Archive for the ‘Making a Photograph’ Category
For some time now I’ve been using and teaching a process of working on photographs in Lightroom. It consists of basically four steps: manual adjustments, tonality adjustments, hue adjustments and finally saturation adjustments. Quite some time ago I had the brilliant idea of converting the image to black and white before doing the tonality adjustments. The technique I used was the B & W tab in Lightroom’s HSL group. Once the tonality adjustments were done, the image would be converted back to color and the process continue.
It didn’t work out because when I converted the image back to color, the colors were so oversaturated and unnatural that the image looked horrible. It was just easier to do the tonality adjustments on the color image. So I quickly gave up on that technique. But the other day I was reading an article in Popular Photography magazine that rekindled this idea. It took a different approach. It turned the image to black and white by setting the Saturation adjustment to -100. Now the author did this in the middle of the process but I thought that if I applied this to my process and did that at the start it just might work. So I was eager to give it a try. Let’s try it with this image of the Watchman in Zion National Park.
This is the original raw file. I haven’t done anything to it yet. It doesn’t need any mechanical adjustments. These consist of removing spots, straightening the image, maybe some noise reduction and the final crop. But since none of these are required we can move on to the tonality adjustments.
Continue reading “Making a Photograph – A New Approach to Tonality Adjustments” »
Tags: black, black and white, color, contrast, exposure, graduated filter, highlight, HSL, hue, Lightroom, luminosity, saturation, shadow, spot removal tool, tonality, vignette, white
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We’ve all seen those photographs that stop us in our tracks, that inspire us, that speak to us. Some photographs seem to have a special power, a special presence. Often times we hear ourselves saying, “Wow.” They have qualities that make them stand apart from other photographs. These are images with impact.
The masters of landscape photography seem to have the ability to capture a special quality of light in their photographs. It doesn’t matter whether they use film or shoot digital, their images stand out.
There are certain things about these images that do more than just appeal to us – we are drawn into to them. They capture our imaginations, stir our interests and perhaps show us moments in nature we could only hope to experience. We want to linger with them, explore them, take them in, get lost in them.
Without a doubt these photographs have compositions that are very strong, are bathed in fantastic light and have technical qualities of exposure and sharpness that are perfect. These are all decisions that the artist makes in the field, decisions that are critical to a strong image.
In the days of film, a good portion of the magic was done in the darkroom. That’s where their genius really became apparent. And it hasn’t changed today. We don’t actually have dark rooms to work in, closed rooms with the strange array of mysterious orders and the soft, dim yellow lighting. Today we have powerful software running on even more powerful computers. But really, how is that different from what the film Masters did in the darkroom? I don’t believe it is. I can’t think of anything that’s been done with “Photoshopped” photographs that hasn’t already been done in the darkroom. It’s probably a lot easier to do it in Photoshop but in the end, both the chemical darkroom and the electronic darkroom serve the same end, that being creating those “Wow” images.
In this series of posts I want to spend more time considering some techniques you can apply in the darkroom that will add impact to your images.
Use the Full Dynamic Range of Your Medium
The first darkroom technique I would like to discuss is the importance of using the full dynamic range of your medium. This is not something new. When Ansel Adams developed the zone system it was precisely for this purpose – to use the full dynamic range of the black and white negative and ultimately the black and white print. But what exactly does it mean to use the full dynamic range of the medium. Let me illustrate with an Ansel Adams image I have loved for many years, one I’m privileged to be able to live with in my home – “Moon and Half Dome.”
In this exquisite photograph if you are able to examine an original closely you will notice that the shadow on the left may look like it is totally black but actually there is subtle detail. However, there are some very small areas that are pure black. Also, the moon and the bright parts of Half Dome may look like they are pure white but a closer look will reveal detail in these areas also. This photograph takes full advantage of the full dynamic range of the paper, from the blackest black to the whitest white.
Continue reading “Creating Images with Impact – Dynamic Range of the Medium” »
Tags: black point, Darkroom, digital photography, dynamic range. histogram, film photography, landscape photography, Lightroom, medium
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I recently read an article by William Neill in the September Outdoor Photography magazine titled “Need to Know” that really resonated with me. His main point is, don’t let the acquisition of gear and techniques interfere with the experience. There’s so much information out there, so many people offering advice on techniques for composing, exposing and post processing. But in Neill’s journey he has developed what he calls, ‘… a simple but effective tool set.”
A foundation of gear and technique is important in capturing the experience. But it is the experience that is what we’re out there for, not histograms or depth of field or leading lines.
Continue reading “Making a Photograph – Two Sides of the Coin” »
Tags: aperture priority, composition, creative, depth of field, exposure, focus, gear, histogram, landscape, leading lines, light, manual, Outdoor Photography, photograph, photography, sharpness, skills, technical, William Neill
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As I continue reading Ansel Adam’s fascinating book, ”Examples The Making of 40 Photographs” I continue to come across insights that I wish to share with you.
“Tenaya Creek Dogwood Rain” was taken one overcast spring day in 1948 as Adams was out looking for dogwoods to photograph. He notice something along Tenaya Creek up by Mirror Lake and went exploring. It was starting to rain and he almost returned to his car and the warmth of his accommodation when this scene caught his eye. He went back to his car to retrieve his photographic gear including his 8X10 view camera.
I’m really taken by this photograph. The light is perfect. The white dogwood bracts glow against the green foliage. It has a feeling of both intimacy and grandeur. I would love to have a print. It would be so easy to get lost in it.
The comments that Adams made that caught my attention (besides this beautiful photograph) deal with the inspiration the artist feels when interacting with a subject. They are perfect and I must share them with you.
“The photographer learns to seek the essential qualities of his environment, no matter where he may be. By this I mean he should be tuned to respond to every situation. It is not enough to like or dislike; he must make an effort to understand what he is experiencing…. My life is full of memories of experiences that are of greater importance than recollections of mere things that have happened. Unless I had reacted to the mood of this place with some intensity of feeling, I would have found it a difficult and shallow undertaking to attempt a photograph.”
In my own experience “intensity of feeling” comes with practice, experience, patience, slowing down, quieting the brain, opening up, understanding, respect, harmony, and reverence. There is a very technical, analytical side to photography that can easily drown out the creative, inspirational side. It is necessary to balance the two to create successful images. Technical excellence without soul is sterile and empty. Great photographs begin with inspiration, awe and wonder which is then captured and communicated through an abundance of technical skill. We don’t find inspiration every time we go out but as our eye becomes more and more aware we find inspiration in more and more places.
We invite you to join the conversation. Where do you find inspiration? How has that changed over time? We’d be interested in hearing your experiences.
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Oh, by the way, I couldn’t resist. I purchased the photograph from the Ansel Adams Gallery. It will arrive in a few days. I’m so excited.
Tags: Adams, Ansel, artist, Creek, Dogwood, effort, environment, foliage, grandeur, importance, inspiration, intimacy, lake, life, memories, Mirror, mood, qualities, Rain, recollections, situation, subject, Tenaya
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As I drive across the Mojave Desert late one Thursday night not long ago, heading north on I-15, I have a sense of harmony, of unity with the night, the highway, my car. The pavement ahead eases into the beam of my headlights, grows brighter as it draws closer and then slips back into darkness as it slides underneath. Nights like this are a joy. I’m in a groove, a state of calm serenity and anticipation. Tomorrow I’ll be returning to Zion National Park, something I always look forward to. I didn’t notice the faint flashes of light.
Powerful thunderstorms were roiling over eastern California and southern Nevada that night, The dark clouds glowed with flickers of light and precious water dropped on the parched desert. it was a huge storm and I was chasing it. Approaching the state line the casino lights of Prim were reflected, bright and shimmering, on what is normally a dry lake bed. A half hour later as Las Vegas finally came into view, the glitz and glamor of the gaudy hotels was dwarfed by the grandeur of bolts of lightning streaking for miles across the turbulent sky.
The following morning workers were cleaning up after the storm but it hadn’t fully passed. Storm clouds still blanketed the sky for the remainder of the journey to Zion. A detour to Kolob Terrace to check the aspens was, I suppose, inevitable. The falling snow up in the high country was a surprise. And a delight. Sunrise the next morning was looking promising.
The best location in Zion that gets the full sunrise treatment is West Temple. I’ve photographed it many times but never got anything that I was excited about. The most popular location to shoot from is the ‘patio’ behind the museum but on this morning I chose a less visited one – the 2nd switchback on Tunnel Road. The expectation of clearing storm clouds, the choice of shooting locations – everything worked out just right.
Continue reading “The Making of a Photograph – Clearing Storm, West Temple 2012” »
Tags: action, adjustment, adjustments, Also, Altar, Another, anticipation, article, attention, background, balance, black, California, Canyon, casino, Click, cliffs, clouds, collaboration, color, comments, conversation, desert, detour, drama, eons, events, excitement, expectation, Facebook, feelings, files, finale, Flickr, foreground, friends, glamor, glory, grandeur, harmony, highway, image, images, imagination, inspirations, Join, Kolob, lake, layer, Level, life, Lightroom, lights, LinkedIn, links, location, locations, masterpiece, midst, Mojave, moment, mood, National, needs, Nevada, paper, Park, patio, perspective, photograph, PhotoShop, Prim, qualities, remainder, result, Road, Sacrifice, selection, shadows, silhouette, silhouettes, storm, strength, subject, Sundial, sunrise, Sure, temperature, Temple, Terrace, times, Tint, treatment, Tunnel, understatement, Vegas, Vibrance, viewer, walls, West, workers, workshop, Zion
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A friend asked me if I’d do a blog on the making of the photograph I took of the Virgin River during the Zion National Park photography workshop in 2011. He’s a good friend and it’s a nice photograph so let’s do it. Here’s the end result. (You can click on each of the photographs to enlarge them and get a better look.)
And here’s what it started from.
The difference is obviously pretty dramatic so there will be a few things to talk about. We’ll start with what I was experiencing in the field and take it all the way through the darkroom to the end product. So let’s get started.
Continue reading “The Making of a Photograph – Virgin River 2011” »
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Posted in Composition, Expoure, How To Articles, Light, Lightroom, Making a Photograph, Photography as Art, Photoshop | Comments (2)
I was fortunate to be in Big Sur last week photographing that magnificent coast with the members of our workshop. Ansel Adams made some beautiful photographs here as did, of course, Edward Weston. An increasingly common technique used by photographers is to employ a neutral density filter to get very long exposures that turn the ocean into a sea of ethereal mist. Many of these photographs are incredibly beautiful. Personally, I connect with the power and energy of the ocean, something these beautiful photographs do not capture.
Adams’ technique was to stop the motion in of the surf as in this photograph titled “Rock and Surf.” Freezing the water was essential to the effectiveness of the composition.
Rock and Surf (1951)
Continue reading “Ansel Adams – The Making of 40 Photographs: Rock and Surf” »
Tags: action, Adams, Also, Ansel, anticipation, area, attention, behavior, Bridge, California, Click, composition, conversation, cost, Cruz, direction, Edward, element, energy, essence, example, expose, exposures, factors, Faithful, fascination, film, fraction, Gate, Geyser, Golden, history, image, impulse, Join, Leave, location, luxury, manifestations, Many, members, mist, moment, mountain, narration, Natural, observation, Often, outcrop, photographers, Rock, Santa, sheets, size, Some, subject, subjects, Surf, Take, technique, tendency, tide, Tree, truth, viewer, visualization, Water, Weston, Wind, workshop
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Lodgepole Pines (1921)
This Ansel Adams photograph has always stood out from the rest of his works. It doesn’t have the usual crispness or drama that one normally expects. Instead the focus is soft and the shadows are not full and rich. It almost seems like it might have been created by another person. And for that reason I find it all the more interesting.
It’s difficult to imagine the great Ansel Adams as an amateur, a novice photographer. One normally associates him with a supremely confident master of his art, a pioneer of techniques, both technical and aesthetic, that we still use and revere today. And this is certainly an accurate characterization. But like all of us, he had to start somewhere. We all go through a period where our art is in its formative stages, where we are discovering ourselves, our vision and our voice. And this photograph was part of the process for Adams.
Continue reading “Ansel Adams – The Making of 40 Photographs: Lodgepole Pines” »
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It was in the ‘70s when I was backpacking through the Kaweah Gap areas of the Sierra Nevada mountains. We were two days out and came upon this lake. I instantly recognized it from on of Ansel Adams that I particularly liked – Precipice Lake. It was exciting and we spent the night there.
I’ve always been a fan of this Ansel Adams classic. For me it has a feeling of immensity and majesty. So it has a special meaning to me reading about it in “Examples.” A few things caught my attention in Adams’ narrative…
Continue reading “Ansel Adams – The Making of 40 Photographs: Frozen Lake and Cliffs” »
Tags: Ansel Adams, Aperture, California, chaos, cliffs, composition, compositions, depth of field, Edward Weston, exposure, exposures, Frozen Lake, Group f.64, Group f/64, image, instinct, Kaweah Gap, light meters, mountains, paper, photography, Pictorialism, Precipice Lake, Sierra Nevada, techniques, vision, visualization, Western photographers, Zone System
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