Ralph Nordstrom Photography

You Don’t Have to be a Master Photographer

Join Ralph Nordstrom Photography in the majestic Eastern Sierra for a extraordinary spring photography workshop.

The Sierra Nevada Mountains have always been magical for me. The granite peaks are among the highest in the lower 48, demanding the best from backpackers and climbers. The alpine lakes, verdant meadows, glacier carved valleys, forested slopes, all of these captured the imagination and passion of the legendary John Muir and still capture ours today.

Now I have the thrill of photographing these beloved peaks and the wonders that surround them. I get up there several times a year and always find something new, something fascinating. The light can be incredible (it’s no mystery why John Muir called the Sierra, ‘The range of light.’).

Come with me. Join me for six days of extraordinary springtime photography in the Eastern Sierra as we follow in the footsteps of such celebrated photographers as Ansel Adams, Galen Rowell and David Muench.

We begin our exploration in Lone Pine in the shadow of Mt Whitney. We will spend two days exploring the fascinating Alabama Hills and other nearby locations.

Next we move north to Bishop. Here, we heed the call from North Lake, South Lake and Lake Sabrina to the west and the ancient bristlecone pines to the east.

After two days in Bishop we continue our journey north to Lee Vining on the shores of Mono Lake and at the base of Tioga Pass, the eastern gateway into Yosemite National Park.

We wrap up the workshop in Bodie, the best preserved and most interesting ghost town of them all.

I love the Eastern Sierra at any time of the year but springtime offers its own unique beauty. We have a record-breaking show pack this year (the Mammoth Mountain ski area plans to be in operation until July 4^th)! The spring melt will be in full flow and I am so excited. It’s going to be an incredible year.

You don’t have to be a master photographer to attend a workshop or get great photographs. You just need someone who will get you to the right places at the right time and work with you as much as you need to ensure you get the shots.

We still have openings for few more attendees so come join us. You’ll be glad you did. This is a spring not to be missed.

(628)

Mastering Exposure–Everyday Photography

This tip shows an easy way to get more exciting photographs from your point and shoot camera.

I talked to a lot of people at the Joshua Tree Art Festival this past weekend, sharing with them a little tip about getting better photographs from their point and shoot cameras.

In fact, this tip can apply to any digital camera for those times when you don’t want to have to pay close attention to the camera settings. You may just want to shoot and have the confidence you’ll get decent photographs.

So this tip is very handy in that it will result in pictures with better colors and greater, more interesting contrast. And it can be achieved in three simple steps.

Camera Mode

Our cameras all have different shooting modes. Many people I talk to use Auto pretty much all the time. This is the mode where the camera takes care of everything. In other words, it makes all the decisions.

The first simple change is to switch from whatever mode you’re using to P (for Program mode) as illustrated here. This returns control of some key functions back to you, the photographer. The camera will still set the aperture and shutter speed based on the light conditions. But you gain access to some key corrections that will result in better pictures.

Exposure Compensation

The second change is exposure compensation. This is the technique of either increasing or decreasing the exposure that the camera determined without resorting to setting the exposure manually. In other words, you can still let the camera determine the exposure (as it does in P mode) but then tell it to decrease the exposure a certain amount.

Not all cameras have this capability but if your camera is one that does there will be a button or dial with this symbol somewhere on the camera. Or there will be an exposure compensation menu option. It indicates that you can refine the exposure by increasing or decreasing it. In other words, it allows you to slightly over expose (or lighten) the image or underexpose (or darken) the image. Here’s how it works.

The camera determines the exposure using its built in light meter. It generally does a pretty good job but it has certain limitations. The exposures it determines may overexpose the image ever so slightly, resulting in pale colors. So if we slightly underexpose our photographs they will gain a richness of color that is very pleasing.

I recommend we use –1/2 to –2/3 stop exposure compensation. That is to say, we tell the camera to decrease the exposure by 1/2 or 2/3’s of a stop. Your camera will display a scale similar to this one that will show the amount of exposure compensation. On the minus side, 1 means decreasing the exposure or darkening the image by one stop. Two means the exposure is decreased and the image is darkened by two stops. The positive side increases or brightens the image by one and two stops respectively.

If your camera is set up to adjust exposure by half stop increments there will be one dot between the numbers as in this illustration. If it is set up to adjust exposure by one third stop increments there will be two dots. I prefer to set my camera to adjust exposure by 1/3 stop increments. And then I set my exposure compensation to –2/3 stops.

You may need to check your camera’s manual to determine exactly how to set your camera’s exposure increments and how to do exposure compensation.

Auto ISO

The third change is to set your ISO setting on Automatic. ISO refers to the sensitivity of the camera’s sensor which in turn affects the amount of light required to produce a correct exposure. The greater the sensitivity, the less light is required. Increasing the ISO increases the sensor’s sensitivity. So an ISO of 100 has low sensitivity and requires more light for a correct exposure. An ISO of 400 has much higher sensitivity and therefore requires much less light for a correct exposure.

Cameras produce the highest quality images at low ISOs. And when the ISO is set on Auto the camera will automatically select the lowest possible setting to give you the highest quality image in the prevailing light conditions.

As with exposure compensation, you may need to consult your camera’s manual to determine exactly how to do this.

I use these settings myself on my Canon point and shoot (G11), the camera I take with me everywhere I go. When I’m doing casual shooting or even scouting for ‘serious’ photograph locations I’ll use the G11 configured in this way. In times like these I don’t want to be focusing on exposure settings, ISO and all the other things I think about when shooting my big Canon. I want to focus on the image and the compositional possibilities. And these settings allow me to do that and still capture high quality images.

So, try them for yourself and see if you like them. Set up your camera in this way and shoot some photographs. I think you’ll be pleased with the results.

Join me on an upcoming workshop. Click here for more details.

To see more of my photographs click here.

(1834)

Preparing Photographs–Printing, Matting and Framing

Here’s an outline of how I prepare photographs to display and sell.

I’ve been printing, matting and framing for the past several days ,getting ready for the first shows of 2011. I have a lot of new photographs so this is both a busy and an exciting time.

It occurred to me that I went through a lot of trial and error when I first started this process of preparing photographs to display and sell, and that it just might be helpful to some if I shared the system I finally worked out.

Continue reading “Preparing Photographs–Printing, Matting and Framing”

(1669)

Mastering Exposure–Histograms Part 3

This is the third post in a series on the histogram. This post discusses the Rocky Mountain histogram, what it is, when you can get it, how to photograph and how to do the post processing.

This is the third post in a continuing series on the oft misunderstood but oh so important histogram. In the first two posts we discussed the histogram in general. If you missed them, click on these links.

Mastering Exposure – Histograms Part 1

Mastering Exposure – Histograms Part 2

Recap

To recap, the histogram displays a graph of the tonal values in the scene you are about to photograph. It shows how the dynamic range of the scene matches and fits into the dynamic range of your camera’s sensor. There are two critical pieces of information a histogram tells you:

If your exposure is correct
If you have problems capturing the dynamic range of the scene

To recap, the exposure is displayed by the position of the histogram curve within the boundaries of the graph area. As you increase the exposure the histogram moves to the right. As you decrease the exposure it moves to the left. If the exposure is increased so that the histogram moves all the way up against the right side of the graph area you will have highlight clipping. Likewise, if it moves all the way to the left side you will have shadow clipping.

The dynamic range of the scene is displayed as the breadth of the histogram, The wider the histogram the greater the dynamic range of the scene. The narrower the histogram the lower the dynamic range. When the histogram is so wide that it extends from one end of the graph area to the other you are facing a situation where your camera’s sensor will have a difficult time capturing the full dynamic range of the scene. The worst case is you will have both highlight and shadow clipping.

Continue reading “Mastering Exposure–Histograms Part 3”

(2333)

Dewitt Jones Said It All

I was reading an article by Dewitt Jones in the latest Outdoor Photographer last night. I always enjoy reading him; he is so positive and full of enthusiasm. The title of the article was Don’t Prove…Improve! He was recounting his experience when he got hired on as a National Geographic Photographer. Dewitt was a little intimidated. His new boss, Bob Gilka, gave him some advice that applies to us all. He told Dewitt, “You don’t have to prove yourself, not to me or to the other photographers. What I do demand that you do is improve yourself. Every day….”

Dewitt goes on to write,

“[Gilka] understood that when we shoot from our own unique vision, there’s no reason to ‘prove’ ourselves…. There’s only one person on the planet who can do what we do, see as we see.

“Improve ourself? That’s a different story. There’s so much for all of us to learn to make our vision clearer, stronger, sharper. And Gilka knew that the fastest way to learn is to trust and share rather than compete.”

Yep, I always enjoy reading Dewitt’s comments. He is so positive. And right on.

(990)

A Trek in Whiting Ranch Wilderness Park

Here’s an account of how I spent a beautiful Monday morning in the foothills of Southern California.

Yesterday was a perfect day for a hike in Whiting Ranch (our back yard). The hills are green from the wonderful rains we’ve had this winter. This is welcomed in a location that is basically a desert and has its share of droughts.

The start of the hike is down the street at our local park. It starts out easy enough.

The first part of the hike is easy. An access road drops down to the bottom of the canyon behind our house. This morning it is especially beautiful hiking in the lush green that seems to be hanging on and on and on. The rains this winter have come at good intervals and have nourished the hills. They have recovered beautifully from the fires three years ago.

One of the most beautiful sections of the hike is through a lovely oak grove called “Sleepy Hollow.” The trail meanders under a canopy of Coastal Live Oak. And the stream is still trickling making this a special treat.

The Sleepy Hollow climbs out of the grove when it comes to a dam built during the ranching days. Cowboys built it to catch water so they could graze cattle on the hillsides. For many years this dam has been mostly dry with at best a small muddy puddle. But this year there is a considerable amount of water. There aren’t cattle in the area any more to drink the water but I’m sure the deer, coyotes, foxes, raccoons, skunks, rabbits, mountain lions and all the other critters in the area enjoy it.

Not far above Lower Cattle Pond the trail goes by Upper Cattle Pond. It too is nearly full. When these hills were still private land you could wander around the banks of the pond. (Well, maybe I trespassed just a little.) But then the county bought it and has restricted access. So the trade off is the county controls access but we don’t have developers building their homes down here. I’ll opt for the limited access any day.

This oak tree is amazing. It’s standing all by itself and the ground on three sides is literally washing away. Every rain that falls carries a bit more dirt away from its base. If you look closely you can see it’s roots jutting out of the bank, dangling in mid air. So far the oak is hanging on to a pretty large chunk of land but I wonder how long it can hold out. I’ve been keeping an eye on this tree for over 20 years now and it seems to be doing just fine. You gotta love it.

The first resting point is Four Corners. Mountain bikers and hikers alike sit on the benches projecting from both sides of the bulletin board. The county brought in a water fountain for people and an automatic waterer for horses. People stop here after a good climb to catch their breath before zooming down the other side. It’s a good place to relax and an easy place talk with some very interesting people. But this morning I’m not ready to turn back. There’s more in store.

I’m going to continue on up this road. It’s aptly names the Dreaded Hill road although this isn’t the dreaded part of it. That’s further on. This road will take me near the summit of the highest peak in the area.

No, this isn’t the dreaded part of the road either. It’s just a minor steep part on the way to the summit.

At the summit is the memorial to Mark Reynolds, an avid mountain biker who was attacked and killed by a mountain lion not far from here. He was fixing a flat tire when the lion pounced on him. He probably never saw it coming. Later that same day the mountain lion came back and attacked another mountain biker, this time a woman. Fortunately she was with her friend who, with the help of some other mountain bikers, were able to get the lion to release her and run off. She recovered.

That all happened back in 2004. Gosh, has it been that long already.

Now we get to the dreaded part of Dreaded Hill Road. I’m doing it the easy way – I’m heading down. Climbing this road is another matter and very few mountain bikers will even attempt it. This is mostly a hiker’s climb. As beautiful as these foothills are you always know that the city is not far off.

But when you look in the opposite direction from the city you are rewarded with inspiring views of Santiago Peak, the tallest summit in our very own Santa Ana Mountains. I never tire of looking at the range. I’ve hiked all over them from the time I was a Boy Scout until now.

It’s difficult to capture just how steep Dreaded Hill really is. I describe it this way, “Dreaded Hill is a killer at the bottom and a killer at the top and murder in between.” If you look at this picture carefully you can see the road way down there as it enters the trees just to the right of center. Maybe you can get a feel for how far down that is.

And this is what greets you where the Dreaded Hill road enters the grove. Beautiful, isn’t it. Just up a few more steps the road meets the Serrano Creek trail where I do an about face and head back towards the start.

Serrano Creek gets its name from the Spanish Ranchero that this land was a part of. The creek doesn’t flow all year, only a few weeks in the spring and that’s not a for sure thing. Hey, this is Southern California. You get used to it. But I love this little stream, especially in spring. It feels so good to walk in the cool air under the spreading oaks. Even in summer this little canyon remains cool and inviting.

Here’s another vignette of the creek that I just have to share with you. This is such a glorious place. I’m so fortunate to have this literally in my back yard.

This is a good place to end this account. In just a few more steps the oak grove comes to an end and gives way to the open hillsides so typical of these foothills. From that point on it’s an anticlimactic climb back up the hill to the park.

If you would like to join me on one of my adventures in Whiting Ranch Wilderness Park, let me know. I’d love to share it with you and would enjoy your company.

(1290)

The Backup Saga Continues

The backup strategy I’ve been developing over the past year got put to the test. And it worked.

Backing up our photos is something we put off doing because it can be a lot of work and expensive. And we think it’s something we’ll never need.

I got motivated to come up with a backup scheme about a year ago when I thought I had lost all my photograph files from 2010. I had several days of panic and was able to recover most of them from a hodgepodge of backups scattered randomly here and there. I didn’t have anything systematic in place and fortunately they weren’t my portfolio files, the ones I sell. (After it was all over I discovered all the files had inadvertently been moved to another folder. They hadn’t been deleted after all.)

It took a while to come up with the backup strategy that I shared with you in a post last month. Here’s a link to that post. Check it out. I received some valuable comments with some good ideas from others.

Link to Backup Your Photos

It Happened – Duh Duh Duh Duuuuuuuuh

Continue reading “The Backup Saga Continues”

(620)

Backup Your Photos

Presenting a solution for backing up your iimportant photo files while also being able to share them between computers.

Some time ago I thought I had lost a year’s worth of RAW files. I was using Photoshop Bridge which I rarely use (I use Lightroom to manage my photos) and it had inadvertently moved the folder when I thought the folder was deleted. It took a couple of days to find copies of all the supposedly deleted files, only to find a week or so later that they were all still there, just in a different location.

That launched an ongoing effort to come up with a better backup strategy. The solution is still evolving but it’s to a point where it’s worth sharing with you.

Continue reading “Backup Your Photos”

(1831)

2010 in Retrospect

Join me as I look back on the accomplishments of 2010 and look forward to the promise of 2011.

I feel kind of funny writing this post. I’m feeling that this end-of-the-year, beginning-of-the-next band wagon is awfully crowded. But it’s something I want to do, if for no other reason than to reflect on the year just passed and learn what I can apply to the new one just started.

As I’ve worked on my website over the past year and compared the work I’m doing these days to the works from four and five years ago I see definite signs of growth. I’ve had many powerful influences over the years who I’ll not attempt to list here, except for my brother Roger. One doesn’t learn photography in a vacuum. While each of us is striving to find our own voice there is a long period of gestation where we are best served when we learn from and let ourselves be influenced by other photographers whom we respect and admire. I feel that after five years there have been a few brief flashes of individuality where my personal style is just beginning to express itself.

Continue reading “2010 in Retrospect”

(1117)

Mastering Exposure–Histograms Part 2

Take a deep dive into the often misunderstood histogram and discover the critical role it plays in capturing great photographs.

A few weeks ago I published the first of a series of articles on histograms, “Mastering Exposure – Histograms Part 1.” I eventually want to talk about different types of histograms and how to work with them in the field and during the post processing. But before getting into that I want to take a deeper dive into the histogram itself.

Continue reading “Mastering Exposure–Histograms Part 2”

(2875)

Ralph Nordstrom Photography

You Don’t Have to be a Master Photographer

Like this: