The Making of a Photograph Part 2 – Exploration

In the first post I talked about photographing Yosemite Valley at sunrise from Tunnel View in a snow storm.  I imported the images into Lightroom and reviewed them there.  One stood out.  See The Making of a Photograph Part 1 – Selection.

Yosemite_1

The next step is to explore the image for possibilities.  I do this in Lightroom, making virtual copies of the image that I can then adjust.  I adjust such things as color temperature, exposure, highlights, shadows, fill, contrast, saturation, hue and more.  The goal is to see what’s in the image and what it’s capable of expressing.  I’m also looking for something that gets me excited.

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Exercising Your Creative Muscle

Describes an exercise to develop your eye for seeing compositions.

Remember when you first started driving?  Just about everything you did behind the wheel was a conscious act – steering into a curve, breaking for a red light, backing out of the garage, whatever.  Everything required a conscious effort.  But now, those things are all automatic and you can safely drive from point A to point B without even once thinking about the physical act of driving.  It’s a part of you.

If you learned to play a musical instrument you went through the same process.  I played piano and at first had to think about every key I pressed.  But as time went by it wasn’t which key needed to be pressed any more but how to interpret the phrase.  The fingers automatically went to where they were supposed to go.

Athletes also experience the same thing.  For example a tennis player at first needs to concentrate on every part of a backhand swing or a serve.  But after a while it it all becomes muscle memory.

The single most important thing that causes this effect to happen is frequent practice, usually daily.

But what does this have to do with photography?  Well, this applies on two levels and I’m specifically referring to photography in the field.  The first is the operation of our instrument, our camera.  At first things such as exposure, focus, depth of field, filtration, etc. are all conscious acts.  And this doesn’t touch on all the additional functionality modern digital cameras provide such as highlight tone priority, high ISO noise reduction and on and on.

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Kodachrome Basin State Park, Utah

I took a side trip to Kodachrome Basin State Park this afternoon.  What a cool place.

(c) 2009 by Ralph Nordstrom

The park is famous for it’s columns of cemented sandstone that stretch in come cases hundreds of feet into the air.  Geologists believe that they were once hot springs like those in Yellowstone and that they cooled off and filled with sediment.  Then the earth around them eroded, leaving them standing there.  They call them ‘sand pipes’ and the park has over sixty of them.

(c) 2009 by Ralph Nordstrom

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Arriving after the Light is Gone

Some photographers don’t seem to understand that the good light in the morning is BEFORE the sun comes up, not an hour or two after.

How often do I see people arriving at a great site about the time I’m packing up and heading back?  It happened again this morning.  I was photographing the West Temple and Alter of Sacrifice from half way up the tunnel road.  Granted, I get to a site a little on the early side.  The 45 minutes before sunrise rule gets stretched a little.  I like to arrive while the stars are still out.  Why?  I just like the quite time.

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Eastern Sierra Workshop – 7/17/2009

The workshop is ‘in the can.’  We finished up yesterday with a Mono Lake South Tufa sunrise followed by the rest of the morning in Bodie. 

There weren’t any clouds but the sunrise was bright red (“Red sky in morning….” but it didn’t pan out).  Still, South Tufa is always fascinating.  We explored some new places and found some new compositions.  We also found a place where an underwater spring was welling up.  The tufa building process continues.  There were clouds of brine shrimp and alkali flies (in their respective environments).  And amazingly, the flies were not a bother.  They swarmed on the tufa right at the water’s edge and only flew when you disturbed them by moving too close.  Discovering an active site was really very thrilling.

Unfortunately, the water level continues to drop as the drought continues.  I’d estimate the water level is down a couple of feet from the time I first started shooting there about two and a half years ago.  But the potentially good news is that yesterday the National Weather Service Climate Prediction Center issued a forecast  that an el nino is building and will last through next winter.  We could use five years of el nino in California to replenish our nearly exhausted water reserves.

Bodiewas fascinating as usual.  And although we were photographing in late morning light the subjects are still very interesting and the photography, exciting.  There’s a temptation to rush around in an attempt to cover it all.  But I prefer to slow down and absorb the spirit of the area.  Oh, and we ran into David Muench and his workshop.

We were so busy the last days of the workshop that there wasn’t any time to even review our pictures much less get any ready to post.  But that will come and soon.  So stay tuned for more images.

You can check out my other photos on my website – http://RalphNordstromPhotography.com

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Genuine Fractals Impressions #4

I just ran another test on Genuine Fractals.  Here it is.

I’m working on an image for the Orange County Fair and I want to blow it up to 16X24.  It is Kolob Terrace taken with my 10D last year in Zion so the image size is 3072X2048 or 6 M pixels.

I use Image Print to make my prints on my Epson Stylus Pro 4800.  Image Print likes to print at two PPI settings – 180 and 360.  So here is the question: Can I get the same degree of sharpness with Genuine Fractals at 360 PPI as I can get with 180 PPI?

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Genuine Fractals Impressions #3

I finally had a chance to perform a test with Genuine Fractals that’s been on my mind for some time.  This test was performed on an image from a Canon 10D with a 6 M pixel sensor.  The image was blown up to 24″ long at 180 ppi.

Now, there’s no way you can get a super sharp image of that size with a 6 M pixel sensor.  So that wasn’t the point of the test.  When I previously blew this image up there were a lot of artifacts that were enhanced, especially when I performed the output sharpening.  I spent about an hour with clone stamp and healing brush removing these artifacts one by one.

So the point of the test was to see how well the smooth areas were enlarged; that is, if GF could enlarge them without creating these artifacts.

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How to Photograph Antelope Canyon

I certainly don’t want to presume to hold myself up as the definitive expert in shooting Antelope Canyon but I wouldn’t mind sharing my thoughts and welcome feedback from anyone who has shot there and has similar or dissimilar impressions.

Anyone who has been to Antelope Canyon in northern Arizona just outside Page knows there are two canyons – Upper and Lower.  They are about five miles apart.  The two canyons are distinctly different.  Let’s start with Upper.

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High Dynamic Range #3 (HDR)

On the technique to use to capture the full dynamic range of the scene

HDR Exposure

This is the third in a series of articles on high dynamic range, more commonly known as HDR.  The previous article illustrated how HDR situations occur; namely, when the dynamic range of the subject exceeds the dynamic range the sensor (or film) is capable of capturing.

High Dynamic Range

But with digital photography there is a technique for dealing with it.  In the field, it begins with taking multiple shots at different exposures so that the combined dynamic range exceeds that of the subject.

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