Unlike other photographers, photojournalists cannot afford to bring a beauty dish or light boxes with them, and they are expected to deliver objective photographs and reports without manipulating the environment.This means that beyond the challenge they have to face when photographing in different light contexts, they are expected to take good images with a limited team.Visit this site to read articles on Photography.
Night photography can be both an exciting experience and a nightmare, especially for photojournalists. When your editor asks for these types of photos, there is no place for excuses like it was too dark, I couldn’t focus” or “my camera couldn’t see anything.Click here to read articles on Photography.
If it’s really dark you will need a flash, unless there are points of light. You have to look for that light and find it. You can also balance the flash with the ambient light and balance both, which means you should know how control your flash. If you use modern cameras, such as full-frame cameras or mirrors, which have better night vision, you will have to increase your ISO.
Smoke / tear gas
Photographing in the smoke – or through it – can be quite difficult, especially at night. The slightest change in the light of a smoke-filled environment can increase bright spots and change the lighting environment. Under such conditions, the risk of not obtaining the image or of taking photos out of focus is very high.
Without enough light, the lens continually seeks to focus. You can photograph through the smoke, but you will mainly get silhouettes. What remains is to use the smoke creatively. You also need to know your manual settings well to focus on what you want to photograph. Specifically.
Finding a balance when photographing an indoor / outdoor scenario through an opening like a window can be quite difficult. In most cases, photographers will shoot thinking about post-production of the photo or expose the exterior reflections and illuminate their lenses with flash.
You should know your camera very well. You have to find a balance between the two exposure variations. Taking advantage of the reflection of the window will make the situation even worse, because you may have to photograph at great depths, such as f8 or f11. When you are trying to balance the two, it means that you are trying to open the shadow and obscure your point of brightness. Trying to correct the post-production exposure will damage your image.
Flashing light / moving clouds
The light changes more often than people usually notice. For photojournalists, observing the effects of the light change will determine whether or not they get a good photo.
If the subject does not move, you have to find the frame and wait for the light to move. If you cannot wait, use techniques such as exposure compensation. You would have to keep the camera settings and then underexpose a step if the sun rises from the clouds and overexpose if it is above the clouds.
Reflective surfaces such as water, glass or silver tend to reflect light directly to the camera, creating spots on the image. In most cases, the reflection is caused because the image’s light source comes from the same direction as the camera.
The water is quite difficult to photograph, especially if there is wind, because it shines more. If you are photographing in a way too parallel, you will be closer to the reflective surface and there will be more reflection in your photo. This means that you would have to move to a higher ground. You just have to move and find the right place.