August 9th, 2012
by Mike Moats
I’ve seen many images posted in various websites of mixing oil and water and always thought they were really cool images. For what ever reason I never took the time to photograph oil and water. So I finally decided to take some time and give it a go. Here’s how to do it with simple basic household items.
1) Clear glass pie dish or clear baking dish.
2) Cooking oil
4) Multi colored photo, fabric, wallpaper, etc.
5) Two tall drinking cups
6) Butter Knife
I filled the clear glass pie dish with about an inch of water and add maybe a half cup or oil. I used a stool to set up my system on, but a small table will also do. The two tall drinking cups are placed underneath the pie dish at the outside edges to support the dish. You can see that below the pie dish I have a print of one of my fall multi colored leaves. You can also use fabrics or wallpapers that have lots of colors. I set up inside next to a window for lots of light, but you could do this outside as well.
Set up your camera overhead, and get the front of lens parallel to the water. I used an f/stop of f/8 and my shutter speed worked out at 640th of a second at an ISO of 1600. I wanted a fast shooting shutter speed that would help stop moving bubbles.
You can pour the oil on the water and get lots of bubbles. But in my case I only had grape seed oil on hand, and when I poured it on the water it just created a slick on top of the water, but not a lot of bubbles. I used a knife to swirl the water fairly hard to help create some more bubbles and create a swirl of lines and bubbles.
I would start swirling the water with the knife in a fairly quick whirlpool motion, and then pull out the knife and look through the cameras viewfinder and study as the swirling bubbles and lines passed through the frame. The bubbles and lines will be going pretty quick at first, but just wait and the movement will slow down.
August 9th, 2012
by Robert Rodriguez Jr.
I’m often asked whether I use filters on certain images, this one is no exception. The honest answer for this specific image is I didn’t use any, but I wish I would have! I didn’t specifically head out to shoot this particular evening, so I just had my smaller bag with minimal gear. Which filter would I have used? For sure a ND filter to slow down the shutter speed and create more of an ethereal effect. The shutter speed here was about 1/4 sec. With my 4 stop ND it would have dropped to about 4 sec – much better for creating interesting water effects and get the “serene” mood I was in. Why not more stops? I don’t think I would have wanted to lose the details in the cloud formations, and anything above 10-12 seconds might have blurred them too much.
Often there are compromises, and so I have to think carefully about what will happen with certain filters. I could have used a polarizer to slow down the water (which I did have with me) but I don’t always like the saturation effect with polarizers in twilight conditions, plus with a wide angle lens, you frequently get that uneven look in the sky. Remember polarizers are most effective at 90° to the sun, and with a super wide angle lens, you’ll be covering varying degrees of the effect, hence the uneven color in the sky (darker in the middle, less towards the edges).
As for color in general, there were more than enough that night – no need to enhance what was already spectacular. Natural light can provide more than any filter or Photoshop effect can offer, it’s just a matter of patience, study, and understanding how light interacts with the atmosphere, clouds, humidity, etc. I’m still learning for sure, yet each time I go out to the same locations, I learn something new, see something that adds just a little bit more to my understanding and visual vocabulary. And of course, I urge you to do the same.
Go out and enjoy your own backyard, but stay curious, interested, and aware of what’s happening to the light. Then you can apply that to your “real” shoots and spend less time trying to make an average photo into
August 6th, 2012
by Mike Moats
This macro shot is a trick that I’ve seen before but forgot about it until one of my photo friends mentioned it. I thought I would give it a try and see what happens.
I went to my local store and bought a lemon, a glass, and some sparkling water.
I sliced the lemon to about a quarter inch think, wedged it down into the cone-shaped glass and then poured in some sparkling water. The sparkling water makes tons of bubbles and they stick to the lemon. You will have too many bubbles when you first pour the water in, but they will start to disappear if you wait awhile. The front of the glass will also accumulate some bubbles, so I just took a knife and scraped them off the glass.
August 3rd, 2012
by Robert Rodriguez Jr.
Tundra, Rock Mtn NP
As I continue to study painting and all of the profound things it can teach us as photographers, I find myself more often looking beyond the obvious compositions, and more towards the smaller details. Whether we call them abstracts, extracts (as Ansel Adams preferred), or intimate landscapes (my favorite), the idea is the same. We focus on the smaller details that allow us to remove visual cues such as scale and location, and focus on patterns, shapes, and mystery. Imagination becomes much more of a factor both for the photographer and the viewer.
This has been on my mind more and more as I struggle with conveying my feelings about what I see and experience, especially when I travel to unfamiliar locations. I took the time to visit a few galleries here in Denver Colorado, and it immediately became apparent that most of the locations I planned to visit have been photographed countless times. That doesn’t discourage me in the least, but rather provides a challenge I enjoy. How can I interpret the landscape in my own original way?
View from Mt Evans, Colorado
July 25th, 2012
by Bret Edge
I’m a professional photographer and I have a confession to make. I use my iPhone camera more often than my 5D Mark II. It’s true. My iPhone is with me about 100% of the time. The 5DII – not so much. It just isn’t practical to lug around a bulky, three pound camera everywhere I go. As a result, it isn’t uncommon to find me pointing my iPhone at a nuclear sunset, a funky tree or a buddy shredding on his mountain bike. The photo above was made last night while guiding a couple clients on a lovely afternoon in Arches National Park. I used two apps: Autostitch to create a pano from several frames and Nik Software’s Snapseed to process the image on my iPhone. Photoshop? What’s that?
No doubt many of my colleagues find this amusing, maybe even annoying. I don’t care. You see, I believe that even serious photographers can improve their skills using an iPhone, point and shoot or other unsophisticated little camera. I enjoy the process of making photographs. I get fired up when I’m able to make a photograph of a beautiful, fleeting moment in nature. Sure, given the opportunity, I’d reach for the 5DII. When it isn’t available but my iPhone is, should I just not make an image? There are times I just sit back and enjoy the moment. Not every sunset needs to be photographed. But, there are also occasions when I’m stoked to have my iPhone so I can share the moment with friends and family.
July 20th, 2012
by Mike Moats
It’s a lot of fun finding artistic ways to shoot spider webs. You can shot them straight on, from side angles, different depth of fields, with dew or without, with back lighting, etc.
Here is an example of a typical straight on shot with dew. The background was a dark area I was shooting toward, which allowed me do darken it into a black in Photoshop.
Here is a nice shot with early morning fog hazing the sun allowed me to add it in behind this web. I used a shallow depth of field which gave the web an interesting look.
July 17th, 2012
by Matt Dennison
If you live near our hometown of Louisville, KY, you’ll want to check out this event and unload some of that old gear that’s sitting in your photo closet. OPG customers can come in a day early and beat the crowds! See details below.
OPG customers can come in Thursday, July 19th from 10 to 5 and beat the crowds!
KEH events usually draw long lines as they send their event newsletter to thousands of folks in the surrounding areas. We arranged for KEH to come in Thursday for a customer “VIP Day”. In addition to the KEH Event, we’ll have in-store specials and sales. We’ll also give a way a Retrospective Lens Changer Bag courtesy of Think Tank Photo.
Even if you don’t have gear to sell, stop by and say hi!
Need directions? Find a map here.
July 16th, 2012
by Jerry Monkman
Lightroom 4 now lets you trim and edit DSLR video.
If you have yet to push that video button on your DSLR because you’re daunted by the task of editing all those video clips, you might want to give Lightroom 4 a go. Lightroom now lets you trim and make develop edits to video clips. While you can’t actually edit video in the Develop module, there is a way to make tonal and other changes, which I’ll outline below.
First, I’ll outline how to trim a video clip. When you look at a video clip in Loupe view, you’ll see a play button and some other icons at the bottom of the preview. You can now play videos directly in Loupe view by clicking the play button, and by clicking on the gear icon in the lower right you can trim the clip. When you click this icon, you’ll bring up a frame view of the video with handles on the right and left. Just drag these handles to trim the video. One note – this doesn’t change the original video file – the trimming is applied when you export the clip.
You can make develop changes to a video clip in the Quick Develop panel, or by capturing a frame from the clip as a jpeg, making develop changes to the jpeg, then synching those changes to the video clip.
July 13th, 2012
by Robert Rodriguez Jr.
Most of us at one point or another have heard or read the maxim in digital photography commonly titled “expose to the right”. But do you really do this on a regular basis, and do you know how? More importantly do you know why? I’ll try to answer these questions as simply as I can and also provide some tips to put this practice into use every time you go out and shoot. After all, I don’t know of a single photographer that doesn’t want to come home with the highest quality images possible.
Many of the students I work with seem to be unclear about exposing to the right, and I think part of this can be attributed to 2 main reasons:
- Not having a full understanding of the reading and use of the histogram
- Depending on the LCD preview on the back of the camera as a way to aesthetically judge proper exposure, color, and contrast.
First, Let’s Talk About Camera Sensors
All digital camera sensors capture light in a linear fashion, starting from black to white (left to right on the histogram). This means they capture fewer levels of information in the shadows, and the maximum number of levels in the highlights, just before clipping. In other words, the sensor is much more sensitive to brighter levels of light that darker ones.
This is the main reason why we see digital noise in the shadows and not the highlights. The “signal to noise” ratio is much higher in the highlights, therefore noise can only rear its ugly head in the shadows where this ratio is much lower.
July 6th, 2012
by Bret Edge
I’ve lead or assisted at a lot of photography workshops over the last six years and in that time I’ve noted several issues that seem to be common among novice landscape photographers. As I think back to my own early photographic escapades I must admit that I made several of these same mistakes – some times over and over. And over. What? I’m a slow learner! Perhaps pointing out a few of these issues here will help some of you avoid extending the already daunting learning curve any farther than necessary.