Moose Peterson's Website

Great Shooting Awaits You!

Moose — Wed, 22 Feb 2012 14:48:07 +0000

Here’s an opportunity that just opened up for you. We just had an opening in our full South Dakota K&M Adventures open up and one in our full Air2Air in FL next month. Both of these workshops concentrate on the prime ingredient in a photograph, light but they both do it in totally different ways with different subjects. There are no workshops on the planet like these so here’s you opportunity to capture photos like never before! Join us, 760.924.8632

Breezie

Moose — Wed, 22 Feb 2012 14:27:34 +0000

My good friend Robert Odegaard asked me if I wanted to go flying, without hesitation I said yes. When you get asked to go flying with one of the best, there is no other response. He said we were going to go flying in the Breezie. At first, I didn’t know what he was talking about so got on the iPhone to look. I know now! We flew to another airport in his Stinson Gullwing and then pulled out the Breezie and went for a flight of your life! I don’t think we ever got higher then 50′ off the deck. Here’s a small clip from our flight. I shot it with the D3x & 14-24AF handheld. Enjoy!

Had to really compress the vid to get it posted because of internet connection…will edit and put up a more riveting cut soon.

The Arizona Ground Crew

Moose — Wed, 22 Feb 2012 12:30:41 +0000

It was one of those mornings when what clouds were present were leaving Dodge fast! That was a bummer because we had the amazing Arizona Ground Crew crew with us and I had “Cripes A’ Mighty” pulled out of the hangar for them to use for a backdrop. Now to be totally honest, pulling out a bunch of flash units and setting up a set just was something I didn’t want to do. It’s simply a pain in the ass and slows down photography in my book. So we started to work with what light we did have. I took Scott and first, put him as silhouette and went click.

And while that seemed like a kinda good idea, it really wasn’t. I went to a five image HDR to make something happen visually. The side of the Mustang was hot and the silhouette needed to be black while I wanted to keep the color and HDR was the best option. OK…made a click but it was a waste of the talent and the background. What to do?!

I turned around then to see the DC-3 that just the day before went into annual being kissed by the sun. A second later we had abandoned the set the Crew and set up around Cripes and were over at the DC-3. Now the DC-3 when in military use was called a C-47 and it’s the plane that is best known for dropping the boys into Europe during D-Day. Well the Crew were all over this new set in some gorgeous light!

Now here’s the deal with the Arizona Ground Crew. These guys who I think the world of, are the only re-inactors who are ground crew, most are pilots. Everything they have with them from pencils to overalls are authentic from 1940s military, they are not repos. And their props, from the Whole Nine Yards to tables, ladders, hang engine warmer, thermos, everything is from WWII! And, they know their history and planes! And the best part, they are funnier then %*(# ! It’s hard to shoot because you’re laughing so much. And they don’t stop, they just keep on going and going and going.

This shot was so simple to take. The light was hittin the boys and by simply moving to the left, the DC-3 in shade made for the perfect backdrop to make them pop. Then, I simply watched the boys and when I saw the geometric design you see here, I went click. There is no way in a lifetime I could set up enough flash units to get a feel to the light like we got from the photo gods that morning.

As the sun came up, the soft glow went away so I went looking for scenarios where the harder light would lend itself to the Crew and DC-3. I don’t really give any staging to the Crew, they just pick a them and go at it. But what I do do after a little while is simply yell shift! When I do, the Crew being the professionals they are simply find a new “repair” to make and go at it. They move ladders and props and themselves and create a whole new set with just the simple que.

What I love best about the Crew is their effect on photographers. The crew were brought in for our Air2Air Workshops and there always seems to be one photographer not “thrilled” to be photographing models. But this crew melts even the coldest fish and within minutes have everyone laughing and shutters flying. One of my favorite people, Pedro from Brazil said half way through the shoot, “I’ve already shot 400 frames, I would have never thought….” What you see here are just a couple of clicks from the morning. There are more with some stories that will come in the future. And as for the Crew, they are already signed up for our Fall Air2Air in AZ. It just wouldn’t be the same without them!

D3x For Sale

Moose — Tue, 21 Feb 2012 17:08:40 +0000

Yeap, new gear coming and need to make space in my camera bag. D3x for sale $4500 as new, in box with all goodies you get when new. Call 760.924.8632

Whoa…whata Couple of Days

Moose — Tue, 21 Feb 2012 14:26:50 +0000

7000 filed images later and I’m still jumping! I flew down to AZ last week and I’ve not stopped shooting since and it’s been great! What you see above is the B-25 “Maid in the Shade,” a WWII combat veteran with 17 missions. The volunteers at the AZ CAF Wing keep her in great shape an flying. You’ll be able to see her at a number of events this year including the Doolittle Reunion in OH in April (I’ll be there). We had an evening shoot with here and is was great!

I’ve shot 18 aircraft now air to air since arriving in AZ! Yikes! Had two commercial shoots and I’m not down. This gorgeous PT-17 Stearman was one of those shoots. I even tried something new involving the airport fire dept and a carrier deck with TBM at NIGHT! I can’t wait to tell you that story. Well, it’s time already foe me to head out for more shoots and some flyin…stay tuned!

In the Bag

Mono Lake Weekend Workshop

Moose — Mon, 20 Feb 2012 12:30:20 +0000

We’re very excited to offer our first Mono Lake Workshops! The price is only $495 which includes instruction only. You can stay wherever you’d like, can even camp if you’d like. Our meeting location Friday night, preworkshop materials and other details will be sent upon registration. Only taking 15 folks. Dates are 25-27 May & 26-28 Oct ’12. Give Sharon a call (9-5PST M-F) 760.924.8632 / 661.204.1506 Cya on the Eastside!

I Shoot Rocks

Moose — Fri, 17 Feb 2012 12:30:04 +0000

Alabama Hills, CA – D3x 16Fish
I’m the son of a rock hound. I grew up with a museum quality collection in my own home that caught my imagination from the very start. Rocks a gazillion years old, fragile ones, hard as rock ones, expensive ones, out of this world as in meteorite ones, fossil ones and even uncut gem ones, (even played with a moon rock). To this day I can still remember going through the drawers of rocks bug-eyed! The one thing that really fascinated me is looking at the collection under different light sources, seeing a whole new world revealed by simply changing the light. Is it any wonder, I shoot rocks?!

While the geology lessons I learned in the process are long forgotten, the light on the rock lessons seems to have stuck. I mean, a rock is a rock is a rock until you light it and then, it can be just about anything your imagination says it is in your photograph! Rocks have a couple of properties I like to exploit in my photographs. There is place, time, shape and texture. These concepts are not unique to just rock photography. But what’s cool about practicing on rocks is they have all the time in the world for you to get it right!

Arches, UT – D3x 24-70AFS

Rocks come in lots of sizes, from those you can place on your desk and light with a flashlight to big ass ones. My favorite Big Ass Rock is Mt McKinley up in AK. We have sat on the slope ten miles away just watching it and the weather it creates for hours at a time. When it comes to photographing it, my favorite lenses are long ones, 600VR or 200-400VR2. Why so long? I want to give that big ass rock place, I want to say in one click without any caption, it’s big! The trick then is not just the lens, but light and atmosphere. If you’ve ever been to Denali Nat’l Park, then you know that just seeing McKinley can be a real trick so you click when you see it because, you can see it. Getting picky might not be an option but that’s just rock photography for you!

Mt McKinley, AK – D3 600VR

On the flip side is a favorite rock of mine I call Split Ass Rock. When I first blogged this photo back in 2001 it got attention more because I was photographed with the brand new, nobody had D1x. Then the laughter about my name for it made it pretty well known. I still get emails asking where is Split Ass Rock in Acadia Nat’l Park on the shore of Jordan Pond? When we took DLWS participants to shoot at the pond, I was asked where the rock was and when I pointed at it, you should have seen the disappointment in folk’s faces. That’s because the rock is so damn small. By getting down in the pond, shooting with a 14-24AFS just a few inches away though, you’d never know it was small. This is just one method of setting place and time in a photo.

Jordon Pond, ME – D3x 14-24AFS

One thing I remember so vividly from the drawers of rocks in my mom’s collection was the texture. Each rock / mineral was unique in its texture and weight. When we’d move the black light around, you’d see not only those features but different colors as well. That’s probably why when I’m out rock shooting, I walk around rocks looking. As you walk around, the first thing you’ll notice the pattern of light changes and that either brings our or hides texture and shape (a play of highlights and shadows). A real simple exercise, find a rock and light it with a flashlight and then do a 360 around it. What makes that rock unique will come out at some point and be hidden at another. It’s all a matter of light.

Monument Rocks, KS – D3x 14-24AFS

I did a workshop a few years back with my good friend RC. We were at a local lake shooting when I noticed some folks shooting rocks sticking out of the water at edge of the shore. In my typical style, I just made one comment about the photograph. Dry Rocks Suck and walked away. The photographer took their foot and splashed water on the rocks and low and behold, they didn’t suck no more! This is why I often have a bucket with me, to bring life to them rocks when they are in water with water. The colors, shape, texture that pops is better than any Photoshop pluggin can produce!

Tahoe Falls, CA – D2xs 17-35AFS

Now admitting in public I shoot rocks does sound, bad. Teaching folks to shoot rocks, sounds like I’ve lost my marbles (a form of rock humor). But I have seen many a shooter of rocks totally baffled by something that never moves and is older than dirt. I think it is because we are visually trying to bring life to something that doesn’t live. What does move is the light and that’s where the challenge lies. Next comes the fact that rocks aren’t often alone, they tend to keep company with other rocks. Most photographers not wanting to hurt the rocks feelings so they include them all in the photo. But you know what they say about company, too many rocks is a crowd! I mean, how many rocks do you need in a photograph to say, it’s a rock?!

Whether alone or in a pile, rocks talk about our earth probably better than any other element because they are something everyone can relate to. The trick then photographically, is to make the uncommon photograph out of the common subject. Perhaps if you tackle this problem with this one element thinking of place, time, shape and texture using just light to speak of these attributes, you might not only come up with some cool rock photos, but improve your overall photography just by understanding light a little bit better. Don’t feel silly giving this a try either. Just remember who suggested it to you. My name is Moose, I shoot rocks!

Mittens, UT – D3x 70-200VR2

In the Bag

A Class YOU Should Take!

Moose — Thu, 16 Feb 2012 12:30:20 +0000

Check it out, you might just have found just what your photography needs, now! 05-06 May & 22-23 Sept 2012. 760.924.8632

Just a couple of Love Notes
Hi Moose and Sharon,

I just wanted to take this opportunity to thank both of you for a very well run Photoshop for Shooters class last weekend. Thank you Moose for imparting such great tips and techniques and thank you Sharon for keeping us all hydrated.

I don’t call myself a photographer; I think that should be reserved for those making a living with their cameras. But I do enjoy the creative process and challenges of making clicks both behind the lens and in front of my computer display. And I can already see a difference in my finished images as a result of your presentation.

Prior to attending Photoshop for Shooters, the only other classes I had attended were Kelby Training sessions when they have come to Hartford; one by Scott and the other given by Ben Wilmore. And while they were very well done, I learned more from you in the first hour.

Like a few others on Google Plus, I’ll throw my 2 cents in for restaurant recommendations in Lake Placid: The View at Mirror Lake Inn and The Brown Dog Cafe and Wine Bar. My wife and I enjoyed both when we were there in 2010. The photo I used as the ‘Stump Moose’ photo was taken just a few feet from The Brown Dog.

Again, thank you and have a great time shooting and teaching this week.

Best wishes,

Ed Judge

Sharon;
I wanted to take the time and express my appreciation to you and Moose for a great weekend in the Photoshop for Shooters class. It was not only entertaining but very informative. Moose did an excellent job of leading us through his workflow and camera settings as well as looking for the light. I’d highly recommend this class to anyone who is looking for a clear and concise weekend to learn more about Photoshop and shot in an amazing environment. I look forward to taking a workshop taught by Moose in the future. Thanks again for all your hard work!

Kerry Frank

“If You Only Had One Lens?”

Moose — Wed, 15 Feb 2012 12:30:10 +0000

Bison Cow – D3x, 200-400VR2 w/TC-17e

This is in the top ten of emailed questions, “If you only had one lens, what one would you have?” I’ll get to answering that in a moment. For the last 18 months or so, I have felt I have had too much gear, lenses. I felt this from a personal and well as business perspective. It might be old age, no wanting to carry so much. It might be getting mentally lazy, not wanting as many choices to have to select from. It very well could be from getting older and wiser and knowing better what I need visually (I always hope it’s this one) but whatever it is, I’ve cleaned out a lot of gear I wasn’t using. It’s for this reason, I actually keep track of what lenses I use and what they produce.

For the third year in a row, in 2011 the lens I shot with the most and at the same time, had the most number of images sold was the 200-400VR2. This lens simply gets pounded and looking back at the stats, there wasn’t one shoot in 2011 that it wasn’t at least present if not used. Why? There are a number of reasons with the main one is its performance. It is simply beautifully sharp! It produces 24×30 prints (captured handheld) that blow away my clients in clarity. And this holds true from 200mm to 400mm, f/4 to f/22, I see no weaknesses in my 200-400 in any aspect of the lens. And 94% of the time, the D3x was the body attached to it.

A-10 “Warthog” – D3x, 200-400VR2

When I head out for big game, the 200-400VR2 is in my hands. When I head out for birds, about 45% of the time now I head out with the 200-400VR2 with the 1.7x attached. When I head out for aviation, the 200-400VR2 always comes along. When I go chasing the light on the landscape, the 200-400VR2 is right there. When you have that kind of optical performance combined with the flexibility of the 200mm to 400mm, creativity and what I like, the optical isolation a long lens brings to a photograph, I’m not surprised just how much I rely on this lens.

Looking at the numbers, the lens I shot with 2^nd most in 2011 and had the most images published from was the 24-70AFS. Ever since its introduction with the D3 which seems like a lifetime ago now, this has been my go to lens for nearly just about everything. There are a number of its attributes I depend on. One of the big ones for me is that f/2.8. It’s bright, it’s sharp and when I need it, it gives a narrow band of DOF at 24mm. When that is combined with its optical performance and focal length range, it just works for my style of photography.

Ausable River, NY – D3x, 24-70AFS

And this is really at the heart of this conversation. I mean seriously, how many out there are so anal to know that about their photography, the lens they shoot with the most in a year? I started to keep track long ago when the question came in because I was curious, not that it would change anything. But this trivia only applies to me and my preferences for visual communication. It also has a lot to do with the subjects I chase.

And that “If you only had one lens” question. First, those who want to interview me and ask that question, the interview ends because IMHO, it’s the lamest question on the planet! (I know, I should learn not to keep my feelings penned in). Yes, if you’re just starting out, you will probably just start out with one lens, I understand that. I’m not just starting out though, been at it for three decades. You look at my camera bag, while shrinking a little, I obviously have more than one lens. Why do I have more than one lens? Because I NEED them to do my job. What if you’re just starting out and can only afford one lens, what should you buy? In all sincere honesty, how would I know what you should buy? Since I don’t know you, your style or abilities, how can I honestly provide a valid answer? Can I make a recommendation? Sure. Is it a stab in the dark though? You bet! With that being true, why ask the question of a stranger? (If you don’t know, rent!)

Mono Lake, CA – D3x, 24-70AFS

The lens is a tool, a vital tool in our quest to communicate visually the wonders we are so darn fortunate to see! The first lesson I learned in photography is buy the best you possibly can from the start and this holds so true for lenses. Manufactures, bless their little hearts, make a HUGE assortment of lenses for many reasons and if you look at the ones I’ve talked about in my 30yrs, it’s an itty bitty fraction of the possibilities. This means you have a whole lot of options beyond those I talk about you need to look at yourself and find the best one for your photography. Just because I or some other “pro” owns a lens doesn’t mean it’s the best one for you. Will my choice and most “used” lens change in the future? I could receive a phone call right now taking me on a whole new photographic path possibly changing the lens I use the most. In the meantime, I know what works for what’s on my plate right now and that’s a comfortable place to be. The tools in my camera bag provide me the platform I need to tell the stories I want to tell. And for me, those are the best lenses.

Firehole River, WY – D3x, 200-400VR2 w/TC-17e
In the Bag

CS6 Sneak Peek#4

Moose — Tue, 14 Feb 2012 17:22:18 +0000

This take my “Joe Blow Tourist” video and blows it away. A real reason to update to CS6!