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05 Feb 2010 21:47
Improving Exposure With Histograms
Friday, February 5, 2010
Ever vigilant for improved methods for wrapping my mind around histograms, I'm always impressed by new and meaningful ways to understand the myriad data that can be gleaned from these cryptic little graphs. Here's a good guide, courtesy of Brian Auer and the Epic Edits photo blog. His post about reading image histograms via the camera’s LCD explains in easy-to-comprehend detail exactly how brightness and contrast levels translate into histogram shapes, and vice versa. Once you’ve got a solid understanding of reading histograms, or perhaps you consider yourself a little too “advanced” for this basic graphical explanation of exposure information, consider Mr. Auer’s subsequent post about what you can actually do with this histogram information when it comes time to edit and manipulate your images in the computer. Backed up with solid illustrations and graphical representations, the posts provide a comprehensive tutorial for making the most of the extensive information histograms offer. blog.epicedits.com: 2010/01/13/how-to-read-image-histograms blog.epicedits.com: 2010/01/19/photo-editing-with-histograms-6-basic-settingsUtilize picture styles for sharper wildlife photos
Thursday, February 4, 2010
Making sharp photos is not something that can be accomplished solely via post-production; if the exposure itself isn’t sharp, no amount of digital fixing will make it so. That’s why photographers utilize sensible rules of thumb such as a shutter speeds no slower than the focal length of the lens (a 500th of a second with a 500mm telephoto, for instance), technical support from accessories such as monopods and shoulder mounts, and the general good sense to utilize the fastest shutter speeds possible to capture moving wildlife in its natural habitat. Photographer Steve Berardi of Photo Naturalist offers another great example of how to maximize sharpness when photographing wildlife, this one sort of a hybrid of post production and in-camera controls—the picture style settings on your D-SLR can be adjusted to maximize sharpness. As he explains, it’s most useful for photographers who shoot JPEGs to maximize the burst rate of their cameras, because RAW shooters can make picture style adjustments during RAW conversions. And the sharper picture styles don’t work miracles by turning fuzzy photos into sharp ones. But what they do accomplish is to make sharp photos appear even sharper—and that’s a great way to make wildlife images appear even more detailed and true to life. photonaturalist.net: quick-tip-for-getting-sharper-wildlife-photosNational Geographic Photography Grant
Wednesday, February 3, 2010
There’s good news for documentary photographers looking to get a leg up—a financially significant leg up—on an ongoing project courtesy of National Geographic. The organization’s annual documentary grant is back, this year offering $30,000 with the explicit goal of inspiring people to care about the planet—much the same way as the magazine itself does. Unfortunately the grant amount is also the bad news; in previous years the grant offered $50,000, but the flagging economy has had a tremendous effect on all areas of the economy, including photography and publishing world. Indeed, it’s quite nice that the grant still exists at all in a significant form. So if you’re a documentary photographer with project goals that align with the Geographic’s agenda, be sure to submit your proposal prior to the March 1 deadline. ngm.nationalgeographic.com: photo-grant/grantCopyright © Werner Publishing Corp. -
03 Feb 2010 05:16
Human Impact
Dire environmental changes in Kenya remind us that the negative effects of human populations on the environment remain largely unseen and untold. Photographers can help.
Tuesday, February 2, 2010
According to photographer, filmmaker and environmentalist Karl Ammann, things are very bleak in Kenya. Karl lives on the slopes of Mt Kenya and often shares his view on conditions in the country, and the game parks specifically. When we were in Tanzania in 2006 - I can't believe it was so long ago - the dry conditions were already alarming. It sounds disastrous now.Karl writes: As usual we have done some traveling. First back to Laos and Thailand to do another investigative story [trade in wild animal products] for Spiegel TV, then Swiss TV came here [Kenya] for a profile and we did some traveling within Kenya. It’s all pretty depressing. After the drought, populations of wildlife are down by up to 80% in places like Samburu and Amboseli. Allowing all the livestock into the parks did not help. It turned into a lose lose situation, the livestock died and then the wildlife. The Mara was not much better either. All the RiftValley Lakes are meant to dry up in the next five years, Elementeita is already dry, Naivasha was close to it and Nakuru has shrunk to about half its size. Lots of subjects one can shoot with still and video cameras except, as usual nobody really wants to face these realities,
In this context found a safari advertisement in your magazine particularly interesting: "to capture images that represent the impact that human activity is having on our planet." Looking at the list of destinations they are all standard 'world in order' protected areas where people expect to shoot a lot of 'world in order imagery'. I doubt that groups will go down to the Talek River in the Mara to photograph the cattle highways into the park and how that is turning the area into a desert. I doubt that they will go to photograph giraffes which I saw sitting with their heads on the ground actually grazing. The overall population has declined 95%.
I was a charter member of the International League of Conservation Photographers [ILCP] but have a problem with most members still spending 99% of their time on the sellable 'world in order imagery' and certainly not going out of their way to illustrate the human impact story.Low Light Landscape Advice
Tuesday, February 2, 2010
Working after dark is challenging for a number of reasons. Working after dark, or at least in very low light, is also a great time for interesting landscape photos. Combining the two challenging pursuits—landscape photography and low-light photography—the hurdles grow exponentially. First there are the safety and security issues of working in the landscape in low light—making sure you have a plan for getting in and out of a remote location after dark is even more important than getting a great picture. Once safety is covered, there’s still all of the creative photography challenges that come with working in low light. My personal best advice for making a photo after dark is very simple: since it’s very difficult to focus after dark, I strongly recommend setting up early when you can still see what you’re shooting and waiting around for the light to get just right. Failing that, utilize your camera’s LCD live view capability to help you focus in the dark. Not only is it a bigger screen than the viewfinder, you can light up subjects with a bright light for focusing and verify it easily on screen. Beyond these basics, though, getting great low light landscape photographs involves a lot of special care. Thankfully the folks at DPS have put together a great list of 15 tips—which go beyond the basics—to help you make great landscape images in low light. digital-photography-school.com- Human Impact Dire environmental changes in Kenya remind us that the negative effects of human populations on the environment remain largely unseen and untold. Photographers can help.
- Low Light Landscape Advice
- Wacom Intuos4 Wireless Provides more creative freedom
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01 Feb 2010 18:04
iPad for Photographers: What’s the use?
Monday, February 1, 2010
I don’t know if you noticed, but Apple released another gadget last week by way of the iPad. My first reaction, which many other folks probably had too, was clear: I want one. But my subsequent thoughts centered around more pressing issues—like what would I actually do with an iPad? I’m not much of an e-book guy, at least not yet. I have a laptop I love, so portable processing power isn’t a void I’m looking to fill. I don’t know exactly what I would do with an iPad, yet I know this: I really want one. That got me thinking about what exactly the impact of the iPad would be for me as a photographer and for photography in general. The first thing that occurred to me was that this new device would make for a tremendous portfolio. (Other folks had that idea too—like David Schloss at the MacCreate blog.) That seems an obvious use, but also sort of a copout. It’d be a neat portfolio, but I’m not exactly sure it would be revolutionary. Beyond that, at least as it stands in its first generation, I don’t know that the iPad offers much in the way of photographic revolution. But what about future generations of the device? Maybe a second-gen iPad has a mini-USB connection for tethered shooting and capture directly to the device’s internal 16-64gig hard drive? It could certainly be helpful to check for sharpness and detail in lieu of the tiny LCD on the back of a camera, but as of now there’s no way to connect to the darn thing. Although, with the advent of wi-fi transmission from camera attachments and CF cards, maybe the future of in-field backups is wireless transfer anyway? Or maybe some ingenious designer will build an adapter to connect Apple’s standard 30-pin connector to a camera? Perhaps future generations of the iPad will also contain a more robust operating system capable of running slightly more advanced photo editing and organizing software? Or better yet, perhaps this current product will inspire programmers to build software that can do more of what serious photographers want to do with their photos into a compact program capable of running on the mobile OS? Whatever the future of the iPad’s photographic capabilities, one thing is clear: for now it may not be much of a need, but it’s definitely still something I want. apple.com: ipad
digitalphoto.maccreate.com
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29 Jan 2010 14:37
Perspective Control with Vanishing Point
Friday, January 29, 2010
Adobe uber-blogger (and more importantly, real life Photoshop guru) Julieanne Kost continues to publish daily tips and tricks that provide simple insights that plumb the depths of the multi-faceted imaging program. Recently Ms. Kost spent a week explaining the nuances of Photoshop’s vanishing point function—an invaluable tool for photographers who want to get started cloning, copying or painting their images all while maintaining proper visual perspective. These tips are ideal for those familiar with the basics of why perspective control is important, even if they’re not completely sure how it works. blogs.adobe.com -
28 Jan 2010 12:32
Silber Studios Photography Videos
Thursday, January 28, 2010
Last summer I mentioned Marc Silber’s web TV show dedicated to photography. Specifically, I was tremendously impressed with some never before seen footage of Ansel Adams at work showcased during an interview with Adams’ son Michael at Ansel’s former home and gallery. (If you haven’t seen it, as well as the in-depth study of the iconic work, “Moonrise, Hernandez, New Mexico,” you really should check it out.) Well Mr. Silber has kept up the good work on web TV, with recent episodes including sit-down interviews and examinations of the work of surf photographer Chris Burkhard, documentary photojournalist Teru Kuwayama, and fine art photographer Camille Seaman. These aren’t throwaway videos churned out daily. Silber may not post new content at a breakneck pace, but the productions are well done—Emmy-worthy compared to much web programming. That makes his Silber Studios TV channel well worth a bookmark.silberstudio.tv: previous-shows/ansel-adams-home silverstudios.tv -
27 Jan 2010 11:38
National Geographic on Hard Drive
Wednesday, January 27, 2010
Did you know National Geographic is available digitally? It’s always been online, and back issues available on DVD, but now you can interact with all 120 years of amazing discoveries, read world class travel and nature writing and the examine the world's best outdoor photojournalism with The Complete National Geographic on a single 160-gigabyte hard drive. A unique interface allows you to browse by issue, topic or region of the globe. Previously available in a DVD series, the single hard drive makes browsing the entire library easier and faster for the diehard fan. (The only downside I can envision comes from my own sordid history with magnetic media; given my luck with hard drives, maybe I should stick with DVDs? Or at least I’ll be sure to back up my $200 investment.)shop.nationalgeographic.com -
26 Jan 2010 10:54
Learning Rock Climbing Photography
Tuesday, January 26, 2010
Budding climbing photographer Peter Carey recently reached out via Twitter to find an expert rock climber/photographer willing to share some tips on combining the two skills to create top-notch climbing photographs. The result is a question and answer session at DPS with Kamil Bialous, an expert climber with a portfolio full of mountaineering images. Geared primarily toward the novice climber who wants to learn to advance beyond the basics of “don’t fall and don’t drop the camera,” Kamil provides excellent advice and insights for anyone looking to take advantage of the especially unique photographic opportunities rock climbing can provide. digital-photography-school.comI was very lucky once to have a nice long conversation with master photographer of the American West, David Stoecklein. During our interview he spoke of the importance of light and how he makes the most of it, no matter what it’s presenting. Anyone familiar with David’s work, of course, knows he creates amazing western images in any light, at any time of day, all throughout the year. “Photography is all about telling a story,” he told me then. “Sometimes the light just dictates what the story is.” Now you too can learn from David, but this time it’s in person and on location. With every change of season he hosts a long weekend workshop at his Ketchum, Idaho studio and at the nearby Bar Horseshoe Ranch, where you can find yourself shoulder to shoulder with David photographing the working ranch and the mountain landscape. Spaces are still available for the Winter workshop, February 5th – 8th, which offers the unique opportunity to photograph the ranch at this time of year, taking full advantage of a blanket of white and magical winter light. For more information, visit David’s web site at:Friday, January 22, 2010
Landscape photographer Guy Tal isn’t the most prolific blogger; I get the distinct impression he’s more concerned with getting out and photographing the world rather than staying in and blogging about it. (I envy that.) But when he does post, there’s a better than average chance that it will be well worth your time. His most recent entry contains a beautiful reflection on the inspiration for his work, along with 15 images from a trip to the Pacific Northwest. These warm, duotone landscapes convey a feeling of quiet solitude, which reflect’s Tal’s purpose for the journey. The images are at once comfortable and challenging, and they provide an inspiring reminder that often the best photographs are deeply personal in origin. guytal.comThursday, January 21, 2010
I’m currently working on a profile of esteemed National Geographic photographer Steve McCurry and his newest book of portraits, The Unguarded Moment. I’m as impressed with McCurry’s personal photographic philosophy as I am with his work; he works not just to bring home pictures of exotic cultures as trophies, but for the experience of being there, interacting with the people, coming to know the place. The photographs serve almost as personal reminders for the photographer, while they inspire the rest of us to get out there and see for ourselves. For an additional dose of inspiration, and to hold you over until McCurry’s interview appears in the pages of OP, allow me to direct you to a new gallery of his work at National Geographic. The Lost Nomads portfolio showcases images of India’s 80 million wandering people, as they deal with the clash of old ways with modern life. ngm.nationalgeographic.com
- In Focus: March 2010
- Transforming Large Format Landscape master Jack Dykinga’s new “secret” view camera is in the form of a modern DSLR
- Meditations In Black-And-White A business proposal led to a new avenue of creativity
- Find Your Passionette! “When you come to a fork in the road, take it.” —Yogi Berra
- Trying Infrared Infrared, Inside Out • From CRT To LCD, And Even LED • 2X Or Not 2X • Separate The Pros From The Cons
- Point Reyes National Seashore And Pierce Point Elk Reserve California
- Avian Abstracts A different interpretation of bird photography that departs from the usual sharp, literal imagery to which we’re accustomed
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25 Jan 2010 12:15
Monday, January 25, 2010Unlimited Camera Capacity
Monday, January 25, 2010
Have you upgraded your camera’s storage capabilities lately? If not, there are a couple of great new options available. First up are the new wireless file transmitters for Canon D-SLRs. With 802.11 wi-fi compatibility, the cameras enable automatic transfer of image files wirelessly from the camera during shooting to any local area wireless network. That means with access to wi-fi anywhere in the world, photographers can upload images via the web to their own personal storage systems or for delivery to clients and other FTP-ready recipients. Additional features enable precise geotagging via Bluetooth enabled GPS units, and camera linking to trigger multiple wi-fi enabled Canon cameras simultaneously. Built for the 1D, 5D and 7D, the wireless file transmitters are priced at $700 each. For photographers less interested in transmitting files from their cameras than they are in storing tons and tons of photos in their cameras come the new 128GB CompactFlash cards from Silicon Power. That’s right—128-gigabyte storage in CF format. Currently the highest capacity CF cards available, this storage isn’t slow either. Equipped with a 400x speed rating, the cards write data at a 90MB/s pace, so you won’t be waiting for the massive card to buffer while you shoot. Wear leveling technology and error correction code functionality prolong the card’s lifespan and protect image data while you work. digitalphotopro.com: newswire/canon-releases-new-wireless-file-transmitterssilicon-power.com -
23 Jan 2010 00:53
- Northwestern Melancholy
- Argraph MemoryKick Si Pocket-sized device offers fast backup
- Steve McCurry’s Lost Nomads
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22 Jan 2010 05:22
- Sigma Student Photography Scholarship Winner is announced
- David Stoecklein Workshop February 5-8
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