July 28th, 2011
by Robert Rodriguez Jr.
Light Mind, Rockefeller Preserve
Canon 1DS Mk III, 1/3 @f11, ISO 200, 24mm (EF24-105 f/4 L)
I’m always drawn to textures and colors, especially when the light helps accentuate them in an image. Back lighting is probably my favorite light to work with, though it is also the most difficult in my opinion. But there is no better way to bring out dimension and depth that really helps a viewer “step into” the scene photographed, both visually and emotionally.
I used an 2 stop graduated filter in the field to darken the sky, and then used Lightroom to dodge some areas around the trees that became too dark. I haven’t printed this image yet, but for sure the rich detail deserves at least a 24 x 36 print. I’ll share the specifics of how I print it, what paper I use, and how it turns out – thanks for reading!
Check out Robert’s website for images, workshops, webinars and more! LINK
July 27th, 2011
by Steve Gettle
I’m always been on the lookout for photographs of different animals using camouflage to hide themselves in their environment. Because most living creatures on earth are food for other creatures, the use of camouflage has developed as a successful way of not being noticed, and therefore not becoming dinner. On the other side of that coin, many predators also employ camouflage as a means of avoiding detection by their prey. Probably the greatest example of the use of camouflage is the chameleon that can change not only its color but its patterns as well, to better blend into its environment. We have a creature here in Michigan that also has this amazing ability. The grey tree-frog can appear a mottled grey to match the bark of a tree like the one pictured below. It can also become a uniform medium green and blend in with the foliage as well.
July 25th, 2011
by Roger Cicala
Editor’s note: Our pals at Lensrentals.com are moving into larger offices, and posted this fun article on their blog. It’s such a great read that we contacted Roger to get permission to repost it. Quite creative!
Getting ready to move a business is just like any other move: you spend a lot of time waiting for workmen to show up: painters, electricians, plumbers, you name it. It seems Roger and Aaron got a little bored over at the new building. There wasn’t much to play with: lots of empty space, some lenses we’d started moving over, and some floor tiles they found. They had to entertain themselves somehow.
So a nice game of chess seemed like a good idea. I know: they were wrong for doing this. Very wrong. But since they did, does anybody want to rent a rather unique chess set? Shipping cost might be a deal breaker, though.
The Lensrentals Chess Set
The Classic Canon opening with Nikon defending aggressively
Yes, you can rent the Lensrentals Chess set for just $9,221.00 per week!
July 22nd, 2011
by Jack Graham
Creating Mood, Motion and Emotion with Water | © Jack Graham / Jack Graham Photography
While driving down from a workshop at Olympic National Park last week, I was thinking about some of the locations we visited. Though there are hundreds of miles of rainforest in the park, much of the park contains some diverse locations that feature water. There are some of the most picturesque rivers, waterfalls, shorelines and small spring fed streams, within the park, all with different dynamics that make for some great photos ops. So I made some notes to include within this essay.
Water is very important to me and my photography. Whether taking an image of a grand landscape, or a macro image I love including water as either a subject or as an accompaniment to the subject itself. In other words, water is often included in many of my favorite images. An ocean scene as well as dew drops on a leaf, both containing a water feature can convey a special feeling, that is unique different from scenes without water.
Water adds mood, reflects light, and depending on the light can be many different hues. Water is an unpredictable feature and therefore can be used to create photographs that transmit varied feelings.
Unlike mountains, canyons, forests, etc, one must be prudent in observing how water interacts within a scene. We need to take the textures, colors, tones, and form into account when including water in our images. Depending on the time of day, the light and shape of the water can change drastically. Knowing an area and the potential can really help when considering an image including water.
Like other aspects of nature photography, we must take the overall visual design into effect when photographing all types of water. Is one area detracting from others? Is the light working for you or against you? Do you need to relocate your position?
July 20th, 2011
by Matt Dennison
LensAlign MkII Focus Calibration System
Now that many modern DSLRs have calibration ability, we can see just how off-focus some of our lenses are!
There’s a new tool on the market to help you calibrate your lenses correctly: The LensAlignII from Michael Tapes design. You’d be surprised at the results you’ll get just buy spending a few minutes calibrating your gear.
Here’s how it works:
July 19th, 2011
by Denise Ippolito
Dahlia ~ Before Pixel Bender
Image © 2011/Denise Ippolito Photography
CLICK ON THE IMAGES TO SEE A LARGER- SHARPER VERSION
Pixel Bender (PB) is a free Photoshop filter plug-in that you can download from Adobe Labs here. You can download it for CS4 but you will not have access to the “Oil Painter” filter which is the most popular filter unless you are using CS5. I haven’t really clicked with this filter but it is good for some applications. I always set up on a duplicate layer before running the program so that I can make adjustments. For this Dahlia image I desaturated it before starting and added some contrast and Accented Edges in Photoshop before running the PB filter.
July 18th, 2011
by Bret Edge
I’ve been using Adobe Lightroom as my RAW converter and photo editor of choice since version 1 launched a few years ago. Until last year I still relied on Photoshop to complete the bulk of my editing work. Why? Because I was stubborn – an old curmudgeon who didn’t want to change. Looking back, I wish I’d taken the advice of my friend and Lightroom guru Nat Coalson, who for years has been extolling the virtues of completing as much work as possible within Lightroom.
Finally I got smart and listened to Nat’s advice. I now do about 90% of my processing within Lightroom, only using Photoshop to blend multiple exposures or for complicated cloning – both of which just can’t be done in Lightroom’s current version. Even then, I import the finished product back into Lightroom so my entire image collection is in one place and easily searchable.
Lately I’ve noticed that many of my photo workshop clients are just now diving into Lightroom. Many of them are doing so with trepidation. Some of them are taking the plunge because I’ve badgered them into it. Regardless, if you’re new to Lightroom I’ve got a few tips to share that are guaranteed to save you time and effort down the road. These tips come from my own hard won experience. I hope they help you find Lightroom bliss.
July 15th, 2011
by Matt Dennison
If you have a vintage Gitzo or Manfrotto tripod, or you like to do your tripod maintenance yourself, chances are you’d like to have a diagram of all your tripod’s parts and part numbers. Digging around on the net for this information can be frustrating.
We’ve put together some handy pages where you can access diagrams and part numbers for nearly every Gitzo and Manfrotto made. We hope you find this resource handy for all your tripod needs!
Click one of the logos below to find the schematic for your tripod.
July 14th, 2011
by Paul Burwell
Purple Finch on the branch of a Spruce Tree – Canon 5D Mark II, Canon 500mm F4L IS, Canon 1.4x & 2.0x Extender II, @1400mm – Gitzo 3541XLS with Jobu Design BWG-Pro Gimbal Head
Sitting in my living room, I suddenly heard an extremely enjoyable and melodious tone from outside. Hearing it repeated a few times over about 15 minutes was finally enough to lift my sorry carcass off of the couch and out onto the back patio. I discovered a male Purple Finch (he of the melodious tunes) along with a female partner going about the process of building a nest in the Spruce Tree just outside of the back door of my home.
I ran to get my tripod (a Gitzo 3541XLS with a Jobu Design BWG-Pro Gimbal head attached) and set it up with my Canon 500mm F4L IS lens attached along with the 1.4x Extender II that is pretty much welded to the lens. I say welded because if you do much wildlife photography at all you know that there is rarely such a thing as too big of a lens.
I took some shots of the joyful little singer but discovered that (and as is often the case with the little song birds) that he just wasn’t filling the view finder the way I wanted. And with that 1.4x teleconverter attached to the 500mm lens I was already shooting at the maximum minimum aperture for my 5D Mark II, F5.6; assuming I wanted to use autofocus. I have a 2.0x teleconverter too and thought briefly about just throwing that on and making the best of things with manual focus.
July 13th, 2011
by Bret Edge
I’m a little late to the party when it comes to using Collections within Lightroom. My friend, workshop partner and Adobe Certified Expert Nat Coalson has been recommending their use to me for at least two years but until last week I’d never really seen the benefit. Now that my eyes are finally open, I thought I’d share how I’m using Quick Collections with all you good folks. I hope it’s helpful.
Last week I put off working on a large submission because I just wasn’t looking forward to all the work involved in assembling it. Yeah, I know – it’s a good problem to have and I shouldn’t be such a slacker but frankly, I am. At any rate, I started thinking about how I could streamline the process when I hit on a genius idea: create a Quick Collection of the images to submit and then export them all as properly sized jpegs.
It’s easy to add photos to a Quick Collection. As you scroll through the filmstrip all you have to do is press the “B” button and they’re automatically added. Once your Quick Collection is complete, select all the images and export them using whatever settings are needed. When you’re done, you can remove all the photos from the Quick Collection and you’re ready to do it all over again when you receive the next submission request.
Another option would be to make a new Collection for each submission. This way you’ll always have a record of each submission in the event that you need to resubmit the images, or for later reference when you’re making a fresh submission and don’t want to send duplicate images.
Learn more about Bret, view his images, scout his workshops and read his blog here.