Planet Photography               

kf4lnq posted a photo:

I used tungsten lights to light the toy in front of sheer curtains with daylight coming through them. That got me a cool blue background when I adjusted the white balance after the fact.

Perhaps one of the best features of the widespread availability of digital cameras is the ability to capture our vacations and trips across the globe. Never has it been easier to photograph and share with our friends and family the unique cultures, monuments, people and wonders of the world we find on our travels.

And never have as many photographers, both beginners and advanced alike, wanted to know not only how to capture those moments around the world, but sell and professionally present them. Want no more thanks to Nick Onken’s Photo Trekking: A Traveling Photographer’s Guide to Capturing Moments Around the World.

Photo Trekking is one of those books as essential on your next trip as a toothbrush and your boarding pass. Simply put, don’t leave home without it. In it, Onken covers everything from the dedication it takes to be a travel photographer, trip logistics and preparations, planning stock and editorial shoots, recognizing unique images that help tell the story of a location, on location work flow, portfolio presentation, brand and presenting your images of the world, to the world.

Everyone has a photo of the Eiffel Tower when traveling to Paris, but not every photographer thinks to bring home the other photos that really show the character of a location and the ones stock sites and photo buyers are looking for. Be it details like doors and signs, windows and water, or techniques like solar flare and focus, Photo Trekking is packed with tips on making great images. In fact, there are 49 pages of tips and examples that you’ll want to read over and over again.

Throughout Photo Trekking Onken stresses the importance of personal vision. Knowing not just what you want to shoot, but how you shoot it is a key to his personal philosophy and capturing the best possible travel photographs. It comes through on every page. He also inserts “traveler’s journal” sections throughout the book showing great images from his travels and explaining the stories behind them. They’re great behind-the-lens insight.

What other photographers will really appreciate about Photo Trekking are the large visuals. Most photographers are visual thinkers and Onken capitalizes with tons of big, bold photos that not only tell you how to capture a great moment, but show you how.

But even if you never plan to sell a single photo or present them to anyone besides close family and friends, Photo Trekking will show you how to capture the moments and details you’ve always wanted in your travel photography. You can order it on Amazon for a great deal or find other retailers on the book’s launch page. For those of you in the New York area, you can even attend the book launching party on March 19th, 2010. Look here for details.

If you’d like to get more great tips, check out Onken’s blog, follow him on Twitter or fan him on Facebook. Be especially sure to check out his amazing new Web site. But most of all, before leaving for your next trip, make sure a copy of Photo Trekking is in your suitcase.

Author: Nick Onken
Publisher: Random House
Length: 160 pages
ISBN: 978-0-8174-3280-5
Available at: Photo Trekking: A Traveling Photographer’s Guide to Capturing Moments Around the World (Amazon – $16.49)

Post from: Digital Photography School - Photography Tips.

Photo Trekking: A Traveling Photographer’s Guide to Capturing Moments Around the World [Book Review]

I have applied new affordable prices to my pinhole photographic prints and “photo sculptures”. The pinhole prints are inkjet, using archival Epson Ultrachrome ink and the finest archival papers. The “photo sculptures” are one-of-a-kind pieces using combinations of archival inkjet, acrylic paint, watercolor, sculpting material and other media on canvas and wood panels. I hope [...]

The Photo Argus has a great collection of conceptual photos… but what are conceptual photos you ask?

Conceptual photography essentially is the photographer trying to convey a message or “concept”. Usually this message is conveyed through some abstract symbolism which can be interpreted by the viewer. Even though most photographers have a specific meaning they are trying to get across, usually the image can be interpreted in many different ways.

So basically they’re really cool photos with a deeper meaning that can be interpreted in many ways. Groovy, man… but seriously, check these things out. A wonderful collection of art.

Full disclosure… Ken and I have been friends for about 25 years or so. We have traveled the back roads of the Sierras together and solved the ills of the world over about a hundred lunches. It is fun to present this interview with him for you all.

We met and chatted over lunch at a tiny little restaurant within walking distance of Ken’s studio. The studio, by the way, is located in the very first studio in Arizona, and was a full TV Broadcast studio for decades. From “Wallace and Ladmo” to Ronald Reagan, the studio has seen its share of celebrities, actors and politicians. Today those same floors and walls house Ken’s working commercial studio.

I just finished working on Ken’s new website, and we launched it this week. Ken takes a minimalist approach to many things, as do I, so the site is very open, clean and easy to navigate. Here is a screen shot.

I brought along my trusty iPhone and did a few clicks, and Ken sent some images from his portfolio to share.

Ken has been shooting a wide variety of work ever since I met him. From landscapes to interiors, food to people, Ken shoots it all. His style also lends itself to a wide variety of applications.

Ken shoots just about every format camera there is. “I haven’t pulled the Hasselblad out in a few years,” he said with a smile. But I know he will soon. Ken is itching to do something new and different. He is looking for a challenge, a project to spend some time with. I am looking forward to seeing what he comes up with.

Recently Ken was invited to submit a print portfolio for a review process. He put together 10 images that showed his style and the breadth of his work. “It was a bit scary at first. I only chose 10 images, made large prints and put them into a very simple presentation box. I kept thinking that I should show more, second guessing myself on the decision to show only 10 pieces.” He smiles when he tells me “it actually worked in my favor. The reviewers had more time to remember each image. I was surprised at how well it was received.”

The studio is quite an old structure and has been everything from a TV studio, to offices and at one time held about a dozen radio stations. There are places in the building that don’t really make sense now, but he has had fun hanging art and shooting in some of the passageways.

The studio is a huge room with a 2.5 story ceiling. There are still lighting instruments left on the railings above, and they give the space an amazingly fun feeling. The end of the studio has a second story walkway where clients and guests can stand and look down at the shoot in progress on the studio floor below.

Lunch at Matt’s Big Breakfast was simply a great time. If you are in the area, you should drop in.

If you are considering a workshop, please take a look at the Lighting Essentials Workshop Site at Learn to Light. Now on to the LE Interview with Ken Easley.

1. How long have you been in business? Was it a slow transition or did you just open shop?

For whatever reasons, I never felt I had the “chops” to work in photography until I had my degree. A month after graduation with a BFA in Photography in 1980, I was a full time assistant in a commercial studio. Been making my living doing nothing but photography since. 2 years assisting, 4 years as an in house corporate photographer, then my own studio.

2. How did you get started? Any mentors or great stories here?

My first job was with Rick Gayle. He really opened my eyes to commercial photography. I saw first hand the level of commitment it would take to make it, and he also helped me realize that I could satisfy my creative drive in a commercial photography setting.

I’ve been interested in photography since I was 10 or 11. My first camera was a brownie starflash, a gift from my aunt. My strongest memories are trying to shoot frogs and waterbugs in Oak Creek Canyon. And my Dad complaining about how much film I was using and how expensive it would be to get it all processed. The next year I got an “Ansco Developing Kit”.

3. Describe an average week at your studio.

This has really changed over the years. I have gone from doing lots of small jobs, shooting almost every day, for years on end, to having several days between shoots. The crowd sourcing of digital images has made the small product illustration, for several hundred dollars or more, a thing of the past. Fortunately, somewhat by design, my average shoot is now much more extensive, more expensive and more profitable. Factor in the preproduction time and post production time expected on each shoot and I work just as many hours in a week. But, I’m doing fewer invoices.

4. Why Phoenix? Have you considered anywhere else?

Born here. I guess I just got used to it. No snow, no earthquakes, no hurricanes, no tornadoes, just the heat which I really don’t mind. My work has taken me all over the US. Personal travel even more. I’ve been to many places I love. Briefly considered lots of them, but no matter where I go, it just feels good to come home. I do love to travel though. I figured long ago that if my goal was to be a really big name in the biz, it pretty much had to be NY or Hollywood. Yes it’s possible from other places, but much harder, almost a fluke. I made a conscious decision to stay local and try to work with companies that could send me out of town, rather than try to build relationships long distance. Now with the internet firmly taken hold, it matters less where you are from.

5. What motivates you, or gets you going? What do you use for inspiration?

Mostly other artists. Sometimes photographers, sometimes painters or sculptors. Anything that is visually new or interesting. That’s part of the appeal of travel. Seeing new sites (oh, and food.)

6. What is it you like the most about being a photographer? Do you do anything else for a hobby or avocation?

Paraphrasing the cliche, “a bad day as a photographer is better than a good day at almost anything else.” I’ve mentioned this as a generality in conversation but it did actually happen to me. After a really bad day in the studio, nothing went right, not feeling well, etc., even left to go home early. Within a couple blocks of leaving the studio I passed a crew of street repair guys. It’s 110 degrees, they are working with hot smelly asphalt and shovels. My day was not so bad.

I am a serious amateur woodworker. I like to think I’m an artist in that area too.While I do make practical things, including furniture for the house, etc. I really like woodturning. After working with art directors, meeting deadlines, running a business, it is very therapeutic to take what would most likely be a piece of firewood, and make a great big pile of wood shavings. If I happen to get a cool little bowl or vase or something out of it so much the better.

7. Are there any downsides to being a commercial photographer that you would like to change? How would you change them?

So many rambling thoughts on this. I have often thought that photographers should be licensed like doctors, or even plumbers and hair stylists. Make it illegal for someone to photograph a real job just because they have a 6 megapixel camera. I know it wouldn’t work and probably shouldn’t, but can’t help thinking about it sometimes. The fact is, I’m really not interested in the photo assignments someone would trust to an unknown. I’d rather work with creative dedicated people who care about the end result. They see me as a part of the solution, not an afterthought. The change will ultimately be determined by the marketplace. Like anything else, some people will only want their company or brand to be associated with the best, or at least convey the idea that there is nothing better, while others will be satisfied with the cheapest solution to showing the customer the goods. The buyers will have to decide where along that scale they want to be. Individual photographers will have to decide where they will draw the line for their own work, I hope to stay much closer to the best.

8. What was your most memorable assignment?

It’s been a while now, but I spent two weeks in Alaska, shooting for the National Park Concessioner at Denali. We really got special treatment, did some great work, and saw things that blew my mind. Denali, (Mount McKinley) on summer solstice with not a cloud in the sky. Standing next to a beaver dam and looking over at a water level just below my eye level, being held back by some sticks and twigs, amazing.

9. Any ‘war’ stories you would like to share? You know, the ones that always start with “There was this one job where….”

Every assignment has a little of this. I’ve never been a photojournalist, although that is part of what got me interested in photography as a kid. Nothing as harrowing as those guys see regularly. However, I did see my life flash before my eyes while shooting for a river rafting company on the Grand Canyon. I was way out on the nose of the raft while going through a rapid, Crystal Falls, and a guide who was holding my feet let go (to keep himself from going over) and I cartwheeled off the front, camera in my right hand and a rope wrapped around my left hand. I came up underneath and face against the bottom of the raft, and was more or less pinned there for what seemed like several minutes. Eventually I worked my way out from under and got my head above water a few yards downstream from the rapids. A couple shots of brandy and I was fine. It was a truly great trip.

10. What would be your ideal assignment?

I like shooting way too many things. I guess a corporate job for a large multinational, where “corporate photographer” was on the same level as say, CFO, or CIO. Where I could determine what was next up to document, advertise or illustrate, and how. The company should be in several countries, have several subsidiaries in varying lines of business, and it would be nice if they were doing something good for the planet as well, perhaps they would have a large charitable arm or foundation. Of course all expenses would be covered, and I would have access to any equipment I wanted. I would never have to send an invoice or negotiate an assignment. fee, yet had a very respectable income.

11. Future plans for (your name) and his/her photography?

I’ll be happy just to stay on top of technology and trends for my commercial work. I think I do a pretty good job of that but it takes a determined effort. Perhaps, like thousands of other photographers, try to do a little more fine art, and maybe even teach a little.

12. Tell us a little about your new work…

Personal work is always a struggle. If you are an ice cream taster for a living, you might not want ice cream on the weekends. That does not mean you don’t love ice cream. Ongoing projects include simple studio floral/botanical shots. When I can, a series with the working title “modern ruins” that documents abandoned architecture. And a few other ideas that have been rumbling around in my mind for quite some time. Commercially, I will continue to strive for the interesting and challenging work. I’ve always done some video production, starting in 1990 or 91, and will look for opportunities for pushing that a little.

13. Oh, and what is on the music box right now at your studio?
(yes, it was supposed to be 12, but what the heck…)

Right now my iTunes is playing “The Crusaders.” My taste in music is fairly eclectic. From Green Day to Billie Holiday. Last album into the collection was Tomo Fujita – Jazz/Rock/Blues electric guitar instrumental (iTunes says his genre is blues.)

Thanks Ken.
You can visit Ken’s Site Here. And drop him an email if you are wanting to take a look at the book.

Thanks for visiting the site, folks. You can follow me on Twitter if you are twitterly inclined. Workshop information is here, and my website is here.

Black and White photography is among one of the most striking forms. Photos sans color require an enhanced use of lighting, shadows, and subject focus. Black and white photography brings out details usually overlooked in standard color photos. Subject studies is the discipline of concentration on one particular subject. Not quite still-lifes, though they share some similar qualities, subject studies focus on one particular object in view.

Take a look below for 31 stunning black and white subject study photos on Imagekind.

Post from: Digital Photography School - Photography Tips.

31 Stunning Black and White Subject Study Photos on Imagekind

A roof overhead is new for Punkti, a shepherd's daughter in Rajasthan. Family men still live under the stars, staying close to their animals.

sevenman posted a photo:

There's flowers. It's officially spring now.

kf4lnq posted a photo:

Free! Now what?

Optical Slaves are the simplest (and cheapest for the most part) method for using off camera flashes.

The principle is simple, when the optical slave sees another flash fire, it fires too. Kinda like yawning. Once one of goes, it is catchy.

Of course optical slaves have their limitations, one of which is that they are too dump to understand the difference between a flash and a pre-flash. There are a few more limitations to optical dumb slaves, but this post is about overcoming the pre-flash issue with a cool gizmo called Arduino.

read more

By Jodi Friedman of MCP Actions: Photoshop Actions and Training

There are literally dozens of ways to saturate your colors in Photoshop. For this post I am going to focus on one way to pop colors using “Channel Mixer” adjustment layers.

To start with, locate an image that could benefit from more vibrant color, overall or in selected spots. Of course, you likely will want to correct exposure and white balance prior to working on color. At this point, we will pull up a “Channel Mixer” adjustment. In CS4, you can use the adjustment panel – in CS3 and below, use the layers palette and go to “Channel Mixers.”

Once you pull up the adjustment layer, you will adjust settings in the dialog box. You will adjust all three output channels: Red, Green, and Blue. Use the same relationship for each. You want all numbers to total 100%. The higher your number for the output channel you are working on, the more saturated the colors will be.

For example, if you start with red, and put red at 150%, then you would split the difference to = 100%. So green would be at -25% and blue at -25%. Then you would drop down to green for the output. For this channel, you would do 150% for green, -25% for red, and -25% for blue. Lastly, you would drop down to the blue channel and do the same. Blue would be 150%, green -25% and red -25%.

Remember, all three outputs need to be treated the same. The output gets the high number in all three channels. The other two equally subtract the same amount so that the total is 100%. Using 150% is rather high, but if you will be painting your color on, as I am here, or if you want a lot of pop, this number may work well. You will want to experiment on your image to find the best settings. I recommend 116-120% for the main output channel light pop, 122-140% for medium pop, and 142-160% for intense pop.

When you saturate color, make sure you are not losing details and that your colors are printable. The printer I use handles intense color really well, so I mainly check to make sure I am not losing details or getting any color noise. Also, if photographing people, unless you are using low numbers, your skin tones WILL BE impacted. That is where “painting” comes in.

With masking, you have 2 choices. Either you can show the effect everywhere, white mask. And hide it on parts where you do not want it, such as skin. Or you can hide the effect everywhere, black mask. And you can paint it on specific areas, just where desired.

For this tutorial, I am going explain, hiding the effect and painting it on where desired. Either way would work.

So after getting your channel numbers set, you will invert your mask. The shortcut keys are PC: “CTRL” + “I” or Mac: “CMD” + “I” – which turns your white mask from black. You will not longer see the popped colors.

If you have never used layer masks before, this video tutorial and tips on layer masking will help you.

With the mask black, then select white as your foreground color, and pick a soft round brush. You will vary the hardness of the brush as needed. I usually set my opacity at 30%-35% and paint over the desired items where I want the color more vibrant. You can do this at 100%, but with a low opacity brush, you will have more control as you can build the effect by painting multiple times.

For the before and after image below, I painted on the image with the mask selected, using a 30% brush at 19% hardness. I painted over the entire image once. Then I painted on the truck until 100% of the effect was reached.

The only change in these two images was the channel mixer layer. I hope you learned a lot from this tutorial about using channels to enhance your color and about using layer masks.

About the Author: This post was written by Jodi of MCP Actions, the popular creator of Photoshop actions, training and of the MCP Blog. MCP Actions provides great products and resources for both hobbyist and professional photographers who want to improve their post processing and take their photography to the next level. If you are serious about the quality of your images or your photography business, visit MCP Actions.

You can also find Jodi on Facebook, Twitter, and through her RSS Feed.

Post from: Digital Photography School - Photography Tips.

How to Pop Color Selectively Using Channel Mixers and Layer Masks in Photoshop

Last week, with the help of all my blog readers, I launched “Quick Shots” my new video tutorials. It needs a bit of time to get the format right, but the reaction has been better then I hoped. At the same time as uploading the video I updated the front page of www.gavtrain.com which now sports a Quick Shots form where anyone can send me a question. And lots of you did just that.

I’ve got some great questions to answer; although many of them will need a bit of planning and the photography questions will need an outside shoot to be filmed.

However there were lots and lots of questions that didn’t quite fit into the format of the new Quick Shots videos or ask a question I’ve answered before.

Below is a selection of those questions and some answers that might be useful.

Name: moazzam
Question: which camera and lens do u use urself?
Answer: I own lots of lens and Canon bodies. My main two bodies are the 40D and 400D. I use a Canon 24-105 L most of the time but you’ll also find me using Sigma’s 10-20 and Sigma’s 18-50 f2.8 (a great lens)

Name: Shahbaz A
Question: which camera setting are best for snow fall season
Answer: This video should help

Name: Dinger
Question: can I create the effect of turning a page in pro show producer
Answer: Not really, Proshow producer doesn’t allow that kind of distortion to an image. I wish it did and if anyone knows a way I’d be happy to learn it myself.

Name: Simon R
Question: When should you use curves rather than levels when adjusting an image?
Answer: When ever the mood strikes you. To be honest I never liked using Curves and ALWAYS use levels. From talking to lots of photographers I get the feeling the use of curves is diminishing as the use of RAW software is increasing.

Name: MARTIN R
Question: Hello Gavin, I would like to see you edit and include some video footage with stills in ProShow Producer.
Answer: I don’t use Proshow Producer for video editing, yes it can do basic editing, but it’s not a very efficient way to work. I use Premiere Elements 7 for all my editing work. If there’s a demand for it I’ll do some tutorials on video editing in the future.

Name: Bazil
Question: Your Question Here Do you have instructional videos for wedding photography
Answer: We’re working on new videos, but have no plans to do one on Wedding Photography

Name: Darshan
Question: Which is the best way to calibrate monitor...? is it the same procedure for desktop or laptop.... they both r LCD anyways...
Answer: I use a Spyder 2 Express on all my PC’s it works really well and I’d recommend one to anyone (and no, I’m not being paid to say that)


Well that’s a selection of the questions, if you have one of your own, then hop over to the Gavtrain Home Page and send it over to me. The next Quick Shot video is out on Friday and will appear right here on the blog.

This is a set of three pinhole images of the lunar eclipse in February, 2008. It captures the moon’s path from the moonrise to the moonset. Pigment ink on canvas mounted on and permanently framed with wood, 19×37 inches, $300.00.

Today we’re giving away 6 great little kits to help you create some stunning Bokeh effects from Bokeh Masters Kit. Thanks to Udi Tirosh (follow him on Twitter here) for this offer. Here he is to introduce the concept behind the kits and to introduce the competition.

The Challenge

A while back DPS had an article about creating and using shaped bokeh as a creative drive. Taking that concept forward I built a product called the Bokeh Masters Kit which enables creating “bokeh images” in an easy and convenient way.

When I launched the Bokeh Masters Kit I needed to create a strong image which will clearly show how distant blurred dots become shaped bokeh objects.

Process and Setup

To make the bokeh effect work you need to have some highlights that you can take out of focus. Each such out-of-focus dot takes the shape of the hole on the bokeh adapter. A common way to create those highlights is to use LEDs. This is a great option as LEDs are small, cheap and can be bought in a “string form” for holiday’s home decoration. Indeed I started with LEDs. My first images were of my little daughter using a Christmas LED string as backdrop.

I loved the effect, but wanted something more. I wanted hundreds of little distant blurred dots to become hundreds of little shapes.

While working on another project I noticed that wrinkled tinfoil reflects many, many spots of light. This is just what I needed. It took little time to create a screen made from foam board and tinfoil.

I used a very simple 2 strobe setup to take the image: one flash with a CPU cooler gridspot was placed above R2D2 to light it from above. Another gridded strobe was set on the floor for fill and spilling some light on the background.

This worked out pretty nice and I got literally hundreds of little envelopes.

I did a second image with the same concept only using hundreds of tiny streetlight people.

The Giveaway!!!!

To kick things off, DPS will be giving away six Masters Edition kits.

To enter all you need to do is leave a comment on this post. Make sure that in the email field of your comment you leave a valid email address so we can contact you. One entry per person only please!

We’ll randomly select 6 winners from the comments 2 weeks from today and notify winners via email. If you can’t hold your breath that long, just order the kit here.

Lastly – here’s a quick picture of how the kid attaches to your lens.

Check out more of the type of images that you can achieve with this little bokeh kit here.

Post from: Digital Photography School - Photography Tips.

Win a Bokeh Kit: Competition

In this post, Steve Berardi from PhotoNaturalist discusses eight tips for photographing wildflowers.

With spring on the horizon in some parts of the world, you may be thinking about photographing some beautiful wildflowers soon. So, here are 8 tips to get you started:

1. Use a tripod

Using a tripod will help you get sharper photos by ensuring your camera doesn’t move. But, the tripod helps in another way too: it forces you to be more careful about your composition.

When you handhold your camera, there’s a tendency to just snap away, but when you add the tripod, you’ll spend more time thinking about your composition and ensuring your camera is in a very precise position.

2. Wait for an overcast or cloudy day

Direct sunlight will cast harsh shadows and create bright highlights on wildflowers, causing a disaster for exposure.

So, the best time to photograph wildflowers is on an overcast day, because the clouds act as the perfect light diffuser: creating the most perfectly balanced light you can get.

If you can’t wait for an overcast day, cloudy days are good too: just wait for a cloud to cover the sun before taking your shot.

3. Position your camera’s sensor so it’s parallel to the most important plane of the flower

With every photo, you only get one geometrical plane of complete sharpness. So, to maximize sharpness in your wildflower photos, make sure your sensor is parallel to the flower’s most important plane, and carefully focus your lens on this plane.

4. Use a shutter speed of 1/200 or faster

The most annoying problem you’ll face when photographing wildflowers is battling the wind. So, to help freeze the action of wildflowers (which never seem to sit completely still!), use a fast shutter of at least 1/200 sec. You may need to increase your ISO to 200 or 400 to get this fast of a shutter.

5. Find a flower with a good background

When photographing wildflowers, it’s easy to focus all your attention on the beautiful flowers and forget about the background. But, a good background will help your image by drawing more attention to your subject. So, take the time to find a flower with a good background: one that’s far away (to help get it out of focus), contrasts well with the flower, and has no distracting elements.

6. Find a flower that’s in good shape

Closely inspect each flower before photographing it, to ensure it’s not missing petals or has poor color. Some individual flowers of the same species will be more saturated in color than other individuals, so take some time to find that “perfect flower.”

7. Use a telephoto lens with a short minimum focus distance

A long lens will help you isolate a sharp flower against an out-of-focus background. But, make sure you use one with a short minimum focus distance (5 ft or less), to ensure you can fill the frame with the flower. You can use an extension tube to make your lens focus even closer for the smaller flowers.

8 – Use the RGB histogram to check exposure, NOT the LCD preview

When you’re outside, images on your camera’s LCD will appear much brighter than they actually are. So, to ensure you have a good exposure, rely on the RGB histogram. The histogram is a whole other topic by itself, but the basic idea is to use the histogram to ensure you’re not overexposing any of the color channels in your photo.

Remember to leave no trace…

When photographing wildflowers (or anything in nature), it’s also important to leave no trace. That means, be careful not to step on the flowers, or disturb the ground around them (many flowers depend on the soil structure around them). And, it may be tempting to attach some kind of clip to flowers to keep from swaying in the wind, but please avoid this because it could potentially kill the flower.

So, enjoy the wildflowers, take lots of photos, but leave them just as you found them, so they can be enjoyed by the next person (or butterfly, heh) too :)

About the Author: Steve Berardi is a naturalist, photographer, and computer scientist. You can usually find him hiking in the beautiful mountains and deserts of Southern California. Read more of his articles on nature photography at the PhotoNaturalist and check out his new eBook, Digital Wildflower Photography.

Post from: Digital Photography School - Photography Tips.

8 Tips for Photographing Wildflowers

I don't know how to sum up last night's presentation. It was a complete mix of emotion for me, but one thing I do know is that I'm BLOWN AWAY by this industry's support and love. The energy in the room was palpable and I was incredibly honored to stand in front of such an amazing group. Thank you, thank you, thank you!!

My apologies to those who were turned away at the door....the good news is that WPPI asked me to give the presentation again today at 11am. I know it's totally last minute, but if you'd like to join, I'll be in room 319-320. For those of you who can't make it, I'd love to share the intro video my good friend Anton Lorimer made to debut at WPPI...

(embeded object)

Due to the unexpected added presentation, my schedule for speaking at the tradeshow may be slightly askew, so please forgive me in advance. I will definitely still be at the Leather Craftsmen Booth at 1:15pm and the Kubota Booth at 2:40pm. Please stop by and say hi! :)



© Jasmine Star. This post cannot be republished without permission. Stealing makes me sad.

Depth of field (DOF) refers to the amount of a scene in the “sharp” range. Shallow DOF is typically characterized by heavily blurred backgrounds that you might see in outdoor portraits. Deep focus (opposite of shallow DOF) is typically characterized by tack sharp landscapes with no visible blur.

The most widely accepted method for controlling DOF is aperture, or f-number. This is certainly a feasible and convenient way to control DOF, but there are other factors at play. Just like exposure is controlled by three factors (ISO, shutter speed, and aperture), DOF is controlled by three main factors. Let’s take a look at these three factors and how you can use them to your advantage.

The examples shown below were taken on a 1.5x crop factor dSLR and the stated focal lengths are actual focal lengths of the lens rather than a full-frame equivalent.

F-NUMBER

The f-number is probably the most widely known and used method of controlling DOF. Most intermediate/advanced cameras have “aperture priority” which allows you you set the f-number. If you’ve toyed with this mode on your camera, you probably found that lower numbers result in a narrow depth of field (blurry background), while higher numbers result in a wide depth of field (everything in focus).

F-NUMBER ⇓ == DOF ⇓

F-NUMBER ⇑ == DOF ⇑

cropped version:

TRY THIS: With a “normal lens” (40-80mm range), find a subject about 5-10 feet away from you and make sure there’s some background object(s) in view behind it. Use your aperture priority and set the lowest f-number you can, and take a shot focused on the main subject. Now stay in the same spot and use the same focal length, but set the highest f-number you can (without bringing your shutter speed too low), and take another shot focused on the main subject. When you compare the two, the main subject should be in focus for both, but you’ll see a difference in the background blur or the amount of focus on objects in the near distance.

SUBJECT DISTANCE

Another way to control depth of field is to change your distance from the subject in focus. If you’ve ever shot macro, you know that the DOF is extremely narrow for 1:1 magnification. This is because you’re so close the subject. On the other hand, if you’ve shot landscapes you’ll know that it doesn’t take much stopping down of the aperture to get everything in the distance nice and sharp. This is because you’re so far from the subject.

DISTANCE ⇓ == DOF ⇓

DISTANCE ⇑ == DOF ⇑

cropped version:

TRY THIS: With a “normal lens” (40-80mm range), set your aperture to a value around f/4 or f/8. Again, find a subject that has some background element in view. Now get as close as your autofocus will allow you and take a shot. Keep the same focal length and the same f-number, but back up about 5-10 feet. Focus on the subject again and take a second shot. When you compare the two, you should see a difference in the depth of field by the amount of background blur.

FOCAL LENGTH

The last factor in your control for DOF is the focal length of the lens you decide to use. Telephoto lenses have a shallow depth of field as compared to their wide angle counterparts. Anybody out there have a sub-20mm lens? It’s pretty hard to get background blur, right? Any super-telephoto shooters out there? Just the opposite.

FOCAL LENGTH ⇓ == DOF ⇑

FOCAL LENGTH ⇑ == DOF ⇓

cropped version:

TRY THIS: Use a zoom lens that reaches from wide angle to telephoto (something like an 18-200, 28-135, etc.) or use two lenses (wide angle and telephoto). Again, find a subject that has some background element in view. Position yourself approximately 5-10 feet from the subject and set your aperture in the low-mid range (f/4-8, but make sure to find something that can be used for both lenses). Take the first shot with the wide angle lens or at the shorter focal length of the zoom lens. Now, hold your position and your f-number, and switch to the telephoto or use the longer focal length of the zoom lens and take the same shot with focus on the same subject. You should see a wider depth of field with the shorter focal length.

PUTTING IT INTO PERSPECTIVE

All this technical stuff is fine and dandy, but how does it translate to real world photography? The answer depends on what you’re shooting with and what you’re shooting at.

If you have a compact camera with no manual controls and you want a shallow DOF (say, for portraits)… zoom in all the way, get as close to your subject as possible (still preserving a decent composition), and take the shot. Also, less light will force the camera to use a smaller f-number and decrease the DOF. If you want a wide DOF (say, for landscapes)… zoom out all the way, get far away from your subject, and take the shot. Also, more light will force the camera to use a higher f-number and increase the DOF.

On the other hand, if you have a dSLR with manual controls and you want a shallow DOF… use aperture priority, set your f-number low (f/2.8-), get close to your subject, and/or use longer lenses. If you want a wide DOF… set your f-number high (f/16+), step back from your subject, and/or use wide lenses.

If you want to do some theoretical calculations on this topic, check out this handy Depth of Field Calculator. You just choose your camera, focal length, f-number, and subject distance. The calculator outputs your DOF, hyperfocal distance, and circle of confusion.

Links from around the web:

Back to Basics – Depth Of Field
Aperture: How It Affects Your Photography & Why You Should Care
Photography 101.5 – Aperture
HowTo: Use The Depth-Of-Field Preview On Your Camera

ANY OTHER TIPS?

How do you prefer to control your DOF? Any SLR shooters out there have a set of numbers that work well for narrow and wide DOF? How about some good examples of DOF in either extreme? We’d love to see ‘em!

Also — any questions on this stuff? I might be jumping over a few concepts, so let me know if anything doesn’t make sense.

In the coastal desert of southern Peru, sprawling figures etched on the land—a spider, a monkey, a strange flying animal, and more—have inspired wonder in air travelers since first spotted in the 1920s. Now scientists believe they know why ancient people created the designs, beginning more than 2,000 years ago.

sevenman posted a photo:

The high today in Toronto was 14C. People took full advantage of the gorgeous weather and wore all sorts of unseasonable clothing.

A sorta Rant and sorta Rave:

Knowing your instrument in music means knowing it so well that you can pick it up and play whatever note you want to play. There isn’t a hesitation at all in the choice of keys, or fingering, or hand position. With a piece of music in front of the musician, he/she can play it perfectly the first time they see it.

In Jazz, we have improvisation… the making of music without any written notes. The musician listens to the chords or harmony and creates their own melodies or lines over them. That takes incredible mastery of the instrument, and a total inner awareness of the music as a whole. Something nearly autonomous takes over. The music flows from the jazz soloist through the instrument and into the ears of the audience.

There is no time to think about the ‘notes], or where the fingers go. None.

The same with photography. The instrument is different, but it does require an intimate knowledge of the workings of the camera, as well as what the relationship is between the operation and the making of images. The images should flow through the camera as music flows through the musicians instrument.

Basic tools and knowledge lead to basic imagery. Some photographers could put their camera on “P” and end up with well exposed, nicely focused, sharp photographs. The modern cameras are nearly flawless in presenting an image that is ‘acceptable’ on the basic criteria of the amateur photographer. Like beginning band; they can play “Twinkle Twinkle Little Star” pretty well after practicing it for a couple of months… but that doesn’t make them musicians with a capitol M. Not yet.

But there is a time when the musician gets more and more familiar with the instrument they are playing, and starts to understand the chord structures, rhythm, and scales that are part of the genre of jazz. They start to improvise… a little tentatively at first, but eventually there becomes… Bird, Miles, Monk, ‘Trane, Ornette, Elvin, Tony and so many more.

They know their instruments so well that it becomes an extension of what they feel instead of what they think. They hear the music and it plays through their instrument.

Photographers have cameras. All kinds of cameras. Some cameras do things other cameras wont. Or they do the same things differently. My small cameras are Nikon and Canon. Canon is the digital, Nikon is the analog. They focus manually in different directions. They load film differently, change ISO differently, mount lenses differently.

But they both take photographs the same way. I look through the viewfinder, make a billion instant decisions and trip the shutter. That is the art of photography… making those billion instant decisions and getting the synapses to recognize what the hell is going on and transfer some energy to my right index finger. Really fast.

The camera is my conduit for getting what I see onto a capture or piece of film. It is a tool that should be as well known to me as Bird’s alto, or Tony’s Gretch’s were to them. The tool needs to be an extension of me and my vision, and is simply what I use to capture what I see.

That means knowledge of what it does in relationship to what I want to do… and I think there are too many photographers who take that for granted. They don’t know their camera well enough to not have to think about it when they are working. It can be an impediment instead of a conduit.

When I go to make an image, I am seeing that image completed in my head already… sometimes I see the finished image before I even get the camera up to my eye. I start to ‘feel’ the image – or hear it… yeah, images make music to me. I hear different pieces when I am shooting… a rhythm from here a melody from there… it all plays into the image taking process for me.

I rarely have to think about my camera and the settings or the dials/switches and such to make it work. I learn that stuff through taking the time to familiarize myself with the camera so well, I can do many things without looking at it. I don’t want to play with my camera gear, I want to make photographs.

I see so many photographers struggling with their cameras while the moments of amazing images tick by them. Looking for this or that, trying to find the menu that does whatever they need – sometimes without knowing what it is they need to begin with. A devastating unfamiliarity that puts the camera at odds with the photographer instead of being an extension of their vision.

And yeah, sure the camera manufacturers sometimes make changes to the newer models so where something was is now moved to somewhere else. Arghh.. yeah. So what? Learn the new tool and work it into your system so that it isn’t ‘new’ any more. It isn’t a ‘new camera’ after it becomes ‘your camera’.

Can you imagine working a wedding and not knowing your camera intimately? The action moves real fast, and there are no do-overs. Or a photojournalist who misses a once in a lifetime shot because he forgot which setting his camera was on? Or a fashion photographer who forgot that you had to advance the film back by hand on an RB67 because it isn’t automatically advanced like the RZ67 that you had been shooting for a couple of months so you shoot about 20 shots on one frame and missed a couple of good shots that I… err… well, you get the point.

Every item on a camera deals with the reality of making images. Aperture and shutter speed and ISO combine for exposure. All three are integral in knowing what you want and how to get it. You can change the focus areas on the screen, and from center-weighted exposure to spot. Do you know which is which? Choosing an aperture controls the DOF that you will get with the image… and that is based on the distance of the focus. How do all the tools of the camera work toward making the image you see in your head? They work in tandem with the knowledge of photographic principles that have been ingrained into your psyche.

They have been ingrained… right?

We discuss the concepts of photography on this site a lot, but for now let’s discuss your ‘axe’, that camera that is hanging around your neck all day. That tool that you use to instantly make the images you see in your head is your extension of creativity.

Here is the challenge: And of course, there is no way we can no if you cheat. But, except for that moron from Redmond, most of you will not cheat.

Here is a list of 10 things I want you to do or answer instantly. No thinking… if it takes you more than a half second, mark it down. And then you know what to work on.

Set your camera at f-8, ISO 200, and 1/250 shutter speed, and manual.
Without Looking at your camera:

1. Identify where the ISO menu is. Bring it up and change it to ISO 100.
2. Change the current shutter speed to 1/2000.
3. Take the lens off and change it out without looking at the camera.
4. Identify where the focus spots control is.
5. Change the aperture to f-22.
6. Identify where the Card Format control is, and bring it up.
7. Change the lens from auto-exposure to manual exposure.
8. Identify the custom white balance tools/method.
9. Change the camera from Manual to Aperture Priority.
10. Change it back to the original settings above.

Here are a few more things that will help you to become intimate with the tools and craft of photography.

11. Can you recite the apertures of your lenses in whole stops? Can you do it in 1/3 stops?
12. Where are your cards kept in your bag? No searching…
13. If your flash is on 1/16 power and you want it to be two stops brighter, what would you change the power to?
14. What is the highest shutter speed your flash can sync with?
15. How would you guesstimate the aperture/speed setting for a person being side-lit by the sun with ISO 400?
16. Which would give you deeper DOF… f6.3 on a 24MM lens or f8 on a 200MM lens from the same spot?
17. If you wanted to increase the perceived area around a subject would you move back with a telephoto or move close with a wide angle?
18. If you were shooting a sunset portrait on a beach and wanted your flash to be more ‘warm’ without changing the color of the sky would you gel the camera or the flash? With what?
19. If the flash is set to f-8 on the subject, and the ambient reading is f5.6 @ 1/125, will the subject match, be lighter than or darker than the ambient at an exposure of f-8?
20. In the above example, what happens to the subject exposure (f-8) when I change the shutter speed to 1/160?

The answers for the second set of questions are after the jump.

There are few ways to increase your photographic ability more than shooting a lot of pictures… all the dang time. Of course there are more ways to get your tools to be an extension of your vision, rather than getting in its way, but this should start you thinking about automating it… in your mind.

Being able to shoot without thinking about the tools is like being a jazz player taking a solo on “Green Dolphin Street” – and bringing the house down.

Thanks for dropping by. You can follow my every move on Twitter, and please leave comments if you agree, disagree or simply have a question.

Answers:

11. Can you recite the apertures of your lenses in whole stops? Can you do it in 1/3 stops?

1, 1.4, 2, 2.8. 4. 5.6, 8, 11, 16, 22

1, 1.4, 1.6, 2, 2.2, 2.5, 2.8, 3.2, 3.5, 4. 4.5, 5, 5.6, 6.3, 7.1, 8, 9, 10, 11, 13, 14, 16, 18, 20, 22

12. Where are your cards kept in your bag? No searching…

Mine are in the top flap in a card holder on the right side of the bag. Yours?

13. If your flash is on 1/16 power and you want it to be two stops brighter, what would you change the power to?

1/4

14. What is the highest shutter speed your flash can sync with?

1/250 on my Canon, 1/125 on my Nikon, 1/500 on the Hasselblad, RB’s and Bronicas. Yours?

15. How would you guesstimate the aperture/speed setting for a person being side-lit by the sun with ISO 400?

Sunny 16 rule: Open up one stop for side lighting.
F-11 @ 1/400

16. Which would give you deeper DOF… f6.3 on a 24MM lens or f8 on a 200MM lens from the same spot?

6.3 on the 24MM.

17. If you wanted to increase the perceived area around a subject would you move back with a telephoto or move close with a wide angle?

Moving closer with the wide angle will exaggerate the distance around the subject

18. If you were shooting a sunset portrait on a beach and wanted your flash to be more ‘warm’ without changing the color of the sky would you gel the camera or the flash? With what?

You would gel the flash. Gelling the camera would also alter the sunset colors as all would pass through the gel. Gel the Flash with 1/4 CTO or 1/2 CTO to bring the cold flash color up to the warm ambient.

19. If the flash is set to f-8 on the subject, and the ambient reading is f5.6 @ 1/125, will the subject match, be lighter than or darker than the ambient at an exposure of f-8?

Brighter. The background needed more light to get correct exposure so it is underexposed at f-8.

20. In the above example, what happens to the subject’s exposure (f-8) when I change the shutter speed to 1/160?

Nothing.

Thanks for visiting Lighting Essentials. We do workshops, and could be coming to a town near you soon.

kf4lnq posted a photo:

This snack brought to you by Harley Davidson and the letter O.

I am very happy to announce the new look of DIYP. If you are reading this via RSS, you may want to click though and see the new design.

Over the last few weeks I have been working with the great team at cre8d design to give DIYP a new look.

The fact of the matter is that since I originally installed Drupal on the site, I ever changed the default theme. It is a great theme, however it did not allow for some of the features I wanted for DIYP.

The team at cre8d did a very nice job of creating a new theme that makes better use of the space the page has to offer, as well as allow for some community features.

read more

A Guest Post by Chris Folsom.

Recent talks with a local shop have prompted one of my least favorite tasks… writing an artist’s statement. It is an incredibly difficult task to describe your own work without sounding arrogant or self-absorbed. Worse yet, if your images span a variety of subjects and styles (as mine often to), trying to sum up the collection in a paragraph or two may seem impossible.

Here are some tips I go by when writing an artist statement for a shop or gallery that will be displaying my work:

1. Start with the basics

Jot down some basic information about the photos included in this collection. Are they color? Do they have a common theme? Were they all taken in a similar location? Having a short list of details will help later when you are trying to tie everything together.

2. Try not to get too technical

Nobody reading the statement will care if you shot with a Canon 5D or if Photoshop is your post-processing software of choice. If there are some truly unique elements involved in the work (printed on a special material or you shot through a hand-crafted lens, for example), feel free to include that information. Otherwise, leave out the details about your gear.

3. What would you like someone else to say of this work?

This is possibly the best way to get to the heart of why you took these photos. If you would love for someone to say “these photos bring sunshine to my home”, then you already have a pretty good starting point for your statement. Lead off with something like “I have done my job as an artist if these photos bring happiness and warmth to your home”.

4. Share your background and history

All too often, artist’s statements are all about the art and don’t go into any detail about the artist. How long have you been doing this kind of art? Why did you start? Why do you enjoy it?

5. Try not to pat yourself on the back too much

It is fine to say you are proud of this body of work, but try not to go overboard with the self praise. I have seen statements that say things like “an expert of her craft, this photographer captures beauty in a way that nobody else has”. I understand the value of confidence and selling yourself, but these kinds of descriptions will be a turnoff to a lot of people.

6. Does it have to be a traditional artist’s statement?

A friend once suggested that I do a haiku for my statement, which I thought was a genius idea. Different venues will have their own requirements, but take the opportunity to do something out of the norm if you can.

And if you would like an example of an Artist’s Statement, this is the one I went with for that local shop:

If these photos have a mission, it is this: capture rarely viewed scenes and environments and present them in an interesting way.

It may be a lonesome tree on an isolated hill or the dark interior of an abandoned building. Whatever the locale, on the best of days these images will stir up unexpected feelings and thoughts in the viewer.

Studio Tempura is based out of Baltimore, MD and has been creating photographs for over a decade.

Chris Folsom is a photographer based in Baltimore, MD. You can view more of his photos at Flickr or follow his photographic endeavors on Twitter.

Post from: Digital Photography School - Photography Tips.

6 Tips for Writing an Artist’s Statement

“Everyone loves someone who’s pregnant” -Knocked Up

When you do maternity sessions, are you more likely to do them in a controlled atmosphere or do you take your momma on-location?

Any type of photography presents it’s own challenges, pros and cons. Maternity photography has it’s own set of challenges and knowing these ahead of time can help you prepare for your session.

{Studio}

Pros

• Controlled environment. No sun to fight with.
• More private – especially important for a mom who feels uncomfortable ‘gettin’ it out’ in public
• Once you get things set up properly, you can focus purely on the mum-n-bump and not worry about location challenges

Cons

• Studio shots can be samey if you don’t have some pretty brilliant ideas to shake things up. Yes, every bump is the most special one in the world, and all parents should get the typical hands-on-bump shot, but for your own sake, studio photos can all start looking identical the more you do.
• Studio shots are great when it’s just the bump, but when you’re trying to catch emotion (or even just relaxed facial expressions), studio can be really difficult. Unless they’re used to being photographed and are comfortable in front of the camera, the parents don’t generally know how to ‘just act natural’.

The short of it

• In my opinion, studio is best for the isolated bump shots. Towards the end of the session, when they’re comfortable (or they think you’re only photographing the bump) you might catch some raw emotion or tenderness, but I usually use these sessions purely for the beautifully lit shots of the belly.

{Location}

Pros

• Location shoots offer a more bespoke service which can incorporate their individual style. Locations can be urban or country, formal or casual.
• For couples who just can’t relax in front of the camera, location photography can help them just pretend you’re not even there and this also lends itself to more romantic, emotional events.
• You don’t have to have many ideas for location photography. In the studio, all eyes are on you to come up with the next pose or concept but on-location, you can just capture the precious moments as they unfold.
• Pregnancy is an organic, natural event. Sometimes photographing this in the studio feels…well…just uncomfortable. Even when just viewing maternity photos, I feel more at ease looking at the natural location photos because it just seems to fit the occasion better.

Cons

• You attention is divided. You can’t focus just on your mom, but have to keep considering your camera settings, positioning of the sun, weather, etc., etc.
• “Everyone loves someone who’s pregnant”. And that means that most people don’t think it’s inappropriate to just stand there and watch your session. This can be really uncomfortable for your mom and dad and unless you have a strong enough personality and a few ready-made lines (exe: “Do you have tickets to this show?”) you’ll have to pick a really obviously private location. Note: I think I need some better ‘move on’ lines. Any suggestions are appreciated! :)

The bottom line

• The bottom line on location maternity shoots? I focus most of my attention on these types of sessions. They’re harder work and they greatly test your ability to be creative and adaptable but when they work, they are so very rewarding.

Personally, I give my couples both sessions. I go to their house with a couple lights, do their studio shots and then take them out on location. They have more to choose from and that makes them happy!

Post from: Digital Photography School - Photography Tips.

Maternity Photography – Studio or Location?

Okay, so I was going to blog something else today. But I decided against it because I just wanted to get this off my chest. I'm so nervous at this very moment. So nervous I could throw up at any second. I woke up multiple times last with shocks of adrenaline. You'd think I was competing for the Olympics or something. Give me a break!

It's Monday morning and I'm sitting in my hotel room in Las Vegas. I'm speaking tonight at WPPI to about 1,000 people (that is, of course, if people even come), and while I'm trying to shake these nerves, I'm hunkered down reviewing for tonight.

Basically this post is just for me. For me to document how I feel at this moment and not to be overcome with fear. Because, really, all I want to do is crawl under the covers and wait for Tuesday morning to appear.

Dear Jasmine of Tuesday Morning...
You might have failed last night. You might have bombed. Badly. You might have said something you regretted (okay, let's be real, with your mouth, this will definitely happen), but keep in mind you gave it your best shot. You practiced and put together something that will hopefully help a few people. And if it doesn't...well...if it doesn't, you gave it a good shot. Failure isn't new in your life, and it takes a lot of failures to get to success, so learn and let it go.
Besides, you can always wallow in self-loathing surrounding by pints of Ben&Jerry's...and convince JD to buy you that Canon 35mm, 1.4 you want from the tradeshow floor out of sheer pity.
Love,
Jasmine of Monday Morning


And here's a sneak peek of yesterday's engagement session in Las Vegas' Red Rocks...it was an adventure, but more on that next week! :)


© Jasmine Star. This post cannot be republished without permission. Stealing makes me sad.

More great stuff from the Epic Edits Flickr Pool! This selection of photos is from those entered in the pool between 02/23/2010 and 03/08/2010.

• 1,582 Members (6 New)
• 29,333 Photos (474 New) [Slideshow]
• 52 Discussions (1 New)
• 21 Selections

A male tomato clownfish (Amphiprion frenatus) tends his field of developing eggs like a gardener, scooping away ones with dead embryos. He oxygenates the eggs by fanning them with his pectoral fins.

sevenman posted a photo:

These are a couple of pictures I took quite a while back. There hasn't been anything much to do recently. The weather has been plain horrible.

kf4lnq posted a photo:

I have some great news to share tomorrow. till then I will be going over lots of posts and making adjustments. My apologies if you get some items resent via the feedburner mail or if items re-appear in your RSS feed.

Greatness ahead tomorrow.

read more

I've had it happen when I heard a veteran photog telling another, "This one? You cannot do this one, you don't have the gear".

Now, as the name of the site suggests, this is not what I consider a good answer. A better answer would be a breakdown of the shoot, trying to get some understanding of what is a must for it, what gear is needed and how can we make up for the gear we don't have. Maybe with another piece of gear; maybe in post; and maybe by changing one of the underlying assumptions that we initially had when thinking about the shoot.

Photographer Scott Bourke (flickr) shows this exact king of thinking in his Sportraits session. There is a nice how to video and then some thoughts. I'd love to hear your take on dealing with gear shortage in the comments.

read more

Now, whilst I’ve not tried one of these new Giotto’s Vitruvian tripods, they certainly look quite good – what’s your opinion?

Giottos Tripods on Amazon

Giotto Vitruvian tripod – PRESS RELEASE

Inspired by Leonardo da Vinci’s Vitruvian Man, the new Giotto’s Vitruvian VGR  tripods are designed to offer photographers not only a truly lightweight and compact tripod, but a fully functioning monopod and ball head too.

The Vitruvian tripods have been designed with “reverse technology” legs so that when collapsed they fold through 180 degrees to “surround” the tripod centre column and head  – folding down into a unit that measures only 40cm long.

There are two VGR models available, both with a maximum operating height of 157cm and a weight capacity of up to 4kg. The VGR9255 is manufactured using aluminium tubing and weighs 1.5kg while the VGR 8255 uses 6 layer carbon tubing and weighs just 1.28kg.

The tripod castings are made from a forged aluminium alloy for strength and the quick action twist leg locks require only 1/8 turn to lock and unlock – making it quick and easy to set the tripod up. VGR tripods are fitted with a compact ball + socket head that offers smooth and precise movement, incorporates independent pan control and has a quick release system.

You can also unscrew the tripod leg, remove the centre column and head then join them together to produce a full size monopod with a maximum operating height of 162cm. The Vitruvian comes with its very own carry bag and has a 5 year warranty, snazzy huh!

I will try to get hold of a sample and give it a good solid going over…

Sime

Tags: Giotto's Vitruvian

Post from: Digital Photography School - Photography Tips.

Giotto’s Vitruvian tripod, true genius

This is a new work, “Tree”, pigment ink, acrylic, ‘carve & cast’ and beeswax on canvas and wood, 17×13 inches ($275.00).

This Review of the Leica S2 is a guest Post by Justin de Deney from Camera Advice.

Invitation to Leica

A Lamborghini speeds by as I cross Berkley Square, on my way to the Leica showroom in the heart of Mayfair, central London. I have received an invite to view the new Leica S2 medium format digital camera. I don’t make a habit of attending to these events, but I thought, this being Leica, and, their first medium format pro-camera with autofocus, it might be worth a squint.

Showroom

The showroom is down a small mews, and the interior is reminiscent of an exclusive jewellery store. The lighting is subdued, and glass cases display gift boxes containing brightly coloured, beautifully crafted Leica cameras and lenses. I am ushered upstairs to the studio on the first floor where I have my first glimpse of the camera.

Leica S2 Body

The body is beautifully minimal and owes more to the looks of a 35mm camera than a medium format, reminding me of my first Pentax 67. It feels solid to hold and is pleasingly devoid of endless fiddly buttons and dials. The controls are simplicity itself, thankfully, and buck the trend of most over-complex digital cameras of the moment. There is a traditional shutter dial on the top, next to an easy to read OLED. This highlights each function in a different colour. On the back is the LED screen surrounded by four long buttons similar to the original phase one backs that I often use on shoots. These control the cameras menu functions and feel logical to use. This probably has something to do with my familiarity with the Phase One system.

Shooting with the Leica S2

The camera is tethered (by a USB cable) to a computer. It has a four pin connection which seems solid and reliable, unlike the usbs of most medium format backs which always seem to work loose without a little gaffer tape. It does also have two card slots, this means you can shoot raw to one and jpgs to another. My photo model, the camera demonstrator, waits for me to take the shot. I focus, release the shutter, the file uploads, and the result appears on the 32” apple monitor.

The download time is a little slow, but then this is a medium format, in tethered shooting mode. The auto focus is as good as it gets with a medium format but is noisier than I would expect from such a quality camera. The results though are spectacular. The resolution is 37.9 megapixels and the 3:2 sensor (the same format as a 35mm) is 56% larger than any full frame 35mm camera. I didn’t have time to do any in depth analysis of any of the specifications and lenses but from what I could see this camera shoots quality. This is no doubt down the Kodak sensor and the Leica lens.

Lenses

At the moment Leica only make four lenses for the S2. These are a 35mm, 70mm, and 120mm, all 2.5 and a 180mm 3.5. They make two versions, one that works with the camera’s focal shutter and another pricier version with a leaf shutter. This is also reminiscent of the old Pentax. The leaf shutter version means you can sync with flash up to 1/500. This is something I use all the time with my photography so I’d have to stump up the extra cash! They do have plans to increase the range but when this will happen I am not sure.
The lenses as you would expect feel solid. They match the simplicity of the camera body and as a package the whole product oozes class.

Would I buy the Leica S2?

I would want to spend some time with this camera before I decided to buy it. I only took a couple of shots in the studio and haven’t yet done any extensive or detailed analysis of it. Having said that I love the styling and simplicity of this kit. I also love the fact that this is a medium format in a 35mm body. I guess the only disadvantage of this is that if you need a back up camera you need a second body and not just another back like the phase one system. Having said that it does feel solid, reliable and has great image quality.

Did I mention the price?

Oh yes! The price! The camera body will set you back over $20,000 and each lens is around $5,000. Well what did you expect? This is a Leica and it is medium format. The quality is definitely far superior to any 35mm camera but whether or not it is worth this price tag probably depends on the size of your pockets and for whom you are shooting, but having said that I could definitely see myself working with this piece of kit.

Check out more of Justin de Deney’s work at Camera Advice.

Post from: Digital Photography School - Photography Tips.

Leica S2 – First Impression Review

Redoubt of the reclusive, Simonos Petras monastery was founded in 1257 more than 800 feet above the Aegean Sea. It is one of 20 monasteries on the steep-sloped Greek peninsula of Mount Athos, a popular pilgrimage site sometimes called the Christian Tibet.

sevenman posted a photo:

Today is a good day. In fact, today is a lot better than yesterday. Oh, yeah, the day I decided to drain my battery. IN THE RAIN. I was running around trying to take care of loose ends before our big trip to Las Vegas, and I guess I did something that made the car die. Oh, like wrapping JD's present in the car so he wouldn't see me.

In some parallel universe this makes sense. Trust me.

When I walked inside the house, the first thing I said was, Okay, so promise not to get mad... For the next few minutes I tried explaining, but JD had a hard time following. You were what?! Why? Who wraps presents in the car? For an hour?! And you HAD to listen Lady Gaga?!?!

Like I said, this makes total sense. To me.

But--like always--JD brought out jumper cables and set out in the rain to fix my mistake. That's just how he rolls. I drive him absolutely, positively nuts, but I know he loves me. And I love him. And as we celebrate his birthday tonight in Las Vegas (hopefully before the madness of WPPI settles in), I'm sure I'll thank him for sharing his life with me. And for not questioning why I listen to Lady Gaga.


Happy Birthday, my love.


© Jasmine Star. This post cannot be republished without permission. Stealing makes me sad.

Dave Hill is a genius. Period. I could look at his images all day long and his behind the scenes videos are strangely addictive. Naturally, thousands want to create his hyper-real, painterly, utterly hypnotising look on their images.

The first observation one can make about his method is the painstaking attention to lighting during the shoot. In the final product, the lighting and contrast make the images what they are. This can’t be done without interesting lighting.

Of course after being engrossed in his work for far too long, I said, “I MUST know how he does that?!” I didn’t find anything from him personally, but there are plenty of photographers out there tearing the method apart and sharing their findings. The first tutorial I ran across was for PS using high pass filters. I got stuck at the end with the masking layer since I’m still only using PSE.

But have no fear PSE users! I found a really great method for creating the Dave Hill look in Lightroom from, who else, Scott Kelby. The following suggestions are his. My additions are in italics.

{SETTINGS}

• Recovery = 100
• Fill Light = 100 this doesn’t always work at 100 it depends on the image – you’ll have to experiment
• Blacks = Drag this slider to the right until photo looks balanced again, because setting the Fill Light at 100 will wash the photo out big time. In our example, I dragged it to 24. I haven’t been able to get the blacks all the way up to 24. In the example image, I went only to 17
• Contrast = 100
• Clarity = 100
• Vibrance = 100
• Saturation = -81 (basically what I do here is drag the saturation all the way to the left, to -100 (which removes all color, making it a black and white image), and then I slowly drag back to the right until some of the color starts to return to the image. In my image, I took it down to -61, leaving it a bit more colourful than suggested. I just love the red of the pushchair.

{ADJUSTMENT BRUSH}

Once you get the look the way you want it, head over to the adjustment brush. In Dave’s work, the models always have silky smooth skin, even the blokes. You can use to pre-set ’soften skin’ brush. When you’ve done the skin, click ‘new’ and do another soften skin brush. In this image, I used 5 or 6 new skin softening brushes before his skin was smooth enough. Even then, it probably could have used more:

Once it’s finished in LR, I headed into PS and did a simple duplicate layer > soft light > very low percent (around 10%) just to add to the contrast. You could even add a gaussian blur to the top layer to soften the image a tad bit more.

I don’t remember if Scott mentioned this or not, but a vignette can be excellent, especially in the case of intentional barrel distortion as in the image above.

One thing I’ve found with this method in LR is the problem of severe fringing of some of the more contrasty edges as seen here:

No matter what I do to alter the sliders, this does not go away. A biproduct of doing this method in LR, you’re better off finding ways to do it in PS if you have the resource. If not, you can just pretend it doesn’t exist like I do. I really should try harder to be a perfectionist!

Are there other photographers whose skills you totally covet and try to harness for yourself?

Post from: Digital Photography School - Photography Tips.

The Dave Hill Look in Lightroom

kf4lnq posted a photo:

The nuts continue...

Weekly Assignment

As February has come to an end, so has our series of food assignments. Our last food assignment was focused on Beverages. Whether those were drinks that warm you on a cold day, or the cool refreshing drinks of summer, we wanted to see them all. Our winner this week was GwenieThePooh’s “‘Diet’ Coke”. This was one of those shots that was clever, made us smile, and stuck in our minds during the assignment. Our first runner up was thebubblybeginner’s “Mocho Cocoa!”. The lighting on this shot was great, it was simple and very effective. You can almost feel the warmth of the cocoa and the coolness of the whipped cream on top. And last, but not least was eBomb’s “Cold Bull”. This one really has the feel of a product shot. From the crisp white ice to the bold colours of the energy drink, this shot stood out to us and made us think that it might be a good afternoon pick-me-up at the end of a long week. Well done everyone!

Our newest assignment was also posted this week, and we wanted you to go ahead and Jump!. We had this assignment last year, but it’s always a fun one. Whether it’s a jumping self portrait, an animal, or another person, we want you to make sure that their feet are off the ground! And while that might sound easy once you get the technical part of the assignment down, don’t forget to consider your composition and lighting in these shots too. As always, a quick reminder of the assignment rules. First, your photo needs to have been taken between 24 February – 10 March 2010. Your post must include the words “Assignment: Jump!” and the date that the photo was taken. And last, but not least, your EXIF should be intact, and it’s useful if you can include some of the main points like: camera, lens, shutter speed, aperture, ISO, white balance, etc. Next week’s assignment will be Commute and will run from 3 March – 17 March 2010. We want you to show us how you commute each day. Whether it’s by bike, by foot, by car, by train, by horse… show us how you get from point A to point B.

Hot Threads

• Simple Water Droplet Tutorial: Have you ever seen those water droplet shots that look like colourful glass or almost living creatures as the water splashes up? Have you seen them and thought you need all kinds of specialized gear to take these kind of shots? Powerpix put up a tutorial showing how to take these shots with an 18-55mm kit lens that many of us own. So if you’ve ever wanted to shoot water drops but weren’t quite sure how, come check out this thread.
• Digital Rangefinders: In the last few months there have been more and more digital rangefinders hitting the market. They’re smaller than DSLRs, but have the ability to change lenses and are getting good reviews. But one forum member asked about any “overlooked” gems in the digital rangefinder world. So if you’ve used one or are looking at one yourself, why not join in the discussion over in the forum.
• Why do you need a tripod for shooting macros?: If you’re shooting macros you might be wondering if you really need a tripod, especially if you have enough light. After all, you can get a faster shutter speed. If you’ve ever wondered why you might still need a tripod though, you might want to check out this thread where there’s some great information about the benefits of tripods and other gear for shooting good macros.
• Black and White Photography: Once upon a time there was nothing but black and white film. But now, you have the option to not only shoot in colour, but do all sorts of things to enhance your photos. But sometimes this can make it difficult to shoot good black and white photos because we just aren’t used to it. Not to mention it can be hard to see how a black and white photo would come out when the world around us is so colorful. Come share your tips, tricks, hints and suggestions on how to shoot good black and white photos over in the forum.
• What Would You Do: One of the fun and creative parts of our forum is the weekly post-processing game we call “What Would You Do”. You may be familiar with this game if you’ve been on the forums for a while because we’re up to number 136. But if you’re new to the forums, this is our weekly game where where you get the chance to post-process another forum member’s photo and show us what you would do with it. Often times people get some great ideas of how they could improve their shots in ways they may never have thought of otherwise.

Post from: Digital Photography School - Photography Tips.

This Week in the Digital Photography School Forums (28 Feb – 6 Mar ‘10)

The size of the grains is measured in millionths of a meter, but the romantic journeys of pollen are epic. The dozens of golden grains that have successfully reached a Geranium phaeum flower's stigma must compete to be among the few that achieve fertilization.

sevenman posted a photo:

This weekend’s photography challenge is something that we should all have at least some access to – it’s to photograph and share an image on the theme of ‘Smile’.

Feel free to take whatever approach with the theme that you like (although I’m assuming we’ll mainly get portraits on this one). Perhaps you want to take a photo of someone smiling – of something that makes you smile – or perhaps you want to get a little more abstract…. it’s up to you.

Once you’ve taken your “SMILE” image, upload it to your favourite photo sharing site and either share a link to it below or embed it in the comments using the our new tool to do so.

If you tag your photo on Flickr, Twitter or other sites with Tagging tag it as #DPSSMILE to help others find it. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

Thanks to @10timesone on Twitter who suggested this week’s challenge. To submit an idea for a theme for next week’s challenge follow us on Twitter and @reply to us with your idea.

Post from: Digital Photography School - Photography Tips.

SMILE: Weekend Photography Challenge

The Discerning Photographer posted a good article dealing with aperture from a practical standpoint. This is a subject that tends to be more technical during discussion, so it’s nice to see a different approach.

You’ll still need to have a basic grasp of f-numbers, but the article is really good about explaining the effects of changing aperture. The two main topics beyond the basics are depth of field and exposure, and the article covers these nicely.

The photographic industry is one of the most challenging, difficult, and competitive for start up businesses. The statistics prove it. Take this 3 year study discovered by Dane Sanders in his book Fast Track Photographer: In the 1st year, 60% of photographers give up their business. Of that remaining 40%, another 25% will fail within the 2nd year. The ones that make it are the remaining 15% who endure through the 3rd year.

That’s a staggering 85% turnover rate.

Obviously, something is wrong with the way most photographers enter into this business.

So, you want to enter this business? Do your research. In reality, the photographic industry is not about photography. Photography is the end product, yes, but it is only a small percentage of what the industry is about. The rest is about business; Real-to-life business application.

What is the greatest challenge to photographic business? Understanding that many standard business principles apply to this industry, but to a degree, business principles take on a customized spin to photography business.

It’s obvious that photographers need guidance and direction for the specific tasking involved with the photographic business.

The following list is a dream business essentials kit of resources to help you survive the 1st, 2nd, 3rd years and beyond. Remember, foundations are everything. You may need to enter the industry at a slower pace, but have the perspective that you are building your business to last.

Whether you are a naturally business savvy individual, or clueless about business practicalities, this list will assist you to not only survive the photographic industry, but to find the beauty of thriving.

1. Vision Mongers by David DuChemin

Everyone’s path to success is different, because everyone’s definition of success is different. In this book, DuChemin highlights the journeys of nine photographers who have passionately devoted themselves to their craft and their business. You will be challenged, inspired, and encouraged by their stories – and find out if this is an industry you really want to be a part of.

2. Business and Legal Forms for Photographers by Carolyn E Wright

Even a photography business is subject to the law – and those laws may surprise you. Written by a photographer, this book will de-mystify the area of photographic legalities, and give understandable and concise information for you to run your business.

3. The [b] School

Created by the successful “Becker”, the [b] school is a subscription only resource for professional photographers – or aspiring professionals. You must have a business name in use, a web presence, and a desire to get involved with industry leaders. Building relationships with others in the industry will be invaluable to you as you build your business – after all, no one else can help an aspiring professional photographer as well as a professional photographer.

4. Photographic Mentoring

Several professional photographers offer one-on-one mentor programs that will help you dig deep to discover the motivations and foundations for setting up your business. Sometimes you need more clarity than you can give yourself. Dane Sanders, Bride Inspired, Sarah Barlow, Sarah Petty and others will help you build slowly and surely toward your goals.

5. The Photographers Guide to Making Money: 150 Ideas for Cutting Costs and Boosting Profits by Karen Dorame

The opportunities to spend money on photography equipment, supplies, and investments are endless. Don’t spend unnecessarily. Be savvy enough to discern which products and services you should choose to maximize your profits – and which you should do without.

6. News fire / Google reader

If you become like your friends, then it may be safe to say that you will become like the photographers you follow. Take the time to follow and subscribe to photographers whose work inspires you. Study their work, their branding, their business practices; you will be able to consistently glean profitable information – without spending a cent.

7. Café Joy

Sarah’ Petty, a professional photographer for over 10 years has developed the program that she wished she had as a starting photographic professional. Offering both paid and free resources, Sarah’s passion and business sense will help guide aspiring pro photographers to legitimate business depth and practice. Moreover, she guarantees that her resources will indeed help you – or money back.

8. DPBestFlow.org

Developing workflow systems can be a great challenge to photographers because it requires fluid organization and clarity – outside the creative zone. DPBestFlow offers advice and guides on what it means to develop professional workflow to save time and money in your business.

If you slowly incorporate these resources into your research and tasking, you will be set on a more than solid track to any photographic business.

Post from: Digital Photography School - Photography Tips.

So You Want to Enter the Photography Business?

Oh, it hit me. Hard. In two days JD will be turning another year older. While this is exciting in it and of itself, it also presented a whole new set of challenges. Oh, like, BUYING HIM A GIFT. Umm, yeah, should've thought a little in advance about this, but I work well under pressure.

Of said pressure, if you saw me running around the Irvine Spectrum today with mangled hair, wearing workout pants, and huffing along, I'm sorry. I'm sure it was a sight no one should be subjected to. I saw myself in a window reflection and I apologized. To the window. When I walked into stores, sales people weren't sure if they should help me...or call for professional help. Someone call the Fashion Police...stat!

A couple weeks ago--when I wasn't running around like a deranged wife--I was interviewed for Rangefinder Radio. I enjoyed the weekly podcast with Scott Sheppard and we ended up talking about the Food Network just as much as photography...which is juuuuust fine with me. Get me talking about food, and all is right with the world. If you'd like to listen to the 02.01.10 podcast with me, feel free to CLICK HERE.

And here's a sneak peek of a shoot I'm working on for next week....


Happy Friday!


© Jasmine Star. This post cannot be republished without permission. Stealing makes me sad.

kf4lnq posted a photo:

I was lucky enough to get up extra early today to catch them in the act.

First a huge thank you to everyone who took the time and trouble to post a comment or send me an email with suggestions for the name of the new videos and your questions.

As you will see I choose the title “quick shots” from the many excellent suggestions.

This week the question is… Can I open Jpegs in Adobe Camera RAW?

Check back again next Friday for another Quick Shot question answered.

Amazing panoramic and landscape photography by Diego Ravalico, professional photographer from Italy.Photographer: Diego Ravalico

Finally after a whole week stressing about midterms and quizzes, missing out on the UPC photo shoot, I decided to go for a little photo shoot with my sister and my neighbor.

I decided to shoot against the sunlight. And no, a reflector was not needed for this. I love shooting under natural light. It was an incredible shoot, I was feeling very inspired especially since I haven't joined any for a long time.

Thanks to my sis and Bernard, you guys were amazing. :)

The last two photos are my favourite :)

All of these were shot at f/1.8 with my 50mm lens

On the holy peninsula of Mount Athos, monks chant "Christos anesti—Christ is risen" during a midnight vigil. This Easter gathering ends seven weeks of solemn fasting. Monks rise to pray during the quietest hours of the night because that is when they believe the heart is most open.

sevenman posted a photo:

One of the most popular parts of dPS is our weekly newsletter. Each Thursday/Friday (depending where in the world you are) we send it off to 276,501 subscribers (that number is going up every minute or two as new people join).

The free weekly newsletter is:

• a recap on the newest tips and tutorials from the last week on dPS
• links to our latest assignments and competitions
• suggestions on recommended resources (including the occasional discount offer)
• a summary of some of the hottest threads of conversations and most popular images from our forum

In short it is the #1 way that people stay in touch with the latest info from dPS.

We know it’s important to people because if we’re even a little late with sending this newsletter out – we get ALOT of email asking where it is! :-)

If you’re not already signed up – you can do so on our subscription page (where there are a variety of ways to connect with dPS outlined). The newsletter is free and we don’t share your details with anyone.

If you’re not sure if the newsletter is right for you – you can

see the full archive of newsletters (there are 114 of them since 2008) here or can view this last week’s newsletter here.

If you’re not already subscribed – join us today! If you know someone who should be subscribed – please this on to them too!

Post from: Digital Photography School - Photography Tips.

Join Over a Quarter of a Million Photography Enthusiasts and Improve Your Photography Today

Love them or hate them image libraries are a great way of generating an extra revenue stream, and because the websites don’t discriminate against people who aren’t classed as ‘professional photographers’, advanced enthusiasts and amateurs have just as much chance of selling as the pros. But as with all areas of photography the market is competitive and what you may want to supply could become lost in an ocean of clone like frames or may not contain enough of the correct keywords to get noticed. So here are a few ideas that may help you get started.

Start with some solid research to discover what is and isn’t popular. Log on to stock sites (for example: Crestock, Fololia, 123rf or Shutter Stock) and sort the frames using the popularity filter. This will display the most sought after images, allowing you to gauge the level of talent you are up against. Locate the genre you are particularly interested and see how images are received. If the download rate is poor or there is a vast quantity of similar frames then it is probably not worthwhile submitting large quantities to this area. Some libraries display lists of required and non required images with the submission guidelines. Categories such as landscapes, pets, flowers and sunsets are generally oversubscribed and as such only exceptional frames are accepted. Don’t be deterred though, take a creative approach to shooting these genres and you could find your images are chosen because they fill a gap in the website’s collection.

Currently undersubscribed areas include; travel photography of extreme places and nature, people in various situations and convincing lifestyle shots. Lifestyle portraits that include uniforms or props are big sellers and those featuring retro props are superb for conveying a message. For example an old fashioned telephone visually illustrates communication regardless time or place. Motion-blur and creative effect images are also in demand but be sure to always keep intention and composition priority.

There are many sites to choose from so to help narrow down the search for ones that suit you read the small print in the terms and conditions thoroughly. Make a point of establishing the answer to questions like: is it possible to contribute to other libraries? How much commission does the site take? What are the terms of cancellation? What are the minimum requirements for image size/resolution? How many uploads are allowed per week? Furthermore decide whether you want to sell your images on a royalty free basis (anyone can use the file for whatever purpose as many times as they like) or on an issue managed/exclusive license basis (sold for a specific use, time and territory). Create a database to help keep track of the images you have submitted to which sites and under what terms and conditions.

Don’t kid yourself that this is going to be a get rich quick scheme. Shooting, editing and uploading files is a time-consuming chore. Most veteran stock site suppliers say it can take up to five years to become established and earn a decent amount from the libraries. To increase your sales you should upload regularly, shoot a variety of genres and think like a customer. The design community is one of the largest demographics buying from these sites, so ask yourself what a designer would want from an image. Frames that contain isolated objects are ideal for designers as it offers flexibility in placing copy, so experiment with spacious compositions and keep the entire subject visible. Shoot against white backgrounds as this will make it easier for designers to manually remove the background. You don’t need an expensive white back drop for this, just use a simple white bed sheet, table cloth or piece of card. Where possible include clipping paths, keep edges clean and smooth, be aware of shadows caused by flash and avoid excessive feathering or jagged edges.

Images have to be executed to perfection to pass the rigorous acceptance process, so pay close attention to the histogram when capturing and view every image at 100% to spot dust marks or imperfections. Save yourself time and effort cloning during the editing phase by correcting problems during the shoot, for example sweep away flyaway hairs from the model’s face or change clothes showing unwanted logos or text. Images revealing high levels of noise or colour distortion are likely to be rejected too, so use a program like Neat Image or Noise Ninja to correct problem areas without affecting the overall quality.

Search engines obviously don’t see the picture only the keywording that goes with it, so give your photography the best chance to be seen and hopefully increase sales by attaching plenty of relevant words to describe it. Be sure not to add irrelevant words as some sites penalize photographers and some will only accept keywords matching their own vocabulary.

Further Reading on Stock Photography

• Microstock for Digital Photography Students – Make Money From Your Photography
• Microstock Update – How the Market has Changed and What That Means For Digital Photography Students

Post from: Digital Photography School - Photography Tips.

Shooting for Stock Photography Sites

kf4lnq posted a photo:

The Jelly Belly clean-up crew hard at work.

A Guest Post by Chris Folsom.

One of the great new features of Aperture 3 (get an upgrade from previous versions here) is the ability to add location data to photos and then display those photos on a map based on where they were taken. While similar features were previously available from plug-ins and add-ons, none of them handled geotagging as easily and elegantly as the native Aperture 3 Places system does now.

Getting Started

To enable the Places view in Aperture, simply click the Places button near the upper-right hand corner of the photo browser.

Doing so will display a map in the upper window where you normally view photos. The map is contextual to whatever project or album you are currently viewing. If the selected album or project doesn’t have any map data, it will default to a world map. If there is location data, a map will be displayed for those specific areas.

Adding Location information to your photos

Chances are, unless you were already using a geotagging plug-in, most of your photos won’t show up in Places. The one exception might be photos taken with a GPS equipped smartphone (such as the iPhone). The GPS data added to those photos will appear in Aperture 3 without any additional work.

But what about other non-GPS equipped cameras? Aperture 3 gives us a few options…

The first option is to open the Places view and do a search for a particular location. For this example, I’ll search for Fort Worden State Park in Washington State where I took some photographs a couple of years ago. I didn’t have a GPS device with me at the time but I would still like my photos to appear on the Places map.

?As I am typing, Aperture 3 presents me with a couple of location options and Fort Worden is on the list. Selecting it will immediately zoom the map in on that area. Now it is a simple matter of dragging the photos to the area on the map where they were taken. It isn’t quite as accurate as having true location data, but it is an easy solution for when a GPS isn’t available.

If you do have a GPS logger, Aperture will work with that too. If you aren’t familiar with GPS logging devices, they are small systems that can be clipped to a belt or camera bag and will track your location as you move around. Alternatively, if you own an iPhone you can download an app like GeoLogTag which will provide the same functionality on your phone. After the GPS logger has captured some data, it will create a text file that can be imported into Aperture 3.

The importing process is fairly easy. Highlight the project you wish to geotag and then switch to the Places view. Click the “GPS” button and then “Import GPS Track”. Find the GPS file on your computer and click “Choose Track File”.

The location data will show up as a blue line on the map. Drag one of your photos to the line and you’ll be asked if you want Aperture 3 to assign locations to the photos. Click the “Assign Locations” button and the GPS log will be matched up with photos based on their timestamps. Now the location data is imbedded in the image files themselves, even if you export them out of Aperture. This is a very handy feature for sites like Flickr that allow you to show location data on your photos.

?One other note worth mentioning… if you turn your GPS logging device on and off multiple times during one trip (to save battery life, for example), you may end up with more than one track file imbedded in a GPX file. To select these different tracks, click on the “GPS” button and then “Tracks and Waypoints”. You’ll be given a list of the track files included in the GPX file. You may have to go through multiple tracks to get all of your photos tagged.

I hope this helps you get the most out of a very cool new feature in Aperture 3. I know it is something I will be using a lot more of in the future.

Chris Folsom is a photographer based in Baltimore, MD. You can view more of his photos at Flickr or follow his photographic endeavors on Twitter.

Post from: Digital Photography School - Photography Tips.

Using Aperture 3’s Places

Here in the UK Focus on Imaging 2010 is just 3 days away. Last year 34254 photographers made the trip to the N.E.C. in Birmingham during the four day event. That’s a lot of photographers, but then there is a lot to see and do.

I’ve visited the event several times and from experience I know how overwhelming a day at Focus can be. It’s all too easy to get swallowed up in the crowds of people and the hundreds of exhibitors. In fact in the past I’ve come away wondering why I made the trip in the first place.

So if your planning to make a visit to Focus (or any trade show around the world) here’s my top 7 tips.

1) Plan of action
There is so much to see and so many people to talk to it’s all too easy to miss something important. Focus 2010 has a useful online floor plan which list of all the exhibitors. You can download it from here. Decide which vendors you want to visit and make a note of where they are.

2) Camera or no camera?
Although it’s a camera show there’s really nothing to photograph. Yes some of the stands will have mini studio shoots and models, but you’re unlikely to get anything more then a grab shot. Unless you need to bring your DSLR for a specific reason do yourself a favour and leave it at home.

3) What to wear.
It’s a long day and you’ll be on your feet a lot, so comfortable shoes and clothes are the order of the day. Don’t weigh yourself down with heavy bags either.

4) Eat & Drink
Food and drink at any trade show or conference is always going to be pricey and the NEC is no exception. Bring a packed lunch and a drink and spend the money you save on photo goodies. Just remember the car park is huge, so if you leave your lunch in the car you’re in for a long walk.

5) Arrive early
The earlier you get there the more you’ll get to see and do. In fact I often find I can get to talk to three or four key suppliers in the first hour of the show before the really big crowds arrive.

6) Research and budget
There really are some bargains to be had at the show. Discounts, offers and free extras are very common, but it makes sense to do your research before you go. If you’re looking for new kit, narrow the choice down by checking internet reviews. Have an idea of the best internet price before going to the show. Once at the show you’ll be able to get hands on the real thing and make an informed decision.

7) Listen to the talks
For me the very best part of any trade show is the free talks that many exhibitors lay on. Famous and talented photographers are on hand to pass on their knowledge and techniques throughout the day. It’s a great way to pick up new skills and see different styles of photography.

When I first heard his name I was kinda jealous. Like, really, who's THAT cool to have "Crash" be your name? Uh-uh, no way. Better yet, after hearing of all the ways he was helping photographers, I was totally blown away. I checked out his websites and I realized he was the real deal. Crash Taylor is a photographer who loves helping, sharing, and connecting and he's doing it in such a straight-forward way.

I few months ago, I was interviewed by Crash and I got to know him personally. Since then he's done even greater things to help others. He recently started another site to help photographers and then I had enough. That's it! I wanted to turn the table and interview him for my Stargazing series.

I hope you find Crash as helpful and inspiring as I do....



*When and how did the Interviews with Crash Taylor Blog begin?
I started the interviews in September 08. I was lying in bed one night when I thought how cool it would be to interview the finest photographers in the business and explore their viewpoints, techniques and talents, as well as explore the amazing imagery they were creating.

*What's been the highlight of orchestrating the interviews with photographers?
The highlight of orchestrating the interviews has been the overwhelming response from viewers, who have responded enthusiastically to the unique, candid, interesting and informative responses from those being interviewed. I'm constantly getting emails from folks about how much they've learnt and been inspired by the interviews. That definitely makes me smile.

*What's your goal?
My goal quite simply was to promote the talents and wisdom of the world's finest photographers and share this with the global public.

*What do you think is the best way for people to help each other?
Without question, the best way people can help each other is to share their insights, ideas, and skills with others who share a passion for photography.

*Why are you so passionate about helping others?
There is a biblical phrase, which truly answers the question. To paraphrase "That which ye sow, so shall ye reap". In other words the more you give others; the more will be given to you.

*What the best piece of advice you've ever received?
Follow your dreams and remember great talent is 99 percent perspiration and 1 percent inspiration...

Take care, keep shootin' and lovin' life.
Crash Taylor

For more information on Crash's photography websites, check out...
Interviews by Crash Taylor
The Still Image
CrashTaylor.com


© Jasmine Star. This post cannot be republished without permission. Stealing makes me sad.

This week’s Assignment theme is JUMP. It reminded me of this image that always made me chuckle. While perhaps not technically perfect it sure captured a moment (and that’s a big part of what photography is all about):

Check out the Jump images others are submitting and submit your own here.

Post from: Digital Photography School - Photography Tips.

JUMP: New Forum Assignment

Photo: Sooty albatross A light-mantled sooty albatross looks down on Gold Harbour in South Georgia, a remote British outpost in the far South Atlantic. Individuals of the species can live past 40, so this nesting bird may have witnessed a change in view. In 1985 a glacier buried this shore; since then the ice has retreated a half mile inland.

Light Stalking has an interesting twist for offering advice to photographers — things you shouldn’t do rather than things you should do. Three of my favorites are “Don’t be afraid to ask for help”, “Don’t assume your way is the best way”, and “Don’t ever stop learning”.

I guess if I could add one point to the list, I would say “Don’t be so serious”. Photography is fun, interesting, and exciting. Most of us got into it because of one or more of those reasons. If you’ve turned into the cynical job-hating photographer always wearing your grumpy face, why are you still shooting?

Any other tips for things that photographers shouldn’t do?

sevenman posted a photo: