Archive for the ‘Vision’ Category

Eight Things I Love About Being a Nature Photographer

Monday, January 31st, 2011

Being nature photographers gives us access to things most people will never see and experiences many will never understand.  A brief exchange about such things with two other photographers on twitter led me to ponder on this for a while.  I came up with eight things I love about being a nature photographer.  I know there are more, and I’m sure you’ll all have some excellent additions to the list.

1. Seeing the natural world around me in a more intimate way than those whose eyes don’t appreciate the nuances of light, texture, shadow and form.
2. Sunrises and sunsets in the mountains, canyons and deserts.  Nuff said.
3. Being able to share the visual beauty of those sunrises and sunsets with those who weren’t able to enjoy the moment with me.
4. Getting excited when I hear a good storm is headed my way.
5. Sitting alone, in the middle of the most beautiful nowhere anyone has ever seen, watching shadows lengthen and waiting for those few glorious moments when the light is just right for making an image.
6. Knowing where and when to find the best wildflowers, the best fall colors, the best waterfalls, the best mountain views, the best alpine lakes, the best wildlife, the best…ah, you get the point.
7. Meeting all the really amazing people I never would have met if I hadn’t been addicted to nature photography.
8. All the amazing places I’ve been that I wouldn’t have seen if I wasn’t on the prowl for new and exciting locations to photograph.

So, there’s my list.  I’d love to hear some things you love about being a nature photographer.  Feel free to list ‘em in the comments below!

Learn more about Bret, view his images, scout his workshops and read his blog here.

Snapshot: Sandstone Lightning

Tuesday, January 25th, 2011

Continuing my love affair with my wonderful Canon S95 camera, I toted it with me to Goblin Valley State Park for a photo assignment I’d managed to win from Utah State Parks & Recreation.  Not only did they ask for scenes from Goblin Valley, which is an absolutely awesome little park, but they also wanted photographs of the surrounding area.  So, I did what I do best – I wandered.  At a point in my roaming I observed this interesting feature in the sandstone.  I grabbed my trusty S95 and hiked a short distance to it for a closer look.

I have absolutely no idea what causes this lightning like pattern in the sandstone.  I suspect it to be caused by water cascading down the rock, creating a sort of reverse desert varnish.  Regardless, I immediately envisioned it as a high contrast black and white abstract image and went to work composing a photograph on the S95’s LCD screen.  Back home I converted the color image to monochrome in Photoshop CS5 using Nik Silver Efex Pro.  I then used several curves and levels layers to make the “lightning” pop, as well as Nik Color Efex Pro and Viveza 2 for some finishing touches.  Lastly, I used a little black magic in the form of Photoshop’s “Content Aware Fill” to remove some distracting blemishes from the rock.

Whatcha think?  If you know what causes this pattern I’d really appreciate an explanation, too!

Learn more about Bret, view his images, scout his workshops and read his blog here.

Explore All The Angles

Monday, January 24th, 2011

I see lots of photographs of this simple Gerbera Flower, and I will say it is one of my favorites to shoot during the winter when I’m doing all my indoor shooting.

To many images made with flowers are shot from the front side, with  little imagination.  A flower has so many different angles that you have to explore all the possibilities.

Here is the typical frontal shot, and rather then place the flowers center in the middle of the frame like you see most photographers do, I’ve offset the center of the flower in the lower left corner. Because every part of this view has interesting designs I want everything in focus, so I set my f/stop as the highest number at f/22.

The next shot is also a frontal shot but I moved in closer and only included a quarter view of the flower center by placing it in the lower right side and making the image as a horizontal. Again I’ve set my f/stop at f/22 to bring the whole flower in focus.

Now I change the view to a side angle which has great potential for some abstract images.  With these abstracts I want a nice soft focus and I set the f/stop wide open to f/2.8.  The f/2.8 will give me very limited depth of field and a nice soft feel.  In this first image I run the line of the tips of the petals from the lower corner to the upper corner of the frame.  I place the focus on the two tips in the lower left corner.   Your eye always goes to the sharpest part of the image which is the two lower tips, and then your eye follows the line of the petals up into the frame.

The next shot is another side view, but now in a vertical position and moved the camera to capture just a little bit of the sepal in the lower right corner. Same f/stop as last shot. Focus on the tips of the petal in the center of the frame.

I work my way a little father on the backside so you now see the view of the under side of the petals and a little more of the green sepal. F/stop still at f/2.8.  These images have a really nice look with that soft focus caused by the wide open aperture.

The last shot is still a side angle but much more of the green sepal and a little stem in view. Turned this one as a vertical and placed the point of focus in the center where the tips of the sepal and the purple petals meet.  Still on wide open at f/2.8. You could also shot this with the higher f/stop and more depth of field to bring in all the nice textures of the green sepal.

We have only explored six angles, but they are many more possibilities.  So be creative and explore next time to work with a single flower!

You can visit Mike's blog and learn about his workshops here:  Tiny Landscapes

Mike's eBooks are available in the OPG store here:  Mike Moats

Bubble Boy

Thursday, January 6th, 2011

11-17-06-045.jpg

I love watching the reruns of the TV hit comedy sitcoms from the past on TBS, and my favorite is the “Seinfeld” show. If you are a fan of that show, you may have seen the episode titled “The Bubble Boy” which was about a young man that had to live in a plastic bubble, which doesn’t sound funny, but it was. When I captured this image it reminded me of that show.

I shot this at the edge of a river which had a small waterfall.  The crashing water of the falls produced bubbles which flowed to the edge were I was standing.  I thought that the bubbles would make an interesting abstract image, so I set-up my camera.   I needed a fast shutter speed to stop the quick movement of the bubbles as they past by, and at that time the the highest ISO I could shoot with my Fuji S3 camera and produce a decent noise free image was at ISO1600, so that’s where I set it.    I set the f/stop at 3.5 which is wide open on my 180mm macro to also help increase the shutter speed. The light was an overcast day and I got the shutter speed up around 1000th of a second.

I shot about 40 images, and out of all the images this was the only one that worked without any softness in the details from the quick swirling movement of the bubbles.  You see me and the legs of the tripod, and the trees towering above me. It was shot in the early spring and the trees were bare as they had not started to bud yet.  Very cool stuff, try it next time you’re near some waterfalls.

You can visit Mike's blog and learn about his workshops here:  Tiny Landscapes

Mike's eBooks are available in the OPG store here:  Mike Moats

Ice Abstracts

Tuesday, December 7th, 2010

As we enter into the first phase of winter here in the northern regions of the US, we find less and less to shoot outdoors.  The colors have all disappeared and the plant life has wilted and faded away until next spring.  Once the first week of December arrives, I look forward to heading to the local creeks and shooting  ice abstract.  These images that you see are produced in the very first stages of freeze at the edges of the creeks.  In this newly formed ice you will find interesting patterns and unique natural designs. With each winter day the cold adds new layers of ice causing the ice to turn white and erasing these creative designs, so being out there at the first ice is your best chance to shoot these cool abstracts.

A long focal length macro lens (150mm to 200mm) works best as you will be shooting from the bank of the creek and need that longer range to reach the subjects and fill the frame.

You will be shooting at low angles and to increase my depth of field to bring the whole design into sharp focus I use the higher f/stop numbers in the f/22 to f/32 ranges.

Look for designs that have a lot of interesting swirling lines

Sometimes you will come across ice with cool colors. The colors may reflect from the blue in the sky or from brown leaves under the ice, or yellows from low angle early morning sunlight.

As you can see there are some very interesting artwork created by mother nature, so dress warm and don’t let the cold stop you from shooting!

You can visit Mike's blog and learn about his workshops here:  Tiny Landscapes

Mike's eBooks are available in the OPG store here:  Mike Moats


When the Sun Ignites the Steam by Rick Sammon

Thursday, December 2nd, 2010

Hey Gang,

I first met Chris Klapheke, founder/owner/operator of Outdoor Photo Gear, during a workshop I was co-leading in December 2008, in Bosque del Apache, New Mexico. We met during the event that Chris eloquently describes below, and exquisitely illustrates above.

I was new to the area, but Chris had been there several times before.

Day one of the workshop: Not only was I freezing, but I needed some help with finding the best shooting locations. Chris took me under his wing, so to speak, and helped me, and all the members of the group, get some knockout images.

Chris is a humble dude. You never hear him brag about his photographs, yet he is one of the best outdoor photographers I know. Recently, I asked him to jot down a caption for the image you see here. Well, Chris is the kind of guy who goes above and beyond in everything he does (most recently when it comes to customer service at Outdoor Photo Gear). Below is the “caption” that Chris sent me.

• • •

My alarm clock went off at 4:30 am in the Super 8 motel in Socorro, New Mexico. A sleepy little town about an hour south of Albuquerque, Socorro is the gateway town to the Bosque del Apache national wildlife refuge.

At 4:30 in the morning in Socorro in December, it’s darn cold. Fumbling awake, I checked the temperature:  12 below zero. Great. No, wait a minute—Great! Yesterday was a nice warm day in Bosque, with plenty of sun. That means, with this brutally cold morning, that any water that was shallow enough to warm up would be emitting a rare substance in the desert winter—steam.

When you get a nice warm day and a shivering cold morning, you can have steam rising from some of the ponds in Bosque. And when you get that steam and a clear sunrise, you have a chance to capture one of the “holy grail” shots from Bosque —birds in a golden mist of light.

Bosque del Apache has an avian cycle that repeats itself daily during the winter. Tens of thousands of Snow Geese and Sandhill Cranes spend the winter in Bosque. Each night, all those birds seek out water as a resting place for the night, where they are safe from predators such as the coyote. In the morning, through some hidden communication, the birds will start taking off out of the lakes and ponds. If you’re lucky, they will all take off at once, in what is called a “blastoff”. The sky becomes so thick with birds that sometimes the sky is nearly blocked out.  It’s noisy, and you better wear a hat.

To experience this blastoff, and to get some fantastic images, photographers start setting up and jockeying for position in the cold dark. Depending on the wind and the light conditions, photographers scramble for the best views. You can glance down the road and it looks like the Olympics or a Space Shuttle launch—hundreds of long lenses pointed in the same direction.

But that’s not the shot I was after. Soliciting a few hardy members of our workshop, we were going to gamble. In trying for the golden mist shot, you are far away from the action of the refuge blastoff. Many conditions have to fall in place: a warm previous day, a cold cold morning, a clear sunrise, and of course, birds have to be in your chosen pond. You either get the shot, or you come away with a big fat nothing.

To have a chance at this shot, we would have to get off the road and crunch across frozen swampy grass to get close enough to a small pond. Leaving the road is strictly forbidden in the refuge. So, we scraped our windows, cracked open our chemical hand warmers, grabbed some coffee and headed in the dark to a pond along the road just outside the park.

Pulling off at the exit for the pond, we knew two of our four conditions—the warm day and the cold morning.  Now we had to check the other two conditions in the pitch dark.  Looking up, we could see the Milky Way spill across the sky. Good. A clear sunrise. As to the birds, it was too dark to see them. So we stood still and listened.  We could hear their honks and grunts. The birds were there. All the conditions were in place, so if the birds hung around for sunrise, we’d have about a 60 second window, when the sunrise was just right, to try for the shot.

With hikers’ headlamps on, we carried our gear across the frozen ground toward the pond. We did not want to get too close, for fear of spooking the birds. Enough other things could do that, like coyote, leaving us with nice steam and no subjects. We used a compass to point where the sun would rise. Then we waited in silence (except for chattering teeth) for the sun to rise.

As the eastern sky lightened, our main concern was for the birds to stay put. They like to fly off at sunrise, and we needed them to stay long enough for the sun to pour over the hills and rushes to light the steam coming from the water.

The steam slowly gained color. In looking at my images in sequence, you can see:

Black gray gray gray gold gold GOLD! gold gray gray gray, all in a small amount of time.

Happily, the birds stayed, and the sun lit up the steam like flames. We snapped like maniacs. And only a minute later, it was over. Lots of LCD checks confirmed that we indeed had some good chances. We headed back to the hotel, freezing on the outside, but excited and warm on the inside.

 

I hope you enjoyed this "Story Behind the Shot"

Explore the Light,

Rick

Check out my blog here.

Unexpecting the Expected

Friday, November 19th, 2010
Golden & Rusted, Highway 11

Golden & Rusted, Highway 11

As I was going through my own results last month to start cataloging, I came again to a series I photographed involving an old truck along Highway 11. I’ve driven along this road many times and never recall taking note of this old relic before. This trip, I certainly wasn’t expecting to find something like this where I found it. Why did I see it? Mainly because I was keeping an eye out for patches of good fall color, and there were some small trees with golden foliage in nice light, right behind the rusting hulk. By themselves, the trees would not have been worth stopping for. They were too small and isolated in an otherwise drab corner of a large, empty field. However the contrast of the fall foliage and old truck seemed much more interesting, so I marked the location and returned to it when coming back down the road the other way.

When mentioning the truck to someone else who knew the road quite well, it was also not a spot that he had really seen or photographed before. What was different the day I went by?

I think part of the fun and challenge of being a photographer is to really see a scene — to strip away the obvious, which may or may not seem that photo worthy — and then visually interpret something interesting from among the layers that are revealed. But like anyone else, photographers can fall prey to that which is familiar and expected. When I’m familiar with something, I see what I expect to see in it. My perception of interesting photographic opportunities may become dulled by my own preconception that I know what’s there, and it’s not interesting.

I love photographing old abandoned relics, and can spend hours with a single one. But somehow I had never taken note of this one before. It took active looking for something else — fall color — for me to realize I’d been driving right on by something interesting for the last few years. So the lesson I take out of this is not just to expect the unexpected, but to also unexpect the expected — try to look at what is really there and then engage my interest and imagination to see the photographic possibilities in it. Good photographs can be found all over the place… as long as I’m not expecting that there’s nothing to see.

Learn more about Royce, his images and his workshops at Vivid Aspect Photography.

Theodore A. Stark Releases his 2011 Photo Calendar

Saturday, November 13th, 2010

We are pleased to announce the debut of the latest edition of our pal Ted's wall calendar series. The 2011 calendar edition features 12-months of Ted's stunning, full color photographs highlighting the sheer beauty of the world outside.

These calendars will look great in your home or office and also make a terrific holiday gift!

The calendar will be available for purchase from Amazon and sells for $23.95 + shipping.

Product Specifications: 11" x 8.5", coil binding, white interior paper (100# weight), full-color interior ink

To learn more about Theodore and his awesome photography, visit his site http://tstark.com/.

Rick Sammon Speaks at Google HQ

Thursday, November 4th, 2010

 

Our pal Rick Sammon recently spoke at Google on Digital Photography.  Now you can enjoy one of the industry's most entertaining speakers right on your own computer, and learn a few things in the process!

For more information on Rick, his images, his blog and his workshops, click here:  Link

Loving Nik Software’s HDR Efex Pro

Wednesday, October 20th, 2010

Editors note:  Welcome John Batdorff to the blog!  John is an award winning landscape and travel photographer who splits his time between Chicago and Montana.  John loves the outdoors and traveling, and sharing his images with others. You can learn more about John at the end of this article.

 

HDR of Tree (Single Exposure)

I don’t shoot a lot of HDR but on occasion I like to mix things up and just have a little fun to get the creative juices flowing. I’ve always used Photomatix for all my HDR photography, but when I heard Nik Software was coming out with its own HDR plugin, I would be lying if I didn’t tell you I became a bit giddy. I’ve been in Montana this past week and much of the color has left my corner of the state, so I decide to have some fun with my filters, bracket a few shots, and give Nik’s new HDR program a little test drive.

I was amazed at how easy Nik’s HDR Efex Pro was to use. If you’re familiar with any of Nik’s software then you know they’re the masters of making the most daunting task manageable. Simply export a single image or bracketed images into HDR Efex Pro’s plugin and get ready to have some fun.

I’ll give you a quick rundown on today’s images:

 

HDR (Single Exposure) Imported into HDR Efex Pro

I took this image using a single exposure with a blue graduated filter for the sky and a yellow graduated filter for the grass. I simply exported the image out of Lightroom into HDR Efex, selected a preset that felt right, made a few global adjustments, and tweaked the image using its selective adjustments option. I had a fun HDR image in the matter of minutes.

HDR Dead Tree (Multiple Exposure)

 

HDR (Three Exposure -1,0,+1) Imported into HDR Efex Pro

This image was taken using the same blue/yellow graduated filter but this time I took three exposures, -1,0, 1, and I exported the images once again out of Lightroom into HDR Efex. The quality of the three exposures seemed slightly better (but barely noticeable) than the previous experiment I did with one exposure. I was really surprised at how little ghosting there was, especially since I didn’t use a tripod…;)  I manipulated the images using the same steps as mentioned above, and when I was finished I simply saved the image and imported it back into my Lightroom catalog. Keep in mind, this plugin works with Photoshop as well.

The bottom line is— whether you’re new to HDR or are a seasoned pro, this is a program you need to try. I truly think Nik Software hit another one straight out of the park…If you’re into HDR then HDR Efex Pro will do for you what Silver Efex Pro did for black and white photographers: take you to the next level.

Learn more about John, view his images and check out his blog here.