Eye of the Needle - Selectively Decolored

In the Mind’s Eye

July 04, 2016 in July 2016

While hiking towards a seabird rookery on Heimaey, the largest island in the Vestmannaeyjar Archipelago, I caught a glimpse of three islands through the “eye of a needle.” The rock formation had been eroded into an arch, and the distant islands stretched to the right of the window. We were exhausted by the steep climb and uneven terrain, so Tamy was more than willing to yield for a photo break. I paced back and fourth to find an angle where the islands would be framed by the arch. Sadly, the light was impossibly hazy and the distance between the foreground rocks and background islands was so great that the photo you see here could not be made from a single shot. To capture what I saw and imagined, the final picture would require some work in post. Aware of this key point from the start, I took a moment to pre-plan the shoot. I set the white balance in the camera to “cloudy” and focused carefully on the foreground rock formation. By setting the lens to 200mm and f11, I knew I would capture good detail in both the plants and arch. After making the first image, I checked the camera’s histogram to ensure that none of the highlights or shadows were clipped. The production of a balanced, yet boring photo, maximized the data for post-processing. Before packing up the camera, I took a second photograph at the same focal length, aperture, shutter speed and white balance, but varied my point of focus. Rather than capturing the details of the arch this time, I focused on the islands in the distance. These two original photographs are pictured below as unprocessed raw images.

Sharp Foreground

Sharp Islands

I nearly deleted the images after uploading them to the computer. However, seeing the pics transported me back to island’s peak and the plan I had imagined during that hike. Rather than trashing the photos, I began to play. I adjusted the clarity, vibrance and sharpness in Lightroom and used the “dehaze” slider to draw out the blues from the water. Experimentation and play is an essential part of the artistic process, yet I rarely allow myself the time and opportunity to “go off road” with my photographs. Once I found the color balance and details hidden in the raw file, I copied the algorithm for picture number one and applied it to picture number two. The product of this “play” can be seen in the following two processed photos.

Sharp Foreground

Sharp Islands

Now that the near and distantly focused images were exposed and processed to my satisfaction, I applied a photoshop stacking routine to combine the two pictures into one. While I do not stack images often, I have relied on this technique when I want to make a photograph with a near-infinite depth of focus. The method I use is derived from James Lewis’s technique as described here. Once the two photographs were stacked into one, I applied a crop, noise reduction and a bit of unsharp mask. The final image, below, is one part imagination and one part reality. It is an interpretation of a fleeting moment seen by tired eyes during an endless hike. Were it not for a moment of forethought where I made the time to imagine a final photograph, this moment would have been nothing more than a memory.

Stacked Image - Heimaey Vestmannaeyjar Archipelago, Iceland

Cygnus buccinatorJanuary 3rd, 2016 - 20 degrees F — *Cygnus buccinator*
*January 3rd, 2016 - 20 degrees F*

The Convergence - 6 Tips for Shooting in the Extreme Cold

January 17, 2016 in January 2016

When the temperature falls to negative forty degrees fahrenheit it is also negative forty degrees centigrade. Today was a balmy -31 deg F in the wind, and this dangerously cold weather got me thinking about how I prep for shooting under these conditions.

Rousing Trumpeter Swan (Cygnus buccinator)January 17, 2016 : -13 deg F (-31 deg F windchill) — *Rousing Trumpeter Swan (Cygnus buccinator)*
*January 17, 2016 : -13 deg F (-31 deg F windchill)*

What follows is a list of things to consider when shooting at or below zero degrees F.

Be prepared for anything. It is difficult to predict how the body, the landscape and your subjects may respond to the extreme cold. Sub-zero temperatures can cause rocky substrates to freeze fracture and buckle, while hungry animals may do unpredictable things to meet their nutritional needs.
Work slowly. The cold robs the body of heat, and the extremities tend to lose their capacity to feel the things they touch. As the temperature falls, skin tears more easily and becomes subject to nerve-damaging frostbite. By slowing down, you can control your gear with greater precision and protect yourself from exposure.
Dress in layers to stay warm. As the body cools, the drive to make images will diminish because thermoregulation will become your priority. By dressing in layers and wearing appropriate clothes, you will stay comfortable enough to produce the images that most never have the opportunity to see.
Carry extra batteries and memory cards on your body. This relates to tip number one. Batteries kept near the body stay warm, and the extra cards reduce the need to dig through a crowded camera bag with bare hands.
Respect your subject. Sub-zero temperature are a challenge to both the photographer and the photographed. No image is worth the effort if it compromises the survival of your subject.
Accept the realities of shooting in super cold weather. Expect to miss many images because your fingers stop working, reflexes slow and discomfort sets in. If you can reach the point of acceptance, you will relish the experience value the keepers that you make.

High Falls, Grand Portage State ParkDecember 29, 2015: 12 deg F — High Falls, Grand Portage State Park
*December 29, 2015: 12 deg F*

Canada Goose with Fish (Branta canadensis)January 10, 2016: -9 deg F — Canada Goose with Fish *(Branta canadensis)*
*January 10, 2016: -9 deg F*

Migrating Cranes (Grus canadensis) : Crex Meadows, WICanon 7D + Canon 300mm f2.8L IS — Migrating Cranes *(Grus canadensis)* : Crex Meadows, WI
Canon 7D + Canon 300mm f2.8L IS

Five Reasons to Shoot with a DSLR

November 16, 2014 in November 2014

… or why mirrorless systems don’t work for me.

For those who don't want to read the preamble, just scroll down to the Top 5 Reasons I Still Use a DSLR.

Today’s post is inspired by the TWiP #386 podcast. TWiP is the podcast that I hate to love. I often disagree with the headline story, get frustrated by their bias and wish, like the Supreme Court Minority, I could offer a visible opinion in descent. Yet with all of my consternation, I dutifully tune in because the production is among the best on the web, and the host, Fredrick Van Johnson, knows how to keep the dialog moving. Titled “What’s up with Nikon & Canon,” I expected TWiP #386 to discuss the merits and shortcomings of the new offerings from these two established companies. With the introduction of the Nikon D750 and Canon 7D mark ii, there has been a lot of web-hype, and TWiP always seems to introduce a unique spin. Surprisingly, rather than a thoughtful discussion about these DSLR’s, I was “treated” to a familiar rant… DSLR’s are dead, Mirrorless cam’s are cool and if you haven’t switched, you’re a dinosaur. While these sentiments may be a bit of hyperbole, I don’t think that I’m too far off. So with this in mind, I felt the need to offer a counterpoint to the mirrorless “trend.”

In Pursuit of a Doe (Odocoileus virginianus) : Mississippi River Valley, MNNikon D300 + Nikkor 200-400mm f4.0VR — In Pursuit of a Doe *(Odocoileus virginianus)* : Mississippi River Valley, MN
Nikon D300 + Nikkor 200-400mm f4.0VR

Before I list the Top 5 Reasons I still Use a DSLR, you need to know a few things about me. I am an amateur photographer and have been photographing all things nature since 1987. I began with film and reluctantly moved from medium-format roll-film cameras to DSLR’s in 2003. Furthermore, while I sell and publish the occasional piece of work, I am a biology teacher first and rely on this income to fuel my passion for travel and nature photography. This September I made a huge transition from one camera system to another. Huge because, with over $12,000 “invested” in cameras and lenses, a switch between brands is rarely an economic gain but more likely a loss. Living within the confines of a teacher’s salary (albeit an experienced teacher), this type of loss is not trivial. In hindsight, I now recognize that I struggled with a multi-dimensioned cost/benefit analysis before making my move.

Fall in Lake Superior - Tettegouche State ParkNikon D800E + Nikkor 28mm f1.8G w/ 3-Stop ND Filter — Fall in Lake Superior - Tettegouche State Park
Nikon D800E + Nikkor 28mm f1.8G w/ 3-Stop ND Filter

Less important than knowing if I moved from Nikon to Canon or Canon to Nikon, is the fact that I purchased a high-end mirrorless camera in October 2013. The black Fuji X100 is my companion during travels abroad and on the street here at home. Having had a bit of experience with a quality mirrorless camera, the move from a DSLR’s to a Fuji system would have been easier than the transition I ultimately made. However, I quickly realized that the “trendy” move to Fuji would have had a huge negative impact in my photographic output.

The Day Before Autumn - St. Croix Valley, MNCanon 6D + Canon 17-40mm f4.0L — The Day Before Autumn - St. Croix Valley, MN
Canon 6D + Canon 17-40mm f4.0L

Alas, the following are the Top 5 Reasons I Still Use a DSLR... listed in reverse order of importance:

I Don’t Shoot Video. It appears that mirrorless cameras benefit the videographer more than those who prefer to shoot stills. Video enhancements are a zero-sum gain for me.
Full Frame System with High Resolution & Large Pixel Sensors. In the mirrorless world, only Sony offers a full-frame series of cameras. If you are not a fan of the ergonomics and suite of lenses offered by Sony, then being mirrorless becomes much less important.
Optical Viewfinders. Call this one a personal preference, but I just can not get accustom to the “TV-like” view of a mirrorless camera. The live-view viewfinders in mirrorless bodies seem flat and two-dimensional, while a large DSLR pentaprism has a bright 3-D feel.
Autofocus Speed. While Olympus and Fuji cameras focus rapidly with short focal-length lenses, their AF speed diminishes with increasing focal lengths. Furthermore, the ability of mirrorless bodies to accurately track movement with telephoto lenses does not rival the AF system in a typical “prosumer” DSLR.
Long Fast Glass. Canon and Nikon make numerous fast telephoto lenses. Ignoring the seamless ability to use legacy manual focus super-teles, both companies have made long and fast autofocus lenses since the late 1980’s. The used market and continuing development of these lenses by Canon and Nikon is important to nature photographers seeking to include wildlife imagery in their portfolio. All of the mirrorless manufacturers have been very slow to introduce even one lens for the sport or wildlife photographer. To date, only Olympus has displayed a potential long-lens offering. Shown at recent trade shows, the pre-production 300mm f4.0 (600mm µ4/3 equivalent) may be compelling to Olympus fans, however this focal length has been a multi-decade long mainstay for Nikon and Canon users.

There is no doubt that this is an exciting time to be an amateur photographer. Clearly, there have never been so many excellent and affordable ways to pursue one's own aesthetic vision; however, to declare that Nikon and Canon's DSLR's have been "Kodaked" is, I fear, a tad premature.

*Sea Otter (Enhydra lutris) - Central Coast, CA*

Behind the Lens (Number 7)

October 30, 2014 in October 2014

Wildlife photography is addictive; each chance encounter, like a drug, fuels the desire for another. However fleeting the moment, the mere glimpse of a nonhuman “other” feeds the nucleus accumbens, the reward center deep within the brain’s limbic system. When an encounter is followed by a successful photograph, the cycle is complete and the addiction is reinforced.

*Harbor (Common) Seal (Phoca vitulina) - Central Coast, CA*

Lack of preparation, research and practice is the key obstacle to producing successful images that will strengthen the need to make more. When pursuing wildlife subjects, take the time to learn the behavioral patterns and routines of your subject. Knowing the ethology that influences reproductive behaviors, migration and physiological changes it is possible to transform a “dumb-luck” image to a probable success.

The images attached to this post were made at Moss Landing near California’s central coast. A high tide and late autumnal visit to the estuary increased the likelihood of finding otters and harbor seals. Because I was shooting from a boat, I positioned myself in a prone position to place the lens as close to eye level as possible. Knowledge of the gear and behavioral patterns allowed me to maximize the brief wildlife encounters I had on this afternoon.

Behind the Lens (Number 5)

October 09, 2014 in October 2014

Leverage Fall's inclement weather to express a creative vision. By choosing to use a slow shutter speed on turbulent days it is possible to convey the essence of climatic conditions. Rather than retreat to the comfort of home, we suggest that these the best days to play in the rain.

Foggy Sunrise Canon 6D + Canon 17-40mm L f/4.0 — Foggy Sunrise
Canon 6D + Canon 17-40mm L f/4.0

Behind the Lens (Number 3)

September 28, 2014 in September 2014

In part 3 of this Behind the Lens series I want to stress the importance of a thoughtful composition. I was on my way to a state park when I decided to make a quick stop at this familiar location. The sun was beginning to rise above the farm field, and rather than waste the good light pushing through the fog, I planned to grab what I could. For the initial shot, I set up the tripod and took a quick one by the edge of the road; the internal pressure of getting to a planned destination corrupts moments like these. For the sake of expediency, my first thought was, "got it,... time to move on." However, it only took a brief glance at the LCD to know that I didn't get, and this would simply be just another wasted image if I didn't choose to commit to the process.

To make the posted photograph, I had to abandon the immediacy of the moment. Rather than give in to an arbitrary deadline, I climbed down from the road and into a ditch of water where I could position myself along the edge of the barbed-wired fence. The angle of the wire is important here as it serves as a leading line which draws the viewer into the photograph. The two trees to the right are the focal point for the image as the edge of the pond curves to point towards them. In addition, the pair of bent fence posts strengthen the apparent importance of the trees by leaning in their general direction. The rising sun posed a problem, as there was not enough fog to soften the intensity of the rays. My solution was to position the tripod in a way that caused the trees to scatter the sun's intense light. Finally, the choice to process this as a trichromatic image was made later after looking at the photograph on a computer. The warmth of the sunrise is captured by the colored foreground grasses, while the darkness of night is retained by the intense contrast between the blacks and whites.

Behind the Lens (Number 1)

September 21, 2014 in September 2014

Every year the transition from August to September and September to October offers me the opportunity to reflect. Unlike most people approaching middle-age, I live the life of a student. Every spring I go to prom (as the coordinator), celebrate new graduates (as a teacher, advisor and mentor) and experience the elation of freedom that only a summer can offer. And, just as I've grown accustom to the nothingness of long summer days, I am rudely jerked into another school year destined to repeat these landmark events. Like the movie Groundhog Day, my life is an endless loop of predictability that is only interrupted by the changes I choose to create. So it is with this bizarre perspective that I celebrate the transition from summer to fall.

During the next few days I plan to post a series of images that convey the transitions I've observed from behind the lens. With each post, I'll describe my photographic approach as well as the impetus for choosing the subject. In this way, I hope to connect the dots between anticipation and excitement I always seem to feel at the end of summer.

About the shots: It is in late August that I begin to realize that the number of "free days" are diminishing at a feverish pace, and my typical response is to spend more time on long walks with the gear. On August 10th I found myself wandering about a nearby patch of protected land in search of something to photograph. I did not begin the walk thinking about macro subjects, rather I was searching for something large and feathered. Nearly a mile into the hike I gave up the pursuit and sat in a patch of big bluestem. After fruitless minutes of swatting at the local blood suckers, I stood up and realized that I was surrounded by color. I ditched the long lens for a macro and began to survey the area. My first subject was the pair of soldier beetles (Genus Canthariday) mating on some old bee balm. I could only imagine that the two knew that summer was quickly coming to a close and had better get on with things before it was too late. I positioned the tripod at the same plane as the beetles and waited for the occasional wind gust to subside. Shooting at f/8.0, I managed to get just enough depth of field to produce the sharp image pictured at the top. In contrast to the beetles, the jewelweed (Genus impatiens) was shot at f/3.5. The goal here was to focus on the clinging drop of dew while gently blurring the flower in order to emphasize the color and form rather than the details.

Jungle Dreams - Finca La Anita, Costa RicaCanon 5D Mark III + Canon 17-40mm L on an Induro CT313 Tripod and Induro BHL3 Pro Ball Head — Jungle Dreams - Finca La Anita, Costa Rica
Canon 5D Mark III + Canon 17-40mm L on an Induro CT313 Tripod and Induro BHL3 Pro Ball Head

Dreams I

July 07, 2014 in July 2014

In my previous post I was lamenting Apple's decision to terminate the development of their "Photo Asset Management" program known as Aperture. To underscore the importance of software to the digital photographer, I have decided to write a series of short articles where I will describe the nuance of taking and processing a photograph. The overarching theme for each picture will be dreams. I decided to structure these posts in this manner as way to stress what most photographers already know, a photograph is anything but a depiction of reality. Specifically, the non-arbitrary decision to include or omit an element from a composition is a form of extracting or adding to the reality of the moment. Furthermore, by choosing a specific lens, shutter speed or lens aperture, the photographer is defining what the viewer should or should not see.

Today's image was made where three rivers meet at Finca la Anita. Photographed early in the morning to take advantage of low angled light rays and minimize contrasty highlights, I was seeking to capture the essence of the jungle experience. I positioned my tripod as low as it would go, adjusted the zoom to 23mm and set my aperture at f/16. I used a Tiffen 8-stop variable neutral density filter in order to reduce the light that hit the camera sensor. As a result, I was able to create a 16 second exposure that would smooth the water's flow and produce the green silky reflections visible in the river.

At this point, I could have consider the photograph to be complete, as the original image is quite pleasing. However, I wanted to leave the viewer with the sense of mystery and darkness that one often feels during a rainforest hike. It here where post-processing can be the difference maker. The photograph was imported in Aperture 3.5, catalogued and adjusted to balance highlights and shadows. I then exported the picture into a secondary program called OnOne Perfect Photo Suite 8.5. From within the software, I selected the "Effects" tab and chose the filter titled "Glow." With many presets to choose from, I played around with the possibilities and ultimately settled on the filter titled "Change More-Strong." At the first the effect was a bit much for me, so I used the program's layers' window to reduce the opacity of the effect and thus blend the filtered image with my original.

Clearly, one might have to play with this software to fully understand the steps described, however, herein lies my point. Artistic expression via digital photography requires knowledge of picture making. Inherent in the production of a digital photograph is a two part process: capture with camera + post-process with software.

Good shooting,...

Lupinus perennis - Wild Lupines in the RainCanon 5D mark III + Canon 100mm Macro USM — *Lupinus perennis* - Wild Lupines in the Rain
Canon 5D mark III + Canon 100mm Macro USM

A Spring Flowers Photo Tip... or Two

June 04, 2014 in June 2014

To make the most of your flower photography consider the following three suggestions:

Get Down and Dirty : Lower yourself to where the flowers are growing. everyone sees flowers from the top down, as we tower above those spring ephemerals. By getting low, you have the opportunity to create a unique perspective that we giants rarely see.
Get Wet : Overcast skies and rain can saturate colors and produce luminescent drops of water. Stormy weather is a great opportunity to separate your flower photography from those who wait for blue skies and the sun.
Selective Focus : Get your camera off "Auto" mode and learn how to shoot in manual. Large lens apertures create a shallow focus and blurs the background. By reducing your depth of field (field of focus), you transform your flower photos from documentary moments to art.

Black-handed Spider Monkey (Ateles geoffroyi) - Guanacaste National Park, Costa Rica — Black-handed Spider Monkey *(Ateles geoffroyi)* - Guanacaste National Park, Costa Rica

Make Luck Happen

April 04, 2014 in April 2014

Want to see a look of consternation, say the following to me...

“You must have a good camera.”

“That’s a lucky shot.”

First, I do have good cameras, but I’m confident that I can be as productive with “entry-level” gear as I am with my current line-up. I began shooting in the days of film and manual focus, and only embraced digital cameras in 2004. Prior to the switch, I employed a variety of technologies that included autofocus 35mm cameras, panoramic rangefinders, and 6x6 reflex system bodies. While I am certain that I was as lucky then as I am now, I also know that I practiced using my cameras just like I do today with my current stable of digital SLR’s.

The “lucky shots” definitely have an element of good fortune, but this luck is cultivated. I deliberately put myself in the right place at the right time, know my lenses and understand exposure theory. Recognizing what the meter says, the “best” AF-mode and where to put my body when “luck” happens, is as much about practice as it is happenstance.

Today’s post is a spider monkey (Ateles geoffroyi) caught traveling between forest fragments. Minutes before the picture was made, the entire troop was moving through the woods at a distance. The pace of their journey was fast and furious, so I watched the troop behavior with curiosity as my students and fellow travelers took off in attempt to catch the action. I remained patient, and at one point noticed that a juvenile had become separated from the group. Having seen this before, I knew that an adult would change its trajectory in an attempt to retrieve the stranded companion. This is when I began my move as well. Watching the monkeys traverse the trees, I recognized that there was only one path back to the larger group. With the forest bisected by a clearing, the gap was the one place I could catch a clean shot. Despite being in the right place, I managed to take only four pictures as I slowly panned the gap between the branches.... I’d say that this was just another “lucky shot!”

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