Tips For A Hawaii Wedding

When you want to get married in a stunning place like Hawaii, you will have to make sure that your planning is done well in advance. You’ll need to get everything organized from your side as well as in Hawaii. The best way to do this is to have a Hawaii wedding planner who can arrange the details from there.

Any destination wedding takes a lot of planning and Hawaiian weddings are no different. Simply getting everybody there on time is hard enough, but then you have the catering, the dress, the bridesmaids’ dresses and even the priest to get organized. And don’t forget the reception venue and the photographer and … miss out even one of these, and you will be left looking a bit embarrassed. Luckily the internet can help you.

Most people have no idea what is involved in getting married on an island so far away from the mainland. You have to organize the flowers, the venues for the ceremony and the reception – and if they aren’t the same, then you have the transportation between these to set up. In fact there are 101 things to get done at a time when you feel like just sitting down and crying. Most people don’t, of course, and just get on with it because they don’t have the time to think of themselves.

Now, when you get married you will need to have your dress and the bride’s maids dresses as well. These will probably have been made at home, so you’ll need to have them shipped to the venue. If you have thought really far ahead, you might have already chosen a dress in Hawaii when you were there to pick out the venue. Just remember that you might have lost weight during the time between then and now, so make sure you have a seamstress ready in case there are alternations needing to be done.

If you get your dresses made at home, then ship them over in carefully packed boxes sealed in plastic. They should also be steamed beforehand. Ensure they will arrive on time by shipping them well before the wedding. Mail them to someone you trust to hold them for you.

You can also plan Hawaii weddings easily using a hotel there. Most hotels in Hawaii have wedding planners and a wedding team specifically to help those coming in to get married from another place. They will sort out everything for you so you will simply arrive to a fabulous wedding set up.

Another thing you should consider is using a local photographer. They know the best areas and will be able to offer advice as to where you’ll want to do your photo sessions.

GreatHawaiiWeddings.com offers detailed information to a wedding in Hawaii. Find cheap Kauai wedding packages and Big Island wedding package deals.

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What Makes An exceptional ATV Trail?

There are numerous ATV trails throughout North America (and more are being charted every day), yet how must you determine if you’ve discovered a great one or not?  Below, we”ll examine a few of the aspects which are required to find while choosing where to take your trusty four-wheeled “baby” for your personal next pleasure cruise. Look for information on using the best Cheap ATV Winches .

Normally, if you”re an individual that’s familiar with four-wheeling, you”ll would like an ATV trail with a lot of size to it.  Otherwise, you can chance becoming bored to death if you simply travel in circles while in the same field.  ATV trails could be a small number of to hundreds of miles long; begin small and progressively build up your endurance.  If you”re a newbie, check with a more knowledgeable ATV operator that will show you the ropes; heading out alone is usually a dicey proposition and not encouraged.

You would like a good ATV trail which complements ones skill, or it will not be a great deal of fun.  Thus, if you”re a novice, don’t bother to launch your four-wheeling past time in a highly mountainous area and also one that needs a great deal of ATV riding knowledge.  Moreover, if you”re someone who has some sort of great deal of ATV operation skills, make sure you find a suitable trail or you”ll end up being beat by ennui an hour into the excursion.

One of the greatest aspects of ATV riding is always savoring the natural surroundings, so be certain that your next trail experience is one which includes many stunning views and / or which lets you soak in the sweetness of the region.  Try to remember that you do not have to be a photographer, an artist or a poet to be moved simply by a snaking stream or a radiant sunrise.

Lastly, just about the most important elements associated with the perfect ATV trail will be that it really is one you want to share together with buddies and other riders.  You are going to recognise you’ve located an incredible path when you can’t wait to get on your blog and start bragging about the recent excursion to some other four-wheeling adventurers.  In the end, when you have discovered something that’s very enjoyable, it is your decision to talk about the news with your friends all over the world.

Finding the right ATV accessories can make your riding experience so much better. Check out http://cheapatvwinches.com/ for more information on ATV’s and Cheap ATV winch.

Take Another Look at the Nikon D300

The less complex DX-format Nikon D300 is full with the up-to-the-minute technologies and Nikon’s famous ergonomics, placing a higher standard for trained shooters with limited funds. The Nikon D300 is a veritable ‘go-anywhere’ camera, offering immediate response, extraordinary performance and ease of use that will appeal to folks resolute about their camera work. The Nikon D300 is intended to provide photographs of the utmost quality as well as satisfy the needs of a ample multiplicity of photographic assignments.

The Nikon D300 can create photographs two times as quick: at 6 photos per second devoid of the optional battery grip, or at a swift 8 photos per second with it. Adding to its fast successive photo speed, the D300 encompasses an vanguard 51-point autofocus system which is made up of 15 highly-accurate cross-type sensors and 36 horizontal sensors. The autofocus system also powers the camera’s light meter so that it can truly trace subjects which are zipping by. Its swiftness and also more traits alone clearly render the D300 the paramount Nikon digital SLR camera.

The Nikon D300 single lens reflex prolongs Nikon’s long convention of robustness and hardiness armed with a magnesium alloy body along with dust and water resistant design. The robust strong covering is a happiness for the photographer. The ergonomics, viewfinder and operation are faultless.

If you are a prosumer eager for a little more operations from their cameras in comparison with what is awarded by the valid consumer models and are willing to fork out a little more, this is the camera for you.

The Nikon D300 can be used together with the ultra wide-angle Nikon AF-S NIKKOR 14-24mm f/2.8G ED zoom lens or slimline Nikon AF-S NIKKOR 24-70mm f/2.8G ED zoom lens. These 2 innovative lenses are built to fully maximise the capabilities of Nikon’s array of cameras.

Help and Information for Big Cat Photography Part One

Introduction

The aim of this guide is to give you some top tips for getting great pictures. Big cats have a personality all of their own and each breed is quite different. This will affect how you photograph each species of cat. For instance some are quick and move rapidly, others will sit and take a more leisurely approach. This guide is set out into sections so you can dip into the bits most relevant to you.

So what do we mean by Big Cats, lets begin with the rarest cats in the world, The Russian Amur Leopard, around 150 in captivity and only 30 in the wild, then we have the Snow Leopard, now only found in the inaccessible mountains in Pakistan. On the Tiger front you have the Sumatran Tiger, then the Amur Tiger as it now know but better known as the Siberian Tiger. Then there are Lynx, Lion, Cheetah, Serval and Puma also known as the Mountain Lion or Cougar – they are all the same cat.

First of all don’t be fooled into thinking that you need a top of the range film or digital SLR camera and lenses to get great pictures. You don’t. Both compact and the intermediate bridge cameras are more than adequate of capturing great images. Many people that have come on Big Cat Photo Experience Day have started with a compact camera and found that they can get great images. They have returned and some have even found that they got so much more from photography than they ever thought they could. Others just come and enjoy the close contact with such magical animals.

This guide is based upon many years as a professional photographer capturing some of the rarest cats on the planet, all kept within a private collection for breeding purposes with the aim that they are returned to the wild, so long as the human race hasn’t ruined the original habitat. For the Sumatran Tiger, that I fear is a rare hope, but with new cubs born late 2008 there is a glimmer of hope.

Compacts and Bridge Cameras

The real advantage of these cameras is their size. Being small and compact they fit through the wire of the cage so that’s one less thing to worry about. All you do need to do is watch what the cats are doing so they don’t take your camera off you! And trust me if they get hold of it they will win – no negotiation!

Captive animals are quite inquisitive so you will find they get too close. Key settings would be either close up / macro or a sports mode if you are using pre-set shooting modes. More advanced cameras have Aperture Priority, Shutter Priority and Full Manual. If you are more comfortable with these settings then please read the sections below Film and Digital SLRs as the same rules apply.

One main drawback of these cameras is what is called “shutter lag”. This is the time the camera takes to fire the shutter and capture the image after you press the shutter release . On static subjects this won’t be so much of a problem, but on fast moving or erratic moving subjects this is where this will be noticed. You aim at the head and the camera takes a picture of the tail!

ISO – Film Speed or Sensor Sensitivity

The speed of your film or sensor sensitivity as it’s really called on a DSLR will affect the camera settings in a given light. A typical sunny day will let you shoot on ISO 100 or 200, being the base setting of your camera depending upon the brand of camera or film you’re using. With a DSLR you have the ability to change your ISO or sensor sensitivity as the light changes, so you can go up and down from 100 to 200 or 400 (or more) as the light changes. With film you are fixed per roll. OK you can “bump it” up or down but only if your film processor knows what they are doing, automated developing just won’t hack it and will leave you with a ruined roll of film. As a commercial photographer I shoot digital and enjoy it – when all the technology works of course!

Using an additional body is an option if you can afford it as it gives you another lens to shoot from or another roll of film different from the first body. Lenses or course are interchangeable.

With speed or sensitivity comes a compromise – grain. The higher the ISO the more noise or grain there will be. But, and a big but, under exposure will create more noise than high ISO – so make sure the shot is exposed correctly. Being a commercial photographer amongst other things, I shoot using Nikon cameras and with these I have to shoot slightly over exposed to get the shot right – Nikon metering seems to be slightly on the safe side in my experience.

White Balance

This is not an easy function to explain but it comes down to the colour of light. What I hear you say, but all light looks the same to me, yes it will, the human eye and brain is very clever, it shows you a white subject as white in any light so you can’t actually see what your camera sees.

Until that is you take a picture indoors, ever had a picture on a digital or film camera come out green ? Light is measured as a temperature similar to that of heating a metal rod in a flame. The colour moves from orange to white and finally blue. Now this isn’t measured in degrees C or F but in the wider scientific range called Kelvin. Digital cameras use this Kelvin number to determine the colour of light.

For example Orange is at the warmer end or 3400K the same as a household bulb with a tungsten filament, also known as incandescent- day light and studio flash is around 5200K to 5600K and fluorescent light is a real nightmare depending upon the type of tube and colour temperatures vary from 2700K up to 7200K – so pretty much the whole spectrum.
Tip – on a flat grey day use the pre set white balance of Flash – it gives a slightly warmer shot.

Tip – don’t use Auto white balance for two reasons. While it might be fairly accurate light is not a fixed entity it changes all the time and so too will your cameras setting for White Balance when on Auto. Secondly if you then go on and edit your images you have the potential for having to manually correct each image if you’re not happy with the setting. And on a Big Cat Day guests regularly shoot 400 to 600 images – now that’s a lot of time chained to your computer.

Tip – pick a pre-set value, even if its not correct , some cameras allow fine tuning warmer or cooler. If then you want to edit the images at least you can batch process all the images in one go as the White Balance value will be the same – so too will be the adjustment. Just shoot RAW, then you can correct it, Jpeg gives you less control.

Tip – try taking a custom white balance measurement if your camera has this ability .

Tip – remember a Snow leopard is Grey and White – it should not be cream.

Film and Digital SLRs

Camera bodies vary in design and my view is that megapixels aren’t the be all and end all of quality images. As an example a 6 mega pixel camera will get a more than an acceptable image, in fact many press photographers still use a high quality, robust 4 mega pixel digital camera body. Why, because other functions are more important .

Whereas the norm for many companies is now, at the time of writing this Big Cats guide, is to offer 10 – 12 mega pixel camera bodies, other key features come into play.

Autofocus – General

AF-S , AF-C or Manual, Single point, Multipoint Dynamic or Closest Subject? AF-S will give you a setting that shoots only when the subject is in focus. AF-C gives you a continuous mode where by the AF systems tracks the subject adjusting focus all the time you have the shutter release pressed half way down and the focus point on the moving subject. This is good for fast / moving subjects, the shutter will however fire even if the shot is not in focus. 3D tracking found on Nikon cameras is good for some subjects as it tries to work out where the subject will be if it leaves the focus area or frame – try it and see how you get on, you may find you come back to a dynamic – movable – focus point chosen by the photographer – you!

Manual focus gives you more control but chasing a moving subject is harder and takes time to practice.

Metering

Spot, centre weighted or matrix or average? The main difficulty with Matrix is that it takes an average setting across the whole frame so you can end up with a dark image especially if you catch some sky in the frame. This being brighter, normally, makes the camera close down the settings, leading to an under exposed subject.

For best results with cats I find centre weighted works best as the camera metres from the centre of the frame and this is normally where the subject matter will be.

Spot metering would be best used for a close head shot where the cat is stationary being sat or lying down, as you’d find with the Lions in the afternoon after they are fed.

Part two continues with more settings and equipment discussions as well as common mistakes.

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Nikon D90 Review And Buying Guide

The D90 is Nikon’s follow up to the successful D80. Whilst the Nikon D90 looks similar to the D80 the camera contains a range of new features, including a new CMOS sensor, a large 3-inch VGA screen and the inclusion of the world’s first DSLR movie mode. The new features make the Nikon D90 a highly competitive kit in the entry level SLR market.

The Nikon D90 contains one of the best viewfinders you’ll find on any APS-C Camera, easily putting it above any camera in this class. The 12.3mp resolution is over 2million pixels bigger than D80 and will give exceptional image quality which Nikon hopes will raise the expectations of the DSLR market.

The Nikon D90 also contains a new feature set containing some very good improvements. Continuous shooting has been speeded up to allow 4.5 images to be caught per second, which when coupled with the split-second shutter response, will allow you to capture any action shots and impulsive images. The Nikon D90 also contains a faster and more intelligent 11 point auto focus which is aided by Nikons exclusive Scene Recognition System, which will give clear accurate shots in all conditions.

Furthermore the Nikon D90 camera uses the automatic Chromatic Aberration correction, just one of the fantastic options taken from D300. This will instantly improve the results of every JPEG, regardless of the lens used, with no effort from you.

Nikon have also made a very big move including the first movie mode on a DSLR computer. The new video capability is a very good function, allowing you to capture video in HD cinematic quality. You can also configure your own movie menus and settings which makes the new function very easy to use.

Despite the inclusion of the world’s first DSLR movie mode the Nikon D90 is very much a photographer’s camera. The D90 builds on the old D80 which was perfectly suited to the “enthusiastic” photographer market and with the new features and options taken from the advanced D300 the Nikon D90 is a very good piece of kit. The quality of images when compared with the, twice as expensive, Nikon D300 is very good, in fact it is quite difficult to pick the images apart and when you take into account that the D300 is considered one of the best semi-professional cameras on the market, this becomes very high praise indeed, in fact it is hard to think of a better enthusiast level camera than the Nikon D90.

Choosing a Photographer for Your Most Important Day

One of the most important choices a bride and groom will make is the selection of their wedding photographer.

There are so many important choices to make like the dress, decor, food, music, location, etc. Many couples feel the choice of your photographer is one of the most important since your pictures are often one of the most lasting and cherished memories from one of life’s major milestones.

We’ve all heard horror stories about photographers doing a less than perfect job, or not delivering anything at all. By taking the time to do some research you can be assured of choosing someone who will not only deliver great photographs, but who can make you feel good and remove at least one worry from an event filled with stresses.

You may know someone who has gotten married in recent years , so find out who shot their wedding and look at their wedding pictures to see how the photographer did. You’ll probably get some good references this way, so contact the photographers who did a great job for your friends.

It also pays to do some research yourself. Search Google or another search engine for photographers in your area – here in the capital city of Alberta Canada, you would search for Edmonton Wedding Photographers. You can also do a search for something like Edmonton photography. You’ll get hundreds of results, so concentrate on those shown on the first few pages. By visiting the websites listed, you’ll get a feel for each photographer’s style. Send an email to as many as you like. How they answer is a good indication of how professional they are. Are the replies professional and clearly written? Have they provided any other examples or references?

Next, set up interviews with those who create the sytle of photography you want and who are in your budget. When you meet with the photographer, they’ll show you sample pictures and albums. How they treat you at this stage is a good example of what you can expect at your wedding. Are they friendly, or are they condescending? Do they seem warm, or are you uncomfortable with how they treat you?

They should have an agreement for you to review. Take your time to read it, as it outlines what is expected of you and them. The agreement is for your benefit, too. While it commits you to pay them, it also commits them to provide the services you have agreed to.

Here are a few additional ideas that should help your photographer get the best photographs during your wedding:

1. Make a list of the most important shots you want and give it to the photographer before the wedding.

2. Make sure you know WHO is going to photograph your wedding. If the main photographer isn’t going to be the actual photographer at your wedding, find out who will – and ask to see their personal portfolio before you commit to anything.

3. Assign a family member or close friend to be the photographer’s liason who can point out all the important family members who you want to be sure to get pictures of.

4. Ask the photographer to attend the rehearsal so they will know where they can get the best shots without getting in the way.

5. Pre-plan where the formal and informal photographs will be shot.

6. Find out if the photographer provides finished prints, albums, thank-you cards and similar services after the wedding. These can be valuable extras that will enhance your wedding day memories and many photographers have excellent resources for these items that are of higher quality than the public can get.

By following these suggestions you won’t have to worry about your wedding photography. Just enjoy your wedding day with the knowledge that you’ll have many memorable images from your wedding day to enjoy for the rest of your life.

The author is a professional photographer who specializes in wedding and portrait photography in Edmonton, Alberta.

Hints and Tips on Big Cat Photography Part Two

Introduction

Welcome to Part Two of A Guide to Big Cat Photography. Here we continue to look at equipment and common mistakes encountered when photographing Big Cats.

Lenses

Here you have quite a few options, these points are discuss below.

Specific Lenses

Macro – a close focusing lens ranging from 50 to around 110mm in focal length – the longer the focal length the further away from the subject you can be. The drawback – foreshortened depth of field – you have just a few millimetres to get the focus point right – so you’ll need a still subject matter. But you can get some amazing close ups of teeth and paws.

Standard Close Focusing – this would apply to a 30mm or 50mm prime lens but one that has the ability to focus down to around 8 to 12 inches. These lenses can give you close dramatic pictures when on a Big Cats Experience Day.

Standard Zoom – for me this would be a lens similar to an 18 – 70mm or the 17 – 55mm. Similarly there are some longer standard zooms such as the 24 – 70mm or even a 24 – 120mm. The choice is yours and it comes down to which part of the zoom range you want to operate within, remember on a DX body the lens will be multiplied by a factor of 1.4 to 1.6 depending on which make of camera body you have. So your 17 – 55mm multiplies up to around a 25 – 82mm when compared to a 35mm film camera or an FX digital body. On an FX body – being full frame the focal length is as stated. But remember if you use a DX lens on a FX body you’ll get edge fringing , called vignetting.

Fast Zoom Lens -by this we are discussing how much light the lens can let in at its widest aperture. For example a lens with a minimum aperture of F6.3 will let in far less light than one of F2.8. Remember the smaller the number the bigger the hole in the lens and the more light it lets in. This then gives you quicker shutter speeds, which you need with longer focal length lenses, for example those over 200mm. Tip – you should always keep your shutter speed over your focal length – so if you‘re at 200mm, you need 200th of a second, but hang on you’re using a DX body and lens so you need to add in the crop factor multiply by 1.4 to 1.6 so at 200mm you really need 320th or 400th of a second. Even some standard zooms with F2.8 aperture used by the professional photographer can still be expensive, for example the Nikon 17-55 F2.8 is around £900.

Standard Telephoto – this would be a lens similar to a 70 – 300mm lens or some of the more all day lenses – like an 18 – 200 or 55 – 200, all day lenses are covered below. You can get a 70 – 200 F2.8 but these are pricey , most standard telephotos range from F4 to F5.6 in terms of speed and are good all round lenses, just watch the light levels. OK you can up the ISO but again remember the noise compromise.

Super Telephoto – this would apply to either a lens over 300mm or one that I feel is a prime lens, fixed focal length, that sits around F4 or F2.8. These are very expensive lenses and entry levels are around £2,000. Personally I like to use the 200 – 400mm VR lens from Nikon, now priced at a suggested selling price of £5800, but I didn’t pay that for mine, I got in before the 2009 price rise.

All Day Lenses

A Definition – by this we are discussing an all in one lens, a lens that will cover from wide angle to standard telephoto, for instance an 18- 200mm.

The Benefits – it gets you all the shots you need, no swapping lenses no down time. Often light and compact they are not much to carry about.

The Compromise – optical quality! You’re asking this lens be all things to all people . A prime will always out perform a zoom. And an all day lens has to do a job at all levels through the zoom range, the edges of the image will suffer and so too will the speed of the lens, remember the F number and the amount of light it needs. You don’t find professional lens made at F2.8 or faster that cover that wide a range – and there has to be a reason for that – optical quality – Pros carry 2 or more camera bodies with a shot and a long lens set up using matched equipment.

Depth of Field

Depth of Field (DOF) – if you are lucky enough to own f2.8 maximum aperture lenses then be mindful as to how short the DOF can be, especially if the subject comes within the zone where the distance to subject is under the focal length – for example, the DOF on a 200mm lens will be further foreshortened if the subject is inside a 2m (2000mm) range in front of the lens. Some 200mm lenses will focus as close as 1.5 – 1.8m so the impact of this is that you may focus on the nose of say a tiger only to find the eyes are blurred, or out of focus.

Shutter Speed

As a commercial photographer – remember this guide as we mentioned earlier – keep your shutter speed above the focal length of your lens, e.g. 200mm shoot at 250th sec or more, allowing for the crop factor I’d suggest at least 320th sec on a 200mm lens.

RAW or Jpeg

This is probably as much discussed on the camera forums as brand names, each has its advantages and disadvantages. Personally I shoot RAW as it gives you a safety zone if the shot is slightly out. Added to that I personally think it gives you more editing options. The choice as they is yours. I do shoot Jpeg for press work but only because you don’t have the time for post production.

Picture Composition

Detail – this is great option, stripes, spots, eyes, ear noses and tails – there is so much choice.

Action – running, jumping, pawing for food on the ground or in the air, lost of options. And when it all kicks off with the three male lions make sure you’re ready.

Portraits – sitting, lying down with a full belly and a low sun in the sky and the lions look great. Contrast that with an angelic Tiger that just can’t be bothered. All of these give you great options for images.

Close Up – teeth, paws and claws, similar to the details shot but much closer, using macro photography.

Use of flash – this can be done, watch out for green or yellow eye, this is the same as red eye in humans and it’s a lot easier to get and harder to get rid of due to the size of the cats eyes. Also watch out for the cage , make sure the flash gun is a fill to the available light and close to the wire else you get wire stripes.

Common Errors

Wire – while the gauge of wire will have an effect on what can be done, I still see many shots with the wire right through the middle of the shot. It’s best to get the centre of the lens lined up with the square of the wire – i.e. the hole. Ensure you don’t have a vertical or horizontal wire passing in front of the lens or worst still a join, giving a big cross in the shot.

Background – try to get the background as natural as possible use close up shots or a short depth of field to bur the background. Also use any landscaping in the enclosure to mask the cage behind or above. Remember to get down low, take the cats perspective.

Machine gunning! – is the photographer that presses the shutter button for extended periods of time, shooting continuously without checking the shots back. This will fill up your memory cards very quickly and give so many similar images to edit, when all you really need are short bursts of 3 to 6 shots. Take your time.

Metering – Try and avoid average metering and use spot or centre weighted, remember to metre off the subject. Matrix metering is too general for Big Cats.

Accessories

Tripods – these are not really usable around the Big Cats enclosures as they are cumbersome and you don’t have the flexibility to move.

Monopods – these are very useful on longer lenses and have the ability to be more manoeuvrable.

Laptops – if you have one it’s a good idea to backup your shots half way through the day. Alternatively use the laptop to check shots back, say at lunchtime, and see how you are getting on. Also remember to back up your cards – the last thing you want is a card failure and no images.

Extra cards – a very good idea, keep them smaller, now-a-days around 4GB. 16GB cards are all well and good but if it fails, that’s a lot of lost data. 1GB used to be considered large, a while back, now using this card in a modern DSLR and it more resembles the number of shots you’d get on a roll of film.

Clothing – Check the weather before you go. Take a few options to allow for a change in the weather or for getting down on the ground.

Author : Peter Davey MA DipM

Oahu Hawaii