Jekyll Island, GA. 3-shot HDR processed in Photomatix Pro, Color effects Pro and Silver Effects Pro.
Using Stacks in Lightroom is a convenient way to group similar photos together in grid view and the filmstrip. This is especially helpful if you regularly end up with multiple images of the same subject. You may have multiple shots of the same pose from a portrait session, a string of images from shooting wildlife, or you can even group your bracketed shots together for your HDR work. Stacks are also a good way to manage virtual copies, or different treatments of the same image.
Two HDR treatments and the source files take up lots of space in the grid view…
To create a stack, select the images you want to group together in the grid view and go to Photo > Stacking > Group Into Stack. You can also right-click on one of the selected photos and choose Stacking > Group Into Stack, or press command(Cntrl)-G. The images will collapse into a stack, and the top photo will have an icon indicating how many photos are in the stack. To expand the stack, click on the stack icon or press S. Press S again to collapse the stack.
The first image you selected will be the top image in the stack. You can choose a new top photo by expanding the stack, right-clicking on the photo you want on top and choosing Stacking > Move to Top of Stack. You can also select a photo and press shift-S to move it to the top of the stack. To move a photo up or down within a stack, press shift-left bracket or shift-right bracket.
… but when they are stacked with the final image on top, the source files are out of the way unless I need them later.
Lightroom can also stack photos for you automatically by capture time. Select a folder in the Library and press G for the grid view. Go to Photo > Stacking > Auto-Stack by Capture Time. This will bring up the Auto-Stack dialog box where you can specify the duration between capture times from 0 seconds to 1 hour. You will see the results of the Auto-Stack dialog in the grid as you move the slider. The longer duration you specify the fewer stacks you will end up with.
To remove a photo or photos from a stack, select the photo or photos and go to Photo > Stacking > Remove from Stack. You can also select multiple photos and select Photo > Stacking > Split Stack to create a new stack with the selected photos. The photos in the new stack will be removed from the original stack. Ungroup a stack by selecting one of the photos in the stack and pressing Shift-Command(Cntrl)-G.
There are a couple of things to remember about stacks… The images in a stack must be in the same folder. You cannot stack images in a collection, even if they are in the same folder. You can add stacked photos to a collection by expanding the stack and selecting the photos to add, but the stack will not move into the collection. If you want to access photos in a collapsed stack in the Develop module, right-click on the top photo of the stack in the filmstrip and choose Stacking > Expand Stack.
Chris and I are scouting new locations for future workshops on our way to Roma and boy, did we find a gem.
I went to this property last month, and we wanted to check it out again.
Here is a post I did after my last visit.
The owners of this property have been putting out fruit every morning for years, and at about 7 am each morning like clockwork, the birds arrive. There were over 30 Kiskadees flying in to pick up grapes, along with three Altimira Orioles fighting over oranges, and at least half a dozen Golden-fronted Woodpeckers. About a dozen Orange-crowned Warblers would feed on the suet. Mockingbirds would land and grab berries, then fight for positions on my perches. On one day, there were four rare Clay-colored Thrushes coming to feed on the grapes.
This is my third time to shoot at this location and every time I have witnessed the same insane action! In the blind I used my wide angle lens to try to capture the scene, but it was hard to stop shooting the action with my 600mm.
Above is the image I took. You can see 7 Kiskadees (one behind the stump), 3 Altimira Orioles, 3 Golden-fronted Woodpeckers (one behind the log) and a Mockingbird.
For those who are in doubt, let me assure you that this is not photoshopped!
Almost as soon as I put the berry branches out, the Kiskadees and Mockingbirds were feeding on the fruit.
Here, the Kiskadees are fighting over perches.
The Golden-fronted Woodpeckers also took a liking to the berries.
This is a set-up with a vertical perch and some added berries.
Waving goodbye!
Northern Mockingbirds are very particular about the berries they want.
Once the berries were gone, I worked on some flight images as the Kiskadees would fly in for the grapes and banana pieces.
It wasn’t long before the birds would land on any stable perch that I put out there.
The stunning Altimira Oriole gave me some regal poses.
Setting up a perch very close to my blind and adding a small dab of suet in the leaves, enabled the Orange-crowned Warbler to stop and feed.
The highlight of the day, for me, was a visit by not one, but four Clay-colored Thrushes. My heart pounded when one jumped up on my perch and posed.
So many times I wanted to give someone a high five after getting a shot, but I was alone.
We had plenty of high fives yesterday!
If you want to join me in a workshop at this location and share in some high fives, just contact me.
You can read more about Alan, browse his images, and learn about workshops here.
Think back to a recent time when the weather was nice and you were in a pleasant park area. The sun was out, the clouds were fluffy, and the birds were singing (a rainbow and some happy skipping may have been involved too but we won't go there…). During this joyous day, recall how many people you saw making photographs. My guess would be quite a few. In general, people like making images when the weather is nice. Yet, when the weather becomes inclement, we tend to stay inside, and far fewer photographs are made.
The world doesn't stop when the weather is bad. As photographers, neither should we.
Now, I know many photographers (and I'm sure you do too) who are, shall we say, apprehensive about taking their beloved camera out shooting in inclement weather. They say "my camera is not environmentally sealed".
As photographers, we seek out images and scenes that are unique and tell a story. When applied to our weather discussion, we can get some unique images that tell a story which far fewer photographers tell. A wet street at night and its glow present wonderful options for us to photograph. Shooting falling snow and capturing it in mid air can also make an image that will resonate with others.
Human nature tells us to seek shelter when said weather is bad. As a photographer this means that less people will be out shooting and hence, the stories you can capture will be all your own.
Perhaps urban/cityscapes is not your thing. Maybe you're more of a wildlife photographer. The same rules apply. Wildlife photographers who shoot in rain, snow, etc. have the potential to get amazing images. We've all seen images of wildlife. The number of images rapidly decreases when you look for wildlife in rain, snow, etc. So if you brave the elements and capture, for instance, a mature bull elk exhaling in the cold morning air while some light snow is falling, you could have an amazing shot. Unique, thought provoking wildlife photographs are what separate the journeyman from the truly creative.
Extraordinary photographers make extraordinary photographs. Extraordinary photographers are the ones who do not scoff at the notion of inclement weather but rather embrace it. They are the ones who realized long ago that weather is not the enemy.
Would you rather be an ordinary photographer or an extraordinary one? That's what I thought. Get out there and shoot! (feel free do some happy skipping too if you’d like).
You can check out Ted's work on his website, and follow him on Twitter.
Since Chris Klapheke and I are heading down to Roma, Texas for one of my workshops, I thought it would be good time to post a few tips on using water drips to attract birds. In Roma, we put a water feature in front of every blind. Due to the dry climate and the sound of the water dripping, we get lots of different drinkers and bathers.
We dig out a water feature in the ground and line it with plastic to hold water. As most of the blinds are sunken in Roma, the water drip on the ground is still at eye level. You can also elevate a water drip as shown below.
Below is my set-up that I have been using during the Spring and Fall migration on the Upper Texas Coast. I have an elevated pond made out of a bucket with a 2 foot X 2 foot piece of plywood on top. I place a few rocks around the edges of the plywood and lay a piece of pond liner on top. The final touch is running a small drip hose to it so there is always fresh running water. The sound attracts the birds and lets them know the water is fresh. To fine tune the dripping you can purchase a small drip hose from a department store and attach it to your garden hose. Some models even come with a small spigot so that the drip rate and volume can be adjusted.
When there is no running water nearby, I use a five gallon jug that has an adjustable flow lever. A camping jug will last two days with a steady drip. I support the jug with a photographer's backdrop frame. A milk jug with a pin hole will also work.
Set up near trees so the birds feel safe. Use only a few perches, and you will be rewarded!
Look for more posts from our Roma workshop!
You can read more about Alan, browse his wonderful images and learn about his workshops here.
I have been a user of Gitzo tripods for many many years, and have been very fond of their carbon fiber models.
Carbon fiber is the preferred material to use for making durable yet lightweight tripods, however, they are typically very expensive. A few years ago Gitzo developed a new material that offers many of the same advantages of carbon fiber, but at a fraction of the cost.
Check out this video where I explain a bit about the tripods that I am using now made from Basalt, and why I now prefer them over the carbon fiber models.
You can see Gitzo's new line of basalt tripods in the store here: Gitzo Basalt
I've shot a lot of images from my car over the years, but I have to say that I really don't care for it. Yes, it’s nice that you can drive around and sneak up on your subject. Your camera is supported by the car, so you don’t have to carry your gear over your shoulder. You are sitting in a nice leather chair, with maybe a little snack sitting next to the soft drink in the cup holder.
But for me, it totally limits my style of photography. My camera is five feet off the ground and I have limited background options. I can’t get closer that the car can be parked. This was the situation when I tried to photograph a Long-billed Curlew in a field next to a road. The bird was used to traffic so I felt confident that I could drive up as close as the road would permit. I waited until the evening so the sun would be behind my back (or the back of the car), but when I pulled up, the sun was behind clouds. I fired off a few frames and got the following image.
Nothing too wrong with the image. The bird is nice and sharp. The head angle is good with the bird making eye contact.
I just was not happy with the fact that we are viewing this image from a human perspective. If I was to show an intimate perspective of how all ground birds see each other, then I had to get down to the birds' level. So I had a decision to make. Do I stay in the car and get a bunch of average images, or do I take a risk of scaring the bird off by getting out of the car and try to get down low. My approach to this dilemma is once I get the shots from the car, I then go for the more difficult shot. Most times the bird will flush, but every now and again, it can really work out. Here’s what happened when I tried to do just that.
I opened the car door slowly and made the small leap down into the ditch. So now I’m crouched down in the ditch with no idea if the bird is still there. It was so tempting to pop my head up to see, but this would be the wrong time to do that. If the bird became wary or alert, he would be looking for any movement so I waited a couple of minutes. I finally looked up through some tall grasses and saw the bird still there preening. Yes! I made it this far.
I then slowly pushed my bean bag up onto the field edge and waited another minute before lifting my lens onto the bag. Right at that moment the sun broke out under the low clouds and provided this sweet warm glow to the bird and scene. The bird started calling and would call every 30 seconds. The bird was parallel to the camera plane and the perfect distance form me. Everything seemed to be lining up.
Was this luck? I do know that good planning increases your luck. Taking a risk and going for the more difficult shot can also increase your luck.
All I can really tell you is, sometimes you just have to get out of the car.
I'm heading out to Reno for the North American Nature Photographers Association annual Summit!
The Summit is great get-together of many of the nation's premier nature photographers for presentations, workshops, socializing and exhibits.
In addition to attending some of the presentations and scouring for new products, I'll be helping out our good friend Scott Elowitz in his LensCoat booth. We'll have plenty of LensCoat product to sell, and discount coupons for the OPG Store to hand out.
If you are attending or in the area, stop by and say hi!
Here’s a quick tip for getting good exposures of both very dark and very light subjects. When photographing a dark subject, such as this leopard seal that I photographed in Antarctica, set your exposure compensation to -1. When photographing a white subject, such as this polar bear that I photographed in the Sub-Arctic, set your exposure compensation to +1.
I know that sounds backward, but it’s actually true. Very dark and very light subjects can fool a camera’s exposure meter into thinking that the scene is darker or brighter than it is in reality.
By the way, those are just starting points for a good exposure. As always, check your histogram to get the very best in-camera exposure. You can’t trust your camera’s LCD monitor when it comes to exposure and color.
You may have seen Alan Murphy's incredible signature work: beautiful birds on gorgeous perches with uncluttered backgrounds, presented with the elegance of an artist.
But did you know Alan came to this country as a birder?
Growing up surrounded by the beautiful countryside of Ireland and England, Alan developed a love for birds and nature early on. He was a quick study of these birds and upon immigrating to the US in the early 1980's, Alan was thrilled to find many new species to learn about and new habitats to explore. After studying field guides, Alan wanted to capture similar images, and so began his quest to learn photography. Most of Alan's spare time became devoted to chasing the perfect shot. His artistic background cultivated his creative use of perches with uncluttered backgrounds and excellent lighting.
Spare time was hard to come by, for as Alan was developing his photographic style, he was also starting and developing his own salon business. Today, the Alan Murphy Salon is a leading salon in the Houston area and is consistently ranked among the Top 200 Salons in America by Salon Today magazine.
For most people who straddle two careers, there comes a time when a person must choose one path or another. Several years ago, Alan followed his passion, turned the operation of his salon business over to his manager, and jumped headfirst into photography. Today, all of the talent, drive and ambition that served Alan on several fronts is now channeled into his photography business.
And what a business it is! Alan has speaking engagements throughout the country to photo clubs and birding organizations alike. His audiences are eager to see his images and learn the thought process behind them. Alan schedules intensely focused workshops, and of course, sells his images around the world.
In the last 6 months, Alan has scored cover images for the publications Birding, Birder's World, Wildbird, Bird Watcher's Digest and Wildlife. Now that's productivity!
Perhaps the most sought-after part of Alan's photo business is a spot on his workshops. Alan intentionally keeps his groups very small to insure intense individual instruction as well as consistent backgrounds for shooters. Due to the small group size, Alan's workshops sell out quickly in advance. In fact, for 2010, Alan has only two seats left for a workshop in his favorite location: the Ramirez Ranch in Roma, Texas, running April 12 to 15. You can find more information about that workshop here.
Workshop participants come from all over the globe to learn the secrets of Alan's set-ups and perches. But if you can't afford the time, travel or cost to attend in person, Alan has unveiled his CD book The Guide to Songbird Set-Up Photography. Years in the making, this CD sheds light on Alan's set-up secrets and thought processes. The CD is full of ideas, tips and tricks you can make use of in your own back yard.
Speaking engagements, cover images, workshops and training CDs. Yes, Alan Murphy is one busy photographer!
You can learn more about and purchase Alan's CD here.
You can learn more about Alan and view his wonderful images at his website and in his blog.
Editor's note: I had been to the Ramirez Ranch 4 years in a row when Alan asked me to be his assistant on a workshop there last year. I had not planned on going back for a few years, but the chance to work with Alan and to learn his methods was enough for me to head there again. When I saw that Alan limited his group to 4 participants, I asked him if he really needed an assistant for 4 people. His answer was an adamant yes. He wanted to make sure he could be instructing his participants 100% of the time.
Heading back to Roma with Alan was a truly rewarding experience. His level of focus and his professionalism on his workshop was unlike any workshop I had assisted. In addition, I did get to learn some of Alan's techniques, seeing Roma in ways I had not seen before.
If you do get a chance to go on Alan's workshops, I would highly encourage you to do so. I'll be with Alan again this year in Roma, assisting participants and performing my duties as ranch cook and host. Only two spots are left in April. Come join us for good food, intense instruction and of course, incredible images. –Chris Klapheke
Dig out and dust off your old light table and put it to use as backlighting for macro subjects. When I started in photography in 2001 I bought a few nature magazines and noticed all the pros were using Velvia slide film, so I used slide film which required me to buy a light table to view the slides.
I only shot film for three years and then made the change to digital. The light tables has been dark until I found a use for it. It works great for backlighting which creates a special look to your images. You need subjects that are somewhat transparent for the best results.
Above is a group of Beech leaves I arranged on the light table and below is a Turkey feather I found in my local park. I added a drop of water to the feather to add a little interest.
See my new Pro Advice link in the top right side of the this blog.
You may have seen Alan Murphy's incredible signature work: beautiful birds on gorgeous perches with uncluttered backgrounds, presented with the elegance of an artist. 
Spare time was hard to come by, for as Alan was developing his photographic style, he was also starting and developing his own salon business. Today, the Alan Murphy Salon is a leading salon in the Houston area and is consistently ranked among the Top 200 Salons in America by Salon Today magazine.
Workshop participants come from all over the globe to learn the secrets of Alan's set-ups and perches. But if you can't afford the time, travel or cost to attend in person, Alan has unveiled his CD book 
