Feb 14, 2013 | Wildlife Photography
As photographers, we seek that great light. And many of the great photographs we enjoy, one of the first comments is, “great light!” And one of the first comments made when a photograph doesn’t measure up is, “bad light.” And yet, some of the historically most important photographs we treasure weren’t shot in the best light but rather, the best moment. I think that raises the question which is more important when you have to make the choice, great light or great moment? I pose this question because I think many sacrifice the great moment thinking they can only shoot in the great light. Here’s the funny thing about wildlife, sporting events, aviation, and whole bunch of life, they don’t read the same material we do and know to only perform in the great light. So what happens when great light takes a back seat? Will your photography suffer?
I’m not giving you a reason to shoot in bad light. I am giving you a reason to get out when others might say the light sucks looking for that great moment. This Wood Stork is such an example. It’s becoming that time of year in the south, the birds and the bees thing and it’s when critters do there thing whenever they want. To get it on film, you gotta be out there with them. Joe McNally quotes a photographer, a quote now used by many in it’s short form that might help. In a nutshell, you want an interesting photograph, stand in front of something interesting. In that quote, light is not mentioned. In this example the Wood Stork in not so good light but for showing off the glow in its black feathers, it’s great light. If you know that than being at the rookery when the light is great for that one great moment rather than the overall photograph might be worth while. But then while there for that shine in the black you get it in a moment of passion, well then the great moment grows. The something interesting being rather just some primary feathers is a leading lines up to a bigger moment. Ya, we should seek the great light with the great moments there is no doubt, the reason we get up early and stay out late. But in those hours in between, I want to encourage you to not hang up your cameras but rather, look for just the great moments. Photography is this funny thing, it happens whenever you’re behind the camera. It’s just the images when end up sharing are from the great moments.
Shot with the D4 with 600VR2 with TC-20e3
Feb 13, 2013 | Landscape Photography
There’s a place in FL where I love spending afternoons, North Pier. You can see it looking east from Fort DeSoto as it hides under the Skyline Bridge. Slowly falling into the bay, the pier still provides fisherman a place to relax and catch fish. And those birds that want to be free loafers, a place to work their trade. And photographers, a place for some easy, fun and rewarding photography. I’ve shot there with the 200-400, 300f4 but most of the time, I’m shooting with the 70-200VR2 which I used to get the top image. Now the majority of the time I’m going after flight shots. The key you want in flight shots is the sun and wind on your back. In the afternoon, that’s all you have at North Pier. But when this Brown Pelican after getting fed a fish from a fisherman went over to this perch, I loved the attitude and had to get the shot.
Here’s where you’ve gotta make a decision because the Pelican is on a section of pier separated from where I stand by a big expanse of water. What you see below is the final photo that I really like. Did I get there by putting a teleconverter on the 70-200, use High Speed Crop, Crop the image, use a 600mm? Being on a public pier where you really stick out, keeping a low profile is kinda of a good idea. The thing is, you gotta move quickly because at any moment the Pelican can be off to grab his next free lunch. I went with my favorite and best option, grabbing the 600mm but I didn’t take time to set up a tripod, just handhled it and shot. I took my handful of images, switched lens and went right back to shooting. I realize that everyone does not have a 600mm so that is not an option for all. I’m fortunate, it has been an option for me for a longtime and I make use of it whenever I can. You’ve got take advantage of the tools you own to get the shot at the moment. But keep an open mind that there might be other, better options in your future you need to explore. I think photography takes an attitude.
Feb 12, 2013 | Landscape Photography
Photography is a mixture of so many elements, most can easily site off the technical. While important, my mind when the eye is to the viewfinder goes to the subtle. Little details which get overshadowed by the technical I find more challenging and the little elements that separate a photo from a keeper to a favorite to one I want to share. When you consider that you often have less than a second to grap someone’s visual attention with your photograph, favoring towards the mind’s eye often gains you a longer glance and time with your photo. I’m greedy, I want all the time I can earn which is just one of many reasons I shoot with the D4.
This series of an American Osytercatcher photographed down at Fort DeSoto a few weeks ago is an example of what I’m talking about. Using a panning plate, attach a D4 with 600VR2 with TC-14e attached, I laid on the sand waiting. The Oystercatcher doesn’t really like to be approached by will approach you. With that, you don’t have complete control, the Oystercatcher picking the place for its portrait. When this Oystercatcher strolled up for its session, I waited for the pose and then laid on the hammer.
What am I mumbling about? If you look closely at the 3 images, you will see a very slight difference in the background any body gesture. It is very slight but I was able to capture it by letting the motordrive rip. The difference in the wave, leg and head though is what I seek but seeing it and hitting the button at times just isn’t possible so I let the motordrive make it happen. Then, back at the Mac Retina I look for that moment as I go through the images. In the end, it’s just the one, single image that goes out. In this case, it’s the bottom image that I like the best. It’s a really small detail, very subtle but that’s what I’m lookin for to grab just a few more moments of your visual attention.
Feb 11, 2013 | Landscape Photography
“Where’s the blog, you OK?” has been a common email the last month. This has been in response to many days where there simply was no blog. You might remember a while back (nearly 2 yrs ago) I said I was going to challenge myself by posting five days a week, multiple posts a day to see how that would effect my basic daily activities. I can tell you honestly, it greatly impacts it since blog posts take time, especially since the majority of the time, it’s new image content. Well when the year flipped over to 2013, I looked at my goals and the blog which was at the top, went to the bottom. The reason is many the biggest being I’ve decided to shoot more than ever (filed over 3TB in 2013 so far). I’ve also taken on other projects that simply are more important to me than blogging like a madman. Now I’m not going to stop blogging and those days when I can do what I’ve been doing, multiple posts will go up. But there will simply be days when there is no new post and you’ll have to satisfy yourself with the nearly 3500 pages already present. I want to thank you loyal few who keep dropping by and write and will continue to help you the best I can through the blog.
What you see here is the eastern view from Dante’s View this morning in Death Valley. Just concluded a great week with some great photographers! They were up for any challenge including this morning with below freezing temps a giant breeze to make some gorgeous images. This is a simple click taken with the D4 and 24-70AFS with +.3 exp comp to pull the detail. The light is doing all the heavy lifting for me, I just had to frame it and go click. I like that kind of photography.
Feb 6, 2013 | Landscape Photography
Which came first, the pixel or the chicken? Personally, I think it was the heart! I’m of the opinion that when you follow your heart and not your head in photography, things tend to turn out better more often. No, the photograph will not always be perfect but often, that’s not really the point. Perserving the memory is often all that’s required, and that’s all about heart. At the same time, we photographers want to put our best foot forward in the process. It’s just what makes us tick. And this is often where things collide!
The top photo is a single click made with the D4 and 18AF. To get there from the bottom picture which is the image straight from the camera, all I had to do was a couple of things. First, stand as tall as possible at a distance so the lighthouse isn’t tipping over. Next, wait for the clouds to partially obscure the sun. I know I’m not going to hold the detail and that’s just fine. Lastly, I had to know what I could do in post. The majority of the finishing was done in ACR which, after running my basic preset, I took the Shadow slider right, highlight slider left and clicked Open. I then selected just the sky and ran Nik’s Color Efex Pro 4 Detail Extractor on the sky. And with that, I was done so all I had to do was go click and then hit the digital darkroom and finish. Na, not the greatest but then not bad for shooting in the sun as we ran to the car. All of this and more is possible with heart!
Feb 5, 2013 | Landscape Photography
On 15-17 Feb, 2013 we’re pulling a couple of all nighters as we stare at the heavens and photograph the stars. We’ll be doing every sort of heavenly photography we can from trails to portraits, time lapse to stills. Set in the amazing and historic Alabama Hills, we have a great setting for the weekend. We’ll meet in Lone Pine, CA on Friday evening to go over strategies, gear check and howdies and then head to the Alabama Hills for our first all nighter. The next day we’ll meet up long after the sun is up and go through our images, look at the different methods of assembling our previous nights work and get ready for Saturday night shooting. After grabbing an early dinner, we’ll go out for sunset and getting into position for a fun night of shooting and ghost stories. We’ll finish up after breakfast on Sunday morning. The price is $495 which includes preclass materials, instruction and guiding only. Some have asked what if we have clouds? Then we suffer through with landscape photography in the hills. Either way, we’re going to have a great time! This is one workshop where bringing a sleeping bag might just be a must. Look forward to shooting the stars with you! 760.924.8632 / 661.204.1506 9-5 M-F.
