Photo Tips — No comments
29
Jul 10

A Different Perspective

I missed last week’s post while I was out chasing what many belief to be the epitome of wildflower photography in Colorado—the Colorado columbine. Although it is not unique to Colorado, it is found primarily in the Colorado Rockies. That may be why it was chosen as the state flower.

Most of the time it is photographed as a single blossom since its large size cries out for close-ups. Next on the list are clusters of columbines followed by columbines in a field of wildflowers. There can be no doubt that all of these viewpoints are capable of producing stunning results.

I spent a day with a couple of friends who had traveled from across the Great Plains to photograph the legendary columbine. Since I live where the columbines grow, I must admit that I have grown a bit complacent about them, so the enthusiasm of these fellow photographers seeing something that to them is rare and unusual was quite refreshing and also quite contagious. This photo of a columbine cluster leaves no doubt that the flowers are as spectacular as ever when seen through fresh eyes.

A beautiful cluster of columbine in a rocky slope.

But the next day I was shooting by myself and the previous day’s infectious enthusiasm had waned more than a little. I was left to wrestle with my own desire to shoot something different. With the plethora of images now available, that’s a challenge for all photographers. While shooting fairly typical columbine shots, I was startled by a mouse scurrying through the grass. As I turned to watch its activities, my attention was caught by a particular columbine blossom. The color wasn’t the magnificent blue that is the preferred color, but instead was a less desirable purplish coloration. In spite of the color, my attention was captured by the soft sensuality of the petals and spurs on the back side of the blossom.

An atypical shot of a colubmine blossom from the back.

I spent the next hour (as well as several more on subsequent days) photographing columbines from the back. I have no delusions about this being an award winning photograph, but it did satisfy my need to create a columbine image from a different perspective. It also points out the need to push ourselves creatively to find that unique image, our own perspective on the world around us.

Enjoy

Frank

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17
Jul 10

Keep it Simple

 

It’s not unusual for beginning photographers to try to pack everything into one photograph. We’ve all seen this in the stereotypical vacation photos where the photographer is trying to capture a photo of a loved one against a stunning background scene. We’re left wondering what we should be looking at, the person or the scenery. Unless you know the person, these images fail to hold your interest.

The strongest and most interesting images are those that have one, clearly identifiable subject. The old saying “keep it simply simple” applies directly to photographs. One subject with minimal distractions usually provides the best image. It leaves a very clear image in the viewer’s mind with no doubt about what he should be looking at.

Find your subject then work on eliminating all elements that distract from the subject. Keep only those elements that support or enhance the subject and you’ll wind up with better images.

Good shooting

Frank

Equipment / Photo Tips — No comments
11
Jul 10

Point and shoot

 

I photographed these wall flowers with a point-and-shoot camera and a DSLR. The is the best shot from the series and it came from the point-and-shoot camera.

I know that I’ve said this before, but I think it bears repeating. The camera does not create a photograph, you do. The camera isn’t any better than the person using it. I’m sure the camera manufacturers will disagree with me, but then they’re only interested in selling cameras. This question came up at recent seminar I was conducting, so I set out to prove my point–again.

So I borrowed a point-and-shoot camera (for the technophiles, it was a Nikon Coolpix 4300) and went after rain dappled wildflowers. I wasn’t particularly familiar with the camera that I borrowed, but then I figured that most of us aren’t as familiar with our cameras as we could be, so I was in the same boat as most amatuer photographers. Naturally, there were a few surprises. Due to the overcast and fog, the camera decided it needed a flash even though I didn’t want to shoot with a flash. So who do you think won that battle? I’m embarrassed to admit that it wasn’t me. I couldn’t figure out how to override the flash. In spite of that little hiccup, some of the results were pretty good.

But the biggest surprise was how the camera changed the way I created my images. Naturally, the point-and-shoot camera has some physical limitations when compared to my DSLR. I very quickly realized that I had to adapt to those differences. Because I had less control over the aperture and consequently the depth of field, I found that I had to become even more aware of the backgrounds in my macro shots. It meant that some shots that I might have taken with a DSLR I didn’t attempt with the point-and-shoot. That doesn’t mean that I didn’t get good shots with the point-and-shoot.

Which returns me to my opening statement—cameras don’t create photographs, photographers do. The camera is simply a tool and it isn’t any better than the person using it.

Good shooting

Frank

Photo Tips — 1 comment
04
Jul 10

Focus on the Background

If you want to dramatically improve your macro shots, focus on the background. I don’t mean that you should literally focus your lens on the background. I mean that you, the photographer, should focus your attention on the background. The background in a macro image is critical to the success of that image.   

A soft ,mottled green background enhances the beauty of dew-glittered fairy trumpets.

Usually when we’re shooting, we tend to focus our attention on the subject. Our biggest concern is that it is in focus, that the composition is good and in a close-up that it doesn’t move. All are very important issues for tight close-ups. We can also get caught up in the magnification of the subject. When the lens magnifies the image, we can see things through the camera that we didn’t notice with the naked eye. It’s easy to get so caught up in the excitement of what we’re seeing and forget to pay attention to what the camera sees. Unlike our eyes, the camera sees the subject and the background equally.

Make sure that the subject is where the viewer’s eye is drawn without any background distractions. We can do this by minimizing the background. Creating a simple, uncluttered background will make your subject stand out and make the background, well, fade into the background. That’s not always as easy as it sounds. An out of focus background is relatively easy to achieve, but that doesn’t ensure a suitable background. An out of focus background that enhances the subject requires a bit more effort. Many macro images are disappointing because the background, even though it’s out of focus, is a cacophonous riot of color. Our eyes are drawn to bright areas and to brightly colored areas even if they are fuzzy and lack detail. Color variations in the background should be soft and subtle. Ideally, keep the background, regardless of color, darker than the subject.

Soft variations in light and shadow highlight grasses at Ridgway State Park, CO.

Many times light and shadow provide a background that is mostly shades of gray. This is good, except when the light and shadow create a distracting pattern. As with a colored background, try to achieve a soft, subtle background lacking distinct patterns that is generally darker than the subject.

A change of focus when you spot a suitable macro subject may help your shot. Before you pull your camera out, move around the subject and look at the background. Look for a simple background. Sometimes squinting will help you envision what an out-of-focus background might look like. Spend at least as much time looking for a suitable background as you spend looking for a good subject. Then pull out your camera and start composing. If your camera has a preview button, use it to see how the background will look at the selected aperture.

A good background is just as important to your shot as the subject. Focus on the background to nail that macro shot.

Good shooting.

Frank

Photo Tips — 2 comments
28
Jun 10

Summer Shade

Shade is great on these warm summer days, especially if you’re shooting flowers. To the human eye, flowers look great in bright sunlight. The sun makes the colors fairly explode into brilliant irresistibility. Our eyes and our brain work as a super camera and filter allowing us to see the brilliant beauty of a sunlit flower. The camera, on the other hand, is a poor imitation of our eyes and brain, so it sees flowers quite differently.

The same flower shot in shadow and in full sunlight

In bright sunlight, the camera sees flowers as harshly lit with blinding highlights and deep shadows. Unfortunately, our eyes and brain do not compensate for the extremes of light in shadow in a photo, so we see a harshly lit flower. Harsh sunlight can make the colors look washed out or create unwanted highlights. The subtlety of the petals coloration is lost.

Flowers photograph to best advantage in soft, diffused light. The petals fairly glow under soft light. Since we envision flowers as soft and delicate, soft diffused light enhances their beauty in our eyes. Look for early morning or late evening light for soft sunlight. If you find yourself with a perfect flower in harsh mid-day light, create your own soft light. Use your body to shade the subject, or if that angle doesn’t work, press a friend into service.

You can also take advantage of thin, hazy clouds that naturally diffuse the sunlight. Since most of us are unable to call up hazy clouds on demand, try using a diffuser. Diffusers are made of translucent material that diffuses the light. There are many manufactured diffusers available online. It is also possible to make a simple diffuser using a variety of materials from translucent plastics to various lightweight fabrics. Beware of color casts that can be created by some colored materials even though they may look white to your eye.

Enjoy

Frank

Equipment / Photo Tips — No comments
09
Jun 10

Keeping Your Balance

When I switched from film to digital, I had to get a lot more tech savvy. With film, I was limited by the chemistry of the film. With digital, I’m not sure there are limits. One place where that is most evident is with White Balance. With film, you had two choices, daylight or tungsten. Digitally, you have about half a dozen presets, but in post processing, you get nearly unlimited adjustments.

There is an incredible amount of differing opinions out there about white balance. Some folks say to set your camera on auto and forget it, others say never rely on auto WB. You’ll also hear people say that if you shoot RAW format, you don’t need to be concerned about WB when you’re shooting since you can adjust it in post-processing. Whether you adjust the WB when you’re shooting or in post-processing, the WB is adjusted based on pre-determined criteria that may or may not be representative of the actual field conditions. So what’s a body to do?

I started doing some experimenting when I found that many of my photos had a color cast no matter what WB setting I picked, in camera or post-processing. I found that I was spending an inordinate amount of time trying to correct the image to what I thought I remembered it looked like or at least something decent. As I researched the problem, I found that there are lots of WB gizmos and gadgets out there. For every one of them there are those that love them and those that hate them—both with justifiable reasons. And of course, they come with price tags. For me, money is an object, and simplicity and durability in the field are essential. I finally decided on the WhiBal card. It’s inexpensive ($20 plus the cost of any non-essential accessories you get), it’s light, durable, and very easy to use.

When I began testing it, I was surprised at the results. I experimented with the card in various conditions and the results have been impressive. I now use the WhiBal card to provide a reliable neutral gray under any lighting conditions. I’ve also been amazed at how inaccurate my memory of the lighting conditions really is. Clearly the brain filters what we see—or what we think we see. I’ve found the WB card to be a useful tool, especially under difficult light.

Enjoy

Frank

Uncategorized — 1 comment
24
May 10

Remajestification

Now there’s a tongue twister. I’m not adding any photos to this blog since I don’t want to detract from this inspired article. Take a moment to enjoy it.

Frank

Photo Tips — 3 comments
22
May 10

Just Add Water

With the cool, wet spring that we’ve had in Colorado, it’s been hard to take photos without getting wet. While that may not be the most pleasant experience for the photographer, it’s great for the photograph. There is something about water that we find irresistable.

 

A quiet lakeside sunrise at Steamboat Lake State Park, CO

Being creatures born of a water planet, we are made of water—about 70%, actually. The fact that we have legs and lungs instead of fins and gills is a quirk of evolution. Even though we are land lubbers, somewhere in our ancestral memories, we retain a primal affinity for water. In the 21st Century we’ve cast a sheen of culture over that affinity, but we’ve never forgotten water. We are still attracted to water. 

Dewdrops add interest to a wild geranium

So it’s not surprising that we find an added attraction to photos containing water. Whether the water is crashing ocean waves, a serene mountain lake, a thundering waterfall, or just a single drop, water, in any of its myriad forms, results in a primal connection that goes deeper than the subconscious. 

Will adding water to your images make them irresistable? Not necessarily, but it certainly isn’t going to hurt. Add some water to your images and see if there isn’t a little added attraction.  

Enjoy,  

Frank

Photo Tips — 3 comments
15
May 10

Enjoy the Storm

If you live in Colorado, particularly the Front Range, Mother Nature has born out my description of spring as a knock down, drag out battle between winter and summer. The past week has been very cool (some would say cold) with plenty of rain and snow. Up here at 8500 feet, we’ve had about a foot of snow over the past three days, although the accumulation hasn’t been more that about 8 inches.
 
But the point of this post isn’t just for me whine about the weather. Actually, I want to praise the weather. For most folks, stormy weather is a pain in the posterior. But for a nature photographer, it is like getting a white Christmas. Storms make for some of the best photographs. Well, not the heart of the storm, but when it’s breaking up it often provides an interesting mix of clouds and clear skies. The light can change rapidly and dramatically, providing some really exciting opportunities for great photos.

Shreds of fog drift through the pines

Fog-diffused sunlight saturates colors

I got out for sunrise this morning as yesterday’s storm was breaking up. Everything was wet from the rain and snow. During the night, most of the water drops froze on everything. The cold temps also left low clouds and fog lingering in the valleys. So the sunrise was a mix of glowing fog, clear skies, dense gray fog, frozen water drops and thawed water drops. Needless to say, I spent much of the morning cold and wet, but as you can see, it was worth it.

Raindrops on grass are always good subjects

The fog provides soft diffused light that makes most colors glow with their own light. The water drops on the grass and pine needles offer great macro opportunities. And the constantly changing light offers many different facets of the same scene.

If you want dramatic photos, head out into the “not-so-nice” weather as a storm is breaking up and you may be rewarded with some surprising photos. Another advantage is that most normal people are still in bed, so the wildlife is out more and they seem to be a little more active right after a storm.

Enjoy

Frank

Equipment — No comments
13
May 10

Is There More in Your Camera Than Your Image?

There is a rumor going around that spring is here, but you’d never know it looking at the 6 inches of new fallen snow here in Conifer. But for those of you fortunate enough to really have spring, you’re probably thinking more and more about getting out at taking photos. And you may notice, particularly in clear blue skies, you see little dark, fuzzy spots on your photos. Chances are, you have dust on your sensor. If you have a point-and-shoot camera, about the only thing you can do is have it professionally cleaned. If you’re using a DSLR, you have some options for cleaning your sensor. You may have your camera professionally cleaned for $50-$75, plus shipping, plus being without your camera for umpteen days.

Sensor dust

Or you can do it yourself. Admittedly, this can be a scary process the first time you do it. Sensors are delicate and can be easily damaged. I’ll admit that the first time I cleaned my sensor, I was scared silly. Tools are now available that make this process a little easier and more effective.

I’ll give a brief run through of the various cleaning steps here. For detailed step-by-step instruction on the cleaning process, I’ve add a couple of links at the bottom this blog.

There are five steps in sensor cleaning:

check for dust on sensor,

in-camera cleaning,

air cleaning,

brush cleaning,

swab cleaning.

Check for Dust on Sensor. This is the most important step. Check and see if your sensor needs cleaning before you do anything else. The easiest way to check your sensor is to take a baseline photograph. Use a lens that you’ve just cleaned to ensure that you’re not photographing dust on your lens. You want to see only the dust on the sensor. Set your camera to f22 and focused on infinity, then photograph a clear blue sky or any uniformly colored (except gray) smooth surface. Download the photo and look at it at 100% magnification. If you see little fuzzy spots on the photo, you have dust on your sensor.

In-camera Cleaning. This step utilizes a sensor cleaning function that many manufacturers are building into their cameras. Check your owner’s manual for instructions on how to activate this function.

DISCLAIMER. If you choose to continue, you do so at your own risk. Please realize that I cannot accept any responsibility for any damage done to your camera.

Air Cleaning. The next step involves exposing the sensor so you can clean it. Read your owner’s manual to find out how to raise the mirror to expose the sensor. Follow the directions exactly.

In this step, you will be blowing a jet of air across the sensor to remove dust. DO NOT USE CANNED AIR OF ANY KIND. The chemicals in many types of canned air can damage your camera.

Brush Cleaning. If the air cleaning did not remove the dust, the next step is to use a brush to remove the dust. This is the part where I get a little nervous. Don’t use just any brush for this step. The brush must be absolutely clean. Any dust or oils (including oils from your fingers) on the brush will be transferred to the sensor, making a bigger mess than you started out with. One of the most popular sensor cleaning brushes is the Arctic Butterfly. It’s not cheap, but considering the cost of professional cleaning, I think it’s a good investment. In most instances, this will get the job done.

Swab Cleaning.  This is the scariest step because you are actually touching the sensor with a cleaning swab. If the brush doesn’t remove the dust, the dust is “welded” to the sensor. To remove this “stuck” dust, you need to use a specially treated, lint-free swab to remove the dust.

Detailed Instructions. Here are some links to sites that give good, detailed instructions that I used to help me my first time. I highly recommend that you READ THEM THOROUGHLY before you try cleaning your sensor on your own. It is important that you use the proper equipment and technique.

http://www.cleaningdigitalcameras.com/index.html

http://www.bythom.com/cleaning.htm

There are, no doubt, other sites that also provide excellent cleaning information. Don’t hesitate to read them. You cannot have too much information before you tackle this job on your own.

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