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Is your new year starting with fireworks? Photograph them!
 
If you've photographed fireworks long/frequently enough to be bored with the results, it is time to get creative.
 
Visiting the local annual fireworks show is a tradition for our family. With years of the normal motion-blurred fireworks images already on the drives, creating unique imagery has become more challenging. To create uniqueness this year, I used the fireworks focus blur strategy for practically the entire show. At least for me, this strategy results in a very low keeper rate. But, having a few of these images that worked out well was worth more to me than having 75 or 100 that looked the same as those captured in previous years.
 
Let's go over the gear selection for this shot/shoot. A fast frame rate was of no importance and high resolution, sharp imagery was. Thus, the Canon EOS 5Ds R was the perfect choice. The approximate focal length range needed was known and any the 24-something normal zoom lenses would comfortably cover it. I opted for the Canon EF 24-105mm f/4L IS II USM Lens over the Canon EF 24-70mm f/2.8L II USM Lens because a wide aperture was of no importance and ... I had fewer sample images from the newer 24-105mm lens.
 
A solid tripod was needed, but with over 1 mile of round trip walking required for this shooting location, it could not be heavy. The Really Right Stuff TVC-34 Carbon Fiber Tripod was a perfect choice. A capability-matching tripod head was of course needed. The shooting was going to be 100% in the dark and I wanted all images to be completely level despite the usually-requiring re-framing when the first rockets launch. The UniqBall UBH 45X Ball Head, with its unique capabilities, was the perfect choice. Once the head was leveled, pan and tilt could be adjusted without levelness being changed.
 
Fireworks are usually launched in the dark and many of us immediately think that large apertures and high ISO settings will therefore be needed. But, that is not the case. Fireworks are so bright that the opposite problem is often encountered. In order to avoid the softening effects of diffraction at the tiny aperture opening required for an ideal fireworks burst exposure, a 2-stop neutral density filter was used. As the f/10 aperture used for this image is still slightly narrower than the aperture where diffraction becomes slightly noticeable, a 3-stop ND would have been a slightly better choice.
 
Getting the entire fireworks burst in a single image requires a long exposure. The tripod ensures that the camera is stationary during that exposure (avoiding wavy fireworks trails), but the shutter must be opened without causing camera motion. Because timing of the start and finish of the exposure is critical for fireworks photography, a remote release is a requirement.
 
Fireworks are in fast motion. Thus, their brightness in the image is determined by aperture and ISO. The shutter speed controls how long the rocket and resulting explosion is captured. Since the ideal time duration varies, Bulb mode is the ideal choice. With Bulb mode selected, the release button is pressed, held and released to time with the launches.
 
Fireworks bursts vary greatly in size. In general, it is better to frame slightly too wide than than slightly too tight. It is easier to crop than it is to build missing light trails. My choice is often to let the largest burst go out of the frame, but keep 90 percent of the explosions entirely framed in black.
 
A fireworks image seemed fitting to lead a Happy New Year well-wishing post and that wish is what I most want to pass along here. Thanks for a great 2018 and Happy New Year 2019!
 
A larger version of this image is available on Flickr.

The titles "How to Turn Water into Gold" and "On Golden Pond" seemed also appropriate for this image. Regardless, gold was the theme here.
 
During my stay at Red River Camps in northern Maine this past summer, a pair of loons were raising their chicks on Island Pond. Especially unusual was that the chicks were very small for the mid-August timeframe. The loon's first nest had been attacked by a predator and the adult pair started over. With winter arriving early here, there was concern that the chicks would not be able to fly in time for migration and biologists were monitoring their progress. But, having small chicks available was a bonus from a photography perspective.
 
Hanging with these loons required a watercraft and a small canoe was my best option. A light wind made keeping the canoe properly positioned a big challenge and probably more time was spent paddling than photographing. The sun was setting and maintaining a position between the sun and the loons was the goal.
 
The adults were constantly diving for food and moving around the lake while doing so, but fortunately, they were in the area of the lake receiving the latest direct light when the sun went behind the trees. The color difference between shade light and a late day sun light is dramatic with shade light typically being very cool and direct setting sun light being very warm. As the sun went down, the water became shaded before the shoreline and shaded water usually shows reflections very well.
 
The photograph shared here was only lightly processed. The primary edit was selecting a custom white balance point using a patch of the adult loon's solid white feathers as the basis. Those feathers were in the shade and the result was a color temperature setting of 10500 K being established. At this setting, the reflected sunlit background becomes very golden and a slight saturation increase (+18 on a -100 to 100 scale in Lightroom) finishes off the liquid gold.
 
Be looking for opportunities to use the light color mismatch of sun and shade to your creative advantage when out photographing. The subject in the shade, background in the sun option as shared here often works well, but the opposite can also work, creating a blue-toned background with a properly white-balanced subject.
 
For those with Nikon-based kits, the Nikon 200-500mm f/5.6E AF-S VR Lens is a great option for handheld wildlife photography. The D850 is my current Nikon camera of choice for this purpose.
 
A larger version of this image is available on Flickr.

A fresh snowfall leaving a blanket of white was calling me outdoors this morning. The snow has just subsided and the wind was arriving, promising to clear the snow from the tree branches, so time was of the essence. With the M50 and EF-M 18-150 mounted, I had an ideal combination in my hands.
 
The snow was beautiful and covering everything, but a good composition was not obvious. Finding order within chaos is frequently what landscape photography is about and that was the challenge I faced. Finding the order within chaos often means isolating a portion of the scene. The huge focal length range made available by the EF-M 18-150 was ideal for this task.
 
Exploring the scene through the viewfinder, this section of a pair of hickory trees caught my attention. The contrast between the trunks and branches and the snow and background fog was strong. As much as possible, I avoided having the larger branches leave the frame, hoping to use the large trunks as leading lines, but without branch lines leading viewers' eyes out of the picture. The distant trees visible at the bottom of the frame provide a small hint to what lies beyond otherwise hindered by fog visibility. The overall balance in the frame is always important and this composition seemed to check that box.
 
Good composition is often easiest to determine while reviewing images and this one was my favorite from this short session.
 
Check out our Winter Photography Tips page for more ideas on how to spend you winter.
 
A larger version of this image is available on Flickr.