Every day, more and more skeptics are converting to digital cameras. And now, following an expert demonstrating 150 of his own great wildlife digital photos, you can capture your own stunning images that express what you see and feel, with a minimum of post-production tweaking. Case studies and solid, practical advice give you the essentials of equipment and techniques, with tips on conquering exposure with histograms, understanding menus, and mastering the LCD screen.
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Book Description
Editorial Reviews
About the Author
Chris Weston is a full-time wildlife photographer and photojournalist. Chris is a cofounder of the Association of Professional Nature Photographers. He is a regular contributor to numerous magazines and the author of several books, including The PIP Expanded Guide to the Nikon F5, 9781861084705.
--This text refers to the
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Most Helpful Customer Reviews
38 of 40 people found the following review helpful:
4.0 out of 5 stars
A Good Introduction,
By Conrad J. Obregon (New York, NY USA) - See all my reviews (VINE VOICE) (TOP 500 REVIEWER) (REAL NAME)
This review is from: Digital Wildlife Photography (Hardcover)
"Digital Wildlife Photography" is an excellent introduction to its subject. It covers all of the bases that one would expect and hope for. The author particularly emphasizes the use of digital equipment in getting pictures of animals. For example in his discussion of exposure, he explains the use of histograms (a graph showing the distribution of light values) and the highlights screen (an optional screen on a digital camera's LCD display that blinks in areas of the picture that are overexposed.) Although this is one of the features of advanced digital cameras that makes digital exposures easier, it is rarely explained in any detail in many of the books that purport to discuss digital photography.
The book starts out with the usual basic equipment discussion but as one reads through the book other equipment which will prove useful to the wildlife photographer is introduced. The book progresses from simple photography, through composition, to more complex techniques, like the use of flash and action photography. The final chapter of the book is devoted to digital post processing with a discussion of simple Photoshop techniques, like setting levels and cropping. Sprinkled throughout the book are "Wild Files" where the author deals with specific animal species, like the lion, discussing where and when to photograph the animal, the shots to look out for and any special equipment needed. I have said that the book is a useful introduction. It is, however, also a rather light once over that covers all the essential points, but doesn't go into the depth an experienced wildlife photographer might need. After reading this book, the new wildlife photographer will soon want to go on to other books with more depth like the late Bill Silliker's "Master Guide for Wildlife Photographers" or Moose Peterson's "Guide to Wildlife Photography". Those expecting to spend any time in the digital darkroom will want to read Ellen Anon and Tim Grey's "Photoshop for Nature Photographers". I should also warn new wildlife photographers to be careful in looking at Weston's pictures. It's obvious, from reading the technical data on many of the pictures that the photographer was extremely close to the animal when the picture was taken. As they say, don't try this at home! While the captions do not identify when the pictures were taken in controlled situations (as recommended by the North American Nature Photographers Association), it seemed clear to me that many were. (In fact I'm sure I recognized a badger I had photographed at the Triple D Game Farm.) There's nothing wrong with this, since that may be the only way to get the shot needed, but readers and photographers should be aware that they should not endanger either themselves or wildlife just to get a picture.
13 of 13 people found the following review helpful:
5.0 out of 5 stars
Clear, Organized, Focused.,
By
This review is from: Digital Wildlife Photography (Hardcover)
Firstly, this is a nice quality hardback book with some fabulous photographs. But then most wildlife photography books have great photos. What sets this one apart in my opinion is its intructional content.
Weston gives instruction on both technical photography skills and "hunting" skills. He understands the importance of both and blends and balances the two nicely. The book is organized into bite-size topics which are presented clearly. And most impressive to me is Weston's ability to focus on the important aspects of a subject. He knows what is important and is good at imparting it. This book was fun to read, I learned a lot from it, and it got me excited about planning my next shoot.
3 of 4 people found the following review helpful:
3.0 out of 5 stars
Stronger on field skills, weaker on photography than some of its competitors,
By
This review is from: Digital Wildlife Photography (Hardcover)
This book is distinguished from other nature photography books (such as John Shaw's more-highly recommended book) by (1) an emphasis on wildlife as opposed to landscapes; and (2) a sole focus on digital photography. The result is a greater emphasis on fieldcraft than in Shaw - - finding animals (including both baiting and using captive animals), being in the right place to get shots, getting you and your gear organized, and other useful tricks of the trade. His focus on digital photography is total, and he's a strong advocate of manipulating photos in the digital darkroom. He's much weaker than Shaw on theory, including the important question of exposure. As a result, the two books compliment each other tolerably well.
Nonetheless, I can give this book only a lukewarm recommendation. I tend toward the other side of various debates about methods that Weston advocates, and he doesn't present both sides of these issues. It's not really wildlife photography if the animals live in a zoo, baiting animals violates Leave-No-Trace principles and can harm the animals' welfare, and I'm less keen on most digital darkroom effects other than simple cropping. However, each of those debates has two reasonable positions and you, gentle reader, might reasonably be with Weston on these issues. A final objection is entirely subjective: a lot of the pictures in this book just aren't all that good. They're clearly professional photographs, not amateurish at all. However, very few have that extra, intangible something that makes them brilliant or memorable. Weston does not mention "National Geographic" or other top-of-the-line publications among his credits and, I'm sorry to say, I'm not surprised. If you browse both this book and Shaw's book, I think you'll see what I mean - - Shaw has "it," and Weston doesn't. Don't get me wrong, I still think any aspiring wildlife photographer can learn from this book. But it's not as good as it might be.
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