Complete Workshop Syllabus Jack Graham Photography Workshops
AFTER THE WORKSHOP …
WHAT NOW?
©Jack Graham and Jack Graham Photography LLC Copying this document without permission is a violation of Federal Copyright Laws
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To my Workshop Attendees,
First of all, thank you for coming to my workshop. I hope you learned a lot, recorded some good images, made many friends and feel your valuable time and effort was worth it.
Most workshops end, the folks depart and that is that. In many cases you are left trying to remember all the important subjects we discussed in the field. I believe that providing my workshop attendees with this syllabus of what we discussed is not only my responsibility, but an invaluable addition to the workshop experience. Thus this publication exists. I update this information frequently so if you do (and I hope you will) attend another Jack Graham Photography Workshop, you will most likely receive a newer version with more information than previously.
I am always amazed at how many people ask me questions when the answers are within this document. That tells me they don’t read it. Please take some time and read this document from front to back, click on the links etc. You’ll learn a lot. Believe me, I offer this syllabus to you as part of your workshop experience.
As we discussed in the field, it’s hard to take notes and remember everything we talked about when we are all involved with making images and absorbing so much information in such a small amount of time. Included in this syllabus are topics we discuss in the field and in our classroom. As I said, this is a “living” document and I continually add and update things as necessary.
Please let me know if you have any questions or just want to call and say hello from time to time. My contact information is found on my WEBSITE. Please also check out MY BLOG for timely information and informative articles.
I also encourage you to find somewhere to store your images online. Sites like Smugmug, Zenfolio, Photobucket, Shutterfly, or the one I use, PHOTOSHELTER. This online photography website provides this service very inexpensively. Please don’t hesitate to upload a few images from the workshop, then give me a call and we’ll set up a time to review them. Here is my personal gallery on Photoshelter.
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In addition, more of the information and more that I cover on my workshops is also in print form on my E-Book series available for purchase and immediate download. Click HERE for the link directly to my e-books
Most likely at some point you will be out in the field somewhere and use some of the things we talked about. If you come back with a good image as a result, think of our time together and know it was worth all of the 4 a.m. wake up calls and the late dinners! Please pay attention to the very last page, and the very last paragraph. If you do nothing else, do this.
Let’s do it again sometime. Thank you all for coming.
Sincerely,
Jack
www.jackgrahamphoto.com www.jackgrahamsblog.com
The right to download and store or output any content from this document, websites included within this document including www.jackgrahamphoto.com And www.jackgrahamsblog.com is prohibited without express permission and may not be reproduced in any form. All Photographs appearing on this publication are the property of Jack Graham unless otherwise noted.
These photos are protected by U.S.Copyright laws and are not to be downloaded or reproduced in any way without the written permission of Jack Graham
If you need permission to use a photo on this site please call 503-625-1430 or email [email protected]
Jack Graham Photography LLC 18803 111th Avenue Court Puyallup, WA 98374 503 . 625 . 1430 (m) 503 . 333 . 8699
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SECTIONS
INTRODUCTION 7 FIELD TIPS 9 EQUIPMENT 11 FIELD TECHNIQUES 29 AFTER the CAPTURE 47 HELPFUL WEBSITES 58 iPHONE and iPAD APPLICATIONS 59 BOOKS and E-BOOKS 61 USEFUL TOOLS FOR PHOTOGRAPHERS 68
TABLE OF CONTENTS (Alphabetical Order)
1X.COM 58 10 STOP NEUTRAL DENSITY FILTER 23 16 BIT DEPTH 39 360 DEGREE PANORAMA APP 59 500PX.COM 58 ADOBE BRIDGE 48 ADOBE LIGHTROOM 47-48, 50 ADOBE PHOTOSHOP 47, 50 ANON, ELLEN 62 APERTURE SETTINGS, UNDERSTANDING 30-33, 35 ART & FEAR 61 AUTO FOCUS 29 AUTO vs. MANUAL FOCUSING 36 BARNBAUM, BRUCE 62 BRIOT, ALAIN 63 BALL HEADS 14 BORDERS and FRAMES 58-59 BOOTS for WATER 26 BREEZE BROWSER PRO 51 CABLE RELEASES 25 CAMERAS 11, 17 CAMERA BAGS 20-21 CANVAS, ADDING TO IMAGE 54-55 CENTERWEIGHT METERING 34-35 CLEANING CLOTHS (3M) 73 CLEAR, DARK, SKY 71 DEPTH of FIELD 40-42 DEPTHS of FIELD PREVIEW BUTTON 42 DIFFUSERS 25 DIGITAL WORKFLOW 47-56
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DIOPTORS 24 DNG FILES 47-48 E-BOOKS 65-67 EQUIPMENT 11-28 EVALUATIVE METERING 34-35 EXPOSURE 29-34 FILE INFORMATION, UNDERSTANDING FILES 37-38 FILTERS 15-23 FOCUSING AUTO vs. MANUAL 36 FREEMAN, MICHAEL 64 FRYE, MICHAEL 64 GRADUATED ND FILTERS 20-22 GRADUATED ND FILTERS-HOW TO USE 22 GREY, TIM 48-49 GURA GEAR 8, 26 HDR 53-54 HELICON FOCUS 51-52 HISTOGRAMS 38-39 HOGAN, THOM 58 HOODMAN 27 HUNT’S PHOTO & VIDEO 18, 27-28 ISO SETTINGS, UNDERSTANDING 22-28 IPHONE & IPAD APPS 58-59 I WATERMARK APP 60 ISO SETTINGS, UNDERSTANDING 31-33 JACK GRAHAM EBOOKS 2, 65 JACK GRAHAM WEBSITE 2 JACK GRAHAM BLOG 2 JACK GRAHAM WEBINAR WITH NIK SOFTWARE 50 JPEG vs. TIFF FILES 48-49 KELBY, SCOTT 48 LENS HOODS 20 LIGHT – UNDERSTANDING 29 LIGHTROOM (SEE ADOBE LIGHTROOM) LIGHTROOM vs. BRIDGE 48 LONG EXPOSURE PHOTOGRAPHY 23 LUMINOUS LANDSCAPE 58 MAT, ADDING TO AN IMAGE 56-57 MATRIX METERING 33-35 METERING TECHNIQUE 33-35 NAPP 58 NATIONAL GEOGRAPHIC MAPS APP 58 NEOS BOOTS 26 NIK SOFTWARE 8, 47, 48, 50, 54, 63 NIK SOFTWARE, USING 47-50, 54, 63 NORTH AMERICAN NATURE PHOTOGRAPHERS ASSOCIATION 58 OUTDOOR PHOTO GEAR 8, 26-27 PANORAMA PHOTOGRAPHY 45
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PERCY, BRUCE 67 PHOTOGRAPH AMERICA NEWSLETTER 68 PHOTOGRAPHY BOOKS 69 PHOTOGRAPHERS EPHEMERIS 29, 59 PHOTO EQUIPMENT 11-28 POLARIZING FILTERS 15-16 PRE CAPTURE QUESTIONS 10 PSD FILES 49 PTgui 45 QUESTIONS, BEFORE CAPTURING THE IMAGE 10 RAW vs. JPEG 36-38 REALLY RIGHT STUFF 11, 14 REFLECTORS 25 ROWELL, GALEN 21, 64, 76-77 ROWELL, GALEN BOOKS 64, 76-77 ROWELL GALEN GRADUATED NEUTRAL DENSITY FILTERS 21 SAMMON, RICK 64 SHARPENING 55 SHAW, JOHN, E BOOK 67 SINGH-RAY FILTERS 18, 15-23 SNAPSEED by NIK SOFTWARE 59 SOFTWARE 50-54 SPECIALITY FILTERS 20-23 SPOT METERING 34-35 STORM JACKET 75 TELECONVETER 25 TIDE GRAPH APP 60 TAL, GUY eBooks 64-65 TIFF FILES vs. JPEG FILES 48-49 TPE (SEE PHOTOGRAPHERS EPHEMERIS) TRIODS 11-13 TRIPOD USE 13 UNDERSTANDING LIGHT 29 UV FILTER 17-19 VARI ND FILTER, SINGH-RAY 23 VERTICAL VS HORIZONTAL IMAGES 44 WATER PHOTOGRAPHY 31, 46 WHITE BALANCE 30 WEATHER INFORMATION 70-71 WEATHER LINKS 71 WEBSITES 58 WEBINAR, JACK GRAHAM’S WEBINAR AT NIK SOFTWARE 50 WOLFE, ART BOOKS 61-62 WORKFLOW 47-48
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SECTION 1
INTRODUCTION
POST WORKSHOP INFORMATION and FIELD TIPS
A review of some of the many things we covered in the field during our recent workshop ©Jack Graham
Please note that some of this information included here is only one man’s opinion and my way of doing things. It doesn’t mean it’s right or wrong.
I recommend you get out and shoot, shoot and then shoot some more. What’s most important is when you get back home you become extremely critical of your work. (And I mean critical!) What you have heard from me over the past few days are in many cases my thoughts and recommendations that I have gathered from some of the legends in nature photography over the years I have been lucky enough to have witnessed in action.
Please visit my website and blog for lots of articles and information on what equipment I use, etc. You can also visit other sites – of much better known photographers than I – and check out what they use (such as John Shaw, etc.).
If you read no further than here, please take a few minutes and read these brief articles, mostly from my blog regarding making quality images. I guarantee you’ll get something out of them! 1) Wrong is Right…and Other Considerations 2) Focus on the Unconventional 3) Seven steps to making quality images 4) What you just don’t find a photograph 5) Make your images Sharp 6) When reality isn’t good enough 7) Business and Nature Photography 8) Five reasons images succeed 9) See the Light
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SPONSOR INFORMATION and DISCOUNTS: Within this article you’ll read about a few companies I work with that can offer you superior products and in some cases discounts as a workshop attendee.
OUTDOORPHOTOGEAR.COM Looking for a one-stop shop with just about every photographic accessory you can imagine? Check out these folks. They are great folks to do business with and are always looking for new items for us photographers to make our lives productive. Please do yourself a favor and check out their offerings. They have a great blog as well with lots of useful information.
GURA GEAR The BEST Camera Bags on the Market! Get a 5% discount when ordering online using this code: JGRAHAM
NIK SOFTWARE Please do yourself a favor and visit the NIK SOFTWARE WEBSITE for demos of their products. Not long ago I was at Nik Software’s headquarters to do a webinar called “Keeping it Simple” where I processed a few images using the entire suite of products. I showed how in just a few minutes, NIK SOFTWARE made these images from camera Raw , using Adobe™ products to ready to print using NIK SOFTWARE . Click HERE to watch the webinar. You can now purchase the entire suite for $149!
SINGH-RAY Receive a 10% discount within 14 days of the final day of the workshop by calling 800-486-5501 and telling them you attended a Jack Graham Photo workshop (tell them which one)
LENSBABY Receive 10% discount when ordering online using this code: WJGRAHAM
PHOTOSHELTER A great place to store images, have a website online, etc. Check them out and receive a nice discount, sometimes up to 30%, when using this code: JA78GRSC64A
HUNTS PHOTO and VIDEO Though I cannot offer you a discount when purchasing from Hunt’s I can offer you direct communications with the owner, Gary Farber (800) 221-1830 x 2332 or his Assistant John Duggan (781) 462-2314. They will take your call, guide you through the process and be of immense help. You can talk to them directly. Tell them you are going to do or did a Jack Graham Workshop.
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SECTION 2 FIELD TIPS
Vik, Iceland
Here are some ideas we discussed that go into making a quality image. I hope you remember these tips and use them when you are in the field. (Not in any order of importance)
Photographers are for the most part equipment junkies. All the equipment we can buy, be it very expensive or very economical, does nothing more than GIVES US THE CHANCE TO MAKE A GOOD IMAGE.
1) … Prepare to go out and photograph (this occurs before you leave your house!) — we all WANT to make quality images, however we need to prepare ourselves, to be in the right zone to allow our creativity to blossom.
2) … Relax in the field, look around, take your time … look more, and photograph less! Enjoy the day! Don’t stress about coming home with thousands of images.
3) … Understand the subject and the light at hand. Is there a subject? What is it? Is the light good? If not. Move on.
4) … Look for a foreground to anchor the image, if there isn’t one, look for patterns … Create art, not postcards.
5) …. Make things simple – Write the sentence, not the book.
6) … Ask yourself the PRE CAPTURE QUESTIONS (see below) before you are caught up shooting average subjects.
7) … Visualize the image before you even get to the point of trying to capture it. You might also do this before you leave for that glorious sunrise.
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8) … Develop your vision.
9) … Use proper technique (this includes the use of equipment and the understanding of composition).
10) … Master the processing needed to properly present your results (i.e. shooting raw, proper use of Photoshop, Lightroom, etc).
11) … Study your subject or location before venturing out.
PRE CAPTURE QUESTIONS THAT MUST BE ADDRESSED BEFORE YOU PHOTOGRAPH A SUBJECT: They are INVALUABLE aids to every photographer and should be addressed. By answering these questions and filling in the blanks, you can help avoid bad images and make your time photographing much more productive.
BEFORE PHOTOGRAPHING AN IMAGE ASK YOURSELF:
What am I trying to convey and how can I accomplish it? How can I add my own personal vision to the image?
FOUR MORE SPECIFIC QUESTIONS THAT MUST BE ANSWERED ARE:
Is this a GOOD subject? (Why am I going to photograph this subject?) Is this GOOD Light Is this GOOD composition ARE YOU SURE?????????
IF YOU ANSWERED “YES” TO ALL FOUR QUESTIONS LISTED ABOVE and YOU ARE NOW READY TO BEGIN PHOTOGRAPHING THE IMAGE …. YOU SHOULD BE ABLE TO ANSWER THE FOLLOWING QUESTIONS:
>What I like about this subject is______>So, I will use the following equipment______> And these techniques______
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SECTION 3 EQUIPMENT
Vik, Iceland
What equipment we should use is often a subject workshop attendees’ talk to me about more than any other subjects. It is also the least important subject. Yes, good equipment allows one the chance to make a good image, however technique and the creative process is what is important.
Has anyone ever walked up to you and looked at your camera and tripod and said, “That camera must take really good pictures,” or “That must be an expensive lens.” Believe me … it isn’t the camera or the lens — it’s you. Having said that, let’s discuss equipment briefly.
What camera, lens, tripod, and ball head should I buy, etc? My answer is simple. Look at what the pros are using and buy the closest equipment you can afford to what the pros use. You can see the equipment I use here. When it comes to tripods and ball heads there is usually a big difference from less expensive products to the best products. We’ll get into this later in this syllabus.
Believe me, there is a reason that pros are using quality ball heads from the REALLY RIGHT STUFF. No one wants to pay 3-5 times the price for a product that might do the same thing. The fact is that most times less expensive products don't perform anywhere close.
The same goes for tripods. "There are two kinds of tripods, ones that are easy to carry, and good ones" ... Bill Fortney, Nikon USA
I am always available for consultation on equipment if you want. Just send me an email at [email protected]. Good equipment doesn’t mean great images. It means your chances for making a great image is greatly improved.
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CAMERAS
Has anyone ever walked up to you and looked at your camera and tripod and said, “That camera must take really good pictures,” or “That must be an expensive lens.” Believe me … it isn’t the camera or the lens — it’s you. Having said that, let’s discuss cameras.
It isn’t about the pixels---READ THIS
Nikon, Canon and Sony make very good DSLRs. However some of the 4/3rds cameras coming from Olympus, Panasonic and Sony are quite good and are easier if you are hiking great distances. Believe me, it’s not the camera, it’s the photographer and his or her vision that can make or break an image. However by using good equipment you will improve your chances of making good images. Just go to www.mountainlight.com – the late Galen Rowell made the vast majority of these images using average equipment for the time (Nikon FE, NIKON N903, and Nikon F3). Compared to what we all carry around with us today, his equipment was primitive. However his images are as good as anyone shoots today. Get the point?? For a complete listing of my current equipment click HERE
If you are in the market for a new DSLR—please read this first. The article sums up all you need to think about. CHOOSING THE RIGHT CAMERA
TRIPODS
We all have bought (and some still use a very inexpensive) lightweight tripod. My first tripod cost about $50, the second about $150, my third about $300 and my fourth about $450. None of these fit my needs as I grew as a photographer. I needed a tripod that would hold up in strong winds, hold a long lens and not fall apart after being in dust storms, salt water, suitcases and airplanes. I finally “bit the bullet” and purchased a professional set of tripod legs (Gitzo3541LS) after spending $950. What I should have done is just what Thom Hogan said in THIS article.
TIPS TO MAKE YOUR IMAGES SHARP
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I strongly recommend using the heaviest tripod you want to carry. My tripod of choice is made by GITZO (I use a 3541). You can see what equipment I am currently using HERE.
A sturdy tripod, along with good ball head, increases stability even more. After you get one of these “good” tripods --- LOOSE THE CENTER POST! Using a center post renders your tripod into a monopod, now forfeiting all the benefits of that expensive tripod down the drain. Buy a good carbon fiber tripod (yes, there ARE different grades of carbon fiber) and spend the extra bucks ... you’ll be ahead of the game as far as improving your images. You won’t have to replace a good tripod and you’ll be ahead of the game financially!
"There are two kinds of tripods, ones that are easy to carry, and good ones" ... Bill Fortney, Nikon USA
BAD TECHNIQUE!!!
SOME BASIC TRIPOD USE: 1) NEVER extend the center post. You now have a monopod, not a tripod. Make sure your lenses uses equipment (lens plates) that locks into the head itself. This not only works for adding a quick connection system to your lenses but to stabilize the entire system (I am referring to “Arca” style plates used by all the top of the line head manufacturers.) 2) When extending the tripod legs start with the top legs first, extending the last set last, making for greater stability. Also, if it’s windy you might want to not spread the legs as wide as possible.
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3) I sometimes see folks hanging camera bags from their tripod to try to anchor the tripod. A breeze might move this “anchor” thus making the tripod vibrate. Placing a beanbag on top of your camera will produce better results. 4) If you are using a camera strap, make sure it’s not hitting the tripod or camera in the wind.
BALL HEADS
A Ball head allows we photographers quick access to different angles and compositions. Clumsy pan tilt heads slow us down.
I sometimes notice photographers, especially amateurs, not making vertical images. Believe it or not, when I ask them why, they tell me “It’s too difficult to photograph vertically with this tripod head.” … and they are usually right. Consider purchasing a top quality tripod head that easily converts from horizontal to vertical. Some lenses have tripod collars. You can also purchase “L” brackets for some tripod heads or quick release plates that make the transition quick and seamless. Don’t sacrifice vertical images due to poor equipment.
THERE ARE NO FREE LUNCHES. There is a reason why the pros use such tools to make their images. I personally use the BH-55 Ball Head from The Really Right Stuff. (Tell them Jack Graham sent you!)
If you are using lenses below 200mm, The Really Right Stuff also makes a BH40 and a BH30, both display great qualities for less money.
For some lenses you will need to get custom plates to attach the lens to the ball head.
There are other manufactures of ball heads available but these are the top of the line as far as I (and many other pros) am concerned. You should have received their catalog in your welcome package.
Yes I RECOMMEND Really Right Stuff Ball heads …… you probably will never need another.
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FILTERS
As digital photography and the processing of your files become more precise as time goes by, the need for many of the filters we used to carry around are gone. I no longer carry 81a, b, c, or CC10s or Tiffen 812s around. I don’t need these. I can create these warming, cooling or other effects in camera RAW. However there are still a few filters I do carry.
It always amazes me how folks buy very expensive lenses and use cheap filters putting so-so glass in front of them. For a polarizer, I would highly recommend the Nikon’s. Almost as good are the B + W’s. B + W’s are my filters of choice for all (other than Nikon Polarizer’s). They can be purchased at Hunt’s Photo and Video.
1. Polarizer I use some old Nikon Polarizers. You can’t find these too easily and I really like them. I also own B + W polarizer (not B and W!). I would suggest using a Singh-Ray, B + W, and the higher end Hoya filters (in that order) that are pretty much top of the line. Personally I stay away from Cokin, Tiffen and ones with lesser-known brands. Yes there is a difference. Would you put a $50 tire on a $75,000 car?
Consider carrying a spare polarizer. What if you are with me in the Eastern Sierra and you drop and break your polarizer? Good luck finding one there!
HOW TO CORRECTLY USE A POLARIZER:
There is only ONE way to correctly use a polarizer. We all know these filters are known for making skies bluer and deepening the saturation. Actually the most important use of a polarizer is to remove sheen and glare from subjects in the image.
A polarizer is most effective at a 90-degree angle from the sun. If the camera angle is 180 degrees away from the sun you will often notice an uneven blue in the sky. Always check your sky using your Depth of Field preview button.
I probably use a polarizer about 30% of the time or less. On really wide-angle images (28mm and under) even without a polarizer and at a 90 degree angle one side of the sky will be darker than the other. Why use a polarizer and accentuate this problem?
I NEVER USE A POLARIZER when above 4,500-5,000’elevation, the sky is usually a rich blue already. Again, you can see this in your DOF preview button.
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OVERUSE OF A POLARIZER at high elevations:
I also use a polarizer when it’s cloudy lots of times. Unbelievably, especially when shooting flora or water, there is still a glare.
Notice the glare in the water the glare is GONE!!!!
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THE MYTH of PROTECTIVE (UV) FILTERS
I’ll bet you’ll find that not many professional photographers use UV or Skylight filters. Some don’t even own any. Many folks are using these filters though, having been told by the behind the counter person in the camera stores that they: 1) Will improve your photography while 2) Protecting your valuable investment in your lens (providing a cheap insurance policy)
This couldn’t be further from the truth. I do own a UV filter but only use it on two occasions. There are many more reasons NOT to use these types of filters. Here are a few:
1) SHARPNESS: Adding multiple filters can and does cause sharpness problems. If you are using a polarizer a lot, adding any additional filters will cause degradation. Stacking filters can often cause a vignette.
2) LENS FLARE: Adding filters can cause lens flare. Filters are flat and can act like a mirror, diffracting the light back at the subject after hitting the elements of the lens. This occurs usually when shooting during periods when the sun is about 30 degrees either side of the subject. Lens flare can usually be seen using the depth of field preview button (an invaluable tool in any camera).
Flare on the left caused by the sun (sun star effect)
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3) DIRT & SCRATCHES: A dirty filter gives you the same results as a dirty lens. I notice many more dirty filters on photographer’s lenses then dirty lenses. Inexpensive filters, especially when dirty, can become scratched when cleaning is attempted. I’ve heard this a long time ago, but it’s true. For some reason, I find that photographers who do not use protective filters usually tend to take better care of their lenses and equipment. Additionally, good quality lenses already have a hard coating on the outside of their lens. I hardly ever put my lens in any position that could cause a scratch on the lens so I do not need a filter to protect my lens. If I do, like in blowing sand, I’ll add a UV.
4) PROTECTION: The myth: If your camera falls on the ground, lens first, is the filter going the save the lens? Probably not. Hard impact on the lens will definitely cause problems even if you are using a protective filter. That being said, why would you take the chance of flare, sharpness and dirt, thinking you are protecting your lens when you are probably degrading your images by using these filters.
Would a filter protect this?
5) CHEAP FILTERS: This goes for all filters, but especially the UV & Skylight filters. Why would you buy an expensive filter and put (not only a protective filter on) on an expensive filter. This makes no sense. Cheap filters will actually transform your expensive lens into a cheap lens, sacrificing sharpness and general overall quality.
Buy a good filter. Singh-Ray, and B + W make great products.
Here are some good uses for UV filters (turn your sound up) http://darwinwiggett.wordpress.com/2010/11/26/six-silly-uses-of-the-uv-filters/
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These images were made at over 100,000 feet. A UV made a difference on this day (clear blue sky!)
NO UV FILTER AFTER UV FILTER
HOW YOU CAN PROTECT YOUR LENS WITHOUT THE USE OF FILTERS:
Simply use a lens hood or LENS SHADE. Not only does it block the light from hitting the glass, it helps to cut down lens flare. If you MUST use a UV filter, use a good multi- coated one will also reduce the possibility of flare.
A Lens shade is invaluable.
AUTOMATIC SHUTTER RELEASE There are many available. Because I like to shoot many long exposures so I use a radio controlled shutter release. Most of these, either marketed by camera manufacturer directly or aftermarket products, work quite the same. Some are very reasonable priced for what they do. I use the Hahnel Giga T Pro II 2.4GHz Wireless Timer Remote for Nikon
Receiver takes a CR2 Lithium Battery; Transmitter takes CR2032 Battery Timed sequence fully programmable including self-timer, delay, interval timer, exposure count and exposure length setting Shutter release button with autofocus, single & continuous shooting, bulb mode and self time
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SPECIALTY FILTERS
GRADUATED NEUTRAL DENSITY FILTERS THESE FILTERS CAN LITERALLY MAKE OR BREAK AN IMAGE!
What does a Graduated Filter Do?
These filters allow you to seamlessly "hold back" bright sky 1, 2, 3, or 4 f-stops to balance foreground exposure.
NO GRAD 3 STOP “SOFT” GRADUATED FILTER
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Galen Rowell Singh-Ray Neutral Density Grad Filters
Without Filter With Filter
In the image above on the left, Galen exposed for the sunlit red rocks and totally lost the foreground in dark shadow.
Using a 3-stop, soft-edged grad for the image above on the right, he was able to expose for the rocks and also capture the detail and color in the shadows that he could see with his eyes.
“Use of graduated neutral density filters is not as obvious as it seems. My success rate has gone up at least a thousand percent since I first bought a cheap neutral density graduated filter in the seventies and began experimenting with it to make photos that I hoped would more closely record the colors and tones I naturally saw. I soon discovered that, as with all good things in life, there is no free lunch…. “Each Galen Rowell Singh-Ray ND grad in the set… serves a different purpose. When I go light and carry just two, I choose one that has a soft, gradual shift from clear to a two- stop gradation (2-stop soft) and another that abruptly changes from zero to three stops across only five percent of its area (3-stop hard) for typical use across straight horizons in sunrise or sunset situations. On serious photo assignments or personal expeditions I feel naked without my full set of four ND grads.”
–Galen Rowell
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Recently Lightroom introduced a ND filter into the software. It is a great addition and works well. However, I still see the need for getting it right at the time the images are made. You have more control in your digital darkroom when you use graduated ND’s correctly in the field. At some point I think the software folks will perfect the ND, but for now, I recommend the use of grads in the field, then maybe tweaking the images if necessary using software.
HERE IS HOW TO PROPERLEY USE A GRAD ND FILTER
MANUAL METERING:
1) Meter and determine the correct exposure for a medium tone subject in the foreground. 2) Meter the BRIGHTEST HIGHLIGHT area of the scene and compensate for its tonality. Compare the reading from the reading taken on the medium tone … this will tell you how strong an ND filter you need in order to hold back the highlight area to keep it in an acceptable range. 3) Use the highlight exposure, and then open up by the strength of the ND filter you are using. The highlight will bring the highlighted area back within this range. 4) You can use a COKIN “P” adaptor, fitted to the threads of your lens, or carefully handhold (it takes a lot of practice) and position the ND filter while keeping in mind that the darkest part of the graduation is where the most pronounced effect will take place. 5) Make the image.
HERE is a great video on how all Singh-Ray filters work!
There are only two filter companies making these that do not cause color shifting. One is Lee Filters and the other is Singh Ray Filters. ( www.singhray.com)
The Singh Ray filters are by far the more widely used grads available. You can buy them direct from Singh Ray.
GRADUATED FILTERS (SOFT) If you only can afford 2---buy the 3-stop soft “graduated” and then the 2-stop soft “graduated”. You can combine these using the Cokin Filter Holder to have a 5- stop ND filter. I recommend buying these in the “P” size. These are bigger and cover your glass easier than the smaller filters.
Singh-Ray also has a Reverse Graduated filter available in 2 & 3 stop sizes. These reverse Neutral Density Graduated Filters helps balance foreground with bright horizon.
Though I own a Singh-Ray 3 stop hard ND Filter, I rarely use it. Once in a great while at the ocean I might have need for this one, but not at all as much as the “Soft” ND’S.
Singh-Ray does not carry filter holders at this time. They are available from most full-service camera stores, or online dealers such as Outdoorphotogear or at B & H.
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FILTERS FOR LONG EXPOSURE PHOTOGRAPHY
Long Exposure Photography has become very popular in the last few years. Many of our popular websites and magazines are featuring long exposure photography. Many filter manufacturers have also noticed this and have added powerful Neutral Density filters to their offerings.
Many filter manufacturers make ND filters and I have tried most of them. All are not created equal. These filters are not easily produced. They must be made of high quality photographic glass, not resin. The good quality filters take some time to produce. Unless a manufacturer has an assembly line each filter is almost hand made. The rate of dye that is added to the filter depends on how hard or soft the graduation is. Quality manufacturers try to eliminate color shift as much as possible. Some do, most don’t. This process is quite extensive. High quality filters are also quite expensive, but considering the manufacturing process, they are really priced very fair. I will discuss this further at the end of this essay.
I use two ND filters. I use the Singh-Ray 10 stop Mor-Slor filter and the Singh-Ray Vari-ND filter. Singh-Ray also produces a 5-stop Mor-Slo filter.
The 10-stop filter is a screw in 10-stop filter available from Singh-Ray (www.singh-ray.com ) in many thread sizes. The Vari-ND filter is also a screw in filter but when using this filter you can vary the amount of stops from 2-8 stops (Note: to stack Mor-Slo with Vari-ND, at least one filter has to be standard mount with front threads -- two thin-mount filters will not stack).This filter is available currently in 77mm & 82mm sizes. You can view how the Vari-ND works HERE
Read my Complete Guide to Long Exposure Article HERE
The folks at Singh-Say are very helpful. Please contact them using the information below. Tell them you are doing or have completed my workshop and you will receive a 10% discount.
Singh-Ray Filters 2721 SE Highway 31, Arcadia, FL 34266-7974 USA
For fastest response, telephone Singh-Ray at 800-486-5501 or 863-993-4100 during business hours, 9am to 5pm Eastern US time, Monday-Friday.
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DIOPTORS
Nikon makes these diopters, or what they call close up attachment lenses. The latest I heard was they were going to stop making these due to demand. For example the 6T that I bought 10 years ago for about $50-70 is on EBay now for about $200. Used singly or in combination, these lenses provide an easy way to increase magnification. Even when attached, you can use automatic exposure control and TTL metering. All lenses are treated with Nikon Integrated Coating to improve contrast and reduce flare. The higher the close-up lens number, the closer you can focus. These lenses can be used with any manufactures lenses.
Numbers 0, 1 and 2 are recommended for lenses with a focal length to 55mm. 3T and 4T work best with lenses from 85mm to 200mm, and 5T and 6T with lenses from 70mm to 210mm. Numbers 3T, 4T, 5T and 6T are two-element achromatic lenses that ensure high image quality. Numbers 5T and 6T have a front attachment size of 62mm; for all other numbers, it is 52mm.
Canon also makes a diopter. This is a 77 mm thread, the Canon 500D.
Canon 500D (left) and NIKON 6T right. Teleconverter (bottom)
Yes, you can combine them with macro lenses, to even get closer into your subject. I have been known to go a step further and use a 1.5 teleconverter AND a diopter (see next page) …
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MISC
Also, using a lens hood and cable release will help get images as sharp as possible. If your camera has mirror lock I suggest using it, especially from 1/10th – 1/60th second.
REFLECTORS AND DIFFUSERS
This article by my good friend Rick Sammon sums it up! DON”T LEAVE HOME WITHOUT REFLECTORS AND DIFFUSERS
And check out all the products from Outdoor Photo Gear HERE
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CAMERA BAGS
Are you like me, a member of the “Bag of the Month Club”? I hope not. I’ve been through so many camera bags it’s not even funny anymore. I have settled on what I have now found to be the best bags available. They are made by GURA GEAR, located in Utah.
WHY GURA GEAR? Last February, at the North American Nature Photographers Summit in Jacksonville, Fla., I came face to face with these products I have heard so much about from some of my fellow pro photographers. Like me, they tend to not be the kindest to our camera bags, based on where we travel. I had a conversation with Art Wolfe about these products and in a minute he was selling me on them. Well, if it’s good enough for Art (to me – the best photographer alive!) it’s good enough for me. Are they the cheapest bags on the market? Far from it. However, like my tripods and ball heads, I believe in getting the best I can afford as it’s a savings to do so in the long term.
The other (and main reason) is that these folks really get it. They use the best material available, (material, zippers etc.) without skimping to save a few pennies and equally they are just good people.
You can read their press HERE. It speaks for itself.
My main pack is the Bataflae 18L. In it I currently have my Nikon D700, 3 zoom lenses ranging from 17 to 200 mm. Six Singh Ray Filters and holder, two polarizers, a Hoodman (see below), extra batteries, remote radio controlled shutter release, five landscapes and more. My older bad, which was made by one of their competitors, wasn’t deep enough for my needs. The pack is comfortable on long treks and is great in the rain. There are two good-sized pockets on the top where I store more accessories and protection (and some food as well!) More importantly, it weighs only 4.2 lbs. which is important for me on international travel.
Gura Gear bags use water resistant YKK RC FUSE zippers that are reverse sewn to maximize surface area and repel water. This keeps everything dry and here in the Pacific Northwest, that’s important to me.
The larger Bataflae 26L and 32L open two different ways to best suit your needs, butterfly and full. The butterfly opening is perfect for working in tight spaces or outdoors in the elements
They make many other cool products. Please give them a close look. You will not be disappointed.
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THE HOODMAN: The Hoodman Loupe makes checking for sharpness a breeze.
This loupe eliminates the glare when viewing your LCD outside. You can purchase this through Outdoorphotogear as well. Click on THIS link to view all the Hoodman products.
My Sources for Equipment:
For accessories, I recommend dealing with OUTDOOR PHOTO GEAR (click on the logo). These folks sell ONLY accessories and have the biggest selection anywhere. You’ll find things here not available in your local camera store. They are great folks as well. Click on the logo to go to their website and you will be amazed!
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BOOTS for WATER:
I recently discovered THESE BOOTS from NEO’S ( I use the NEOS Adventurer Overshoe ). They fit right over your regular hiking boots and are really easy to take on and off. I used them for the first time on my recent trip to Iceland and they are terrific. You might want to consider them as well. HERE is a great video on how these boots function and the benefits of owning them. My friends at OUTDOORPHOTOGEAR.COM stock the entire line.
www.huntsphotoandvideo.com This is an often-asked question. Like most of what I stress, making this simple and easy is important. I buy my equipment from two sources. One is HUNT’S PHOTO and VIDEO. HUNT’S is a retail store (there are a few of them) in New England. Simply, they have the same selection, pricing etc. than the mail order houses in NYC. However, you can give my good friend Gary Farber (the owner of Hunt’s) or his able assistant John Duggan and talk to them, pick their brains etc. It is invaluable to be able to call someone (like having a personal sales associate) and feel secure that you’re making the right decision. Tell Gary or John I sent you. I guarantee you’ll be a satisfied customer.
GARY FARBER (781) 462-2332 [email protected] or
JOHN DUGGAN 781-462-2314 [email protected]
Both of these suppliers are, in my opinion the best to deal with. Please consider trying them!
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SECTION 4 FIELD TECHNIQUES
UNDERSTANDING LIGHT
Understanding when to go out to shoot and then how to use the light comes before anything else.
Photographing in mid-day light is tough. This kind of direct light produces washed out colors, contrast and flatness of form. Most professional photographers choose to work in the morning or later in the afternoon. Cloudy days can produce great images in many circumstances. Our cameras sensors are less capable of producing results like we see with our human eyes. Light can elicit a special mood as well.
I recommend reading THIS article completely. It goes thorough many different light situations and how to handle each one.
You can download the Photographers Ephemeris on your computer, iPads or iPhone (See IPhone/ iPads apps below).The Photographer's Ephemeris (TPE) helps you plan your outdoor photography shoots, particularly landscape and urban scenes.
It is a map-centric sun and moon calculator: see how the light will fall on the land, be it day or night, for any location on earth.
SETTING YOUR WHITE BALANCE
If you are Shooting in RAW (Raw vs. JPEG is discussed below) you may choose to set your white balance to Auto (usually 5000 kelvin). I set mine to daylight. This way the files are not all at 5000 kelvin when I review them in Adobe Camera Raw before beginning to process them. In Camera Raw you can convert your color temperature manually. However if you are shooting in JPEG
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(another reason not to) it is important to get the color temperature as accurate as possible in the initial capture. I recommend using the presets on your camera. (Cloudy, daylight, indoor etc.)
UNDERSTANDING BASIC EXPOSURE
Mastering the technical aspects of nature photography is mandatory to make consistently good images. One must understand the relationship between shutter speed, aperture, and ISO inside out, so when the light is “happening” you’re not wasting time thinking about what settings to use for the image you’re trying to take. In time you should be able to adjust setting (meaning “f” stops, shutter speeds, ISO) without even thinking about them, and allow your brain to concentrate on the compositional aspects of photography. The example I always use is one of a musician performing. Great musicians are so proficient on their instruments, they usually think only of the phrasing and sound they desire in their playing, not the technical part of their instruments. If you don’t practice with your camera, and totally understand the relationship between aperture, shutter speed and ISO, your images will all look similar. You may as well have a point and shoot and leave it in the “P” mode.
If you don’t attain proper exposures, then your images will be recorded incorrectly. Garbage in = Garbage out. You cannot “fix it” in Photoshop. If you get reasonably close, you can make some adjustments. However, your images will usually look like they have been “adjusted” in order to save the shot. Often, you only get one chance for a shot. If you don’t get the exposure right, then the shot will be lost or at best pretty average. Cameras settings are pretty easy these days and histograms are invaluable tools.
First let’s define these terms:
Aperture ------Aperture is the opening in a lens through which light passes in order to create a photographic exposure. The term is generally also used to refer to the size of the aperture opening, referred to as an f-stop that describes the ratio of the size of the aperture opening relative to the lens focal length.
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“F” stop------A measure of the size of a lens aperture relative to the focal length of the lens, calculated by dividing the lens focal length by the effective aperture diameter. The f-stop defines the relative amount of light projected on to the image sensor, that lets use calculate the exposure adjustments based on aperture size. For example, f/8, is a lens aperture setting with a diameter equal to 1/8th the lens focal length.
Shutter speed-----The duration that the light projected through the lens is exposed on to the image sensor to record an image. A slow shutter speed (such as 1 second) can result in a blur effect if there is motion either in the scene or of the camera. A fast shutter speed (such as 1/1000th of a second) can help freeze motion in a scene.
ISO------ISO stands for “International Standards Organization,” but more commonly used by photographers as a term related to light sensitivity for a recording medium such as film or image sensors. In digital photography, ISO refers to the degree of amplification applied to the image data in order to achieve a smaller aperture or faster shutter speed. The potential impact of a higher ISO setting is more noise in the digital capture.
©Jack Graham
I used a low ISO (ISO 200) and a slow shutter speed (1.5 seconds) to allow for the blurry, moving effect in the water.
Proper exposure is made up of three different settings in your camera. Digital cameras make it easier than the cameras back in the film days because you can now preview the image before you take it. However often, there’s not enough time to preview the image, and spend time thinking about exposure so you really need to master this aspect of photography and adjust your setting as desired.
Perfect exposure consists of adjusting your f-stop, also called aperture setting, the length of exposure or also called the shutter speed, and the ISO, previously called film speed. You first set your ISO (the old film speed standards when we set the ISO to the type of film we were using). Digital cameras, as well, have an ISO setting. The lower the setting (i.e. ISO 100) the less light you need. Digital cameras allow us to change ISO with every image. Again, back in the film days, we had to stay with the same ISO until we changed film. Not setting the ISO to the proper speed can under expose your images.
The f-stop allows you to adjust the depth of field to where you want it. Basically, the smaller the opening of the lens (aperture, or larger f-stop numbers) the longer the depth of field. That means the background will be in focus as well as the foreground. Using a larger hole such as
Page | 31 f2.8, f4 will give you a shorter depth of field. The foreground will be in focus but the background will not be in focus.
Yaquina Lighthouse, Oregon ©Jack Graham
The image on the left was taken at F22, giving me a large amount of depth of field. The one on the right was shot at F2.8, giving me a good foreground, but a blurry background, for effect.
The exposure setting also depends on the f-stop. The smaller the opening (large F-Stop numbers), more light is needed to attain the right exposure. The larger the opening (aperture--- smaller F-stop numbers), less light is required, so you will require a faster shutter speed or exposure length. Once you grasp this relationship between f-stops and shutter speeds, making the exposures you want is relatively easy. Remember time is a consideration and you often have only a few seconds to set the proper exposure.
Understanding the relationship of the three settings is not hard if you know how to use your camera. There are some other things that you need to consider as well. The lens you are using is a factor in setting exposures. Some lenses may not go below f/4, in that case you’ll have to combine a slow shutter speed with the high ISO to get the correct exposure. Lenses have been called either a “fast lens” or a “slow lens” by the lowest aperture setting available on a certain lens.
To become proficient with exposure settings, practice and note the differences between different settings. You don’t have to be in a National Park to do this. You can do it in your living room or backyard. Set up a number of images with different settings. This way you’ll be able to see exactly what your camera can or can’t do and be ready when you are in the field.
Begin with the lowest f-stop settings, the shutter speed, and the ISO. Change the f-stop increments by each aperture setting. Take some images using the entire range of f-stops, then shutter speeds and ISO settings. Compare each image to see how the changes affected each one. The more you practice and test different settings the easier it will be to set them when you’re out in the field. Make some notes if you need to.
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All cameras have the same settings for ISO. ISO on digital cameras is the sensitivity of the digital chip that records the image. A low ISO such as ISO 100 is not very sensitive to light. A high number such as ISO 1600 is very sensitive to light.
Remember, the higher the ISO setting the faster shutter speed you can use. You may think using a high ISO setting you need less light. Not always. If you used high ISO settings, you may degrade the image. Details will not be as sharp as it could be, so use a lower ISO setting. My rule of thumb is to always use the lowest ISO setting you can, depending on conditions. Again, on current digital cameras, we can vary the ISO from image to image. Every generation of digital cameras seem to allow for cleaner images using very high ISOs.
HWY 183, Arizona
Here I used a small aperture (F22) to gain lots of depth of field. Nothing was moving so I used ISO 200 with a shutter speed of 1/250th as it was very bright.
METERING an IMAGE for proper exposure
There are three ways you can meter an image. Manual spot, Manual Center weight and Automatic. NOTE: Canon also has partial meter setting and can be very useful.
SPOT METERING -- A metering mode whereby a small area (generally 1% to 5% of the field of view of the lens, for example) of a scene is evaluated for purposes of calculating proper exposure settings.
CENTER WEIGHT METERING--- A metering mode whereby the full viewfinder area is evaluated when calculating the exposure with an emphasis placed on the central area of the frame.
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AUTOMATIC METERING--- ( NIKON calls it Matrix metering, CANON calls it “evaluative metering”) --- A metering mode for calculating exposure whereby the viewfinder image is divided into multiple zones, and those zones are evaluated individually to determine the overall best exposure settings. The specific implementation of multi-zone metering varies from one camera to the next, and often a degree of evaluation is performed in an effort to determine the type of scene being photographed in order to improve the exposure results.
I never use the “P” setting!!!
I am often asked what setting I choose for my photography. (Note I am now referring to nature photography, mostly landscape and macro.) I use the following:
APERTURE PRIORITY / Automatic Metering ……… I set the desired lens aperture and the camera calculates the optimal shutter speed based on metering. ----- 40% of the time
MANUAL / Spot metering………….I choose both the shutter speed and the aperture as indicated by the meter indicator in my camera as registered using spot metering ----- 55% of the time
MANUAL / center weight metering ----- 5% of the time
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We are quite spoiled in today’s digital age. We have histograms, which instantly tell us if our exposure is good or not. Our cameras now can use ISOs cleaner than never before. We can vary our settings from image to image. Our lenses are better. Our automatic metering systems have become quite good. However we still need to understand the relationship between the three aspects of exposure to make good images. In many cases, we are still smarter than our cameras!
Icelandic Horses ©Jack Graham ISO 3200, 1/1000 sec at F8
AUTO FOCUS vs. MANUAL FOCUS
Few working pro photographers use auto focus for landscape photography. When I shoot for travel, people, birds, etc... I will use auto focus a lot. Most DSLR’s have a diopter built into the viewfinder that you can adjust to your eye (consult your owner’s manual).
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RAW vs. JPEG … Why shoot in the RAW mode?
RAW:
A RAW file is a proprietary format with uncompressed image data coming directly from the camera’s sensor, not processed, with any color rendering information. The file includes complete (lossless) data from the camera’s sensor. When shooting raw files, your computer not the camera processes the data. Obviously your computer is far superior to processing files than your camera. Shooting raw will gives you total control over how your image looks and allows you the possibility for correcting inadequacies in post processing. You’ll need to use software to process RAW files.
All Raw files are proprietary to the camera manufacturer and sometimes the camera model. Raw files must be converted to be used in Photoshop or other programs. RAW has much more exposure latitude. Often blown out highlights (if they are not too badly blown out) can be reclaimed.
Color balance is also far superior in the final results of your processing when shooting RAW. Large prints made from RAW files are superior to those of JPEG files. RAW is not an abbreviation for anything. Controlling richness, detail (sharpness), color range etc. in processing is much greater with a raw file, even though the raw files coming out of the camera may look bland
JPEG:
JPEG stands for “Joint Photographic Experts Group.” The JPEG file uses compression, which results in some loss of quality. Artifacts can be introduced in JPEG files each time the file is opened and saved. These are most noticeable in the sky or like toned gradients.
Also JPEG compression can bring out digital noise in the photograph. If you shoot in the JPEG format, I recommend using the highest quality settings, lowest ISO and presets for conditions in your camera (i.e. cloudy, sunny etc.). When shooting in the JPEG mode your camera’s internal firmware processes the image and will take the information directly off the sensor and quickly process it prior to saving it on your memory card. Some color and resolution is lost.
With some cameras there is slightly more noise in a JPEG than in a comparable raw version In the JPEG mode, the image blocks (usually 8×8 pixels) determine what can be “safely” discarded. The rule of thumb is that the higher the compression ration the lower the quality of JPEG is
Page | 36 provided (more information being discarded). When the image is put back together a row of 24+ pixels that had 24+ different tones could provide less than 6. That valuable information is completely lost.
The quality of a JPEG taken with a DSLR will still be much better than one made with a point and shoot camera. Shooting bursts, as in bird photography allows for more shots using JPEG than Raw. Raw files being larger, take longer to save to the memory card. If you shoot in the JPEG format, I recommend using the highest quality settings, lowest ISO and presets for conditions in your camera (i.e. cloudy, sunny etc.).
SO? ………..Do some professional photographers shoot in the JPEG format? Yes. Can JPEG images be made with enough quality to be published? Yes. The bottom line is this. If you are printing your work, learn to work with RAW and become proficient in your processing, the benefits outweigh shooting in JPEG. If you are shooting small images for the web, not concerned with printing, or publishing larger images (more than 8 x 10’s) the JPEG format offers a quicker processing time.
Why shoot RAW?
1) Ability to change the exposure, saturation, sharpness, curves, etc with less quality loss than you’d experience with JPEG
2) Maximum control in post-processing
Why shoot JPEG
1) Smaller file size allows you can fit more on a memory card (usually twice as many) and you can download images faster to your computer
2) Ability to shoot significantly more shots in a burst (good for bird photography)
NOTE: If you are shooting in JPEG (another reason not to) it is important to get the color temperature as accurate as possible in the initial capture. I recommend using the presets on your camera. (Cloudy, daylight, indoor etc.)
Some cameras can be set to capture images in both RAW and JPEG formats at the same time. There may be times you want to immediate evaluate an image and use the RAW converter later to optimize your final results.
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UNDERSTANDING HISTOGRAMS
Digital photography offers many benefits and features for photographers. One such feature called the "histogram."
Using the histogram in your camera’s LCD will guarantee you a much higher percentage of well- exposed images. It is well worth understanding your histogram.
Just like film, a digital camera’s sensor can only record a certain range of light values. Slide film had a light range that was limited to only a few f/stops of range. Transparency film was a bit more forgiving. Today's digital sensors seem to be able to record about 5 or so usable stops of light, a bit more than transparency film, and just a tad less than negative film. This will change, since some digital cameras are now providing extended range sensors.
The histogram is a graph that represents the maximum range of light values your camera captures, in 256 steps. (0 = Pure Black, and 255 = Pure White) In the middle of the histogram are the mid-range values that represent middle colors like grays, light browns and greens. The values from just above zero and just below 255 contain detail.
The histogram's left to right directions are related to the darkness and lightness of the image, while the up and down directions of the histogram (valleys and peaks) have to do with color information. The left (dark) to right (light) directions are VERY important for your image making. If the image is too dark, the histogram will show that by clipping off the light values on the left, or, if too light, by clipping on the right. This will become easier to understand as we look at well- exposed and poorly exposed images.
My own most important use of the histogram is to make sure I have no blown out highlights in my images. Loss of detail is to me the biggest problem with digital images. Usually details on the left (dark areas) can be salvaged but once the highlights go to pure white there isn’t much to salvage.
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UNDEREXPOSED OVEREXPOSED
A GOOD EXPOSURE
It is also important to pay some attention to your Red, Green & Blue Histograms. Single histograms do indicate correct exposures, while colored areas can be too overexposed! (Especially the reds – more than the blues and greens).
I always try to leave just a bit of space between the right edge and your histogram. I also tend to often underexpose a bit.
A great article worth referencing is: http://www.luminous-landscape.com/tutorials/understanding-series/understanding- histograms.shtml
USING 16 BIT DEPTH
The bit depth determines the amount of possible colors available, which in turn affects the color gamut as well as the smoothness between tonal and color values. If you shoot in 8-bit, you are going to have a maximum of 256 color values. In 16 bit you will attain over 65,000 possible tonal values. Your camera is probably capable of capturing with 12 or 14 bits per channel (RGB). Make sure you convert your RAW images to 16 –bit when processing to attain top image quality.
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UNDERSTANDING DEPTH OF FIELD
Here is another article I have written on my blog concerning Depth of Field.
(This technique works best for lenses below the 60mm range. As you increase your focal length 100% DOF becomes more difficult. This is why folks use large format or tilt-shift lenses.)
Your DOF preview button on your camera is exceedingly important.
Why do many photographers not use this button? The answer is quite simple as far as I am concerned. At small apertures like F11, F16 I the viewfinder becomes dark while depressing the DOF preview button. Thus folks think this function is unusable. WRONG!
Here’s a way to make this very important camera function usable. 1) Set your aperture to F8 or to a setting you can see the image through the viewfinder while depressing the DOF Preview button. 2) Focus just above the 1/3 of the way up from the bottom of the frame on a subject closest to you. 3) If this area is in focus, you have a great chance of the entire image being in focus when resetting the aperture to F16, or even F22.
BE ALERT-----if your camera is set in the AUTO FOCUS mode---—your camera will negate all your hard work setting the DOF manually. A few weeks ago, I was conducting a workshop and a participant asked why when he focus correctly, and uses his Depth of Field Button (DOF) to check his DOF and his images still turn out blurry. Well he had his camera set to auto focus, and when he pressed down on the shutter release the lens went into auto focus mode, thus canceling out all the work he did manually to create the image he wanted.
Review the examples on the next page:
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Vertical image
1/3 rd up from bottom of frame
HORIZONTAL IMAGE
1/3 rd up from bottom of frame
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Pear Orchard in autumn, Hood River Valley, OR ©Jack Graham
…………..now, let’s go over this ONCE MORE
I use my DOF preview button constantly. I check, recheck … then recheck again as long as I have the time and the subject isn’t moving.
1) At apertures like F16, and smaller there is little light coming through the lens when the DOF preview button is engaged, surely not enough to see the 1/3 point. So…I cheat…. I set my aperture to F8 or so ( the smallest aperture I can see what I need to –usually F8 works fine, in low light conditions, sometimes I have to use 5.6). 2) I then find the closest spot to me, that is 1/3rd up from the bottom of the frame and focus in that general vicinity. Having done that accurately, I then reset my aperture to F16 or higher and make the photograph.
I have actually had folks use this method with auto focus as well. They lock their focusing point on the “spot”, hold in their AF button, recompose and shoot. I do however recommend manually focusing whenever possible.
And yes, this system works the SAME for macro.
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COVER YOUR VIEWFINDER BEFORE CLICKING THE SHUTTER Many of the cameras on the market these days do not allow you to cover the viewfinder when you depress the shutter. Light can infiltrate the camera from the viewfinder (up to 1 stop in certain situations). Cover the viewfinder with your finger or something if your camera does not have a shutter curtain. This is a little known but big factor in getting the exposure correct. And if your exposure is off all the sharpness in the works can’t save the shot.
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IS THE IMAGE BETTER AS A------Vertical or Horizontal? Very simple------shoot both ways & decide when you get home!
These two elements can convey a 180 degree feeling in an image. Who’s to say which is right? The right one is the one you like. However, in the field often we are too busy with exposure, focus, lighting etc. to make this cognitive choice. I suggest photographing your image both ways and deciding which one is more pleasing when you get home, on your monitor. I see few vertical calendars, and few horizontal magazine covers. Take into consideration how the image will be used.
Oregon Winery, fall, OR © Jack Graham Photography
I sometimes notice photographers, especially amateurs, not making vertical images. Believe it or not, when I ask them why, they tell me “It’s too difficult to photograph vertically with this tripod head,” … and they are usually right. Consider purchasing a top quality tripod head that easily converts from horizontal to vertical. Some lenses have tripod collars. You can also purchase “L” brackets for some tripod heads or quick release plates that make the transition quick and seamless. Don’t sacrifice vertical images due to poor equipment.
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PANORAMIC PHOTOGRAPHY
Please read this article, it has everything you need to know in it about making quality panoramic images.
My Software of choice is PTgui http://www.ptgui.com/ It does a great job of stitching and dealing with averaging exposures!
©Jack Graham Iceland 2012
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PHOTOGRAPHING WATER
For reference you can read my article on this subject off my blog: Click HERE for the article.
More technical information is found HERE
Here is a general reference I use when shooting water. Remember, these are MY settings, Experiment and find what works best for you.
Natural Blurred Silky LARGE WATERFALLS/ 1/500 1/125 1-1/2 CASCADING WATER: sec Sec sec
MEDIUM WATERFALLS/ 1/250 1/60 1/2 CASCADING WATER: sec sec sec
SMALL WATERFALLS/ 1/125 1/15 1 CASCADING WATER: sec sec sec
MOVING STREAMS: 1/60 1/8-1/4 2-4 sec sec sec
I suggest bracketing and taking notes or using your Meta data in your post processing of your shutter speeds, until you find the speed you like until you can remember them out in the field.
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SECTION 5
AFTER THE CAPTURE
THINGS TO REMEMBER in DIGITAL PHOTOGRAPHY: 1) Shoot in RAW, not JPEG (see previous discussion above) 2) Expose to the Right (See Histograms) 3) Convert your files to 16 bit depth 4) Make sure to back up your files, then back them up again
DIGITAL WORKFLOW My basic workflow:
Step1) I examine the image and determine what I really want to do to the image to make it look the way I want to. Step2: Make a copy of the original RAW File before you beginning editing. **Critical and necessary! You can do this by making a “virtual copy” or by using NIK SOFTWARE’S DeFine2.0, eliminate the noise and make your virtual copy at the same time! Step 3: Make adjustments in Adobe Lightroom: crop and level the image Adjust camera profile (in Camera Calibration) Determine if there are any dust spots. I remove these in Photoshop, not Lightroom Adjust white balance if necessary (color temperature) Fine tune exposure using Highlight, shadows, whites and blacks — in Lightroom Make any corrections using the graduated filter Adjust Clarity and Vibrance Adjust Saturation (I rarely use this function… I do this using NIK Software) Edit in NIK Define 2.0 Edit in NIK Vievza 2/Color Efex Pro3.0/Silver Efex Pro to apply any light and color enhancements Edit in NIK Sharpener Pro 3.0 (Output Sharpener) Add keywords to the image. This will make it easier to locate in the future using Lightroom’s indexing features
Step 3: Export the file, either as a PSD or a TIFF, and reopen in Photoshop. I currently use CS6. For more information on file management, refer to the last section of this document.
Step 4: Make adjustments in Adobe Photoshop: Apply Smart Sharpening (usually my preference) or Sharpen in Nik’s Sharpener Pro 3.0. Choose the output sharpening for your medium (e.g. web, print). This is usually subtle. This process, and Smart Sharpening in CS4, can help with some minor out of focus problems. Remember you want to get it right at the moment of capture. Apply level adjustment using Levels (if necessary) Apply curve adjustment Curves (if necessary)
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LIGHTROOM vs. BRIDGE LIGHTROOM vs. APERTURE
This is a very often-asked question…. And here is a short answer:
1) Lightroom vs. Aperture----Much more accurate than Aperture. Though not a bad program, I don't know of any pro photographers using Aperture, though I am sure there are a few.
2 Lightroo) vs. Bridge: a) For me mainly speed and a few features not in Bridge (lens correction etc.) b) The key wording and the library module can not be compared. c) Bridge is really a browser; Lightroom is a library and catalog maker
Check out these good reads..... http://www.scottkelby.com/blog/2008/archives/1308 http://ajwood.com/2010/11/lightroom-vs-adobe-bridge/
Most working pros use Adobe Lightroom and Adobe Photoshop (NIK Software too!). Though there is some overlap, in the end both programs are necessary for a few different features (Layers, accurate curves in Adobe Photoshop for example).
WHAT KIND OF FILES SHOULD I BE USING: JPEG, TIFF, PSD, DNG?
Here is some good information from a website I subscribe to (ASK TIM GRAY)—you should as well: http://www.timgrey.com/asktimgrey/
I use JPEG files for email and web applications ONLY. I recommend you convert and save your images to TIFF (or PSD) files. Below is a great article explaining everything accurately by Tim.
This article is ©Tim Gray Today's Question: I would appreciate your comments on long term saving of photo files in DNG vs TIF file formats, advantages and disadvantages of each. Tim's Answer: From my perspective these two file formats are actually used for completely different purposes, so you might actually use both depending on your workflow and preferences.
I see the DNG file format as an alternative to RAW file formats, and in fact this is one of the key reasons Adobe developed the DNG format in the first place. Some digital cameras actually offer DNG as a RAW capture format (generally in addition to a proprietary RAW file format). The benefit of DNG in this context is that the DNG file format is openly documented. In theory at some future date a particular proprietary RAW file format might no longer be supported by software. In that case, you might not be able to convert your RAW captures anymore. Because DNG is openly documented, it would be possible for someone with the programming knowledge to create software that could convert DNG, even if no other software was available for this purpose.
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Of course, I don't see this as being a very real threat, so I don't feel it is necessary to convert RAW captures to DNG for purposes of ensuring access to your files in the future. As you've certainly noticed, there are many different software tools for RAW capture, and they aren't likely to disappear anytime soon.
One advantage of the DNG file format compared to proprietary RAW file formats is that you can write metadata into the DNG file, whereas in general you aren't able to update metadata for RAW captures. The result is that RAW files will often end up with "sidecar" XMP files, where a DNG file would not have this "extra" file.
So, there are some advantages to DNG as a replacement for your proprietary RAW captures, but I don't consider the arguments in favor of DNG compelling enough to actually change my workflow to incorporate DNG.
The TIFF file format is of course a file format used later in the workflow. It would be used to save a "final" image after adjustments have been applied, potentially even with multiple layers. Therefore, the TIFF file format is best compared to the Photoshop PSD file format. Quite frankly, you can use either of these formats without any real issues. Both support adjustment layers, image layers, saved selections, layer masks, and more, in the context of images optimized in Photoshop. With images that contain a particularly large number of layers the TIFF file format will often result in a smaller file size, but the differences tend to be somewhat mixed.
So, in my mind the TIFF and PSD file formats in the context of Photoshop are really interchangeable. I happen to use the PSD file format for my "master" images, mostly because that's what I've always done. It wasn't that long ago that the TIFF file format in Photoshop could not save layered images and so a layered image was by definition a PSD file. Therefore, in my mind I still tend to think of a PSD file as my master layered file, and a TIFF file as a flattened (non-layered) image saved to be sent to someone for some particular output (such as printing). Of course, now you can save layered files as TIFF, so that distinction is gone, but I still use this as a tool for being able to identify images as master versus derivative image based on the file format of the particular image file I'm evaluating.
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SOFTWARE
I process my images in camera raw in Adobe Lightroom, apply my NIK SOFTWARE applications. I will then move into Adobe Photoshop™ and look at layers, curves and a few other things. Primarily I am using Adobe Lightroom™ and NIK™ Software. However, without the use of Adobe Photoshop™ as well, my images would not be completed to my standards. My workflow is contained within my processing article, part of series 1 of my E book series available on my website.
Just a word about NIK SOFTWARE: --There is NOT one image I do not apply NIK Define (noise reduction) software to. I use NIK VIVEZA with almost every image. My favorite applications in NIKS COLOR EFEX PRO4 software are: Detail Extractor, Tonal Contrast, Foliage (if there are greens in the image) Brilliance and warmth, Darken lighten Center. I am always careful to not over process.
NIK SOFTWARE’S WEBSITE is loaded with great information and demos. I encourage you to visit it often.
ALSO PLEASE VIEW the WEBINAR I did at the NIK STUDIO. It’s about an hour and I visually demonstrate how to use the entire NIK Suite of software with little effort. CLICK HERE TO VIEW…. It’s been viewed over 10,500 times!
Two books that are currently available about NIK SOFTWARE are well worth the time and cost to help you use their magnificent product.
Nik Software Captured: The Complete Guide to Using Nik Software's Photographic Tool…. By Tony L. Corbell and Josh Haftel
PLUG in WITH NIK by John Batdorff
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I also use and recommend:
BREEZE BROWSER: (Not available for MAC, as of this writing). On a past workshop one of the attendees showed me a program I am using exclusively for my quick editing. It’s inexpensive and makes editing quick and easy.
Breeze Browser Pro helps the professional photographer to: (NOT AVAILABLE for MAC)
Quickly assess large numbers of images Convert, resize, sharpen and level raw images from Canon, Nikon, Pentax, Olympus, Sony, Fuji and Minolta cameras Select images for processing, or for presentation Generate attractive, captioned web pages with watermarking and online ordering (optional) Produce contact sheets and proofs (print straight to your printer or print to file) Batch rename images and managing folders Caption and edit comments and XMP IPTC data including IPTC subject codes and scenes
HELICON FOCUS
Helicon Focus is a program that creates one completely focused image from several partially focused images by combining the images (you can use an unlimited amount of images) into one focused image. The program is designed for macro photography, microphotography and hyper focal landscape photography to cope with the shallow depth-of-field problem. Helicon Focus also aligns images as objects often change their size and position from shot to shot. This function is especially important for macro photography. There are two versions, lite & pro. I have only used the light version. I am very impressed on how easy the software is to use. SOFTWARE can be downloaded right off the web site www.heliconsoft.com
Helicon Focus is shareware. You can download and use the program for evaluation purposes for 30 days. After evaluation period the program will add promotion text to the resulting image. It’s been my experience that you really need to know in advance, in the field if you will be shooting using the HF program. Not all images will lend themselves for Helicon Focus. Any movement at all will ruin the otherwise great results.
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I used 6 images combined using Helicon Focus to create this image in Lower Antelope Canyon, Arizona
I used 13 images combined using Helicon Focus to create this macro image of the Columbia Tiger Lily in Oregon
TO BE ABLE TO USE HELICON FOCUS SUCCESSFULLY----IN THE FIELD…these conditions must be met: There must be NO wind; The light must be constant; and the subject cannot move in any way
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HDR----- (HIGH DEFINITION RESOLUTION)
Over the past 5-6 years or so, HDR Photography has become quite popular and allows us to photograph in ways we could not think of in the past. I use HDF as a “means to the end.” In my opinion, there are 2 ways to use HDR: 1) When the light is such that combining 3-5 frames at different exposures will make for an image looking as realistic as possible, and pleasing to the eye. 2) To create a piece of what I call PHOTO ART, allowing you to use creativity and kind of “let yourself go” and experiment with different effects. I do however encourage you to call this Photo Art, not Photography.
This image was made combining 3 images, metered in camera, and The other2 images…. + 1 and -1 stop.
This images was made using 5 images -2 -1 0 +1 +2 stops
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USING HDR FOR THE “PHOTO ART” EFFECT
For an in-depth discussion regarding HDR please read this article: http://jackgrahamphoto.wordpress.com/2011/05/20/hdr-the-good-the-bad-and-the-ugly/
I recommend NIK SOFTWARE”S HDR EFEX PRO 2, HDR conversion software. This program gives me the results I want quickly and easily. The competitive product(s), though quite good as well, take a longer learning curve to use properly. Learning tone mapping correctly is essential in the competitive products. You do not need to learn this with NIK. NIK’S Programs do this for you.
Here are a few uses of HDR to create what I refer to as “Photo Art”
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SHARPENING FOR THE WEB
© Jack Graham
After processing in camera RAW, I always save my files as TIFF FILES. Tiffs are uncompressed and will not become degraded after opening and saving them over time like JPEGs. The downside is they are much bigger files and require more external memory to save them.
Your TIFF File in today’s cameras should be about 4000 ppi (or close to this) on the longest side
1) Convert your completed TIFF File ( 16 BIT ) to a JPEG ( now an 8 BIT file). You probably have a big file around 300 DPI ( best for printing)
2) Reduce your DPI to around 150 DPI. This reduces your ppi size to about 1500ppi automatically.
3) Apply the “Sharpen" filter ……………twice. (yes twice)…..This will create a very over sharpened, noisy, mid-size image.
4) Further reduce image size to your web preference, such as 750 ppi. When reduced, this "tricks"
5) Adjust your file size (in KB) to where you want it to be. The more KB’s (larger files) the less compression there is. My typical web image (for email, my website and blogs) is about 750-800 ppi, 72 dpi and about 400KB.
6) Play around with this technique and make it work for you. Every image is different. Sometimes I'll apply a sharpen filter 3 times at 1500 pixels and then reduce for an even finer, but other times it has too much of an adverse effect on color.
7) Last, keep in mind not to sharpen skies too much as this will unnecessarily increase file size. Do local touch-ups with 'sharp brush' to improve textures/definition in sky and water. Smart Sharpen is better than UnSharpen Mask.
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ADDING A CANVAS (MAT) TO YOUR IMAGES
A canvas is like a picture frame. It can really make your images stand out in emails or on the web.
I like to keep my web images usually about 700-720 pixels on the longest side and 72 DPI.
These settings (canvas size settings) are how I like to do canvases. Experiment and come up with the sizes you like.
In Adobe Photoshop or Adobe Elements follow these steps:
If you are only doing one black mat skip these first two steps. For a double mat…..
INNER MAT
1) Make sure your images is the correct size 2) GO TO IMAGE>RESIZE>CANVAS 3) MAKE SURE that the box called“ Relative” and all arrows in the directional box are checked 4) Make your width and height equal. I like .4 to .5 in black for my inner mat (again you may like a different size or color)
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MIDDLE MAT
5) GO TO IMAGE>RESIZE>CANVAS 6) MAKE SURE that the box called“ Relative” and all arrows in the directional box are checked 7) Make your width and height equal. I like .075 in white for my middle mat (again you may like a different size or color)
OUTER MAT
8) GO TO IMAGE>RESIZE>CANVAS 9) MAKE SURE that the box called“ Relative” and all arrows in the directional box are checked 10) Make your width and height equal. I like .9 in black for my inner mat (again you may like a different size or color)
AND FOR THE LAST LITTLE TRICK TO MAKE YOUR IMAGES STAND OUT EVEN MORE:
Make the bottom part of the frame just a tad wider than the other 3 sides. Follow these instructions
11) GO TO IMAGE>RESIZE>CANVAS 12) MAKE SURE that the box called“ Relative” and all arrows in the directional box are checked 13) CLICK ON THE MIDDLE ARROW on the top row of the directional box 14) The Width box should remain at 0.00. Add .075 into the height box, making sure that the color is the same as the outer mat.
AND LASTLY------no matter what size your image may no be---resize it to where you like it (again I use about 700-720 pixels on the longest side---you may need to sharpen the image just a little
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SECTION 6
HELPFUL WEBSITES
Of course: Jack Graham Photography MY BLOG ULTIMATE ICELAND and PHOTOGRAPH the PACIFIC NORTHWEST
Also---- these are exceptional sites and worth your time:
For NIKON folks --- www.bythom.com
GREAT sites to look at great images by photographers worldwide: 500 PX.com and 1X.com
A great forum: www.naturephotographers.net
The Luminous Landscape
North American Nature Photographers Association
PHOTOSHOP USER
Links to other Photographers I admire
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SECTION 7
iPHONE & iPAD APPS
I USE THIS APP TO CALCULATE LONG EXPOSURES
SNAPSEED by NIK SOFTWARE—now free!
360 PANORAMA ---- take stunning 360 panoramas everywhere. 360 Panorama turns your iPhone, iPod Touch, or iPad 2 into a full featured 360-degree panoramic camera
The Photographer's Ephemeris (TPE) helps you plan your outdoor photography shoots, particularly landscape and urban scenes. It is a map-centric sun and moon calculator: see how the light will fall on the land, be it day or night, for any location on earth.
National Park Maps HD $ 1.99 Explore 15 of the top U.S. National Parks with the best collection of trail maps available. By National Geographic
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Tide Graph 1.99
iWatermark, is the only watermarking tool available for all 4 platforms Android, iPhone/iPad, Mac and Windows. iWatermark is the most popular utility in the world to watermark photos for photographers.
FlightView - Real-Time Flight Tracker and Airport Delay Status
TED presents talks from some of the world's most fascinating people: education radicals, tech geniuses, medical mavericks, business gurus and music legends.
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SECTION 8
BOOKS
Art & Fear explores the way art is made, the reasons it often isn’t made, and the nature of the difficulties that cause so many artists to give up along the way. The book's co-authors, David Bayles and Ted Orland, are themselves both working artists, grappling daily with the problems of making art in the real world. Their insights and observations, drawn from personal experience, provide an incisive view into the world of art as it is experienced by art makers themselves.
This is not your typical self-help book. This is a book written by artists, for artists -— it's about what it feels like when artists sit down at their easel or keyboard, in their studio or performance space, trying to do the work they need to do.
I JUST RECEIVED MY COPY OF Art Wolf’s new (updated) book The Art of Photographing Nature. In this fully revised edition of the classic bestseller The Art of Photographing Nature, master photographer Art Wolfe and former Audubon photo editor Martha Hill team up to explain the art of composing images of enduring beauty. Against a backdrop of more than 250 photographs of nature, wildlife, and landscapes, they share insights and advice about what works and what doesn’t, and how small changes can take an image from ordinary to extraordinary. Throughout, all-new tips from digital imaging expert Tim Grey show readers how to make the most of digital technology, whether by choosing the right color space, understanding sensor size, or removing distracting elements in post-processing. The result is an invaluable collection of expert advice updated for the modern age.
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ART WOLFE and ROB SHEPPHERD…THE ART of the PHOTOGRAPH… Essential Habits for Stronger Compositions
As a sequel to the prior publication by Art Wolfe, this book, written by Rob Sheppherd and Art serves as a bible for making quality images. Rob and Art through the images and text take you for the point even before you take your camera out of the bag to the final print. DO NOT MISS THIS BOOK !
Ellen & Josh Anon’s book See It: Photographic Composition Using Visual Intensity
How do you capture that perfect image, and more importantly, what makes it great? That's where this book comes in. Rather than wasting time trying one approach after another until something seems right or memorizing a list of rules, discover a new, more comprehensive and yet intuitive way to think about photography and see the world around you by using visual intensity. The quality of your imagery and the speed of your workflow will both vastly improve once you are able to use these techniques to articulate why you prefer one image to another. You’ll read much of what you’ve heard in my workshops. This is a really great book for every photographer at every level.
The Art of Photography, an Approach to Personal Expression, by Bruce Barnbaum
This is an updated and newly revised edition of the classic book The Art of Photography (originally published in 1994), which has often been described as the most readable, understandable, and complete textbook on photography. With well over 100 beautiful photographic illustrations in both black-and-white and color, as well as numerous charts, graphs, and tables, this book presents the world of photography to beginner, intermediate, and advanced photographers seeking to make a personal statement through the medium of photography. Without talking down to anyone, or talking over anyone's head, Birnbaum presents "how to" techniques for both traditional and digital approaches. Yet he goes well beyond the technical, as he delves deeply into the philosophical, expressive, and creative aspects of photography so often avoided in other books.
Bruce Birnbaum is recognized as one of the world's finest landscape and architectural
Page | 62 photographers and for decades has been considered one of the best instructors in the field of photography. This latest incarnation of his textbook, which has evolved, grown, and been refined over the past 35 years, will prove to be an ongoing, invaluable photographic reference for years to come. It is truly the resource of choice for the thinking photographer.
Buy EVERY JOHN SHAW book and read them over & over. John explains things better and very succinctly. I know you will agree after reading them. You can easily find these used on Amazon These are books that contain information and writings about things you must know to make good images.
A FEW MUST HAVE’S AS WELL:
Three Great books by Alain Briot---- BUY & READ ALL 3
All about Nik Software (Corbell & Hafetl) Plug IN With Nik
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MICHAEL FRYE and MICHAEL FREEMAN
BUT MY FAVORITE, other than John Shaw’s great books, is this one by Galen Rowell.
It was out of print for some time and is now back.
THE INNER GAME of OUTDOOR PHOTOGRAPHY by Galen Rowell
And Rick Sammons HDR BOOK is also a winner:
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E-BOOKS WORTH READING:
Mine of course!!! http://jackgrahamphoto.com/shop/e-books
Series 1 Series 2
GUY TAL http://guytalbooks.com/---Get all NINE here—these are really books written as only Guy can. You can view all 9 of them HERE
Please select one of the following categories or just buy them all, you will after you read one!
The Creative Series
A collection of eBooks designed to assist both beginner and experienced photographers advance their vision and craft in creative new directions. The eBooks provide advice, tools and techniques meant to help the reader develop, focus and express their own unique vision, style, and sensibilities using the medium of photography.
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Essay Collections
Collections of Guy's previously published essays collated by topic and re-edited for digital viewing.
Albums and Monographs
Each eBook in the collection contains a selection of Guy Tal's works focused on a common vision and theme. Each title contains an essay describing the subject as well as Guy's notes for each image.
JIM GOLDSTEIN Photographing the 4th Dimension – Time Read this review by Michael Frye…he sums this e book up magnificently
JOHN SHAW John Shaw’s Lightroom / Photoshop Workflow
John Shaw’s Photoshop Techniques
John Shaw’s Panorama E-Book
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BRUCE PERCY… A great series of E-Books
Click HERE for complete information. All in Downloadable PDF format
Buy the entire set of Technique eBooks! (At discount) Personal Exposures, The Art of Self Awareness, Understanding Light, Aspect Ratios, Simplify Composition, Portraiture, Simplifying Visualization, Nocturne & Lofoten, Taj Mahal
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SECTION 9 USEFUL TOOLS FOR PHOTOGRAPHERS
Photograph America Newsletter, By Robert Hitchman
Photograph America Newsletter is a 12-page travel newsletter for photographers, published bi- monthly since 1989. Each issue describes in detail where to photograph North American landscapes, wildlife, hidden waterfalls, remote beaches, slot canyons, wildlife migrations, and much more information. Learn where, when, and how to discover the best nature photography in America. Photograph America Newsletter is in its 20th year of publication.
Please visit www.photographamerica.com for a free sample newsletter as well as more information.
NEW Subscribers SPECIAL: FREE One-Year Subscription with 3 PDF downloads For NEW subscribers ONLY: Purchase 3 or more PDF newsletters (downloaded) and receive a FREE ONE-YEAR SUBSCRIPTION (four PDF issues, sent quarterly), starting with most recent issue, emailed to you when order is received.
RENEWING Subscribers SPECIAL: FREE 10 Updated Newsletters For RENEWALS: Current subscribers with renewal of their subscriptions receive ten UPDATED issues (#71-#80 PDFs emailed to you after order is received).
NEW! Complete Collection CD/PDF Newsletters now being offered on Rewritable USB FLASH Drive with 2 GB Data Storage For: Complete Collection on USB FLASH Drive Includes a FREE One-year Subscription of PDF files (four PDF issues, sent quarterly).
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MAKE A PHOTO BOOK
WHAT DO YOU DO WITH ALL YOUR IMAGES? Why not make cards to send to your friends…. Or maybe even sell in some local stores……
MPix (www.mpix.com) does a great job at cards, However you need to buy them in bulk to make them cost effective. You can print your own with an inexpensive printer. Here is some information
Why not do a Photo Book? Try BLURB. You're shooting more than just photos — you're capturing your life's adventures. So make a photo book that's so much more than a photo album. Gorgeous printing and library-quality binding turn your photos into a book worthy of any coffee table. Here is a great book done via Blurb by Guy Tal “EXPOSURES”
They do a great job and if you use Lightroom it’s very quick & easy... HERE’S HOW.
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La Push Beach, Olympic Peninsula, Washington
PREDICTING WEATHER
Predicting weather is crucial to becoming a successful photographer. Unfortunately many weather forecasters these days are just plain bad or they re reading the wrong information.
Here is a link to what most of the read. Check this out before you watch the weather on the 11 o’clock news---you’ll find they just parrot what’s found here. http://www.weather.gov/view/largemap.php
CLEAR DARK SKY: www.cleardarksky.com I use this site a lot for information regarding weather as it applies to sunrises & sunsets in photography. Though this site is for astronomers, it is invaluable to the nature photographer. It is very accurate. There are reporting stations allover every state and Canada. They predict (even better than the weather folks) clear skies, as well as transparency.
You can find detail explanations on what this means at www.cleardarksky.com. Also wind as well as humidity info is there as well. The humidity tends to really improve sky color during sunset and sunrise.
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Carry a weather radio … you never know. I have a really small but powerful radio made by the C.Crane Company (check their offerings out, you will be blown away!). HERE is the information on my CCPTK weather radio.
OTHER GOOD WEATHER SITES:
IWDS http://www.weather.gov/view/largemap.php
NWS: http://www.nws.noaa.gov/
ACCU WEATEHR: http://www.accuweather.com/news-summary.asp?partner=accuweather
INTELLICAST.COM http://www.intellicast.com/
THE WEATHER CHANNEL www.weatherchannel.com
CLIMATE PREDICTION (LONG TERM) http://www.cpc.ncep.noaa.gov/
WGN: http://weather.wgntv.com/maps.asp?Region=Midwest
CLEAR DARK SKY http://www.cleardarksky.com/csk/
SUNRISE/SUNSET INFO: http://aa.usno.navy.mil/data/docs/RS_OneDay.php
UNSYS CLOUD COVER: http://weather.unisys.com/satellite/sat_vis_nw.html
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BAD Weather makes for Good Photography—This image was made in Wyoming, about 7AM, Temp about 10 below zero and winds over 30 mph!
The image below was made at sunrise on Hunt’s Mesa, Arizona. The wind was sustained at at least 35 MPH with blowing dust. Lucky I have a good triopd and ball head….. but again, the conditions made this image possible.
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When you are out in bad weather try using the STORM JACKET to protect your gear!
And to clean your lenses I use these CLOTHS by 3M they are great and will NOT scratch your glass
Please take a minute and read the article on the following pages.
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Galen at a GAPW workshop back in the mid 90’s
Tricks of the Trade
By Galen Rowell
Outdoor Photographer, October 2001
Only so much about photography can be learned from classes, books or even magazines like this one. I’ve had workshop participants tell me that they learn more by simply watching me in the field for five minutes, despite my best attempts to communicate what I know in carefully prepared lectures and these monthly columns.
“Why are you taking so many pictures of the same flowers without changing the composition?” I’m asked.
“Because the wind is blowing.”
“But won’t all your pictures be blurry?”
“Maybe. Maybe not. One or two could be sharp enough if I catch a moment between gusts. I’ll never know unless I try.”
During the next day’s critique session, I’m the only one who has a sharp flower picture. Of course it’s not 100-percent sharp everywhere, but it was composed to have the flowers with the shortest stems that move less in the wind in the foreground, so that the ones most apt to blur would be less obvious.
“What lens are you using with that graduated filter?”
“My 17-35mm at 17mm,” I reply.
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“How can that be? All my wide angles below 24mm vignette the corners with grad filters.”
“Not if you buy an extra Cokin filter holder and trim it down to have one slot instead of three and all four corners cut back so they won’t get in your picture.”
“But of course you aren’t using a polarizer!”
“I am, but it’s not an off-the-shelf one. I had it custom-fitted into a 77mm Cokin adapter ring. That way it works on my 17mm lens with a graduated filter, too.”
“But if it’s glued solid to the holder, it can’t spin in its mount like a polarizer is supposed to.”
“That’s right, but a mount that rotates internally is a luxury. The first polarizer didn’t. Like this one, you adjusted them by turning them in your lens threads and being careful that they didn’t fall off. It’s a trade-off, but it’s sure worth it.”
For more decades than I’d like to admit, the lowest joint of my Gitzo tripod legs kept jamming up with dirt and sand. It seemed to be an inevitable consequence of shooting in wet or dirty places where that last joint sat on the ground whenever the smallest legs weren’t extended, which was most of the time, since using your tripod at the lowest possible setting is always the sturdiest. Then one day I needed to set my tripod into a few inches of the extremely alkaline waters of Mono Lake to frame just the right reflection. I extended the bottom legs just enough to keep the joints above the corrosive waters. When I went to put my tripod away, I decided not to close up all that sticky stuff into the joints but to wait until I could wash it off at home. As I congratulated myself for not messing up the joints, I thought, why not leave those lower legs extended a few inches as standard practice. Virtually nothing from the ground would ever be able to get into those joints again, and the tripod wouldn’t lose much stability. Now I only close my tripod fully when I pack it in my luggage.
Last winter, however, I did get those lower joints fully wet on a 15 ¡F evening in the Owens Valley of Eastern California as Sierra Wave clouds were turning crimson in the setting sun. I’d just been out for a run, staying barely warm wearing running shorts over thermal underwear. After driving to a nearby pond to catch a reflection, I stood on the shore with my 18mm lens searching for the perfect composition to encompass the broad cloud display. With the wind blowing, moving tree limbs along the shoreline showed on both sides of my picture, no matter where I stood.
As the light peaked, I had to make a fast decision. I could use a more conventional 28mm lens that would crop out the trees but lose the drama of the cloud display. I could shoot the wider scene with blurred limbs. I could give up. Or… you guessed it: I waded into the pond, shoes and all, and dunked my tripod long enough to make an image that later became a prized exhibit print. Shivering for a few minutes was worth it, and my tripod dried off like new.
That same 18mm fixed lens is my choice whenever I need a very sharp and extremely wide- angle image. In big enlargements, I can see the difference between using a fixed lens and a wide-angle zoom of the same focal length, even though it might not show on a full page in this magazine.
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When I have a clear picture in mind and know what lens I need to use, I often take that and no more. Not far from my home in Bishop is a huge boulder covered with ancient petroglyphs. It remains pristine for several reasons: it’s not mentioned in any guidebooks; the trail is unsigned; but most of all, it’s at the top of a 300-foot bluff that limits both the casual visitor and the outdoor photographer who carries all his equipment in a photo backpack. If he or she does reach the petroglyphs, chances are it’s not before dawn or near sunset, when climbing or descending the bluff could be in darkness. Add to this the basic gumption factor of carrying a lot of gear on rough terrain, and its little wonder why I had yet to see a picture of these petroglyphs beneath magic hour lighting in the clouds when I moved to the area last year.
I, too, was daunted by the situation. I’d known about the petroglyphs for 30 years and photographed them, but not in great light. Now I’ve returned several times with just my light Nikon N80, that 18mm lens, some graduated filters, and a mini-tripod to prop on a higher rock. When I’ve failed to get fantastic light, it doesn’t seem like a failure. A wilderness hike with less than four pounds of gear is what outdoor photography should be all about, whether or not the resulting images are winners.
When a situation has the potential to be fast breaking, the most important technical tip I can give is to begin with a “preflight.” That’s what I call the process of ordering everything in your camera bag exactly where you always keep it, as well as checking every setting on your camera in advance. If I fail to go through this process, I inevitably grab a camera body that I’ve forgotten to reset to the right film speed, forgotten to turn off the spot meter setting, or, worse yet, forgotten to reload with film. That’s when being in the right place at the right time doesn’t make any difference.
How did I learn my bag of tricks? Many came from observing other photographers at work. Back in the ’60s when I started out, there weren’t color nature photography workshops, and I never took a photography class. I made it a point to go out into the field with people more experienced than I was, watch closely, and ask the right questions …Galen Rowell
I hope this information helps and you have many great days out in the field making great images.
Jack Graham
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