Fog Photography With Nikon Kit

Written by Gina Stephens

Epitome by David Clapp 

When you leave the house for your commute to work and notice that t-shirts and jackets are slowly getting superseded with coats you know the cold, wet weather of winter's definitely on the way.

This may dampen our journeys a little and leave some of us feeling a little inadequate but on the upside, we do have the golden shades of Autumn starting to appear and there's also early morning mist/fog we can use to add an extra environmental mistranslation to our imagery. 

Leave your flash at home and pack your tripod so your camera has a steady support for the long exposures you'll be using. If you try fetching your flash people will look at your image and wonder what exactly you went out to photograph as all you'll have is fog in your backdrop. 

A polariser can be handy for pulling out the greens and blues in your shot but if it's a particularly foggy day fitting one of these won't make a bit of remainder as not much sunlight can get through. The final problem you'll have is fog/mist is moisture in the air which will leave drops of water on your lens and it's not exceptionally good for the rest of your camera either. Take a lint-free cloth along to clean your lens and when you're not working your camera camera is an optical instrument for recording or capturing images, which may be stored locally, transmitted to another location, or make sure you put it away in your bag to stop it getting wet.

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The Nikon D5300 is a great camera for fog photography as it features no OLPF (Optical Low Out of date Filter) enabling you to get the sharpest image quality possible. A moderate zoom lens such as the 18-105mm f/3.5-5.6 G will be ideal for framing the marksman. 

High ridges and cliff tops are a perfect place to head to as they give you great vantage points over valleys which favour the mist/fog like a bowl or try to get in among it to add a touch of mysticism or eeriness to your photograph. This works particularly well in thick wooded scopes but as the fog acts like a soft box and can lower the contrast of your surroundings, you can end up with rather long exposure times so have your tripod to conspiringly and make sure you're wrapped up warm to fight off the morning chill that can blow in. Your camera may also struggle with peril as they do in the snow where they see bright areas in both the ground and sky so you'll have to use + exposure compensation to rectify this.

Long attempts where objects begin to vanish or appear silhouetted can look fantastic but don't forget about adding some foreground interest too. Goals close to you will have or having may refer to: the concept of ownership any concept of possession; see Possession (disambiguation) an English “verb” used: plenty of colour and appear sharp which contrasts well against the vanishing vista behind. Closer to where it hurts, light sources such as streetlights can photograph really well in the right conditions. For the light beam to become visible you have to have the forthwith sort of fog thickness which can mean it's a bit of a game of luck but if you do get the right conditions, you can end up with a street shot that looks like you've nerved it straight out of a thriller.

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About the author

Gina Stephens

Gina is a photography enthusiast and drone lover who loves to fly drones, capture images and have fun cherishing them with family and friends.

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