Creative Use of Exposure

On using f/stop and shutter speed to achieve creative results.

In the first article (All You Ever Wanted to Know about Exposure) we identified the four variables of exposure – ISO, aperture, shutter speed and light intensity and compared exposure to filling a glass of water. We can control the first three in order to respond to the fourth. In the second article (Mastering Exposure – Next Steps) we discussed how to use the histogram on a digital camera to help us get the best exposure. We looked at examples of overexposed and underexposed images. We also introduced the concept of dynamic range and took a look at some of the challenges and opportunities we enjoy when we have images that have a very low dynamic range (low contrast) and a very high dynamic range (high contrast).

You may have thought we said all there was to be said in the first two article.  Well, believe it or not there’s more  – how to use exposure creatively. We can start by talking about the four variables. Let’s not get into the last variable, light intensity, just now. Rather let’s start with aperture and shutter speed.

Continue reading “Creative Use of Exposure”

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Mastering Exposure – Next Steps

On using the histogram to judge the quality of the exposure. Also discusses shadow and highlight clipping, the problems the create and how to avoid them.

In the first article on exposure (All You Ever Wanted to Know about Exposure) we discussed the exposure basics, the four variables you have to work with – the intensity of the light, the ISO setting, the f-stop and the shutter speed. We made the comparison of light with water. With this analogy, getting the proper exposure is the same as filling a glass of water (or whatever).  In this article we’ll take a closer look at the kinds of challenges we face getting the best exposure.  But first let’s take a quick review.

So, to quickly review, the sensor in a digital camera or the film in a traditional camera requires a specific amount of light to produce a proper exposure. The amount of light that is required depends on the sensitivity of the digital camera sensor or the film. Sensors or film with lesser sensitivity to light requires more light while those with greater sensitivity require less light. Sensitivity is measured by the ISO number regardless of whether we are dealing with film or a sensor. Lower numbers mean lower sensitivity The numbers start at 100, possibly even 50, and increase to 400, 800, 1600 and even higher. Each time the number doubles it requires exactly half the amount of light to make a proper exposure.

Aperture, or f/stop, is the amount of light that is let through the lens. This is controlled by a diaphragm similar to the pupils of our eyes. It can open to allow more light in or close to allow less light. Apertures are measured with a strange set of numbers like f/22, f/16, f/11, f/8, f/5.6, f/4, f/2.8. The numbering system goes backwards so that higher numbers admit less light. Adjacent numbers either double of half the amount of light coming admitted through the lens. In other words, f/4 admits twice the light as f/5.6.

The only other variable then is shutter speed, or the length of time light is allowed to pass though the shutter. Shutter speed is measured in fractions of a second such as 1/30, 1/60, 1/125, 1/250, 1/500, 1/000.

We have control of three of the four variable – ISO setting, f-stop and shutter speed. These are all adjusted to respond to the fourth variable – the intensity of the light. Success as a photographer starts with getting the correct exposure and these are the three things we can manipulate to do so.

Continue reading “Mastering Exposure – Next Steps”

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All You Ever Wanted to Know about Exposure

On the fundamentals of exposure – the four variables that must be taken into account to achieve a well exposed image.

The most fundamental skill you need in photography is the ability to make the correct exposure. You can have the greatest ‘eye’ but if your images are not correctly exposed you will never be able to make a fine art print. In addition you will take some great photographs only to be frustrated when you try to render them as prints.

There are two exposure gremlins – over exposure overexpose_1.5and under exposure. It doesn’t matter if you’re shooting a digital or a film camera, they both are subject to the same problems. But underexpose_1.5what is constitutes an over exposed or under exposed photograph and more importantly, how can you ensure you’re getting the proper exposure?

Photography is all about light. A camera is simply a device that controls the amount of light that is allowed to shine on the sensor or the frame of film. Exposure is all about letting the right amount of light into your camera. Sounds simple? Well, there are a number of things that make this a bit more complicated, not the least of which is the terminology – f-stop, ISO settings and shutter speed.

Continue reading “All You Ever Wanted to Know about Exposure”

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Why You Should Consider Taking a Photography Workshop

Reasons for takikng a photographic workshop and what to look for to get the most out of one.

Do you love photography?  Is it a passion within you?  Are you inspired by nature?  Do you want to get out to some great locations and come back with some stunning photographs?  Do you want to become a better photographer?

If you answered ‘Yes’ to any of these questions, than you should consider taking a photography workshop (or another workshop if you’ve already started down that path).

What Makes for a Good Workshop?

What are the reasons for taking a photography workshop?

Well, first, you get to photograph an area with someone who is really familiar with it. They know both the great iconic locations plus some out of the way, intimate places.  They are aware of how the light plays on the subjects and can get your to them at the best times of day.  They can respond to developments with the light such as sudden storms and take you to the best locations to take advantage of them.  In other words, they draw upon their intimate knowledge of the area to bring together the two most important factors that go into creating outstanding nature photographs – great subjects and fantastic light.

bryce_workshop

Second, good workshop leaders will freely share their ‘secrets’ with you.  They have acquired a vast amount of knowledge, not only about the area but also about photography in general.  They have their own personal approach to photography.  There can be a lot you can learn from them and they are willing and eager to pass it along to you.

Third, good workshop leaders will spend time working with you one-on-one to help you develop your skills, whether they be creative or technical.  They will spend time working with you in the field on things like exposure, focus and composition.  They will look over your shoulder as you work and offer constructive comments and tips.  They will also take time to review your work and provide you with ongoing feedback. They will also not confine their help to techniques in the field but help you with the critical post processing where the true potential of the photograph is ultimately realized.

The best workshop instructors will also probe you a bit to find out what you want to work on and help you with it.  If you’re not sure, they can help you identify areas of focus.  Their assistance will be very much personalized to your specific needs

How to Select the Workshop for You

There are several things you should think about and look for when selecting a workshop.

Start by thinking what you want to get from the workshop.  Are you primarily interested in a new and exciting location?  Do you want want to grow as a photographer?  Are there specific skills you want to work on?  Is there a photographer whose work you particularly admire?  All of these factors are things you should consider when you start looking for a workshop.

Finding Candidate Workshops

Search engines such as Google and Bing are very effective in helping you find a workshop.  Often people will search for a workshop in a particular location such as “photography workshop, Utah” or “photography workshop, Eastern Sierra.”  This works well if your goal is to photograph in a specific area.  These search sites can produce pages and pages of workshops, especially for the more popular workshop destinations.

Maybe you’re interested in a time of year such as “photography workshop, Napa Valley, fall” or “photography workshop, Death Valley, winter.”  Searches like this can get you to locations when conditions are most favorable and also when you can take enough time off for the workshop.

Finally, you may be interested in the work of a particular photographer.  Searches like “photography workshop, Ralph Nordstrom” or “photography workshop, Jack Graham” will prove effective.

Selecting the Workshop for You

Once you have a list of candidate workshops, how do you go about narrowing it down to just one?

You’ll find lots of information about the workshops on the web.  Based on what it is you determined you most want to get out of the workshop, review the information.  The following are factors you can consider.

Location

This is almost always an primary consideration.  If you’ve searched for workshops by location you should have lots to choose from.  Some websites will post itineraries.  Some will be general while others are very specific.  Take these itineraries with a bit of a grain of salt, especially the very detailed ones.  Rarely does a workshop follow the itinerary.  Conditions will change and the good workshops will adjust to make the most of them.  Itineraries are good, however, to give you an idea of what sites you will be photographing.

Time of Year

This is often another important consideration.  The workshop schedule need to fit with your availability.  But more importantly, they need to be scheduled when the light is the best for the location.  Again, if you searched for this you should have a sufficient number of workshops to choose from.

(c) 2009 by Ralph Nordstrom

Personal Attention

This is where some workshops start to stand out from others.  This is the single most common reason workshop attendees are not totally satisfied with a workshop.  Review the information carefully to see what it says about one-on-one attention.  Read the references from past workshop attendees.  If the workshop leader does not call attention to this either in the information they provide or comments from past participants, chances are you’ll be disappointed in the level of attention you receive.

Reviews

Will the leader review your work?  This should occur early and often.  This way you can incorporate the feedback into subsequent photographs and practice the things they share with you.  Another aspect of this is print reviews.  Does the leader invite you to bring along prints of your work for review and feedback.  Again, review the information carefully looking for some mention of this.  If you don’t see it you may want to strike that workshop from your list.

Assignments

Will you be given assignments during the workshop?  Assignments with the follow-up reviews are terrific learning tools and you could benefit greatly from them.  Again, if this would be of interest to you review the information to determine if assignments will be offered.

Reputation of the Photographer

You may admire the work of a certain photographer and want to study with them.  In that case this could be a primary consideration.  Chances are excellent that they will be going to great locations at the best times of the year.  If the photographer is well known, one thing to keep in mind is their workshops fill quickly (often a year in advance) and they can be pricy – supply and demand you know.  Also, some of the big name photographers will give you lots of personal attention, some will make themselves available for questions but not necessarily reach out to you with suggestions and still others, it’s sad to say, will spend virtually all their time photographing along side you.

Cost

No discussion of workshops would be complete without a word or two about cost.  As mentioned above, the big name photographers will charge commensurate prices.  A few include transportation from the meeting point, lodging and meals but this will usually run several thousands of dollars for a three to five day workshop.  Some of the really high end workshops run as high as $10,000 and more.  Others will charge four figures but leave all the transportation, lodging, meals and fees to you.  You’ll have to evaluate these workshops to determine if you’ll get want you want from them and if it’s worth the price.

There are a lot of lesser known photographers whose workshops are terrific values.  Many of these are very talented photographers in their own right.  Because they’re not as well known their workshops will be more affordable, often half that of what the better known photographers are charging.  And many of them will work very hard to add value that may be missing from the big name photographers.  Generally, this value will be in the form of more personal attention.  When selecting a lesser known photographer’s workshop, be sure to check out his or her work to see if it’s what you like.  It doesn’t make a lot of sense to take a workshop from a photographer whose work you’re not particularly impressed with, no matter how inexpensive it is.

Contact the Photographer

If you think a particular workshop is for you but you still have questions, don’t hesitate to contact the photographer.  Send an email or make a call.  Ask your questions.  Don’t pass up this step.  The photographer will be happy to explore the suitability of his or her workshop with you.

Photography workshops are excellent ways to take your photography to the next step.  But workshops can be costly.  So, when you’re ready to take that step it’s important to make the right decision.  Following the suggestions discussed in this article will help you select the workshop that is right for you.

Join me on an upcoming workshop.

To see more of my photographs click here.

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HDR Tip #2

The second in a series of tips on how to process HDR images.

These HDR tips resulted from a conversation with my good friend Andreas Waldeck, an HDR expert who happens to work with HDRSoft, the publisher of the premier HDR software Photomatix Pro.

In Tip #1 we talked about the correct way to capture multiple images HDR images in the field.  See HDR Tip #1.

Now I want to start discussing the processing of these image files.  The software tools we’ll discuss are Lightroom, Photomatix and, to a much lesser extent, Photoshop.  So let’s get started.

Continue reading “HDR Tip #2”

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Why I Attend Workshops

Life is too short and there’s too much to learn. I could approach photography on a do-it-yourself basis and grow by trial and error. And while I never stop exploring and discovering new things on my own, it’s slow. Or I can accelerate the learning process and work with other photographers whom I admire. They have a lot to offer and workshops with them gives me the chance to soak up as much as I possibly can in a short, concentrated period of time. And, I get some great photographs.

I’m a professional nature photographer.  I not only take and sell photographs  but also conduct workshops in some beautiful locations around our world.  Admittedly I’m relatively new to the business and am not one of the big names of outdoor photography – yet.  But I have a loyal following that continues to grow.

Like I said, I lead workshops, both on my own and teamed up with other great photographers.  I believe my workshops have a lot to offer photographers of all skill levels from novices and amateurs to professionals.  And our attendees confirm that with their comments.

First of all, we get to great locations and we photograph them in the best light.  Location and light are the two most critical elements for exceptional outdoor photography.

Second, we provide lots of one-on-one attention.  The primary reason most attendees sign up for workshops is they want to become better photographers.  So we really focus on working individually with each photographer on the areas in which they want (and need) to grow.  I say ‘need’ because often the attendees don’t have a clear idea of what areas to focus on and we can help with that.

Third, my partners and I have our own unique personal styles of photography that we share with our attendees, both overtly and in more subtle ways.  If an attendee knows our work, presumably they like it and may want to learn how to do what we do for themselves.

So, with all that by way of introduction, that’s why I attend workshops.  I can photograph unfamiliar areas of our earth with someone who is intimate with the location, its best views and light.  Second, I may feel pretty comfortable with my technical and creative skills but, let’s face it, there’s always more to learn.  Happily, it’s a never ending process.  Thirdly, the workshop instructor’s personal style is just that – personal, unique to that individual.  Working with them for three to five days is a wonderful way to absorb some of their magic and stretch my own personal style.  After all, simply put, our personal styles are our means by which we express yourselves through our art.  It is something that is growing all the time.  Working with other skilled photographers just helps it grow faster.

To sum it all up, life is too short and there’s too much to learn.  I could approach photography on a do-it-yourself basis and grow by trial and error.  And while I never stop exploring and discovering new things on my own, it’s slow.  Or I can accelerate the learning process and work with other photographers whom I admire.  They have a lot to offer and workshops with them gives me the chance to soak up as much as I possibly can in a short, concentrated period of time.  And, I get some great photographs.

Join me on an upcoming workshop.

To see more of my photographs click here.

Become a fan on Facebook and follow along.

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HDR Tip #1

Announcing 2010 photography workshops

I shoot a lot of HDR.  That’s where you take multiple images at different exposures so that you capture the full dynamic range of the scene in front of you.  Many people consider HDR to be unnatural and you can definitely get a surreal effect.  But HDR is the only way you can capture certain challenging scenes and make the results look like what you see, not what your camera sees.

I had a talk with my good friend Andreas Waldeck who works for HDRsoft, the creators of Photomatix.  This is the premier software for doing HDR.  Andreas shared some things with me that were real eye-openers and I’d like to pass them along to you in a series of HDR Tips.  So let’s get started with the first tip.

Continue reading “HDR Tip #1”

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Epson 4800 Tip

A tip for preventing nozzles from clogging.

I have an Epson Stylus Pro 4800 printer that I basically love.  Having a high quality printer like the Epson really unleashed my creative potential by giving me the ability to fine tune my photographs.  Sending proofs off to labs and even waiting only a couple of days to get them back (like some of the better labs do) just wasn’t working out.  Realistically, I could only do a couple of proofs.  But with my own printer I can run scores of proofs if I need to.

There is one thing about the Epson that’s been bugging me though.  I have nozzle clogging problems.  It’s from two things – the relatively dry atmosphere here in Southern California and the fact that I don’t print every day.  It gets so bad that I would sometimes have to spend an hour repeating the nozzle check and head clean before I could start printing.  It wasn’t fun.

But last weekend I heard a tip from two people.  Musical instruments, especially the kind made from wood, suffer from the wood drying out in low humidity conditions.  And that affects the quality of the sound.  So musicians purchase a humidifier device to put in their instrument cases.  It maintains the humidity inside the case at an optimum level which keeps their instrument sounding its best.

The suggestion was to purchase one of these and place it inside the 4800.  Well, the advice made total sense but I took a different tack.  We had a Starbuck’s shot glass sitting around.  I took a kitchen sponge and cut it into four strips.  Two of these fit perfectly in the shot glass.  Moisten the sponges, insert them in the glass, add a little extra water (not too much), set it inside the printer way out of the way where the print head wont hit it, and cross fingers.  After one day I  ran a nozzle check.  Wow, it was almost perfect, good enough to try a print.  I printed a proof and it was just great.

Since then I’ve printed more and it’s working perfectly.  I check the water level every other day or so and am amazed at how quickly it goes down.

So, while time will tell, it seems the nozzle clogging problem may be solved.  And I don’t have go to through the onerous chore of unclogging nozzles before I can print.  I’m cranking out proofs and feeling productive and creative again.  I’m a happy camper.

Join me on an upcoming workshop.

To see more of my photographs click here.

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Composition – Rule of Thirds

A short discussion of the rule of thirds with examples.

There’s a simple compositional technique you can apply to quickly improve the quality of your pictures.  It’s fun and easy and works in so many situations.  It’s called the “Rule of Thirds,” and it goes a little something like this.

Continue reading “Composition – Rule of Thirds”

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The Making of a Photograph Part 3 – Photoshop First Round

In part one and two of this series I described how I selected the file to work on and explored the potential of the image in Lightroom.  The treatment I ended up with would be exported into Photoshop and we go from there.

Read Part 1

Read Part 2

After trying several approaches particularly with regard to the color of the light I selected one that was very much like the unadjusted file.  The only change was opening up the shadows in the valley floor a bit.

Yosemite_4Now the fun begins.  While Lightroom 2.x supports local adjustments I prefer to do the local adjustments in Photoshop.  I just feel that I have more control in Photoshop.

The first thing to deal with is the silhouette of the pint tree in the lower left hand corner.  I used the clone stamp tool to get rid of that.  I have no qualms about removing things that distract from the image.  But I draw the line at adding things.  Someone asked me if I added the moon in Bristlecone Moonrise.  No, I was there and that was the moon.  What’s the point of faking it.  The experience in the field would simply not be the same.  It’s so exciting to take an image like this and think you’ve got it.  But there’s always the nagging doubt in the back of your head wondering if you overlooked something and messed it up.   You never know until you get back at your computer to see what you really have.

bristlecone_moon_2008

But back to Yosemite.  So the pine tree silhouette had to go.  Also, I checked the image for dust spots and only found one or two.  The spot healing brush took care of them.

The next step was to do some local adjustments with Viveza.  It’s a cool tool from Nik Software that allows you to select an area and control brightness, contrast, saturation and more.  The clouds in the upper right needed contrast enhanced a little.  Next a couple of Curves with layer masks helped open up the valley floor even more.  I tried some vignetting on the bottom and really liked the way it funneled the eye into the center of the image where everything was happening.  I didn’t think I’d need any  vignetting for the top corners but tried it anyway and liked that too.

I made some global adjustments too.  Selective Color helped warm the reds with some yellow, lighten the yellows and darken the blues.  Color Balance also shifted the overall color just a couple points to the yellow.

Sorry I don’t have images of each of the steps along the way but that pretty much finished up the first evening.  The image was starting to get interesting and it was time to sleep on it and come back another day to take a fresh look at it.

Yosemite_1
Original Capture
Yosemite_Edit_1
After Photoshop Session 1

Here are the two side-by-side.  It’s starting to take shape.  There’s a little hint of warmth in the clouds and they stand out more from the background.  The valley floor is better defined and the trees stand out a bit more.  There’s actually a subtle feeling of warm light down there.  El Cap and Bridle Vail Falls also are more prominent and their warmer tones contrast more with the overall picture’s coolness.  You can click on the images to enlarge them.

Even before I fell asleep that night I was thinking of what needed to be done next.  As you work on an image you become satiated to the colors, tonalities and contrast and you can’t tell if they are good or not.  You also get emotionally involved.  So it’s good to stop, get away from it and return another day.  Sometimes when you return you are pleased and other times you say to yourself, “What was I thinking?”  When I get the latter reaction it usually means starting over from the beginning.  We’ll come back to this technique when you get far enough along to start making proofs.

So come back for #4 in this series to see if I  said, “What was I thinking?” or if I picked up from where I left off.

To see more of my photographs click here.

Join me on an upcoming workshop.

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