Burst & Bloom. Sage advice from the professionals at Leica on how to photograph fireworks.

I’ve sort of mastered taking photos of Christmas lights at night, both indoor and outdoor. Yet, I’ve never captured a decent image of fireworks—a fact that I’m reminded of every July 4th and New Year’s eve. For me, the issue has always been holiday lights are typically motionless—I can work with that. Fireworks, on the other hand, are moving at hyper-speed at first, then pausing, finally moving slow and fading away.

I’ll try again this year taking some advice from the pros at Leica.

On the Leica Camera Blog, it’s noted that, “Taking pictures of fireworks can be a fun experience that proves quite the technical challenge for many photographers. Beginners may struggle with photographing such a brief and bright subject streaking across a dark summer sky, and advanced users may need to optimize their manual camera controls while also keeping in mind things like location and composition to get the pictures they seek. At any skill level, there are ways to try fireworks photography with automated settings or fine-tunable manual controls to get a shot that encapsulates the awe and wonder of this explosively colorful light.”

Their blog post covers:
Core tenants and general tips that always go with taking pictures of fireworks.
Basic-level guidance.
Specifics for intermediate to advanced photographers.
And, how to get creative and “break the rules.”

Check it out: https://www.leica-camera.blog/2021/06/29/burst-bloom/

If you have tips for shooting great photos of fireworks, send them my way and I’ll share them. If you get some great shots this year, feel free to share!

By Stephen Brockelman

As a Sr. Writer at T. Rowe Price, I work with a group of the best copywriters around. We belong to the broader creative team within Enterprise Creative, a part of Corporate Marketing Services. _____________________________________________ A long and winding road: My path to T. Rowe Price was more twisted than Fidelity’s green line. With scholarship in hand, I left Kansas at 18 to study theatre in New York. When my soap opera paychecks stopped coming from CBS and started coming from the show’s sponsor, Proctor & Gamble, I discovered the power of advertising and switched careers. Over the years I’ve owned an ad agency in San Francisco; worked for Norman Lear on All in the Family, Good Times, Sanford and Son, and the rest of his hit shows; and as a member of Directors Guild of America, I directed Desi Arnaz in his last television appearance— we remained friends until his death. In 1988 I began freelancing full time didn’t look back. In January 2012 my rep at Boss Group called and said, “I know you don’t want to commute and writing for the financial industry isn’t high on your wish list, but I have a gig with T. Rowe Price in Owings Mills…” I was a contractor for eight months, drank the corporate Kool-Aid, became a TRP associate that August, and today I find myself smiling more often than not.

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