Learning Article Compilation - INDEX Feb 2018 to April 2019

Critiquing Photographs 2 Picture within a Picture 3 Where to start? Interactive Chart 5 New Library Resources 6 Photoshop Tips and Tricks 8 Exploring the Power Of Photoshop Layers 9 New Additions to the Library 10 Perspective in Photography 12 Luminosity Masks in Photoshop 14 Clutter in my Image 18 File Formats in Photography 20 New Books in the Lending Library 23 What is Contrast in Photography 24 Adding Backlighting Effect to Subject in Photoshop 26 All things Color - the Color Blue 30 Clouds 34 Achieving Better Composition - tips from Painters 39 Lightroom Post Processing Made Easy 40 Photographic Element - Form in Nature 42 Additions to the Library 43 Lightroom Workshop 44 Polarizing Filters + Short Focal Length Lenses 47 Abstract Photography 48 Hyperfocal Length 51

Learning Compilation www.CameraClubofHendersonville.com 1 The Learning Corner - Ginny Bedell, Education Director - Critiquing Photographs

I have found over the past year, what I believe to be, a great and informative resource for all of us to review. So, I would encourage everyone to take a look at this link. http://valleyviewfinders.com/wp- “The focus of critiquing should be content/uploads/critiquing_photographs. providing feedback that will help the pdf photographer - and onlookers - learn something. Printing and tucking it into your tool kit is highly recommended! What has been done well - select some of the best things and say why you think The information complied by Terry they work. Tallis, of the Valley Viewfinders club is a compilation from a number of photograph What could be improved - select areas critique guidelines, as well as a number of where the biggest improvements could be Critiquing Photographs: art critique guides. Many of the methods of made and give your reasons. Where critiquing art pieces apply well for appropriate provide links to relevant Tools for both the photographs. examples or reference material” Photographer and From Terry Tallis article Critiquer Do you know of any other critiquing resources the club might be interested “Praise makes you feel good; a critique in? If so, send them along to me at makes you better.” – Unknown [email protected], and I’ll share them with the membership. During 2018 the CCoH membership will have many excellent member (PhotoShare and Mentoring Program) and We have some great PhotoCritique professionally oriented (PhotoCritique) themes, such as Patterns, feedback opportunities. The obvious goal Balance/Symmetry, Perspective and of each occasion being to assist in Contrast, lined up for this year. improving and enhancing our photographic Looking forward to seeing your images skills. and hearing your feedback this year. Image from http://www.flowmotioncafe.com/wp/wp-content/uploads/Asking-For- Feedback-495px-495x218.jpg

Learning Compilation www.CameraClubofHendersonville.com 2 Pictures within a Picture - from the January PhotoShare - by WERNER BONITZ

This is a great exercise: Look at any picture and try and find the pictures within that picture. Yes, there are always more pictures within every picture, pictures which the maker missed when he/she took the original. Next time you are out in the field, apply that process to the scene in front of you and actually take those other pictures, which may end up being better than your original concept.

I took picture #1 in Buffalo, NY amid humongous abandoned grain silos with a 35mm lens. Then I mounted a tele-zoom lens on the camera and took shots of areas of interest within that original scene. A zoom lens will bring your subject closer to you without changing the perspective. Normally you also have the option to walk up closer to your subject, which does change the perspective and will give you a different image. As I was on the 3rd floor of a silo, a zoom lens was my only option.

Learning Compilation www.CameraClubofHendersonville.com 3 Pictures within a Picture - from the January PhotoShare - by WERNER BONITZ - Continued

Picture #3 is the cropped bottom of Picture #2. I like this a lot better but my interest is drawn to the window on the left, which I cropped out for Picture #4.

Last but not least I focused (pun intended) on the odd squiggle in one of the window panes and that became Picture #5. I Picture #2 is one of those selective turned this picture sideways for better images. I don’t particularly like this effect. picture but it contains some interesting details that I couldn’t explore because I didn’t have a longer lens. Here a high I started out with 40 megapixel camera comes in handy as it megapixels in Picture #2 allows you to crop an image and still and ended up with about have enough pixels left to make a 1.7 megapixels in decent print or show on a projector. Picture #5, just enough for the 1.5 megapixel projector. By enlarging the file about 3 times I ended up with a very decent 8x10 print from it.

Learning Compilation www.CameraClubofHendersonville.com 4 The Learning Corner - GINNY BEDELL, Education Director

Here’s something of interest for the beginner CCoH member. Or, it may be a good review for all!

“Where to Start Chart” - An Interactive Flow Chart for the Novice Photographer

The ‘Where to Start Chart’ is an infographic designed to help beginner photographers work their way through the settings on their camera. (Link to chart in blue above) While the information offered in the infographic is quite basic, it’s a neat way for the novice photographer to acquire basic photography skills in one convenient location. The five minute video features host Mark Wallace breaking down almost every component of the infographic, from what mode to use to what ISO is right for the situation and so on. The chart is an interactive PDF file with links to hours of free photography tutorials. If you get to a spot and are unsure what something means, just click the box to watch a video about that topic.” Curious? Simply Click to follow this link to the video introducing the chart: “The Where to Start Chart”

Learning Compilation www.CameraClubofHendersonville.com 5 The Learning Corner - GINNY BEDELL, Education Director

New Library Resources Thanks to Marge Pearson’s generosity, CCoH’s library has recently expanded. We now have three new additions. Let’s take a brief look at these resources.

Waterfall Photography with Kevin Adams (DVD) Enjoy photographing waterfalls and cascades? Then this 2 hour (recording time) DVD is just for you. Kevin escorts you into the field and shows you his personal photographic approach to 8 different waterfalls. In addition to the field experience, he demonstrates some of his helpful processing techniques. A special “slide” show comprised of 40 waterfall images is included which explains his photographic approach.

Blue Ridge Parkway Vistas: A Comprehensive Identification Guide to What You See from the Many Overlooks (2014) By Tim Barnwell

The nearby Blue Ridge Parkway is a favorite WNC destination for lots of CCoH members! Many of us often wonder what mountain peaks we are seeing as we photograph from one of the many beautiful nearby overlooks along the BRP. And, often we are curious about the height and distances of near and far away peaks. In this unique guidebook you will find answers to those questions and much more. Additionally, it touches upon the history, geography, natural attractions, geology, and communities traversed by its 469 mile track and 40 plus overlooks located in North Carolina and Virginia.

A personal copy of this book is always with me when driving the BRP!

Learning Compilation www.CameraClubofHendersonville.com 6 The Learning Corner - GINNY BEDELL, Education Director - Continued

Photographing National Parks (2015) by Chris Nicholson

From sea to shining sea, our system of national parks preserves some of the USA’s most unique wilderness areas. These parks are a gift to nature photographers everywhere. This book delves into what the parks offer to the photographer and how to best research and prepare for a trip to explore the artistic opportunities within. You will learn how to travel safely and photograph in the various environments found in the park system, including desert, alpine, forest and coastline. In addition, you’ll discover where to find valuable information about iconic and secret photo locations, how to stay powered up in the outdoors and ideas for ancillary gear that will make a photo project more efficient and productive.

Send me an email at [email protected] if you’d like to checkout one of these gems. I will have it ready for you at a future meeting.

Learning Compilation www.CameraClubofHendersonville.com 7 Photoshop Tips and Tricks - HERK SCHMIDT (For Windows computers - Mac’s substitute CMD for Ctrl)

1. Alt-Click line between smart filter and layer below to apply that other brush blend modes are: Shift-Alt-K for filter to layer below only. Darken, Shift-Alt-G for Lighten, Shift-Alt-C for Color, 2. Hold “H” and Click and hold left mouse button to reposition Shift-Alt-U for Hue, Shift-Alt-M for Multiply, Shift-Alt-S box on zoom-in. for Screen, and Shift-Alt-F for Soft Light. You can also 3. Use the Shift key and left square bracket “[“ to soften your use these keyboard shortcuts for Layer Blend Modes, brush hardness and the Shift key and the right square but you have to have the Move tool selected first. bracket “]” to harden the brush. 9. Hold down the Alt key as you click the Add Layer Mask icon 4. Use Alt key and right square bracket to select layer below (circle in a square) at the bottom of your Layers panel to current layer, and Alt left square bracket key to select layer immediately add a black-filled mask to a layer. A black mask above current layer. will hide everything on that layer. 5. Create a new black and white adjustment layer. Set blending 10. When using an Adjustment Layer to adjust Levels change the mode to Luminosity. Use color sliders to adjust luminosity of layer blend mode from Normal to Luminosity. This will colors. eliminate color saturation changes when you make 6. You can use a layer mask filled with black, and your brush adjustments. tool set to white to brush in effect if desired. 11. Turn white or black into color—When working in 7. To create a selection on a transparent layer, make your Hue/Saturation (Layer>New Adjustment selection, hold Shift-Ctrl-C to copy from the layer below, then Layer>Hue/Saturation), it’s nice to be able to shift colors to Ctrl-V to paste on the transparent layer. whatever you like. Have you noticed, however, that you can’t 8. Here are some important shortcuts to use when working with add color to pure white or black, no matter how high you turn layer masks: up the Saturation in the Properties panel? Even if you click on a. Press X to swap the Foreground and Background Colorize, those areas won’t take color. You may have noticed color (this is incredibly useful so you can switch a Lightness slider in there. That’s not there to lighten or between painting with black and white). darken images; I mean, you can, but it looks bad. The reason b. Press the Left Bracket key “[“to reduce your brush that slider is there is to lighten black or darken white. When size, and the Right Bracket key “]” to increase the you move that magical slider in Colorize mode, suddenly you brush size. can apply color to those areas, which previously seemed c. Press the first number of the Opacity you want to use impossible. for your brush (e.g., 2 for 20%, 4 for 40%, etc.). Press 12. You can use the Sharpen tool for sharpening without causing 0 to put the Opacity of the brush back to 100%. You permanent changes to your image. Simply create a can also use these keyboard shortcuts for layer transparent layer above the layer you want to sharpen. Then Opacity, but you have to have the Move tool selected check the box to “Sample All Layers” for the Sharpen tool. first. Now you can adjust the applied opacity or erase the d. Shift-click on the layer mask thumbnail in the Layers sharpening with the Eraser tool. Similar to the previous tip, panel to hide the effect of the mask; Shift-click again you can do the same with the Spot Healing Brush. If you to show the effect of the mask. eliminated something and you want to put it back in you just e. To switch the brush to the Overlay blend mode using use the Eraser tool on the transparent layer. only the keyboard, press Shift-Alt-O. To set the brush back to Normal blend mode, press Shift-Alt-N. Note

Learning Compilation www.CameraClubofHendersonville.com 8 The Learning Corner - GINNY BEDELL, Education Director

Exploring the Power of Photoshop Layers

The concept of using Photoshop Layers was mentioned by many of the participants in our March, 2018 Before & After / Side by Side program. Layers are a big part of Photoshop since they enable you to transform your photos into anything you can imagine!

Photoshop layers are like sheets of stacked acetate (think “old overhead projector”). You can see through transparent areas of a layer to the layers below. You move a layer to position the content on the layer, like sliding a sheet of acetate in a stack. You can also change the opacity of a layer to make content partially transparent

So, let’s take a look this month at a couple of resources that Working with layers in the Layers panel demonstrate how to use layers in the Layers panel, resize the Resizing layers contents of a layer, add images to a layered file, and work with a background layer in Adobe Photoshop CC. Adding images to a design 1. Take a look at, and download images from, the tutorial be- Convert a Background layer into a regular layer low to learn how to create, re-order, resize, add images to layers, etc. to create a great image! 2. Or, perhaps you might like to look at Chapter 8 (Layer Es- https://helpx.adobe.com/photoshop/how-to/ps-layers- sentials) along with its practice (downloadable) image in basics.html our recently acquired book entitled Photoshop CC Visual QuickStart Guide by Weinman and Lourickas (2014). This tutorial covers: Viewing and selecting layers in the Layers panel

Learning Compilation www.CameraClubofHendersonville.com 9 The Learning Corner - GINNY BEDELL, Education Director - Continued

Exploring the Power of Photoshop Layers - continued Changing the layer opacity Using lock options

The chapter covers a myriad of topics including: Choosing layer panel options

Creating layers Filter listings

Selecting layers Merging layers

Restacking layers Flattening layers Creating layer groups Lots of other resources are available via a Google search. Deleting layers and groups Hopefully, these resources will prove to be a helpful start for those who are mystified about layers. Hiding and showing layers Let me know if you have any favorites that you’d like to share with Repositioning layer content club members. You can always contact me at [email protected].

New additions to the CCoH Lending Library

Photoshop CC: Visual QuickStart Guide (2014 release) by Elaine Weinmann and Peter Loure- kas - PeachPit Press

This best-selling guide from authors Elaine Weinmann and Peter Lourekas has been the go-to tutorial and reference book for photography/design professionals and the textbook of choice in college classrooms for decades. This edition includes their trademark features of clear, concise, step-by-step instructions; hundreds of full-color images; screen captures of program features; and supplemental tips and sidebars in every chapter. Among the new CC features covered in this extensively updated guide are: Smart Sharpen, Adobe Camera Raw as filter, intelligent upscaling, multi-shape and path selection, and camera shake reduction. New and updated Photoshop CC features are clearly marked with bright red stars in both the table of contents and main text.

Learning Compilation www.CameraClubofHendersonville.com 10 The Learning Corner - GINNY BEDELL, Education Director - Continued

COOH Lending Library - New Additions - Continued

The Adobe Photoshop CC Book for Digital Photographers (2015) by Scott Kelby – New Riders

In this book Scott Kelby brings learning to a whole new level. He shows you step by step the exact techniques used by today’s cutting-edge digital photographers; and uncovers more of the latest, most important, and most useful Adobe Photoshop techniques for digital photographers. Learn more about processing RAW images, quickly correcting the most common digital photo problems, sharpening techniques used by the pros, processing HDR, using the Content-Aware, using video editing features to make movies from your DSLR videos, the latest Photoshop special effects for photographers and a host of shortcuts, workarounds, and slick insider tricks to send your productivity through the roof. Kelby also includes a special chapter with his own workflow, from start to finish, and each chapter ends with a Photoshop Killer Tips section. Four bonus chapters, along with all the images used in the book for download on the book’s companion webpage are also available to you the reader!

Complete Digital Photography 5th Edition (2010) by Ben Long - Course Technology

This book will guide you through every aspect of digital photography, from shooting through postproduction and printing, to help you master the theory and technical skills required of a great photographer. In an easy-to-understand format, you'll uncover the fundamental photographic knowledge you need to solve common dilemmas and challenges and advance your photographs to a new level. You'll learn everything from how a camera works and how to choose the camera that's right for you, through shooting, image editing, output, and workflow. You'll also explore the basics of artistry in photography, including finding a subject, composition, lighting, and more. This fifth edition features both new material and a revised and more user-friendly organizational structure. Tutorials and exercises throughout the book will help you practice the techniques presented in each chapter.

A BIG thanks to Rich DeSimone for finding these new resources!

Enjoy exploring these new CCoH resources.

Learning Compilation www.CameraClubofHendersonville.com 11 The Learning Corner………………………..GINNY BEDELL, Education Director

Perspective in Photography – Don’t just Here are some perspective changing suggestions stand there move your feet! to consider! As photographers, many of us succumb to the habit of shooting everything we see from eye-level. Get Low While walking around, something catches our eye, and ● Get your camera down towards ground lev- we immediately take a picture right from where we are el, and see how it impacts your perspective. standing. Getting down low allows you to feature the foreground of your composition and gives To make an immediate impact in our photography, we simply need to change our perspective. In other words, your viewer context for the rest of the photograph. Consider using a we need to get out of our eye-level or tripod-level rut! wide angle lens to feature the foreground, while pulling the viewer into We can certainly modify our composition by zooming in the image. or out with our lens, but if we want to change our ● Getting down low can change the way your viewer feels or reacts to perspective, we are going to need to move. your subject. Getting low can make your subject appear taller or more So, let’s take back some control here by not allowing imposing. Subjects viewed from below can look commanding and pow- our feet, or our tripod, to “root us to the spot”! Get erful. moving and be ready for some bending, turning, ● Getting low can also completely disorient your viewer. Getting low sim- walking, and possibly climbing. plifies the composition and puts the viewer into a different, and unique perspective than their everyday viewpoint.

Get Up High or Look Up High ● You can get low and look at subjects from their level, but you can also get up high and take in your subject from above. Getting well above your normal line-of-sight will certainly give you a new perspective. ● If you do not want to physically get up high, standing and shooting does not mean you only have to shoot straight ahead. Spend some time looking up, and you will find plenty to improve your compositions and your perspective. In fact, with very tall subjects, looking up from below will accentuate their height and size.

Learning Compilation www.CameraClubofHendersonville.com 12 The Learning Corner - Cont………………………………………GINNY BEDELL, Education Director

Go for the Lateral ● Beyond just changing your stance or your direction of shooting, you also need to remember to move yourself. Take the time to walk around your subject, to consider the background and foreground. Think about how all the pieces of your final composition fit together. Your first view and your first angle are often not the best available, but you cannot be sure until you have taken the time to investigate others. ● Moving your feet can change the way that different objects in your photograph interact with each other.

Check out these other helpful articles: https://www.bhphotovideo.com/explora/photography/tips-and- solutions/viewpoint-and-perspective-photographic-composition https://photographylife.com/how-to-use-perspective-corrections-in- lightroom-and-photoshop

Learning Compilation www.CameraClubofHendersonville.com 13 Luminosity Masks in Photoshop………………..………………………WARREN BEDELL

Luminosity Masks: In the Before & After Side-by-Side in the What Are Luminosity Masks? March meeting, one image was created using luminosity masks Before looking at luminosity masks, let’s make sure we’re in tune which generated some questions on what exactly they are. with the concept of a mask in general. In Photoshop, a mask, or Luminosity masks are a powerful tool so let’s take a look at what more specifically a “layer mask”, is a grayscale image that can be they are and how they work. There will be some links at the end to edited using the standard tools. Its value is in the ability to control sites that offer tutorials as well as tools to automate the process of the effect of the layer being masked. Using the old “White creating luminosity masks in Photoshop to make the workflow Reveals, Black Conceals” motto, areas of the mask that are white easier. allow the effect of the layer to be applied and areas that are black This won’t be a full-fledged tutorial to make you an expert on block the effect of the layer. Areas that are between white and luminosity masks. It’s intended to be an introduction to whet your black, shades of gray, allow the effect to be partially applied appetite and get you started. The links below can fill in the details depending on the shade of gray. In addition, in Photoshop, masks and help you work through the process. are closely related to selections so I’ll use both terms more or less A couple of questions arise naturally at this point. Why would I interchangeably. want to use luminosity masks? What is the value of a luminosity Luminosity masks are layer masks that are created based on the mask? The sites listed at the end offer some answers, and we’ll brightness of the image. They are, essentially, a selection with the explore these questions as we go along, but Greg Benz has amount of “selected-ness” determined by the brightness levels in posted a short, interesting video titled “HDR vs Luminosity Masks” the image. A significant advantage of using luminosity masks is (https://gregbenzphotography.com/photography-tips/hdr-vs- their subtlety and soft edges. Many of the standard tools used to luminosity-masks). The basis is that most photographers are now create masks or selections, such as the selection tools, result in familiar with HDR processing so he discusses the value of using sharp edges that can make the effect of the mask visible in the luminosity masks instead. While it isn’t a straight tutorial on final image. Luminosity masks have smooth edges that feather luminosity masks in general, the images he uses and the into the image as the brightness changes. observations he makes are a useful introduction to the concept.

Learning Compilation www.CameraClubofHendersonville.com 14 Luminosity Masks in Photoshop cont…………………………….…………………WARREN BEDELL

Creating Luminosity Masks

The procedure for generating a luminosity mask is actually rather complex and tedious. If you’re interested, specific instructions are available on the sites listed at the end. Fortunately, however, there are several sources of Photoshop actions that automate the process, making it simple and quick. There are free options that offer a great way to take a first look at luminosity masks. For serious use, I recommend purchasing one of the low-cost tools as they are very powerful. See the list of links at the end for more on individual offerings. I personally have Greg Benz’s Lumenzia and Jimmy McIntyre’s Raya Pro. I use both and have found that my primary choice alternates as new releases come out (all of which have been at no additional cost). For this discussion, I’ll use Lumenzia as its user interface is a little more straight-forward (see Figure 1 at right).

Learning Compilation www.CameraClubofHendersonville.com 15 Luminosity Masks in Photoshop cont……………………….………………………WARREN BEDELL

Creating Luminosity Masks Once an image is loaded into Photoshop, and Lumenzia is installed, the user interface panel is available for creating luminosity masks. The basic operation is easy— just click one of the options in the L (light) or D (dark) columns. There are also mid-tone masks (M) and even masks for the individual zones of Ansel Adams’ zone exposure system. As examples, I’ll use a landscape image with a wide range of tones from very dark green trees to a bright sky. Figure 2 shows the original image, Figure 3 is the lights luminosity mask from the L2 selection, and Figure 4 is the darks mask from the D2 selection.

Learning Compilation www.CameraClubofHendersonville.com 16 Luminosity Masks in Photoshop cont…………………………….…………………WARREN BEDELL

Keeping in mind that the masks are just grayscale versions of the Useful Links original, the lights mask has the brighter tones in the same place Here are several sources for information on luminosity masks, as the original. Following the “White Reveals, Black Conceals” along with tools, both free and low-cost, for generating them. Most rule, that means the highlights are “more selected” than the also offer tutorials and videos, some free and some for sale. The shadows. The darks mask is essentially a negative of the lights list is not ordered in any way so there is no indication of the quality mask with the shadow areas of the original being bright in the of the sites or the tools, and these are not an endorsement of any mask so the darker tones are now “more selected.” It can take a product or site. It also not exhaustive! An internet search will turn bit to get comfortable with the look of the masks, but a little up many more opportunities for exploration. practice is all it takes for things to make sense. Greg Benz: free set of actions as well as a low-cost utility Using Luminosity Masks called Lumenzia and tutorials. When I first encountered luminosity masks, I though they would be (https://gregbenzphotography.com/luminosity-masking-tuto- good for adjusting contrast in specific areas like just the bright rial) highlights. While they can be used for common tasks like that, they aren’t really needed in that role. With the 14-bit RAW Jimmy McIntyre: free set of actions as well as a low-cost captures available in most digital cameras, the standard tools in utility called Raya Pro and tutorials. Lightroom or Photoshop can handle the majority of tonal (http://www.shutterevolve.com/photoshop-powerpack) adjustments. Luminosity masks come in handy for those special or unusual situations. Then they can allow you to make adjustments that the standard tools can’t handle. To get an idea of the power of Tony Kuyper: free set of actions as well as a utility called luminosity masks, take a look at the videos on the sites listed TKActions and tutorials. (http://goodlight.us/panels-and- below. Not only are the images themselves impressive, the use of videos.html) luminosity masks is amazing.

Learning Compilation www.CameraClubofHendersonville.com 17 The Learning Corner………………………..GINNY BEDELL, Education Director

Oh, My… Clutter in My Image! Here are some suggestions to consider when you choose to simplify Clutter" is a term often and de-clutter an image: used to describe elements ��Time can be a scarce included in an image that commodity. So, try not to rush distract from the intended your shooting. Spend some subject matter. time exploring your location and Sometimes what makes a what you have to work with. great image stand out is not just what you include in ��Always check the foreground and background of your shots your framing of the image for distracting features. One such common mistake is the but what you don’t include. sight of trees, posts, powerlines, coming out of people’s A photograph is a condensed version of the visible world. So, heads. photographically speaking, avoiding clutter in your image is extremely worthwhile. ��While looking into your viewfinder move your camera across a scene to see if an alternative framing might produce a stronger result. Training your “photogra- pher’s” eye to look for dis- tractions in your shooting ��Be particularly aware of bright or contrasting colors or environment is an essential highlights which can draw the eye away from your focal first step in your capture point. workflow. Your camera can’t filter out all those dis- ��Try different focal lengths (by zooming or changing lenses) tractions the way your brain to cut out unwanted features. can, so it’s up to you to make sure that they aren’t in the scene before you press the shut- ter button. That means giving the situation a quick assessment ��If zooming doesn’t work use your feet to change the angle and checking out all that background noise through your viewfind- you shoot from. er or on your LCD. Elements that are included in your composition should add ��Move your subject. This is often possible when you’re something to the overall photograph. If a photographic element shooting people (i.e. move them to a new background). doesn’t enhance your image make every attempt to leave it out!

Learning Compilation www.CameraClubofHendersonville.com 18 The Learning Corner - Cont………………………………………GINNY BEDELL, Education Director

Ways to de-clutter your photo continued move the clutter since it will only rob your photo of its intended impact! ��Move the distracting object. If you are shooting macro Of course sometimes you can break this rule completely and fill shots it’s often possible to manipulate the background to your fame with so many potentially unwanted and unnecessary be less distracting. focal points that the clutter itself becomes the point of interest in the shot. However, be careful with this because getting it wrong ��Use Depth of Field (DoF) blur to lessen the impact of other could can really hurt your shot. objects that might clutter the image. Clutter oftentimes robs your photo of its intended impact!! So, it’s a good thing to be aware of what you wish to visually ��Using silhouettes is another technique that can add a communicate to your viewer. simplicity to an image by taking out much of the detail of your subjects. To paraphrase an old Finnish proverb - A good photograph ��Use a tripod. It helps you concentrate on what you want to is a place between too little and too much! include in your composition.

��Converting an image to black and white or sepia similarly can have a de-cluttering effect if the mix of colors in your shot is the distracting feature.

When clutter isn’t bad?

Yes, indeed, photographic suggestions/rules have exceptions! Sometimes clutter can add context to your image. An example - photographing a librarian with a large collection of books in the background. Naturally this would be a good argument for always doing an as- sessment of the scene before you decide that you should exclude the clutter. If the clutter, however, has an important role to play in the story you’re telling; then, by all means, include it in the shot. If not, re-

Learning Compilation www.CameraClubofHendersonville.com 19 The Learning Corner………………………..GINNY BEDELL, Education Director

File Formats in Photography - JPEG, RAW, TIFF, PSD and DNG to Name a Few! The RAW vs JPEG topic seems like a never ending discussion/debate in photography. Some photographers say shoot RAW and others proclaim shoot in JPEG. Everyone has an opinion! Many folks new to photography scratch their heads and ask … What is RAW format in digital photography? What are the advantages and disadvantages of RAW versus JPEG and why? Should I shoot in RAW or JPEG? Will shooting in RAW complicate my post-production and workflow?

What is RAW? (Digital Negative) To allow digital cameras to display the recorded image on the rear RAW images, also known as “digital negatives” are virtually LCD, RAW files typically consist of two parts. First, the actual unprocessed files coming directly from the camera sensor. They RAW data from the camera sensor; and second, a processed are truly “raw.” So, think food ingredients that need to be prepared JPEG preview. Many image-viewing applications, including the and cooked before they can be used! camera LCD, then use this JPEG preview embedded into the RAW file to display the image to you. RAW, unlike a JPEG file, is a proprietary format that is specific to the camera manufacturer and sensor, and therefore is not RAW files are processed directly from the camera’s sensor, thus supported by all software products. Also, RAW files preserve the they do not use compression. Because they are lossless (not most amount of information about an image and generally contain compressed), the images are extremely high-quality. They show more colors and dynamic range than JPEG images. more shades of colors and better representation of white balance, contrast, exposure, etc. In addition, changes made to RAW files are non-destructive. Only the metadata that controls the render- ing is altered, but the original file data remains untouched. Due to the large amount of data in the RAW file fewer images can be saved on a memory card. Additionally, there is no widespread adoption of a standard RAW format. As such, specialized soft- ware may be needed to open RAW files. RAW is generally preferred by advanced photographers, editors, and graphic artists during the editing phase. The final results are then typically saved in a more compressed JPEG format. What is JPEG or JPG? (Joint Photographic Experts Group) JPEG is also a very popular image format used by photographers today, since it is capable of displaying millions of colors in a highly compressed file. The compression method JPEG uses is

Learning Compilation www.CameraClubofHendersonville.com 20 File Formats in Photography cont…..……………………..……..GINNY BEDELL, Education

“lossy” which means that certain information is removed and What is a DNG? (Digital Negative) consequently lost from the image. Different levels of compression can be applied to JPEG images. This compression, however, DNG is also considered to be a RAW image file. It is Adobe's does impact the quality and size of the image file which becomes proprietary image standard that was created to store image data larger as more details are preserved. in a generic, highly-compatible format, unlike RAW files that have specific formats based on manufacturer and camera type. The JPEG is used online or for hard prints. Its lossy compression algorithm removes minute details that your eye is least likely to What is a PNG? (Portable Network Graphic File) notice to save space. However, the compression ratio is adjustable so you can select the level of quality you want in your A file with the PNG file extension is a Portable Network Graphics image. In general, the compression is enough to provide a file. The format uses lossless compression and is generally reasonably high-quality image without worrying too much about considered the replacement to the GIF, a lossless format for the file size. image files that supports both animated and static images. PNG A major drawback of JPEG files is that a JPEG file is flattened files are often used to store graphics on websites. which means you have very limited ability to tweak past edits. Ad- ditionally, if you edit the same file several times, the edited image The Final Question… The Pros and Cons of shooting in RAW may become degraded or worse than the original. Image degrada- vs JPEG? tion is very problematic if you plan to work on compressed formats such as JPEG/JPG (JPEG used in this article). Why Shoot in RAW? Shooting in RAW format will give you more control over What is a TIFF? (Tagged Image File Format) how your photograph shows and even be able to correct several small flaws when you capture the photo, such as TIFF files, similar to RAW, are very large in size compared to a the exposure. You can easily fix the white balance in the JPEG because no compression (lossless) is used. So, this makes RAW file if the white balance cannot be properly set with it popular among graphic artists, photographers and publishers. It the camera when taking a photo. is also supported by various photo editing applications which If you choose to shoot in RAW, the photograph can be en- makes TIFF a favorite among printers. The TIFF format, however, larged beyond the sensor's resolution of your camera and can’t be displayed on the Internet. the scene of an image will contain higher image data and quality. What is a .PSD (Photoshop Document) The quality of an image file generated from a RAW format A .PSD file is a layered image file used in Adobe Photoshop. It is is much better than the one directly shot in JPEG. So you the default format that Photoshop uses for saving data. PSD is a can shoot in RAW and then convert it to JPEG. This is es- proprietary file that allows the user to work with the images' pecially beneficial for larger prints. individual layers even after the file has been saved.

Learning Compilation www.CameraClubofHendersonville.com 21 File Formats in Photography cont…..……………………..……..GINNY BEDELL, Education

Why Shoot in JPEG? For more information, check out these links: The file size of the JPEG format is much smaller than the http://users.wfu.edu/matthews/misc/graphics/formats/formats.html RAW format. That is to say, it needs less time to store the JPEG file or transfer it to a computer than the RAW file. JPEG is a standard format readable by most of the image https://photographylife.com/raw-vs-jpeg processing programs on the market. A professional conver- sion application is required to open and edit RAW files. So https://photographyconcentrate.com/10-reasons-why-you-should- if the software becomes unavailable on your computer, the RAW files will not be able to be viewed or enhanced. be-shooting-raw/ JPEG is more common and "user-friendly", especially for computer amateurs. So if you are not an "expert" who un- http://www.digicamguides.com/learn/file-formats.html derstands photography quite well you might initially consid- er shooting using the JPEG format. Having a good understanding of the advantages and disadvantag- https://www.lifewire.com/png-file-2622803 es on whether to use a RAW or JPEG format is essential. So, if ultimate quality and large printing is not required, JPEG files https://www.sitepoint.com/gif-png-jpg-which-one-to-use/ will more than suffice and can also be used on the internet. RAW files are excellent for serious photographers who want maximum quality and the ability to make detailed changes in post- production. These files can be converted to TIFF or JPEG when ready. TIFF files do not lose quality (if uncompressed) so are good for working on in post-production, before final saving as a JPEG.

In the end, if making this decision is challenging to you, consider this suggestion: If you are serious about your photography and want to be able to sell or showcase your work in the future, you should shoot in the RAW format. If you are just taking pictures of your family for fun, then shoot in JPEG. So, in the end, the ultimate goal is to enjoy and have fun photo- graphing.

Learning Compilation www.CameraClubofHendersonville.com 22 Learning Compilation www.CameraClubofHendersonville.com 23 The Learning Corner………………………..GINNY BEDELL, Education Director

What is Contrast in Photography?

Contrast is the theme for our upcoming critique by John Smith on October 23rd. So, let’s take a look! Contrast, in photographic language, is the visual relationship of the different tones in an image. This difference is what creates the textures, highlights, shadows, colors and clarity in a photograph. Additionally, contrasting compositional elements, such as texture, lines, shapes, will also help you achieve photographic artistry.

For more information about this approach, visit light grays and whites. A low-key photo will have dim tones, most- https://www.lightstalking.com/contrast/ and read the article entitled ly shadows, and contains mostly dark grays and blacks. “Five Simple Ways to Use Contrast in Your Photos.” 4. Color Contrast: Below are basic explanations of various types of Contrast. Want more information? Then please take a look at the resource links at Color contrast is associated with color characteristics; the way in the end of this article. which different colors can either enhance or subdue one another. Consider the color wheel. Or, think in terms of "cold" colors vs. 1. High Contrast: "warm" ones. Blues and greens are in the cooler range, while reds An image with high contrast will display a full range of tones from and yellows are warmer. Color strengths can also be combined for black to white, with dark shadows and bright highlights. Shooting dramatic effect. For example, mixing the light blue of the sky with in bright sunlight will produce images that are described as the dark blue of the ocean. “contrasty”. High contrast images typically have strong and bold Color saturation is also important in creating contrast in a color colors. Textures in the image are also emphasized. image. Weak colors are lower in contrast, while more vibrant col- 2. Low Contrast: ors are higher in contrast. You can use saturation to create drama in much the same way as you can use opposing colors. A low contrast image does not display a great deal of difference between its lights and darks. Consequently, it might appear flat or 5. Tonal Contrast: dull. Photos taken in the fog or mist are perfect examples of low Tonal contrast refers to the difference in bright and dark areas in a contrast images. The lack of difference between light and dark photo. This is what makes the subject within the photo appear de- creates muted colors. fined or undefined through the differentiated details resulting from 3. High-Key and Low-Key: the contrast of blacks, whites, and grays. High-Key and Low-Key photos are both low contrast types of im- ages. A high-key photo will have bright tones and contains mostly

Learning Compilation www.CameraClubofHendersonville.com 24 The Learning Corner…cont……………………………….……..GINNY BEDELL, Education Director

Adjusting Contrast: images as well as those taken by other photographers will also help you understand contrast and eventually master it. Adjusting the contrast of an image in basic post processing is generally recommended unless you're deliberately aiming for a “How to” Suggestions! low-contrast image effect. A small increase to the contrast can make your image a bit more exciting. To create contrast, remember to think about that one element in the scene you want to draw attention to. Practice Tips! Color: Create contrast with color by using radically different colors A great way to practice understanding these different forms of in a scene to draw attention to your subject. contrast is through taking a photo in both color and black and white –– adjusting the tones both in camera through exposure and Focus: Create contrast with focus by paying attention to your color settings and also, by experimenting in post edits. Play with focal point and Depth of Field. If your subject is the only thing in lighting and the time of day, as well as the subjects you are photo- the scene that is sharp, it will contrast heavily with everything else graphing, to see how you can bring out different unique styles in that is blurry. your photos. To get a feel for how contrast affects your photos, try desaturating Composition: Create contrast with composition by intentional your favorite color image in post processing. Ask yourself these subject placement within the frame. Consider using the rule of questions: Does the image have a good range of tones? Does it thirds to create even more contrast between your subject and the have a black and a white? Is it high key or low key? Simply play rest of the image. around with the contrast to see how it affects the mood of the im- Themes: Create contrast by implementing underlying themes. For age. example, if everyone is looking to the right, the one person looking When you're out in the field, try bracketing shots by exposing them to the left will naturally stand out from the crowd. Or, if everyone is perhaps a ½ to 1 stop difference. Now try shooting a pale object having a good time, but one person looks sad. Or, perhaps one against a very dark background, then shoot a dark object against person is standing still and sharply in focus while everyone else is a pale background. Compare images from both experiments in blurred. terms of mood. Which ones are more dramatic? Which ones seem more peaceful? Which ones are serious in mood, and which ones Thinking in broader terms when approaching the theme of are more light-hearted? Contrast will enhance your creativity. Looking forward to seeing Like most photography skills, mastering contrast requires you to your images in October. adjust the way you view the world. You can become more skillful at this by trying to see each scene as your camera would see it - Resources: not in terms of objects but in terms of color, highlights, shadows, https://www.picturecorrect.com/tips/contrast-in-photography/ and all those tones in between. Studying and analyzing your own https://www.picturecorrect.com/tips/tips-for-using-contrast-in- photography/

Learning Compilation www.CameraClubofHendersonville.com 25 Adding Backlighting Effect to a Subject in Photoshop……………………………...HERK SCHMIDT

My objective with the image used for this technique (lower left) was Using the backlighting effect I added additional backlighting to her to enhance the model, place her on a different background and hair, face, right arm, abdominal area, and upper thigh. At the same add increased backlighting (light blue) coming from the left. time I darkened the left side of her body that is away from the light.

Learning Compilation www.CameraClubofHendersonville.com 26 Adding Backlighting Effect to a Subject in Photoshop..cont………..……………...HERK SCHMIDT

A Step by step procedure is shown below:

Pick the subject layer. Subject Here you are going to start creating a light mask or should have a luminosity mask. Pick the Brush tool (soft round) selection mask or and set the mode to Overlay. be on a transparent Set the foreground color to white. layer. Paint the areas where you want to add or enhance Create a new layer the edge glow. You can also enhance other areas filled with black in the subject by painting with white, and reduce below your subject lighting in the subject by painting with black. layer. You will At this time you can also do a global Levels delete this layer adjustment to adjust contrast if necessary. when no longer (Optional—Only necessary if you want to reduce needed. frontal lighting on subject.) Back in the Layers panel duplicate the subject layer, do a Shift-Ctrl-U to desaturate the layer, change the blend mode to Bring up the Multiply, and adjust the opacity as needed. You Channels palette. may also need to do a mid-tone levels adjustment. Go through the channel layers looking for your desired lighting details around the subject edge. Once you have made your decision select the layer. Make a duplicate of the selected layer by dragging the layer down to the new channel icon.

Learning Compilation www.CameraClubofHendersonville.com 27 Adding Backlighting Effect to a Subject in Photoshop..cont………..……………...HERK SCHMIDT

In your Channels panel Ctrl-Click on your channel thumbnail of the channel layer that you created.

Create a new layer above your subject layer or the desaturated Next click on the layer if you created one as RGB channel layer mentioned above. You are to bring back the going to paint on this layer. color of the image. Pick the color you want for your Then go to your backlighting effect. Select the Layers panel and Brush tool. The Brush should be delete the black set to the Normal mode. Do a layer you previously Ctrl-H to hide the selection created. (marching ants) so you can see better as to what you are painting. Remember your painting will not go beyond your selection you created. Once done painting do a Ctrl-D to do a deselect. To further make subject lighting adjustments you can add a new blank layer with the blend mode set to Overlay. Then paint with the Brush tool set to black or white to enhance other lighting areas of the subject. Black will darken and white will lighten.

Learning Compilation www.CameraClubofHendersonville.com 28 Adding Backlighting Effect to a Subject in Photoshop..cont………..……………...HERK SCHMIDT

Using the technique just described, I applied back lighting and a different background to a hawk picture from Dennis Guffey (shown above left).

On the hawk image, backlighting was applied to the entire sunlit side and the underside of the bird including the feet. The so called "toes" and talons of the bird were also moved slightly by using "Puppet Warp" so they appeared to be fitting the branch better.

Branch that was used is shown at left.

Learning Compilation www.CameraClubofHendersonville.com 29 The Learning Corner………………………..GINNY BEDELL, Education Director

All things Color … The Color Blue or 300,000 kilometers per second). Different colors have different wavelengths, which is the distance between corresponding parts “The purist and most thoughtful minds are those which love of two of the waves. The longest wavelength of light that humans color the most” - can see is red. The shortest is violet. Ultraviolet has an even John Ruskin, The Stones of Venice shorter wavelength, but humans cannot see it. Some birds and bees can see ultraviolet light. Infrared has a longer wavelength To see color, you have to see light! than red light, and humans cannot see this light but can feel the heat infrared generates. (Courtesy of Crayola Crayons.) When light shines on an object some colors bounce off the object and others are absorbed by it. So, our eyes only see the colors Here's more information about how we see color: that are bounced off or reflected. https://ed.ted.com/lessons/how-do-we-see-color-colm-kelleher The sun’s rays contain all the colors of the rainbow (red, orange, yellow, green, blue, indigo, violet) mixed together. This mixture is known as white light. When white light strikes a white crayon or Did you know? marker barrel, it appears white to us because it absorbs no color �� Egyptian blue, the first color to be synthetically pro- and reflects all color equally. A black crayon or marker cap duced, was invented in Ancient Egypt around 2,200 absorbs all colors equally and reflects none, so it looks black to us. While artists consider black a color, scientists do not because B.C., around the same time the Great Pyramids were black is the absence of all color. built. All light rays contain color. Light is made of electromagnetic waves. These waves spread out from any light source, such as the sun. Light waves travel at tremendous speed (186,000 miles

Blue Images on this page from the web: Fabric and butterfly on site by Art Jinni; on other pages from links in this article

Learning Compilation www.CameraClubofHendersonville.com 30 The Learning Corner…cont……………………………….……..GINNY BEDELL, Education Director

The History and Science Behind the Color Blue: them what color it is, they often struggle to describe its color. Blue with its various shades appears to be a popular and common Some describe it as colorless or white. It seems that only after color in our modern society. However, the color has not always being told that the sky is blue, and after seeing other blue objects been so common. In fact, much of the science and history of blue over a period of time, does one start seeing the sky as blue. might surprise you. Additionally, studies of an ancient Nubian tribe indicate that they did not have separate words for the colors green or blue. Thus, it The first color words to appear in English, and most other lan- seems that since there was no word for the color blue, early guages, were words for "white" and "black." Next, red, the color of humans did not really notice it. wine and blood appeared, followed by yellow and then green. Blue appeared last! https://www.dunnedwards.com/colors/specs/posts/the-history- Digging a little deeper into the history of blue, historians conclud- and-science-behind-the-color-blue ed that the word "blue" did not even exist in Greek times. In the Odyssey, for example, Homer makes hundreds of references to white and black, but colors like red and yellow are only mentioned The Modern History of Blue: a few times. The color blue, it turns out, is never mentioned. In- The history of blue as a color for everyday man began when the stead, Homer uses descriptions like "wine-dark" to describe blue Roman Catholic Church made an important move in the year 431 items such as the sea. It seems blue as a color was barely distin- AD. At this time, the Church decided to color-code the saints, and guished from "neutral" shades like white, light and dark. It simply Mary was given a blue robe. Over time, the shade of blue that was not important enough to deserve its own descriptor. Mary wore became what is now known as "navy blue." Because Scientists generally agree that humans began to see blue as a Mary stood for innocence and trustworthiness, the color blue was color when they started making blue pigments. It was at this time seen as a positive light. This same navy blue was adopted by mili- that an Egyptian word for "blue" emerged. Slowly, the Egyptians taries and police to convey a similar essence of trust. spread their blue dyes throughout the word, passing them on to As navy blue became more popular among authorities, people the Persians, Mesoamericans and Romans. began to associate it with the idea of authority. Thus, different shades of blue needed to be developed in order to convey the col- If you think about it, there is not a lot of blue in nature. Most or's original peaceful, subdued meaning. Robin's egg blue and people do not have blue eyes, blue flowers do not occur naturally pale, powder blue were developed for this purpose. without human intervention (see references at end of article), and blue animals are rare -- bluebirds and blue jays only live in The history of blue as "the color for boys" is an even newer notion isolated areas. The sky is blue -- or is it? One theory suggests that that primarily arose after the post-World War II baby boom. It before humans had words for the color blue, they actually saw the came about as a marketing scheme, as manufacturers could sell sky as another color. This theory is supported by the fact that if more clothes if some were distinctly for boys, and others were dis- you never describe the color of the sky to a child, and then ask tinctly for girls.

Learning Compilation www.CameraClubofHendersonville.com 31 The Learning Corner…cont……………………………….……..GINNY BEDELL, Education Director

Now, like the ancient Egyptians, people adore the color blue. It is like red, orange, and yellow; blue is linked to consciousness and used widely in interior design and fashion, and not only is there a intellect. Blue has been used to suggest precision when promoting word for blue -- there are hundreds of words for various shades. high-tech products. Blue, according to studies, is considered to be a masculine color. It is highly accepted among males. Dark blue is associated with depth, expertise, and stability and is a preferred color for corporate America. Blue is often avoided when promoting food and cooking! Why? Because blue suppresses appetite. When used together with warm colors like yellow or red, blue can create high-impact, vibrant designs; for example, blue-yellow-red is a perfect color scheme for a superhero. Light blue is associated with health, healing, tranquility, understanding, and softness; whereas dark blue represents knowledge, power, integrity, and seriousness.

Science Behind Blue: Why is the sky blue? To understand why the sky is blue, we need to understand what Symbolism and Meaning: light and color are all about! Blue is the color of the sky and sea. It is often associated with Sunlight, or visible light, is white but it is made of all the rainbow depth and stability. It symbolizes trust, loyalty, wisdom, colors: red, orange, yellow, green, blue, indigo, and violet. Visible confidence, intelligence, faith, truth, and heaven. light travels in waves. The waves are too small and travel too Blue is considered beneficial to both the mind and body. quickly for us to see. Colors like red, orange and yellow travel in Reportedly, the color slows human metabolism and produces a longer waves and have less energy. Colors like blue, indigo and calming effect. Blue is strongly associated with tranquility and violet travel in shorter waves and have more energy. When waves calmness. In heraldry, blue is used to symbolize piety and of light are moving along and run into some type of matter, they sincerity. can transfer some energy and certain types of light waves can be scattered. Blue is commonly used to promote products and services related to cleanliness (water purification filters, cleaning liquids), air and Earth's atmosphere contains molecules of gas, mostly nitrogen sky (airlines, airports, air conditioners), water and sea (sea and oxygen, as well as smaller amounts of carbon dioxide, voyages, mineral water). As opposed to emotionally warm colors aerosols, dust, and ozone. These particles scatter some waves of

Learning Compilation www.CameraClubofHendersonville.com 32 Learning Compilation www.CameraClubofHendersonville.com 33 The Learning Corner………………………..GINNY BEDELL, Education Director

The sky is the single most abstract and dynamic canvas that we, as photographers, have at our disposal.

Clouds are so universal that, unfortunately, many of us take them for granted. So, let’s agree that clouds are more than just visual elements inconsequentially placed in the background. And, in fact, clouds can be so beautiful they could become the main element of composition in your photograph. Any landscape photographer can tell you that clouds can affect the overall mood of an image. For in- stance, puffy cumulus clouds floating in the blue sky may create a cheerful ambience while thunderclouds can tend to make a scene feel threatening and ominous. In late August, Warren and I had an opportunity to travel and photograph along the Cherohala Skyway (TN Hwy 165, NC Hwy 143). This 43-mile National Scenic Byway connects Tellico Plains, Tennessee, with Robbinsville, North Carolina. http://www.cherohala.org/. (Photo below right) All photos taken by Ginny Additionally, we were also treated to some fantastic clouds right in our in our own backyard along the Bedell French Broad River here in Transylvania County! Nature often rewards us with incredible opportunities for photographing sunrises, sunsets and sun rays piercing through the clouds. However, without clouds, sunrises and sunsets often look boring, forcing us instead to cut out the sky and focus primarily on foreground elements.

Learning Compilation www.CameraClubofHendersonville.com 34 The Learning Corner…cont……………………………….……..GINNY BEDELL, Education Director

Clouds are given different names based on their shape The highest clouds in the and their height in the sky. So, atmosphere are cirrocumulus, let’s take a look at the image cirrus, and cirrostratus. below to understand where Mid-level clouds include altocumu- different types of clouds are lus and altostratus. located in the sky. The lowest clouds in the atmosphere are stratus, cumulus, Here’s a description of the 10 and stratocumulus. fundamental cloud types: Cloud image gallery: �� Cumulus clouds have https://scied.ucar.edu/cloud-image- white puffy tops (like the gallery ones you see in kids’ draw- ings) with dark flat bottoms. They’re called “fair weather” clouds because they appear on sunny days. �� Stratus are typically flat and thinly spread out, covering the sky on an overcast day. �� Stratocumulus look like cumulus clouds bunched up to- gether. They’re bigger than cumulus, and their grey bot- toms are also more prominent. These clouds can be seen either before or after bad weather. �� Altocumulus are typically seen higher up in the sky than stratocumulus. They’re also called sheep backs because they look like sheep’s wool from afar. They’re fairly com- mon during the summer, appearing ahead of thunder- storms and cold fronts. �� Nimbostratus are those unmistakably thick grey clouds that cover the sky on a rainy day. When you see them, expect a rainfall.

Learning Compilation www.CameraClubofHendersonville.com 35 The Learning Corner…cont……………………………….……..GINNY BEDELL, Education Director

● Altostratus look like thin grey fog high in the atmosphere. They Now, let’s explore the “when and how’s” of photo- show up before warm or cold fronts arrive. graphing cloudscapes. �� Cirrocumulus are found at high altitudes and appear as if a giant comb had passed through them. They're typically seen on clear days but are quite rare. 1) Weather Conditions �� Cirrostratus are thin layer of white clouds that often cover the There is a better chance of capturing something beautiful if you entire sky. You can find them ahead of warm fronts. get out on partly cloudy, mostly cloudy and stormy days. Howev- er, use caution on stormy days and pay attention to gusty winds �� Cirrus look like giant feathers floating in the air. But don’t be fooled by their presence, because when they appear, it often since high winds will play havoc with your tripod! means there’s a storm coming. �� Cumulonimbus look like giant alien spaceships due to their 2) Polarizing Filter massive size. They’re so big they occupy the low, middle and high layers of the atmosphere. Seeing them means there’s Using a good polarizing filter, in my opinion, is a necessity since it some nasty weather coming your way. helps separate the clouds from the sky and darken the sky. And, it’s simple to use! All you have to do is attach the polarizing filter in front of your lens, then rotate it until you see the effect in the view- finder. At the right angle, a polarizing filter can make a huge differ- Cades Cove below ence and make clouds really “pop” from the sky, by blocking certain light waves from entering the lens. (Below left)

Blue Ridge Parkway - below

Learning Compilation www.CameraClubofHendersonville.com 36 The Learning Corner…cont……………………………….……..GINNY BEDELL, Education Director

3) Graduated Neutral Density Filter (GND) clouds often move very fast. This happens when they are very low. What this means is that using long exposures can completely Many photographers prefer using a GND when photographing ruin your images and eliminate all forms and shapes from the clouds at sunset and sunrise. While others prefer using High Dy- clouds. namic Range (HDR). And, then many photographers simply choose to make appropriate adjustment during post-processing. Consider using shorter exposure times if you want to bring out the As you can see choices abound! clouds as separate elements. However, you can use long exposures if you plan on capturing a surreal sky. The fact is that Here are some links to check out. there are no rules of thumb for the shutter speed; it mostly https://luminous-landscape.com/understanding-graduated-neutral- depends on what you want to achieve.​ density-filters/ https://photographylife.com/landscapes/hdr-photography-tutorial 6) Composition https://digital-photography-school.com/improve-your-images-with- Here are some compositional considerations related to clouds: the-lightroom-graduated-filter-tool/ Every once in a while, clouds form in such a way that they might https://creativepro.com/gradient-tools-lightroom/ look interesting and engaging on their own. However, despite the temptation to capture just the clouds consider including fore- 4) Equipment ground elements to the scene. When you’re dealing with varying conditions, your safest bet is to While clouds certainly can be the key element of the scene, they bring, and use, a tripod. It is especially invaluable when the light- often serve better as backdrops. ing is poor, and you need to keep your camera stable to shoot Use clouds as sky “fillers” and try to include something interesting with slow shutter speeds. And, it does help with creating a good in your composition. So, if you have absolutely nothing around composition. A tripod is also quite handy when you need to brack- you such as an empty field, even including a very small portion of et* your shots. that field will often make a difference and give the scene a scale. *Bracketing is used in tricky lighting situations when the Properly frame patchy or separated clouds. Avoid chopping any- camera’s auto metering system struggles to produce accu- thing off. If there is a big patch of clouds, try to fit it in your scene rate measurements. The process requires taking several without cutting it. If necessary, zoom out or step back. overexposed and underexposed images of the same scene Give a scene some “breathing” space. Try not to place those while keeping your camera in the same position on a tripod. patchy clouds too close to the edge of the frame. 5) Play Around with Exposure Whether you are photographing the clouds by themselves or in- The exposure time dictates how your image is going to appear. cluding clouds as part of a landscape image always keep in mind the basic rules/suggestions of composition since they play a sig- For most photographers, it is extremely tempting to use long nificant role in your images impact to the viewer. exposures in order to create a smooth, silky look of the cloud. Unfortunately, this may not be possible in every situation since

Learning Compilation www.CameraClubofHendersonville.com 37 The Learning Corner…cont……………………………….……..GINNY BEDELL, Education Director

And last of all, for the creative and adventuresome photographer within us all, here are some things you can do to make clouds more abstract!

�� Add extreme color of any type. We are used to seeing clouds with sky blue as a back drop. They also look good with most other colors of the spectrum. �� Give them movement. Add motion or radial blurs to simulate movement. �� Warp them. Given that clouds have no predefined shape you can use tools such as liquefy to mold them to your desired shape. �� Add things to them. Birds, rainbows, and lightning can all add Hannaford Road - above an interesting twist. �� Shoot Infrared (below right) 7) Post-Processing And remember … Photographing clouds does not end with your camera! “Beautiful sunsets, need cloudy skies.” - Paulo Coelho Your clouds will become more vivid and dramatic if you are willing to put some time into post-processing your shots. So, if you are Infrared Photo - below challenged in making cloudscape/landscape photographs appear more interesting, you might need some help with post-processing! So, consider watching some You Tube videos, taking a workshop, getting a mentor or purchasing a how-to book. Shooting clouds doesn’t require extensive technical expertise. For the most part, all you really have to do is point your camera to- wards the sky and press the button. But you should never under- estimate their visual power. If your image looks a bit lackluster, perhaps all it’s missing are beautiful clouds—so start shooting those white puffs floating on the horizon!

Learning Compilation www.CameraClubofHendersonville.com 38 The Learning Corner………………………..GINNY BEDELL, Education Director

Achieving Better Composition … Tips from our Painter Friends! Photography and painting have had a fruitful relationship since photography's invention in 1839. At their core, both mediums are visual art forms. As the artist, your results are what you make them. https://bigthink.com/Picture-This/how-photography-changed-painting-and-vice-versa Painters such as the old masters had been honing their compositional skills, generation after generation, for centuries before photography was even invented. Arguably, photographers must work with what they find, while painters get to start with a completely blank canvas and add as they choose. But that doesn't mean we can't emulate what we see in their work to help improve our own as photographers. Over the past year, many talented speakers have shared with us The Simple Secret to Better Painting by Greg Albert ensures numerous ways we can further improve our compositional skills. that your compositions work every time. It's an insightful artistic I would like to simply add spending some time looking at painting philosophy that boils down the many technical principles of or reading painterly books to the list of ways that we as composition into a single “rule” that's easy to remember and photographers can enhance our compositional mindset. apply: I will credit Les Saucier for this suggestion since he always Never make any two intervals the same! emphasizes the artistic side of photography during his What are intervals in painting? Well, simply put, intervals in workshops. So, here’s a book recommended by Les that you may paintings are the distance between two or more edges. want to consider reading to create art that's more attractive, By paying attention to this suggestion you can make every interesting and eye-catching! painting (or photograph) more interesting, dynamic and technically sound by varying intervals of distance, length and space, as well as intervals of value and color. The rule also applies to balance, shape and the location of your painting's focal point. https://emptyeasel.com/2008/09/02/are-your-paintings-boring- spice-things-up-with-creative-intervals https://blog.mitchalbala.com/landscape-composition-building- interest-through-intervals-and-variation

Remember, it’s not only what you take pictures of, it’s how you compose those pictures.

Learning Compilation www.CameraClubofHendersonville.com 39 Previous Meeting: Light Room Post Processing Made Easy by Les Saucier

Les showed us before and after pictures that had simple edits His post-processing workflow process is described below for basic done in Lightroom. editing in Lightroom.

He started by describing that there are 3 steps to creating a 1. He takes an image and does any cropping and removal of photograph i.e.: blemishes or extraneous elements in the photo. 1. Visualizing the photo in the field - what drew you to taking the photograph 2. He then adjusts the white balance using the eye dropper 2. Creativity in the camera - how to capture what you saw and tool. Click on the eye dropper then move the cursor to a felt from the scene neutral in the photograph, ie a white, a black or a grey. The 3. Post-processing the photograph to better reflect the vision little set of squares that moves with the eyedropper over the you had when taking the photograph photo contains the % of Red, Green, and Blue - which all should be equal for a neutral color. As you move the cursor He described the Lightroom to the desired neutral, then click on the mouse to reset the Sliders in the Develop Module percentages so they are all equal. within Lightroom - see right. This is helpful for removing blues in the water of a waterfall He showed how they operated so it’s white white. using a greytone photograph. 3. Filling out the histograms - good for ~ 90% of photos - to do He rarely uses the exposure this put the mouse cursor on the text “whites” of the slider slider which controls all tones the hold the shift key down while double clicking on the left within the photo. mouse button. This will fill out the whites. Do the corresponding approach to the blacks slider. If you don’t He rarely uses the contrast like it you can revert to the center of the slider by double slider which makes the whites clicking on the words whites or blacks. Occassionally whiter and the blacks blacker. there will be photos with no whites or blacks where this approach doesn’t look good - just revert the sliders back to He always looks at the the center. histogram and wants there to be pixels across the entire 4. He then slides the highlights and shadows sliders to tone spectrum of the histogram. them up or down as he desires for the particular photo. He does this using the whites and blacks slider - more on this 5. He then uses the Clarity slider and sometimes the dehaze later. slider which he terms the “drama” slider.

Learning Compilation www.CameraClubofHendersonville.com 40 Previous Meeting: Light Room Post Processing Made Easy by Les Saucier - Cont.

He then holds his cursor over the word vibrance and shift double clicks as was done for the whites and blacks. Same with the Saturation slider.

All this takes is 30 sec or less to improve a photo.

He then talked about the “B” team related to shadows and highlights. If the slider is pegged all the way to the right or left and you can’t get more texture from that area, then open the Tone curve window (below the basic window)

Here you can get out a bit more in the highlights or shadows by using the sliders in this box. For example looking for more texture in shadows would mean moving the darks and shadow sliders to achieve your desired outcome.

He then showed how to use the graduated filter and briefly touched on the color sliders in the HSL/Color window.

It was a very informative meeting.

Learning Compilation www.CameraClubofHendersonville.com 41 The Learning Corner………………………..GINNY BEDELL, Education Director

Photographic Element … Form in Nature By Ginny Bedell, Education Director Our upcoming March Gimme Your Best Shot theme is photographing Forms in Nature. Form is one of the essential photographic elements of design created by shadows and highlights on an object in the photograph. Form is like shape, but instead of being concerned only with outline it is also concerned with the subtle shading that makes an object appear three dimensional. So, your challenge is to find and photograph something in nature that demonstrates Form. Here are some interesting links to help inspire creativity. Photos from links #2 and #4

https://www.apogeephoto.com/discovering-form-in-photography/

https://expertphotography.com/line-shape-and-form-photography-composition/

http://www.naturephotographysimplified.com/tips-and-tutorials/photography-composition-techniques- elements-of-design-shape-form/

https://www.pinterest.com/dougharrington/fractal-forms-in-nature/

Learning Compilation www.CameraClubofHendersonville.com 42 Additions to the CCoH Lending Library………………………..GINNY BEDELL, Education Director

Our thanks to Rich DeSimone for purchasing and donating the following books. An updated list of resources can be found on the club’s web site. �� Adams, Ansel. Camera and Lens: The Creative Approach (1973) �� Adams, Kevin. North Carolina Waterfalls: A Hiking and Photography Guide. (2005) �� Adams, Kevin. Waterfalls of the Blue Ridge: A Hiking Guide to the Cascades of the Blue Ridge Mountains (2003) �� Burian & Caputo. National Geographic Photography Field Guide (1999) �� Busch, David D. Mastering Digital Photography, Second Edition (2006) �� Freeman, Michael. Image: Designing Effective Pictures (1988) �� Kelby, Scott. The Digital Photography Book (2006) �� Manning, Erin. Portrait and Candid Photography: Photo Workbook (2007)

�� McGrath, Norman. Photographing Buildings Inside and Out, Revised and Expanded 2nd Edition (1993) �� National Geographic. The Ultimate Filed Guide to Photography (undated) �� Shaw, John. Landscape Photography (1994) �� Shaw, John. Closeups in Nature (1987)

LA ArMstrong Learning Compilation www.CameraClubofHendersonville.com 43 The Learning Corner………………………..GINNY BEDELL, Education Director CCoH’s Lightroom Workshop - A Great Learning Experience!

Eleven CCoH members and one photo-enthusiast from the Charlotte area gathered together on January 31 – February 1st at the Henderson County Athletics & Activity Center in Hendersonville for a two-day customized lowcost and hands-on Adobe Lightroom™ workshop designed for the Beginner – Intermediate level photographer. Janet & Les Saucier of Saucier Photography located in nearby Brevard were the instructors.

Handouts along with plentiful, and mostly healthy, snacks were on hand! Comradery among participants was expanded during interesting lunch conversations at the nearby Henderson County Food Co-op. The Sauciers shared that over the years Lightroom has evolved into an amazing tool for photographers helping all levels of photographers process images, store, catalog, and share their work with others. Workshop participants were shown the best way to establish a creative workflow, store and backup images. Numerous best practices for post- processing in Lightroom were also discussed. And, all learned how to effectively use keywords and collections. The Sauciers addressed the question of which Lightroom platform - Lightroom CC, Lightroom Classic, or Lightroom Mobile - would be best for one’s workflow. In addition, third-party software typically used to enhance the Lightroom workflow was mentioned. Time was set aside on both days for folks to practice their new found skills while Janet and Les adeptly roamed the room providing direction and assistance. An additional no-cost ½ day training opportunity was offered by Les on February 18th for those who were unintentionally challenged by a LR CC miscommunication. During this time, Les answered numerous questions and provided hands-on assistance with computer issues. Additionally, he briefly reviewed what was covered in the previous sessions, spoke about the

Learning Compilation www.CameraClubofHendersonville.com 44 CCoH’s Lightroom Workshop - A Great Leaning Experience! cont………………………..GINNY BEDELL, the differences between LR Classic and LR CC. He then those desiring to use LR CC, since it covers the full Lightroom CC demonstrated how to apply skills covered in Day 2 of the workflow. workshop to LR CC. According to Brampton, also referred to as the Lightroom Queen, He also recommended Victoria Brampton’s book, entitled Adobe the book is designed to be approachable, even if you don’t have Lightroom CC – Edit Like a Pro as an excellent resource for

Learning Compilation www.CameraClubofHendersonville.com 45 CCoH’s Lightroom Workshop - A Great Leaning Experience! cont………………………..GINNY BEDELL,

much photographic or computer experience, but I’ve included The club is thankful to Les and Janet for helping participants some advanced information for more experienced users too.” expand their post-processing skills and for sharing their expertise. Many participants indicated that they learned valuable information Interested in pursuing more learning opportunities offered by and were motivated to get back to photography. Janet and Les? Then simply visit https://saucierphoto.com.

All photos by Ginny Bedell

Learning Compilation www.CameraClubofHendersonville.com 46 Polarizing Filters and Short Focal Length Lenses……………………………………..WARD SEGUIN

In January, my wife and I traveled to Big Bend National Park in foreground show, the sun’s rays were almost perpendicular to the Texas to take in some truly spectacular scenery. I decided to take direction of the image. The blue sky is darkest in the center of the my Canon SX50 superzoom camera, which has a 24-1200 mm image, where the polarizer’s impact is greatest, and noticeably (35 mm equivalent) zoom lens, so I would not have to worry about lighter along the edges. Even the tops of the ridge in the distance carrying, storing, and swapping lenses. I further decided I would and the foreground plants in the center of the picture show greater attach a polarizer filter and leave it on the camera to protect the color saturation than do similar features at the edges of picture. camera lens. I knew polarizers can increase color saturation and some choose to use them to darken blue skies. I also knew a polarizer works best when the camera is pointed at right angles to the incoming sun’s rays, but I didn’t know how direction sensitive polarizer filters are. I soon learned when I downloaded some pictures to a laptop computer.

The polarizer filter is considered one of the more useful lens attachments because of its ability to reduce glare and to increase contrast. Its impact on landscape pictures is greatest when shooting a scene at 90 degrees from the direction of the sun. In contrast, it can have little or no impact when facing the sun or with the sun at your back. A picture taken with telephoto (long focal length) lens at right angles to the sun can produce the desired results because of the compressed nature of telephoto viewing angle. Most of the picture is roughly at right angles to the sun.

A picture taken with a short focal length (wide angle) lens and a polarizer is a different matter. For example, a 24 mm focal length lens provides a picture viewing angle of almost 84 degrees. This A short focal length lens with a polarizing filter can spoil a beautiful means that if you point your camera at right angles (90 degrees) landscape picture or the very least make it difficult to correct in to the incoming sun, objects at the center of the picture will be 90 post processing. A telephoto lens with its compressed viewing degrees from the sun’s rays, but objects on the left and right sides angle with a polarizing filter may produce an acceptable picture if of the image can be as much as 135 degrees or as little of 45 most of the scene is nearly perpendicular to the sun’s rays and degrees from the incoming sun’s rays. The effect of the polarizer effect of the filter is fairly uniform across the image. Rotating the can drop off dramatically from the center of the image to the left filter while viewing the image in live view, may enable one to and right edges. discern whether or not the lens focal length and the polarizer are compatible for the scene. Finally, it goes without saying, if I had One of the pictures (see below) taken at the Big Bend Park intended this picture to be part of a panorama shot, the polarizer illustrates this problem dramatically. As plant shadows in the would have had little or no impact on most of the scene.

Learning Compilation www.CameraClubofHendersonville.com 47 The Learning Corner………………………..GINNY BEDELL, Education Director

What is Abstract Photography? “Abstract pictures are fictive models, because they make visible a reality that we can neither see nor describe, but whose existence we can postulate.” - Gerhard Richter Abstract photography is based on the photographer’s eye. The main goal is to simply look and capture something in a way that it would not usually be seen. Doing so involves looking for the details, the patterns, the lines, the form, shape and colors that comprise a subject and utilizing those key features to make an engaging image that captures the viewer’s imagination. Things to Consider:

��Keep an open mind: Abstract photography is about seeing the potential in things that other people miss. ��Spend time exploring everyday subjects and scenes. It’s surprising how many interesting abstracts you will find. ��Look at familiar things from unfamiliar angles, and you will see them in a completely different light. ��Forget about what something really is and concentrate on its shape and color Here are some useful tips and ideas for creating abstract images.

https://photographylife.com/abstract-photography-tips-and- ideas As photographers, we can also be inspired by viewing abstract images created by internationally known professionals in the field of photography. Here are some noteworthy compositions that will provide lots of inspiration! https://www.phototraces.com/creative- photography/famous-abstract-photographers/

Learning Compilation www.CameraClubofHendersonville.com 48 What is Abstract Photography?…cont………………………...GINNY BEDELL, Education Director

Interested in the history of Abstract Photography? Then, I invite you to read the following link: https://photodoto.com/exploring-abstract-photography/

Since we live in an area that is known for its majestic landscapes, I’ve included are some ideas for creating some abstract nature images:

1 - Use Soft Focus: Intentionally unfocused imagery reframes the way we view a photograph. So, one of the quickest and easiest ways to create an abstract image is to unfocus your camera lens. Taking an unfocused image creates a painterly effect that emphasizes the color and structure of a natural environment.

2 - Include Texture in Your Images: For the most part, photography is a two-dimensional medium. This means that photographers must rely on inherent associations such as touch to “lift” an image off the page. Using texture adds a level of “touchability” to a photograph, connecting with a viewer on a relies on compositional elements for visual cues. Without psychological level. a sense of scale, a close-up abstract image of nature takes on a life of its own. 3 - Embrace Intentional Camera Movement (ICM): Intentional camera movement (ICM) in abstract nature photography 6 - Change Perspective: introduces a compelling aesthetic to an image. While movement distorts Perspective determines the point from which a viewer will the subject itself, compositional elements remain, forming painterly “enter” an image. Photographing a scene from a bird’s eye abstractions that explore the photographic practice. view will have a different impact compared to photographing the same scene from the ground up. The 4 - Photograph Water and Reflections: lens on your camera can also change the perspective of a Abstract nature photography embraces the fluid nature of water. scene. Incorporating perspective into your abstract Reflections on the surface of still water create surreal versions of that on photography plays with the associations we have about land. Cracks in ice become a frigid landscape. The flurry of a turbulent the way we physically situate ourselves in the world. tide is transformed into a hypnotizing document of motion. 7 - Use Lines to Highlight Composition: As a basic element of composition, line is a critical 5 - Get Close With Macro Photography: component of photography. In abstract nature The closer you photograph a subject, the more a viewer

Learning Compilation www.CameraClubofHendersonville.com 49 What is Abstract Photography?…cont………………………...GINNY BEDELL, Education Director

photography, using line invigorates organic subject matter, uniting or excluding the individual elements that form a photograph. The eye generally reads an image better with the presence of lines. Even in abstract photography, where the emphasis is removed from the objective, the eye appreciates line as a subtle handle on the overall image.

Other links that might be useful to you include:

https://www.adorama.com/alc/abstract-photography-for-beginners-9-tips- for-capturing-stunning-abstract-images

https://digital-photography-school.com/6-tips-on-how-to-create-abstract- photos/

Have FUN experimenting and creating! The membership looks forward to seeing your abstract images at the April 23rd meeting.

All photos by Ginny Bedell

Learning Compilation www.CameraClubofHendersonville.com 50 Hyperfocal Focus by WARD SEGUIN

Recently the October 2018 issue of Outdoor Photographer had an The hyperfocal distance (hfd) for this setting is 26.831 feet. Recall article by Don Smith titled “Hyperfocal Focus.” Hyperfocal from the definition above, this is the closest distance a lens can be distance represents the closest distance a lens can be focused focused and still have objects at infinity acceptably sharp. In and still have objects at infinity acceptably sharp. Wikipedia reality, objects from roughly half the distance of the hfd (in this states it differently but it’s the same definition: “hyperfocal case 16.65 feet) will be acceptably sharp. HyperFocal Pro allows distance is a distance beyond which all objects can be brought one to try different combinations of input parameters, e.g. f-stop, into an ‘acceptable focus.’” “Acceptable” (sharp or in focus) is a lens focal length and subject distance, in order to achieve the qualitative term and is defined as what a human eye considers desired DOF. In the example above, had the subject been 25 feet sharp when holding an 8x10 picture at arm’s length. from the camera, the DOF would have been 13 to 365 feet. Having this functionality on a smart phone allows one to try While the theme of Mr. Smith’s article is Hyperfocal Focus, the different settings and to prepare for a photoshoot or an outing in essence is depth of field (DOF), what’s in focus and what’s not, advance, or just understand the effects of different camera and tools to inform a photographer. My first SLR camera was an settings. (Acknowledgement: Ginny and Warren Bedell for their Exacta IIB with a fixed focal length lens. The lens had a DOF helpful comments and suggestions.) scale printed on a ring, and when setting the aperture, I knew what would and would not be in focus. My first real digital camera with autofocus and superzoom lens did not have this handy scale. I relied on the autofocus feature and paid little attention to what might or might not be in focus until the autofocus motor started hunting for the correct focus or until I downloaded the photos to a computer. As Mr. Smith points out, photographers developed rules of thumb such as focusing one-third of the way into the scene, but these rules require some common sense in their application.

This Outdoor Photographer article introduced me to smartphone applications that can calculate the DOF for various camera settings. These applications require four inputs: camera make and model, the subject distance, the f-stop, and focal length of the lens. One such smart phone app is HyperFocal Pro, which is available for Android phones at the Android Store for free. The figure at the right shows the input and output screen. In this example, the camera model is the Nikon D5500, the lens focal length is 35 mm, the f-stop is f8, and subject is 44 feet from the camera. The program has calculated that all objects 16.65 feet to infinity will be in focus.

Learning Compilation www.CameraClubofHendersonville.com 51