon, near full. One or two frames before full dark.

He uses Software like Photomatix, LR Enfuse or Nik HDR Soft. These are great tools, he says, but feels that the best way to make sure images are manually blended well is through Photoshop.

Blending Technique for Night Photographers

Blending is a complex task and sometimes a simple Gradient on a Mask between two layers will be adequate, like a digital Graduated Neutral Density Filter, but often, more complex masks are required.

Nikon D3x 14-24/2.8 37 x 3 minute exposures, plus 2 images after sunset and before darkness. Minimal light painting. 5 hours in the cave. nearly full moon.

Benn recommends researching Tony Kuyper, a photographer that helped develop a series of techniques to use Luminosity Masks to blend images as well as his friend Sean Bagshaw who is also a proponent of these techniques and has an excellent series of video tutorials available. Information on Tony and Sean can be found at the websites below.

Tony:

http://goodlight.us/writing/tutorials.html

Sean:

http://www.outdoorexposurephoto.com/index.php?option=com_content&view=category&layout=blog&id=15&Itemid=59

Benn will be developing his own series of processing educational material this winter for the release of The Complete Guide to Landscape Photography at Night, which he will be releasing in 2012.

“When it comes to manually blending images, it boils down to the amount of time you are prepared to invest in an image.”

For a more detailed description of Benn’s post-processing technique, be sure to download his eBook at availablelightimages.com and keep an eye out for his next eBook to be published in 2012.

Nikon D3x Nikkor 14-24/ F2.8 @ 60 minutes - Single exposure

If capturing a vision from a dream, an unreal beauty, a surreal image, seems unthinkable, photographer Alister Benn has done the impossible. His photographs of landscapes, seascapes, and mountains exemplify the true, unimaginable beauty of nature that so many of us have forgotten exists. Inspired by nature since childhood, Benn launched himself into an amazing and astounding photography career.

How and why did you become involved in Night and Nature Photography?

Growing up in Scotland, surrounded by nature, Alister Benn fell in love with star gazing and the outdoors at a very young age. He went on to be be influenced by other factors and credits much inspiration to other photographers.

“Early on, Galen Rowell heavily influenced me; his writing, sense of adventure, and his articulate passion appealed to me, as of course did his dramatic and powerful images. I also studied the work of Phil Douglis, an expressive travel photographer, based out of Arizona. He’s well into his 80’s now, and he came to visit us in China in 2005. His techniques and thoughts on motive and expression have had a lasting impression on me”, says Benn.

With so much inspiration and a pull towards photography, he left his previous career and began to teach himself this new art.

“I am completely self-taught – I worked out a lot of things myself, and of course, the Internet is a hugely valuable resource of learning material too”. Benn also learns quite a bit from observing other photographs and photographers, “I have some really amazing photographers as friends, so we do shoot together and tend to learn from each other as we do so”.

What achievements have you made within your career in Nature and Night Photography?

Besides the most important achievement of producing incredibly beautiful images, Alister Benn has additionally been quite successful in his career. Much of his work has been published though publishing is not his main goal.

Anna's Hummingbird - Canon 1Ds EF 500/ F4 with Fill flash

“A lot of my bird images from China were used in various birding magazines around the world, and quite a few ended up in books”.

Besides this, he has compiled a generous and helpful eBook that can be downloaded at http://harvestinglight.net/introduction-to-night-photography/

In the future, he hopes to begin offering workshops in wild places by 2013.

Your Night Photography eBook has an incredible download rate of more than 2000 times. Can you elaborate on this book?

“Firstly, thanks for the compliment – The eBook is flying off the website, I am both surprised and delighted by that. I wrote the first draft back in Feb 2010, and it floated around the web in various forms since then. Recently, I wanted to produce my first eBook and thought initially of just re-formatting that original article and releasing that. But I wasn’t happy with it as a learning tool – it was very dense and not so clear in its sections so over a few days, I simply re-wrote it”.

Benn’s eBook gives a detailed overview of how to overcome the fear of shooting night time photographs, what settings, cameras, and techniques to use. With such success, he has plans of publishing another book.

“There are going to be more, but this will be a commercial product. I am compiling the most detailed and significant guide to Night Landscape Photography, and that will be released at some stage in 2012. It will be more than an eBook for sure, because in it, I cover processing, and I don’t believe writing is the best way to learn that side of things”.

Can you give a brief overview of Night Photography techniques and low light photography gear you use?

Essential to producing such beautiful images, is the time of day which Benn shoots.

“Twilight is a good time to shoot and many call it Blue Hour. As the sun sets, we see less, but the camera can pick up a lot of light scattered by the atmosphere. Depending on where you are and the season, this twilight can last from half an hour to many hours, like when you’re up north in the summer. As the sun has set, I still call this night photography. Obviously, the more dark it gets the more stars can be seen. This is a great time for blended exposures. Taking images before it is dark and adding them later to images taken of stars after dark”.

Once Benn has shot the images he wants to play with, he works them all in Lightroom 3 and Photoshop CS5.

“ I don’t really use many filters, but I do use actions, especially those by Tony Kuyper. But, that again, is a whole book in itself”. In his eBook he elaborates on his technique and equipment, Chances are if you own a DSLR you already have 90% of the tools required to take brilliant night images”.

However, he also mentions that a good lens and tripod are necessary. “Wider Aperture lenses like f2.8 and wider are best, but f4-f5.6 lenses are fine too,” and for tripods he says a very sturdy one is necessary as it can often be quite windy during exposures of 30 seconds through to 2-3 hours.

His bird images require slightly different equipment. “Most of the bird images in my portfolio were taken with a Canon 1Ds and a 500/4,” however as he does not have the time he no longer owns these cameras or photographs birds very often.

What is the path one should follow to become a professional night photographer?

Though Benn thinks photography is an excellent discipline that adds a lot of discipline to one’s life, he does not recommend it as a profession.

“Honestly, there are very few people out there who make a living from full time Night Photography. If you live in California, you could get by on running workshops all the time and writing, but that market is already quite saturated”.

“In terms of getting good at it, that is the same as most aspects of photography, most of it is technique that can be learned. Attention to detail, being very self critical in terms of what you consider to be acceptably sharp, or an acceptable level of noise. And finally, composition is still king. A great comp by daylight or night light will be more appealing than some random scene thrown together without thought”.

As a professional Night Photographer, how do you continue to grow?

Though he seems a master at his trade, Alister Benn continues to grow as a photographer. “The most important factor in growth as a photographer is having the guts to harshly critique your own work. Too many forums exist where all you get is “great shot” and it is of limited value. Ego stroking does not make you a better photographer, and if anything, can actually hold you back.

“When I am in the field I am asking myself: Why am I taking this photograph? And when it is finished after processing, I try to objectively decide if it has answered that question to my own satisfaction”.

Do you have any goals for your future as a photographer?

“I’d love to shoot wildlife at night, and yes, I have some plans to do that. It’s on my bucket list.”

Lighting and digital cameras used and recommended by professional fashion & nude photographer Tony Ryan

Blessed with a natural ability to see beauty and the talent to capture it, Australian photographer Tony Ryan set out in 1989 to take on a career he had always dreamed of. Beginning as a model, Ryan was immersed into the world of photography and decided to take on this new passion, becoming an entirely self-sufficient nude and fashion photographer by 1995. He is best known for specializing in the curves of the body and is able to capture authenticity and beauty in his photos with complete class. Though, the ability to produce such lovely images is greatly due to practice, talent, observation, and inspiration, Tony Ryan suggests gear that can make the process easier and more pleasurable.

Ryan’s Equipment:

Influenced by photographers he worked with in the past, Tony Ryan has always been a Nikon user. His go-to camera is a Nikon D200 with an 80-200 mm lens though he also likes to experiment with an old Hassleblad. With his Nikon, he usually shoots on full zoom in order to create an effect with a blurred background. He also sometimes uses a 20 mm zoom lens to create a more abstract effect.

To capture beautiful curves, lighting is an extremely important feature for Ryan in his photography. To achieve the light he wants, Ryan first and foremost uses abundant natural light in his studio. This light is filtered with early 1900 factory glass, producing a unique and stunning effect. In addition to this, he uses four Mole Richardson 2k tungsten heads as well as two flash heads.

Ryan’s Recommendations:

Ryan is a big believer that the quality of a photo lies more in the eye of the photographer rather than the equipment used. Regardless, he still has some recommendations for basic equipment to capture photos similar in style to his. First off, a reliable camera is most crucial and he suggests something anywhere in the $2-3k range. As important as a good camera, is good lighting and for this he recommends the same equipment he uses himself. Mole Richardson headlamps work effectively indoors and he recommends equipment as simple as a large beach umbrella to diffuse outdoor light.

“My favorite light for nudes is to have the lights from behind the model at anywhere between 15 and 90%. This gives really heavy contrast and great impact.”

Ryan also recommends buying equipment second hand to save money as well as always keeping an eye out at thrift shops for old used props. Overall though, he believes just the basic equipment is sufficient and isn’t a big advocate of over the top spending on sophisticated gear.

Ideal Set of Equipment:

The items essential to Ryan’s photography are his camera, Photoshop, his tungsten lights as well as his studio. Besides these, he imagines that a larger format camera with a bigger and brighter viewing screen would benefit him greatly as well as more reflectors, scrims, and a generator to power outdoor lights. Though very “low-maintenance” in his need for equipment, when posed with the question of a “blank check”, Ryan still had some idea of gear that could greatly benefit his work.

“I suppose I would search for a tripod and head combination that gave me as much freedom as possible. I may also look to purchase a big and mobile set up to filter harsh sunlight. Then perhaps, I would look at a new digital camera.”

In general, in order to follow in the footsteps of photographer Tony Ryan, a good camera and sufficient lighting is key. With the basic equipment, the talent, and an eye for beauty, even the newest of photographers will begin to experience success in the field of nude and fashion photography.

Alister Ben

Remember your childhood imagination creating magical worlds, what you pictured heaven to look like, and the delightful places you dreamt of when you slept. Remember when you stopped believing in these dreamlike scenes and then look at Alister Benn’s photographs. You will surely question why you ever stopped believing in these places.

Alister Benn, professional photographer since 2003, has an incredible ability to produce the most indescribably beautiful photographs. Known as a photographer of night scenes and light, he grew up in Scotland with a keen sense of adventure, spending many nights under the stars where he developed passions that would never escape him.

Though it is hard to imagine, Benn has not been a photographer his entire life. At university, he studied astronomy and astrophysics, inspired by his childhood star gazing, and later went on to pursue a career in International Finance, which lead him to South East Asia and China. In China, Benn met his wife Juanli and they inspired each other to begin photographing while traveling in the Malaysian rain-forests. In 2009, the couple settled in the Chinese province of Yunnan, founded their project Available Light Images, and became quite serious about photography. After a few years, the couple needed a change, sold their belongings, and moved to Asturias in Spain where they could capture images of the beautiful juxtaposition of rugged coast and mountains.

An outstanding night escape shot by Alister Benn. For details read our technical interview with Alister Benn.

Entirely self taught, Alister Benn became professional by 2003 due to research, inspiration from other photographers, and practice, practice, practice. He now produces incredibly unique photographs of the sea, mountains, wildlife, and night time images that he captures with a variety of techniques that will be explained in detail in a future technique article. Benn uses a NikonD3x as he feels it is superb at capturing detail along with AF-S NIKKOR 14-24mm f/2.8G ED, AF-S NIKKOR 24-70mm f/2.8G ED and AF-S VR Zoom-NIKKOR 70-300mm f/4.5-5.6G IF-ED lenses for night time photography. His post processing is all done in Lightroom 3 as well as Adobe PhotoShop CS5.

With exciting goals of producing future eBooks to guide new photographers, of potentially doing night time wildlife photography, and of moving to Thailand, Benn has no plans of slowing down his career. His images inspire the viewer to remember a world they could only imagine as children to realize that world does, in fact, exist. Benn’s photographs are truly something entirely unique and compositionally exquisite.

Keep an eye out for future gear, technique, and interview articles about Alister Benn.