I have recently been having real difficulties with getting really sharp images with my 500mm f4 lens. I have tried different camera bodies and re-calibrated the lens using Lens align with Focaltune software, with each of them, both with and without the TC-14 teleconverter I regularly use, with no real sense of the problem.
Then I spent a couple of hours on Cherry Beach shooting shorebirds, both foraging along the tide line and birds in flight at varying distances. On examining the images in Photomechanic the light suddenly went on! All the images shot at closer distances were sharp, most of those beyond about 40 feet were decidedly not, yet occasionally even an image further out would be sharp as a pin.
Obviously the issue was not with the camera bodies but decidedly funky behaviour form the lens, so it’s on it’s way to Nikon service in Toronto.
This left me with a problem as I have been waiting several days watching a nearby Osprey nest as the youngsters were obviously very close to taking their first flights. Not wanting to miss out on the opportunity yesterday I grabbed the 200-400mm f4 zoom with the 1.4 converter and hoped that I would have enough reach if there was any action.
Sure enough almost as soon as I arrived I could see the two youngsters were testing their flight skills, launching themselves a few feet above the nest and hovering on outstretched wings before landing neatly back on the nest. By adding the TC-14 converter, zooming in to the 400mm setting I was able to get a focal length of 560mm and by stopping down to f8 to give me a little more depth of field and sharpness came away with a good set of usable images.
As many will know my wife and I have spent the last 20 months living in Mexico but, for a variety of reasons, have now returned to Canada. I am now based in Nova Scotia and will be concentrating on the local wildlife scene and also getting back to running a series of workshops and field trips, more on that to follow soon.
Although currently in temporary accommodation on the North shore of Nova Scotia near Annapolis Royal, I am beginning to get out and doing a bit of shooting. Regular posts will once again start appearing on Instagram @peterllewellynphoto and you can also keep up to date with more images by regularly checking the Latest images gallery.
At the end of the May I will be moving to my new home on the South shore of Nova Scotia where there is a wealth of wildlife and nature opportunities, along with some amazing scenery, and UNESCO world heritage sites.
Last night I spent several hours photographing the 2019 super blood wolf moon. I was lucky to have perfectly clear skies and a warm evening to shoot this amazing phenomenon.
Your camera needs to be locked down on a very sturdy tripod and head as the slightest shake will result in a blurred image due to the huge distance you are shooting over – Some 238,900 miles! Either lock up the mirror on your camera and use the self timer, or use an electronic cable release, or even both.
I started with the full moon around 9.30 pm. Focus on the moon, take a couple of shots to check your focus is spot on and then turn autofocus off , you don’t want the camera to be trying to re-focus for each shot.
Shooting a full moon in a black sky can often completely fool your cameras meter into overexposing the image rendering the moon as a bright white blob in the sky. You can get away with surprisingly high shutter speeds. I start with a test exposure of 1/100th @ f8, ISO 400 – and after a couple of tests just upped the ISO to 500 and felt I was spot on. I set this manually on the camera.
I continued to shoot an image every 10 minutes each time checking my exposure. As the moon moved into the earth’s shadow it darkened, meaning I had to continually adjust the manual exposure set on the camera. First I lengthened the shutter speed, then opened the aperture, and finally as the moon moved into the red phase I also upped the ISO.
I didn’t worry too much about exactly where the moon was in my frame as my intention was to crop each image to make the sequence shot found at the end of this post.
The image below was shot at 1/320 sec. @ f8 at ISO 800
As the eclipse begins to turn into the blood moon I need to continue to increase my exposure. For the next image I am at 0.2 sec, f8 ISO 1600
Finally for the full blood moon my exposure has become 1/4 sec, f 4.5 ISO 2500
All images were shot with a Nikon 500mm f4 lens on a Gitzo tripod and Arca Swiss ball head.
Finally, for a bit of fun, here is a full sequence of 20 images stitched together in Photoshop representing a time frame of three hours
People regularly ask me what is my favourite lens, and what lens do I use for this or that subject? The answer may not be a simple one. While the ‘best’ lens for a close-up or macro photo would undoubtedly be my Nikon AF-S VR Micro-Nikkor 105mm f2.8. Yet, it’s entirely the wrong lens if it’s sitting at home in the equipment cupboard when I suddenly come across a macro-type subject.
This is precisely what happened a couple of days ago when I went for a hike up in the Sierra de San Juan Cosala above my home in Jalisco Mexico. At this time of year the region is beginning to see the return of the migratory bird species. So there I am, out with my 500mm AF-S ED VR f4, a tripod, and a couple of converters in my pocket and not much else .
Setting up to photograph an Ash-throated Flycatcher I was standing in some small acacia trees when I noticed a large bug at the top of the bush that I had never seen before. So suddenly the ‘best’ lens to get a shot turned out to be the only lens I had with me.
Nikon D4s, 500mm AF-S ED VR f4 +TC-14 converter, (effective 700mm), 1/1000th at f8 ISO 800
Solving the problem
The minimum focussing distance of this lens is 4m not ideal for the subject but, what many don’t realize is, that by adding a converter you will increase the size of the subject (by the magnification factor of the converter) but the minimum focussing distance does not alter. You do however suffer a bit of light loss, 1 full stop with the TC-14 and 1 and a third with the TC-17. In this case I added the TC-17, increasing the focal length of the 500mm to 850mm. This gave me a plenty of a large enough view of the bugs which were around 1.5in in length.
Nikon D4s, 500mm AF-S ED VR f4 +TC-17 converter, (effective 850mm), 1/500th at f8 ISO 800
Isubsequently found a pair of the bugs, which I identified later as Giant Mesquite Bugs mating at the top of another acacia bush.
Nikon D4s, 500mm AF-S ED VR f4 +TC-17 converter, (effective 850mm), 1/500th at f8 ISO 800
I would have also been well served to have had a set of extension tubes with me which would have allowed me to substantially decrease the minimum focussing distance but they too were in the equipment cupboard.
So – the lesson is the best lens for a shot is the one you have with you, just find a way to make it work.
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A couple of nights ago I was treated to a huge electrical storm over Lake Chapala, Mexico. No rain, no thunder, just lightning. This went on for well over an hour presenting a great opportunity to capture some dramatic lightning images.
First however, a word of warning, if you are venturing out to shoot lightning pictures remember that lightning is dangerous. Stay inside a building or vehicle and definitely stay away from tall trees, water, and any other tall object that can act as a conductor. All the images in this article were taken from the covered deck of my home, around 600′ above the lake.
To successfully shoot lightning images you need a camera that can be set to manual exposure, and a sturdy tripod and preferably a cable release. You are going to be using long shutter speeds so it is essential that there is no movement whatsoever of the camera. Lens choice will depend on the location of the storm but generally wider angle lenses will work best.
Nikon D3s, 24-70mm f2.8 lens @ 35mm, 10 sec at f8 set manually, Gitzo carbon fibre tripod with Arca Swiss ball head
Set up your camera and lens on the tripod and focus manually to infinity. It’s best to turn autofocus off so the lens does not hunt for a focus point in the dark. . You need to include some foreground elements to add interest and in the shot above I am fortunate to have the village of San Juan Cosala with it’s lights. This did however present a slightly tricky lighting balance as too long an exposure would simply blow out the lights of the village into one big glare.
You need to experiment with your exposures – the shutter needs to be open long enough to capture one of more bolts of lightning. Take lots of shots, some will work and some won’t and it is, to a great extent a matter of luck. Vary your exposures until you find one that works. Review images on the LCD screen as lightning varies tremendously in the level of brightness.
It is also, to some extent, possible to anticipate the next bolts of lightning as there are often fairly regular intervals between strikes. But, your shutter must already be open when lightning occurs, if you try and take the image as you see the lightning you will be too late.
Nikon D3s, 24-70mm f2.8 lens @ 48 mm, 3 sec at f2.8 set manually, ISO 200. Gitzo carbon fibre tripod with Arca Swiss ball head. This image shows both cloud to cloud lightning and bolt lightning
Long exposures inevitably mean an increase in the noise in the image file. My Nikon camera have built-in processing for long exposure noise reduction. This captures a ‘dark frame’ using the same exposure as the original image immediately after the original is captures. The camera software then uses this dark frame to find and remove ‘hot pixels from the original. Very technical, but it works. If you have it turn it on! The downside is that if for example you are shooting a 30 second exposure the processing takes another 30 seconds during which you cannot take another image.
I moved into my new house in San Juan Cosalá on the shore of Lake Chapala back in February of this year and, until a few days ago, we had not seen a single drop of rain. However, we do have the harbingers of the rainy season, the so called ‘rainbirds’ which traditionally begin singing six weeks before the first rains fall.
Not birds at all the Rainbirds are in fact a species of cicada, or chicharra, living underground for the majority of the year only emerging to begin their song. Actually only the males produce the noise and not, as is popularly believed, by rubbing their legs or wings together! They actually have a special organ, called the tymbal, that produces the noise. The noise level, actually a mating call, is incredible, recorded at up to 120decibels, and if one were to have one of these insects up against the ear canal would be quite capable of damaging the ear drum.
Once the rains start the insects mate, lay their eggs in the soil and the adults die and that’s it for another year.
Nikon D3s, Nikon 24-70mm lens at 70mm, 1/250th @ f18, ISO 800, one flash at 45° on each side and a third flash lighting the background
The above specimen was ‘singing’ out on my deck so took the opportunity to transfer it to my light tent for a quick portrait shot. The light tent is great for this sort of subject producing nice even light and isolating the subject.
And, over the last two days the rains have started to fall – right on time with forecasts of rain pretty much every night and thunderstorms over the next weeks. Yes, it really does, in general, only rain in this region at night!
I returned a couple of weeks ago from the 5th Asian Indoor and Martial Arts Games in Ashgabat, Turkmenistan where I worked as Photo Manager for the Equestrian Events and as part of the Official Photographer team for other sports. An ‘interesting’ experience for sure as I got to photograph a few sports that I had never seen before, even after 35 years+ as a sports photographer. In fact, when I found out I was going to the Games I actually had to look up several of the martial arts as I had never actually heard of them.
After an incredibly long journey of almost 40 hours I arrived in Ashgabat – pity my baggage did not also arrive! (It would be three days before it was found at JFK and another day before it arrived in Ashgabat). Fortunately my essential photo equipment was all carried as hand baggage. The first thing one notices on arrival, apart from the heat, is the incredible whiteness of the city. Ashgabat was entirely destroyed in an earthquake in 1948, one of the most powerful ever recorded, with reports varying between 110,000 and 176,000 deaths. This resulted in a rebuilding programme that has seen every single building clad in white marble. More marble here than any other city on earth. What is remarkable is that this tragic event was not reported to the world until after Turkmenistan gained independence from the USSR in 1991.
The sports facilities constructed in the centre of Ashgabat are truly remarkable – worthy of any world class event, and again completely clad in white marble. Spent the first few days getting to know my way around before the Games actually started.
Opening ceremonies were of the highest order featuring a wide range of Turkmen culture and ending in a spectacular firework display.
Unfortunately the following day I came down with a bad bout of ‘Turkman Tummy’, a condition shared at some point with just about every person working at the games, and which, unfortunately lasted to some degree throughout the two weeks of competitions and even after I got home.
However, I continued to be able to work and covered a range of interesting competitions, including weightlifting, belt wrestling, kick boxing, sambo and even snooker.
The final day allowed myself and a colleague to venture out with the aid of a local taxi driver (read Government minder) to see some of the local colour and architecture. One must be extremely careful photographing in this country, no images with police or military personnel, and great care when photographing certain monuments – if in doubt ask and if told no accept this without question.
A little background
Turkmenistan is bordered by Kazakhstan, Uzbekistan, Afghanistan and Iran, very much a desert country mostly dominated by the Karakum Desert. It is certainly subject to an authoritarian regime, ruled closely by current president Gurbanguly Berdimuhamedow (a self avowed sports fanatic), who’s photo appears in just about every room of every building, bus, taxi, and sports facility. I’s an Islamic state, although fairly moderate, and was once an important stop on the silk road. It declared itself a state of permanent neutrality in 1995, a state recognized by the UN.
Recently while covering the World Junior Taekwondo Championships I was approached by someone asking what my ‘camera settings’ were. I quickly rattled off what I was using “1/1250sec, f2.8. at 4000ISO set manually”. The gentleman replied I must be using old lenses as he did not need to set his ISO nearly this high as all his lenses had ‘stabilization’ so he could shoot at much lower settings and get higher quality pictures, 2-3 stops lower and still handhold “no problem at all” so he was only using 640 ISO.
Now, I am always happy to engage in discussions about photo technique and equipment, just not in the middle of an important competition where I am working, so told this person I needed to concentrate on what I was doing but would be happy to chat if I had the time after competition had finished. Unfortunately I never saw him again so was unable to point out the errors in his thinking.
First would have been – why was I choosing to use 4000 ISO. Of course, had I thought it prudent I would have loved to use a lower setting. The choice of 4000 ISO was to give me a shutter speed high enough to freeze the action when the athletes engaged in their fast kicking movements. This required a minimum shutter speed of 1/1000sec. If I had lowered my ISO to the same 640 that this person was using and assuming I still wanted to make a correct exposure at f2.8 (the maximum aperture of the lens I was using) my shutter speed would have dropped to around 1/250th sec – not nearly fast enough to freeze the action.
Nikon D4s, AF-S 70-200 f2.8G ED VRII lens, 1/1000 @f2.8 6400ISO – This was on an outer mat where the light was even worse than the main mat hence 6400ISO
Now comes the misconception that I have heard many times since Nikon and Canon brought out their stabilized lenses – I can shoot at much lower shutter speeds and still freeze the image. NOT SO!! What VR (Nikon’s Vibration Reduction) and IS (Canon’s Image Stabilization) actually allow you to do is to avoid camera shake at slow shutter speeds – this has nothing to do with freezing the action.
If you need 1/1000th sec shutter speed to freeze the action and have no movement blur you need 1/1000 sec, period. No amount of vibration reduction or image stabilization will affect this in any way.
By the way – pretty much every lens I own has VR, including the Nikon AF-S 70-200 f2.8G ED VRII lens I was using that day. And the VR was turned OFF. I find my images are actually sharper with it turned off when using fast shutter speeds. I only ever turn VR on if hand holding at slow shutter speeds (who said better to get a decent tripod?) or if I am working from a moving platform such as a boat, helicopter or vehicle.
Since being back in British Columbia we have had our hummingbird feeders out and have seen more of these mini wonders than in any previous year. We have been filling the feeders every day and if we are a little late the birds soon mob us as soon as we go outside and let us know.
One feeder is situated on our upstairs deck, overlooking the garden and this is jealously guarded by one male Rudous Hummingbird who sits nearby waiting for intruders. As soon as another hummer appears anywhere near the feeder he rockets across the garden and there ensues a round of astonishing aerial combat – this is ‘Atilla the Hum’ who terrorises the rest of the hummingbird flock. However as soon as he is otherwise engaged other birds will rapidly take the opportunity to visit the feeder.
Photographing hummingbirds can be a little challenging – their wings beat at some 60-70 times per second, and can fly at 25-30 mph in normal flight and attain 60 mph when they make their spectacular dives. Fortunately they are also able to hover virtually motionless when feeding and are the only bird that can fly backwards.
Even with today’s modern DSLR’s and their ability to shoot at shutter speeds of up to 1/8000th sec this will still not be fast enough to get those wings completely frozen. In addition to obtain these fast shutter speeds you will often need to dial up the iSO setting resulting in loss of image quality, and open up the lens to it’s maximum aperture resulting in limited depth of field. The answer is to use high speed flash to freeze the action.
My technique for high speed flash
There are number of ways to set up for high speed flash, but here is my method. (When I talk about high speed flash I am using regular camera speedlights, not studio strobes)
I set all my flashes to manual. Some photographers use TTL but I find that for this sort of work I prefer to have complete manual control. The main reason for this is that flash is providing 100% of the illumination for the photograph, therefore, once you have your camera and flash settings giving a correct exposure, you are not subject to any changing light conditions so you can be guaranteed that every exposure will be the same.
Flash duration is directly related to the output setting on the flash. The table below gives the power output and corresponding flash duration for settings with a Nikon SB910 Speedlight. Other Speedlights will be broadly similar including those by other manufacturers.
As you can see, when you dial down the power, the flash duration gets progressively shorter, and these durations are way faster than any camera shutter. So how to put this to good use.
I also set my camera to manual mode when using high speed flash. Again, once you have a correct exposure there is nothing to change and you need to gain complete control for this first stage.
You need to determine a base exposure – this is an exposure at which the camera will register no ambient light in the image. (To help with cutting out ambient light it is helpful if your subject area i.e. the feeder and background are in a shady area rather than full sun). Start by setting your camera to it’s lowest ISO setting, which will additionally give the best quality in your file and the fastest flash synchronization speed. (Nikon and Canon users should not use high speed flash settings as, to achieve these fast synchronization speeds, the flash emits multiple burst of light that will have a slightly stroboscopic effect and result in blurring of the wings – the very thing we are seeking to avoid). Turn off your flashes, focus on the feeder and take images adjusting your camera aperture until you get a completely black frame, i.e. no image registering at all. I generally find something in the order of ISO 200, Shutter speed 250th (my fastest sychronization speed) and an aperture of around f11 does the trick in a shady location.
With regard to lenses you need something that focusses relatively closely whilst allowing you to remain far enough form the feeder to not disturb the birds. Something in the 300mm to 400mm range is ideal. I pretty much always use my 200-400mm f4 for these shoots as it focusses right down to 2m (6.2′) allowing frame filling shots of these tiny birds.
Finally – use a tripod! You cannot possible hand hold a long lens, focus and frame the birds with any degree of accuracy.
Placement of the flashes
Note that I say flashes – you need more than one flash for a number of reasons. First, the output is going to be dialled right down so output is going to be low (although we are going to compensate by placing the flashes close to the subject area). Second we need to light from multiple directions to avoid shadows, and third we are going to need to light the background otherwise it will register as jet black (although this in itself can lead to interesting photographs).
Many articles will show setups with between five and seven flash heads but you can certainly get great photos with as few as three as I will demonstrate. (Note that because you are using fully manual settings you do not need thousands of dollars worth of camera brand flashes – a few cheaper models with manual settings will easily suffice such as those made by Vivitar and others).
Your flashes do need to be close to the subject area as your flash output is going to be low and will not have a lot of reach, around 12″ to 18″. To use a three light set up I place two of the flashes at around 45º with one set slightly higher than the other to give a balanced light, and a third above the background pointing straight down.
Most modern flashes also have a zoom setting. I set the two flashes in front of the subject to their maximum zoom settings to concentrate the throw of light and the background flash to 50mm to give a bit of spread over the background.
I generally start with an output setting of 1/32 or 1/64th, either of which will give an action freezing flash duration for a hummingbird wing. Take a photo, doesn’t have to have a bird in it, simple image of feeder or a flower head in the correct location will do just fine. Check the exposure on the camera and watch for flashing highlights and blown out area on your histogram. Adjust your camera aperture (never the shutter speed) until you have a spot on exposure.
You are going to need a method of firing the flashes. I use Pocket Wizard Radios along with some flashes set to fire using IR slave. You can also use a sych. cord to one flash and set others to fire using either built in optical slaves or cheap add on optical triggers. Check your manuals to see what works for you.
Feeder set up
To attract the birds it’s best to set up at a feeder station they have already been habituated too. Hummingbirds are remarkably tolerant, allowing you to be very close whilst they feed. When you start shooting don’t simply fire away every time a bird arrives at the feeding station. Give them a break once in a while and allow them to feed without the flashes popping of every time they get near. It is amazing at how quickly they will get used to the flashes and other ‘stuff’ you have placed near their feeder.
Start by placing the feeder to one side of the frame. Cover any feeder holes you don’t want them to visit. If your feeder has perches remove them as the hummingbirds will provide better subject material as they hover rather than sat on a plastic feeder.
Once the birds are habituated you can start changing things up. I usually start by placing suitable flowers close to the feeder which can give the illusion of the birds feeding on the flowers. (Make sure you only use flower heads that the hummingbirds would normally visit to avoid a false looking image). The ideal way to position your blooms is to use a Wimberley Plamp. (http://www.tripodhead.com/products/plamp-main.cfm) The next step is to remove the feeder completely and replace it with a suitable tubular shaped bloom. Grab a syringe (I have often been described as a photo junkie!) and some sugar water and ‘inject’ the flower bloom with sugar water. They may be confused for the few few visits but will soon latch on to the idea that the bloom is fill of nectar. Regularly re-fill the bloom to keep them coming.
Sit back and wait for the hummers to arrive and make great images.
Many years ago, long before we ever came to live in North America, my wife Jean and I were sitting in a restaurant in Houston Texas having a meal while en-route to cover another major sports event. A nearby TV was showing the baseball play-offs games and it was evident that tour waiter was more intent on the game than on serving us. To get his attention we decided that the best course of action was to engage him in a conversation about the game as frankly, we had no idea what was going on. There followed a series of questions around the rules of the game, distance from pitcher to batter, how far it was around the bases, how many players in a team which, if achieving little else, did get us our meal served.
Fast forward to 2014 and I found myself in Toronto working as the Photo Chief for the 2015 PanAm Games. So, I started to pick up some photo assignments, mostly for USA Today, covering major pro-sports event in and around the city. Inevitably, I therefore picked up my first assignment to shoot baseball, and quickly realized that little I had learned all those years ago had stayed with me.
My first ever game was Canada Day, July 1st 2014, a national holiday here in Canada.
I had tried to study other photographers photos, including the work f some famous baseball photographers including Brad Mangin and Robert Beck to try and figure out the shooting angles and chatted to friends here in Toronto to get the names of the teams leading photographers. So far all well and good!
I have always believed that a good sports photographer can go to any new sport and quickly figure out the best ways to shoot it, and found that baseball is easily learned – up to a point. Sure there are the photos of the pitcher throwing the ball, and the batter hitting the ball but much of the best action photos come from other plays, sliding to a base, fielders catching and I soon found that my lens was pointing one way while all the others were in an entirely different direction as they were anticipating plays – still a lot to learn. And one other thing, I realized that, although I thought my reflexes were pretty good, not one of my batting pictures had the ball in.
Nikon D3s, Nikon 200-400mm f4 lens at 250mm 1250th @f4, ISO 800, set manually, Gitzo carbon fibre monopod
Now, shooting for a major wire service like USA Today Sports Images means that you are constantly having to decide when it is a suitable break in play to race in to the photo area, select some images, caption them, transmit them and get back out again hoping you didn’t miss any major play. And thereby came the next problem. In most sports I was used to very simple captioning – i.e. Seve Ballesteros (ESP) putts on the 18th green to win the British open golf, or Rafael Nadal plays a forehand in round two at Wimbledon, and so, adopted the same principal for captioning my baseball photos. Big mistake!
Nikon D3, Nikon 200-400mm f4 lens at 360mm 1000th @f4, ISO 3200, set manually, Gitzo carbon fibre monopod
Phone starts ringing from the editors desk asking me what the play was – i.e. was that the RBI single from the pinch hitter in the 7th inning? Of course I had no idea what he was talking about, and what’s a pinch hitter anyway? Fortunately I had colleagues in the TO2015 office who were baseball fans, and the other photographers at the game soon started to educate me in the finer points of the game and before long my images started to improve, and the caption errors got less.
So, fast forward again to October 2015, and now having covered around 50 games I find that this is a game that has really grown on me and I look forward to covering each one. And what a season it has been for the Toronto Blue Jays, they are in the post-season play-offs for the first time since 1993, when they were World Series Champions. Unfortunately things are not looking so good, having just lost the first two games of the play-off series to the Texas Rangers, hopefully they will pull it back with two way wins so I can continue my new fond love affair with the game.
Oh, and every caption for the play-off games I have covered was absolutely perfect, mainly because we were hard-wiring (plugging an ethernet cable directly into the port on a Nikon D4s and transmitting straight from the camera to the picture editor) the camera to send images and all the post-processing work and captioning was done by the editor. Yes, baseball play-offs are a really big deal. USA Today Sports Images had three photographers at the games, one shooting from an elevated position, one from the photo pit near first base, and yours truly from the photo pit near third base. You cannot afford to miss a big play at this level.
How to improve your baseball photography
These principals apply whether you are shooting your son or daughter at Little League or getting your first opportunity at shooting a big league game.
Get close to the action – use a long lens and fill the frame as best you can. At least a 200mm even for those school diamonds. I rarely shoot with any less than a 300mm and often am right out to the 500 or 600mm if I want to get good facial expressions
Use a fast shutter speed to stop the action, especially if you are trying to get the ball in the picture. 1,000th second at an absolute minimum and even at that speed you will still probably get a slightly blurred ball. Remember, that with any modern DSLR you can push the limits by increasing the ISO setting. I often use the auto ISO setting on my Nikons where I can ensure that if the light drops to a level that would make the shutter speed less than 1,000th the ISO will automatically increase to compensate.
If you see the ball in the viewfinder it is probably not going to be in the picture you take, especially as you get to the bigger league games with faster pitchers and harder hitting batters. By the time your brain tells your finger to press the shutter, and the mechanics of the camera operate to open the shutter the ball is either in the catchers glove or sailing over the outfield. At MLB games I keep both eyes open and try to watch the ball leaving the pitchers hand, press the shutter and fire a sequence of two or three and you are likely to get the ball in the frame – with a bit of luck actually connecting with the bat
Anticipate the action – not all good action shots are pitchers or batters at the plate. Watch when players are on the bases, stolen bases or the batter diving to home plate make some of the greatest action shots. Concentrate, focus on the player and follow focus the action if your camera focusses fast enough or pre-focus on the point where you expect the action be if your camera is a little slow. Almost any modern DSLR will allow you to follow the action. However, even with he fastest cameras, make sure you have your focussing set up properly. My cameras allow 51 points of focus but for any sport where you are essentially focussing on a single player cut this number down in your menu settings and your success rate will improve dramatically. I always use 9 focus points on my Nikons for this type of sport.
If you have a favourite player (your son or daughter!) make sure you shoot from the right side of the field. A right handed pitcher should be shot from
third base, a leftie from first. A right handed batter, go to first and a leftie from third.
I hope you find the tips will help you improve your baseball photography.
UPDATE: Yesterday, 14th October, Toronto Blue Jays won the divisional championships. Take a look at the latest images gallery to see a small selection of some of my favourites or go to http://www.usatodaysportsimages.com to see the full selection