Photo Cascadia Blog
February 22nd, 2015
This week on the blog I am sharing a complete chapter from the new edition of my Developing for Extended Dynamic Range tutorial series. In this chapter I demonstrate how luminosity masks and a technique called masking-the-mask are useful in creating better tonal balance in high dynamic range exposures. Dynamic range is one of the many challenges we face as outdoor, natural light photographers. Dynamic range is the visual contrast (difference between the darkest and lightest values) in a scene or an image. A common way to handle extreme dynamic range light, in the 12 to 25 stop range, is by bracketing exposure values and blending the exposures in Photoshop to create a properly exposed final image. While I find multiple exposure blending to be an essential technique, with advancing camera technology it isn’t needed as often as it once was. Some current digital cameras have the ability to record a dynamic range of 11 to 14 stops, unimaginable just a few years ago. A dynamic range of 13 stops equates to a contrast ratio of over 8,000:1 and 14 stops, a contrast ratio of over 16,000:1. Such contrast range means it is possible to capture many high dynamic range scenes, which were previously out of reach, in a single exposure. Unfortunately, the dynamic range of the best monitors is only in the 1000:1 range. Prints can only achieve a dynamic range between about 50:1 up to perhaps 300:1, depending on paper, printing process and lighting. So even if our cameras can record a wide dynamic range in a single exposure, we still need to work with shifting the the bright and dark tones in the image to create tonal balance and retain tonal detail, while still giving the perception of the actual dynamic range that we saw.
There are many tools and techniques available for shifting tonal values in an image for better tonal balance, including raw highlight and shadow recovery, dodging and burning and the Shadows/Highlights adjustment in Photoshop. A common tool I use is Curves or Levels adjustments guided by the use of luminosity masks. In the video chapter below I demonstrate the great control, precision and flexibility that luminosity masks provide when working with targeted tonal balance in a single exposure image. It also provides some great extended instruction in the use of the TKActions Panel. I hope you find the information helpful in your image developing. Make sure to view the video in 720p HD!
This chapter is one of 36 in the updated edition of the Developing for Extended Dynamic Range tutorial series. The series takes a complete look at working with high dynamic range light from capture to single and multiple exposure developing methods. You can go here if you would like more information or to see more chapters. I’d be glad to field any comments or question you have in the comments section below.
February 17th, 2015
by Zack Schnepf
There is a feeling I get when I’m deep in a forest. An experience that quiets my mind and opens my senses. I have this experience in all wilderness, but there is something special about being surrounded by a well balanced ecosystem that is teeming with life. Sadly, there are fewer and fewer true wilderness areas left, but that is the subject of another article. The forest is my church and always has been. Ever since I was a little boy exploring the mountains of Northern California, or trying to discover where the waterfalls came from in the Columbia River Gorge. I’ve always had a special appreciation for the experience I have inside a forest. This experience is something I try convey when photographing in the forest. I think forests are one of the hardest types of scenes to capture well, but also one of the most rewarding. Below are some of the images I’ve captured of forests that convey some piece of my own experience.
One of my favorite experiences is sitting by a stream in a forest. I’ll sit quietly and let my mind wonder. The rhythm of the running water and the symphony of the sights and sounds in a forest are hypnotic. There is an awareness that comes over me, as if my senses come alive. All at once, I’m aware of the entire ecosystem around me and I can feel myself as a part of the ecosystem. It’s in this moment of profound awareness my mind can find peace and my body can fully relax. In this meditative state the trivial concerns of everyday life fall away and my mind is free to think clearly. This is my favorite state of mind to photograph in as well. I do some of my best work with a quiet mind and I also enjoy the experience very much. Often times if I’m struggling with a composition, or having a hard time making a decision about how to shoot a particular scene I will sit in one spot and quiet my mind. it’s not always easy to do, especially if the light is changing quickly and I don’t have much time, but it’s almost always worth the time spent to change my perspective.
As I mentioned before, forests can be extremely challenging to photograph. Forest scenes tend to be very chaotic and don’t always lend themselves to a two dimensional medium. I’m always trying to find a way to simplify the scene and add more dimension. Here are some of the techniques I use to capture a compelling forest image.
- Try to find areas with more space. Forests that are really dense usually don’t photograph well. Having space between trees and other objects helps add dimension as well as simplify the scene. Look for areas that are more open.
- Eliminate elements that don’t add to the overall structure of the scene and avoid distracting elements.
- Use foreground, middle ground and background elements to add depth and dimension.
- Use s curves and c curves to help the eye flow through the frame.
- Light. Overcast light can help flatten out the tonality range in a forest and allow you to capture the scene in one exposure. Harsh sunny afternoon light is probably the worst light to shoot a forest in. The best light for any scene depends a lot on the mood you are trying to capture. Some of my favorite forest light is partly sunny, or high overcast. This is dynamic light, but filtered enough to control the tonality. Sometimes my favorite light is clear twilight. This can produce moody, saturated, rich tones. Also, early sunrise light can be really excellent, especially before the direct sunlight is able to hit the scene.
The serenity of a well captured forest scene is something that resonates deep within me, it’s something that I admired in the photographs of some of my photographic heroes and something I strive to capture in my own images. For this reason, forest scenes are some of my favorite images to print and hang on my own walls. I love being able to look at an image of a forest in my own home and feel the serenity I felt in person. An image that can evoke that kind of feeling in me is a successful image.
For more information on the techniques I use to process these images click here: http://www.zschnepf.com/Other/Videos2
February 9th, 2015
With the latest interview and featured photographer spot on Photo Cascadia blog we bring you Marsel Van Oosten. Although based in The Netherlands, and area with little in the way of grand landscapes, he truly paints a picture of what it’s like to be a photographer leading adventures around the globe. I was first exposed to Marsel’s inspiring work about seven years ago on Nature Photographers Network (NPN). It was his great photos of Namibia that lured me in. Although I heard of the location before and seen photos, I realized he had some unique takes on the area. Along with photographing remarkable and exotic locales he has an exceptional wildlife portfolio. For years I have listed him on my website as a photographer that inspires. You will see why in this interview and his photographs.
1. Tell us about your life before photography or have you always been behind the camera?
I finished art school with a BA in art direction and graphic design, and then worked as an art director in advertising for 15 years. When I was in art school, I didn’t care much about photography. I could choose it as a major, but I couldn’t see myself messing around with chemicals in my bathroom all day to develop arty farty black and white prints. During my career as an art director, I worked with a great many professional photographers, and that’s when I really learned about the power of photography, how to look, how to select, how to work with light, and about post processing. Over the years it developed from a harmless hobby to a full blown obsession. My photographic style is greatly influenced by my graphic design education and my career as an art director.
2. You have some amazing nature and wildlife photos, which is your focus. What draws you to those subjects over everything else?
Thank you. I love nature, I love animals, I love being outdoors – always have. In advertising, everything was fake. At first, nature photography was a way for me to escape from the pressure and hectic life at an ad agency. The peace and quiet was therapeutic and it was nice to work with real stuff – trees, rivers, skies, animals. The creative challenge was interesting as well. Nature is chaos, and I liked trying to create some order. In many ways nature photography is like graphic design – you have a whole bunch of elements that need to be organized so that it makes sense and looks attractive. For me this is still one the most interesting creative aspects of what I do.
Working with animals is both amazing and frustrating. If you’re a landscape photographer, you have all the time in the world – you walk around, pick a good spot, wait for the magic light, and click. And if the weather does not cooperate, you return the next day – the landscape will still be there. With wildlife it’s completely different. I have no influence over my subject, all I can do is wait and hope for the best. When the light is perfect, the animal doesn’t show up, or when the animal is doing something amazing, it’s usually too dark, facing away from the camera, or hiding behind a tree. It’s very rare to get everything just perfect. And that’s exactly what makes it so addictive – there is always room for improvement and you never know what you’re going to get. It’s the anticipation. You’re looking at a scene, you see the light is perfect, you’ve already figured out the composition, the animal is walking into the right direction, and you’re hoping for those few extra steps to get the perfect shot. It can be really exciting. And when something interesting does happen, it’s usually over before you know it. You have to work fast, make the right decisions in a split second. It’s a lot of fun.
3. Speaking of subjects you have one of the best collections of Namibia photos I have seen. How do you continue find ways to push yourself creatively and come back with different and unique images after visiting the same place many times?
As a nature photographer you have basically two options: you photograph an unfamiliar subject, or you photograph a familiar subject. The first option is by far the easiest – if you subject is unfamiliar, you’re bound to end up with an original photograph. The second option can be very difficult from a creative point of view, especially when you’re photographing iconic places or subjects. I really like the creative challenge that places that have been shot to death give me. You really have to push yourself to your artistic limits to come up with something that feels original, even though the subject matter really isn’t.
When I first visited Deadvlei many years ago, there were hardly any photographs of it anywhere. People could not believe these places were real – they thought it was all photoshopped. After we set up the world’s first photo tour to Namibia, things started to change. More and more photographers visited the country and photographed the same subjects that I had. Every year it became more difficult to return with something original, but every year it became more interesting for me as an artist.
Nobody knows these places better than I do. When I see a photograph taken in Deadvlei for instance, I can show you on Google Earth which trees they are exactly, and at what time of the day the shot was taken – it’s pretty scary. I like visiting a place multiple times, you have to get to know a location to be able to fully understand the creative potential. But the most important thing you have to do is: think. Most of the photographs that I shoot in Namibia I have already pre-visualized at home. I don’t want to waste time walking around, thinking about what I’m going to do if I already know the location. Before each visit, I analyze the shots that I’ve taken there on previous visits, and decide what can be improved upon, or I try to come up with something that’s never been done there before. That’s how I decided to create the first time-lapse from Namibia that was shot entirely at night. Later this year we will visit Namibia probably for the 20th time or so, and I’m still looking forward to it again.
4. If you had to pick your three favorite images, what are they and why? (they are the three in this post)
Resurrection: I’m very proud of this image, because it was the result of creative vision. I had pre-visualized this image years before I was finally able to shoot it, and at a time when all landscape photographers told me that it would be impossible to shoot anything new there anymore – it had been shot to death. It is so difficult to shoot original images at iconic places, but it is extremely rewarding when you pull it off. So many photographers are obsessed about their gear and processing technique, but in the end the only thing that really matters is creative vision. As a matter of fact, this image won an award in the Creative Visions category of the Wildlife Photographer Of The Year Awards. That was a real bonus.
Brave Elephant: Victoria Falls is yet another icon that has been photographed by millions. On my first visit there, I almost decided to leave my camera at the hotel, thinking about the kazillion images that had already been shot there. When I heard from the locals that an bull elephant had been spotted the day before in the vicinity of the falls, I decided to stay a few extra days and try my luck.
Photography is all about making decisions. Anyone could have made this shot, but very few people would have made that same decision. This is the only photograph in the world, apart from the horizontal version that was featured in National Geographic, that features an elephant this close to the edge of Vic Falls. It is also the perfect example of my ideal photograph: a spectacular landscape image with an animal in it.
Invasion Of The Dunes: Another one from Namibia. My first publication in National Geographic – a double page spread, 10 million copies worldwide. I was ecstatic. This was shot at a time when few people knew this place existed. Daniella and I were the only people here for days. The sand was pristine everywhere, which is no longer the case unfortunately. You can only get this light at a very specific time of the year, as the sun needs to rise at a certain spot to shine directly into the middle room. This room is difficult to find, but it’s the first one that people start looking for when they go here. It is by far my most copied shot ever.
5. You lead workshops around the globe from Namibia to Antarctica. What can one expect on a workshop with you?
We know the locations that we visit very well, so you can expect to be at the right place at the right time, fully briefed on all the creative challenges and possibilities. People that travel with us, usually do so because they like my work and they want to learn from me, see me at work. I like to help people to improve their photography, and teach them to analyze a scene. I have a very specific way of looking at spaces and dealing with shapes, so I try to bring that across. Composition is very important for me, more so than light, so I always give a presentation on that.
Also, part of every Squiver tour is image reviews – each participant selects up to three images from the previous day(s), and I analyze them in front of the group. These sessions are incredibly interesting and educational, also for me. We get people of all experience levels, which is great. We all learn from each other, also from the beginners.
But the main reason that people keep traveling with us, is the fact that we are a husband and wife company – we always lead our tours together. It’s a completely different group dynamic. Photography is a very male dominated thing, but we tend to get relatively more women than other companies because of that. The result is that there is less tech talk, which is good – I don’t like to talk about buttons and sensors all the time.
6. Is there any artist, photographer or otherwise, that has been a big influence on how you photograph or your creative process?
The one artist that has inspired me most, is German landscape painter Caspar David Friedrich (1774-1840). His paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that directs the viewer’s gaze towards their metaphysical dimension. When I first saw his work back in art school, it made a big impression on me, and it’s been a source of inspiration ever since.
But there are so many other great artists around – the internet is filled with talent. I don’t look at much of it, only when I’m going to photograph something specific – I like to know what’s already been done so I can at least try to do it differently.
7. I notice you have entered (and won) a number of photo contests over the years. What are your thoughts on them; are they still a good avenue to stand out? And what contest gave you the biggest exposure?
Most photography competitions are only in it for the money, or to get their hands on your photographs for free. There are many contests out there, and most of them are completely useless. However, I do believe that contests can be helpful.
Photography is an art form, and art is subjective. If you’re a marathon runner, you can tell how good you are by looking at your best time. If you’re a photographer, you can’t. Family and friends always think your photographs are amazing, but they can not be trusted. When I was still working in advertising, I struggled with this phenomenon. I wanted to know whether my images were any good, so I decided to enter a couple of competitions to see what would happen. After I won prizes in several major contests, I knew that my images were good enough to stand out from the millions of others – in the end this was what gave me the confidence to switch careers.
I still participate, primarily because it’s nice to know whether other people certain images are as good as I think they are, and because it looks good on my cv. I know that I’m a good photographer, so I don’t need the ego boost – I hardly ever visit the award ceremonies. If you want to become a professional photographer, participating in any of the major contests is a good way to find out if your images stand out from the rest. There are already so many photographers out there, so if you want to make it, you need to be better than most of the others.
As a nature photographer, there are only five contests in the world that I think matter; Wildlife Photographer Of The Year, European Wildlife Photographer Of The Year, Travel Photographer Of The Year, International Photography Awards, and Nature’s Best Awards. Those are the competitions that publishers, galleries and stock agents look at. My recent win in the Wildlife Photographer Of The Year gave me the most exposure, mostly because the picture (of a snow monkey holding an iPhone) appealed to many people and because the contest has a big reach.
8. When you are not photographing or leading a tour what do you like to do?
I like to watch tv series like Game Of Thrones, The Walking Dead, Homeland, and House Of Cards, and I like to listen to Death Metal. Septicflesh rules.
9. Quick questions:
- Nikon or Canon? Nikon
- Apple or PC? Apple, never worked with a PC
- Photoshop or Lightroom? Photoshop
- Favorite book photography related? Before They Pass Away, by Jimmy Nelson
- Where do you want to photograph that you haven’t? Niger
10. Lastly what is one mistake you made early on whether it was with the photos itself or the business side that you really learned from, and others can learn from as well?
The biggest mistake I have made, is that I haven’t made the switch to photography earlier. I had been thinking about it for years before I finally took the plunge. Making a living with nature photography used to be a lot easier, and it’s virtually impossible now. If you really want something, follow your heart and don’t wait too long. Life is short, and you should do the things that you’re passionate about. Nothing else matters.
I would like to thank Marsel for his time to do this interview with me. To see more of his work and workshop listing visit http://www.squiver.com
January 26th, 2015
This year I made an early New Year resolution back in November to make sure that I maintained a healthy lifestyle through the winter period. A lot of people like myself commit to goals like this but fall short of achieving this. So how was I going to follow through with this promise to myself. Well I have come up short most winters so I how could make this one different. I needed to take my health serious. So this article is about getting a game plan for fitness during winter.
First, I had to be honest with myself about why I wanted to be healthy. That was simple, I wanted to be able to do lots of hiking when spring and summer came around. If I waited till spring to get into shape then it would be too late. So I really thought hard and long about my reasons for it; I then I had to come up with a game plan to get into action and stay consistent. When it comes to fitness plans and goals almost all fail. So how was I going to find a fitness plan that I could stick with. Like many I seem to fall into a winter slump and hibernate into a lazy lifestyle. In the Pacific Northwest it rains a lot and thus it takes some motivation and determination to stick with fitness goals when it is so much easier to stay warm indoors and be lazy.
My first plan of action was to find a gym that I liked and was close enough in proximity. In the past I have chosen gyms based on lower costs but travel times of more than half a hour. I found out that this never works as you rationalize that travel time is too long and you end up doing something else. So I had to find a gym close enough to take away that excuse of travel time regardless of how much it cost. Once I started going to the gym, I had to find the motivation in me to keep going on a daily basis. I had to find exercises that not only interested me but also challenged me. The main reason most people don’t stick with a gym is the lack of a clear goal and doing the same exercises day in and out. So I set forth a plan that would get me through the winter and allow me to continually push myself.
To achieve this you have to have a starting point that you can look back at to see a progression in your health. As hard as it may be you need to do a couple of things, which are very hard to do. You need a baseline weight of course but you also need to take pictures of yourself and get yourself some measurements of your starting point. I hated to do this and was avoiding it but once it was done I could move forward by charting how much progress I was making each week. I found some good fitness goals that would take me through the winter and spring and get me in prime shape for hiking in summer.
I choose a fitness plan that would be focused on strengthening my cardio to go longer distances when hiking. So exercise goals included a lot of treadmill, and interval training. After a few months of this, I really stepped up the intensity and duration as well. I now center my strength training by doing a lot of leg exercises that include squats, and core abdominal exercises.
The next step in my goal was to be able to hike not only longer distances but carry more weight; to achieve this I have started adding a 30-50 pound backpack while doing all steady state cardio. This really has gotten my body used to carrying heavier weights for longer distances.
The immediate benefit of this goal has been the ability to do steeper hikes as well. To prepare for this I make sure to include the stair climber in my workout a couple of times a month. At first it really is painful and not much fun but the body really gets used to it fairly quick. Whether on the treadmill or any other cardio machine I make sure to include both long periods of steady-state cardio as well as interval training which primes the body for long distances when hiking. Interval training includes exercises where you do short bursts or sprints followed up by short period of rest. Keep interval training short for periods of 10-15 minutes followed by steady state cardio like a easy walk of 30 minutes. Remember to try adding the backpack when walking or doing the treadmill. Goals in terms of the heart rate should be around 90% when doing interval burst training and then around 65-70% when doing steady state cardio training.
Remember to keep it simple and choose you can see progress as well as challenge myself on a daily basis. Try to do something everyday so that it becomes a habit and not something you have to think about. Reward myself when you reach certain goals and thus allows you to maintain interest in keeping a goal through the winter. The most important element is consistency so that when Spring comes you are ready to hit the trails. Remember if you like what you are doing you are much more likely to stick with it. See you on the trails !!!
January 20th, 2015
Carleton Watkins, 1829-1916, is possibly the most famous early Western photographer. Nearly a hundred years before Ansel Adams was taking his iconic photographs, Carleton Watkins was sharing the awe-inspiring beauty of the Western United States with the world, aiding in the birth of American environmentalism, and revolutionizing landscape photography. But his life was a series of tragedies, and he died anonymous and destitute in a mental hospital.
Born in New York, he moved to California and became a photographer, soon specializing in landscape photography. He photographed much of California and Oregon, but it is his photographs of the Yosemite valley that made him famous. In 1861, Watkins set off with his mules to Yosemite. The pictures he took during this trip were some of the first views of Yosemite people in the Eastern portion of the United States had ever seen. These photographs were in part responsible for Abraham Lincoln signing an 1864 bill that declared the valley inviolable. This paved the way for the existence of the National Park system in its entirety. The bill signed by Lincoln is often seen as the beginning of environmentalism in American politics.
It’s hard to imagine what Watkins endured to make photographs: loading up a team of mules with nearly a ton of photographic equipment, including a mobile darkroom tent, a dangerous assortment of flammable chemicals, and an enormous custom-built camera that produced “mammoth” 18×22 inch glass plate negatives. The reason for such a gigantic negative was that negatives could not be enlarged back in those days, so the negative had to be the size of the print. Imagine the amount of detail in those prints!
Watkins owned a gallery where he displayed his work, but he proved to be a poor businessman, and he lost the gallery to his creditor. The new owner also took ownership of all the gallery’s contents, due to the fact that the 19th century had no copyright laws covering photographs. They sold reproductions of his pictures and there was nothing he could do. In the 1890s his health was declining and he began losing his sight. Unable to work, he and his family lived in an abandoned railroad car for a year and a half. The great earthquake and fire in San Francisco in 1906 destroyed his studio, and countless photographs and negatives were lost. He was declared incompetent and his daughter had him committed to a mental hospital in 1910, where he remained for the rest of his life. He was buried in an unmarked grave on the hospital grounds.
As photographers, we owe Carleton Watkins a debt of gratitude. Not only for his contributions to the world of landscape photography, but for helping preserve the beauty of the American West for future generations. One of Yosemite’s mountains is named Mount Watkins in honor of his part in preserving Yosemite Valley.
January 12th, 2015
High dynamic range light continues to be a challenge for outdoor photographers. Another term for dynamic range is contrast. As long as the contrast of a scene, from darkest shadow to brightest highlight, does not exceed the camera’s ability to record dynamic range it is possible to record detail throughout a scene in a single exposure. In nature, especially around sunset and sunrise when the sky is bright and the landscape is much darker, the contrast often exceeds the camera’s dynamic range ability. Going all the way back to it’s beginning, more than 150 years ago, photographers have looked for ways to deal with high dynamic range light. There are many in-camera techniques for this, such as using a graduated neutral density filter to hold back light in bright areas or using some sort of artificial lighting to illuminate dark areas. In the current era, digital images and imaging software have made it possible to combine multiple exposures that contain image detail for all light values in a high dynamic range situation. This can be done with automated HDR software or by using masking techniques in Photoshop to “hand blend” multiple exposure values into a single extended dynamic range scene.
Whatever technique is being used to blend the exposures, it is necessary to first capture or “bracket” a series of exposures that encompasses the entire dynamic range. Knowing when and how to bracket exposures so that you have collected enough detail across the entire light range can be confusing. My goal is to take only the exposures I need, no more and no less. Most non point and shoot cameras feature an Auto Exposure Bracketing (AEB) feature but I find that it often doesn’t succeed in capturing what I need. Sometimes the number of exposures I have set is too many and some times it is too few. Even if I guess right and choose the correct number of exposures, the camera often misreads the scene and doesn’t center the exposure series properly, missing important details either at the shadow or highlight end of the range.
I have the most success when I manually bracket exposures but this requires establishing a well practiced approach to be able to do it quickly and consistently. Help with manually bracketing exposures is a common request during workshops. In the video above I explain how I evaluate a histogram to determine when bracketing is necessary and I also outline two different manual bracketing methods I use to make sure that I have successfully recorded the entire dynamic range.
I’m currently working on a complete update to my video tutorial series called Developing for Extended Dynamic Range and this is one of the chapters. Production on the updated series will be completed and the new videos should be available by the end of January, 2015. I will be sending out an email notice to people who own the original series when it is available. I will also be teaching a weekend class on exposure blending and developing for extended dynamic range in Bend, Oregon in May.
January 5th, 2015
by Zack Schnepf
I get one request more than any other, to see what my photos look like before and after I process them. I found this incredibly helpful myself when I was starting out in photography. I’ve done this before and I think I will make it a regular series here. The following are a selection of images that I think turned out well and capture my experience in the field. The top photo of each set is the final master image.
This first set of images is from one of the most amazing mornings I’ve ever spent in the field. Sean and I set out several hours before first light in the pitch black, frigid, icy morning. This was a morning we had hoped to see while on our trip. It’s very rare to get the first snow during peak fall color. Sean and I had hoped for such conditions somewhere on our trip, but knew the chances were very low to witness such an event. We were extremely fortunate to be able realize our dream of capturing just such an event. This was one of my favorite moments during that morning. The dynamic range was too much even for the Sony A7r. To overcome the limitations of the camera I captured 3 different exposures capturing all of the tonal information. Using my tonality control techniques with the aid of Tony Kuyper’s actions and action panel I was able to blend the exposures together in photoshop to produce the final image. Thanks again to Raynor Czerwinski for sharing his local knowledge of this spot with us. If you find yourself in Crested Butte, be sure to visit him and his wife Susan at the John Ingram Fine Art Gallery.
This set of images is from another location from my trip to Colorado this fall with good friend Sean Bagshaw. This is Chimney rock and Courthouse Mountain. On the evening we photographed here we were fortunate to witness some spectacular light and atmosphere. I processed this again using my tonality control techniques with the aid of Tony Kuyper’s actions and panel. Each image always presents it’s own challenges. In this case I used 3 separate exposures and double processed one of them for a total of 4 exposures. This allowed me to really target each tonality zone to achieve the look and feel that captured the experience for me.
This set of images is from another spectacular evening from the Colorado trip. This storm rolled in quickly spoiling the sunset I had in mind and replacing it with something so much better. Sean and I had to make a split second decision to abandon our current location and rush to another location we had scouted earlier. It was spectacular, but the camera was not capturing what I was seeing. Again, I used my tonality control techniques with the aid of Tony Kuyper’s actions and panel to bring the drama back into this image. The final image captures my experience extremely well.
For all these images I was using my tonality control techniques and Tony’s action panel. For more information about my video, or to purchase a copy visit the video page on my site: http://www.zschnepf.com/Other/Videos2
I’m currently producing a video on how I use Tony’s panel with my techniques. It will be available in the next few months.
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January 4th, 2015
An Interview with David Thompson by David Cobb
1. Tell us a little about yourself David.
I was born in Las Vegas, and I consider myself an
ordinary guy. Both my parents were in the military and I’m the only child. From Vegas we
then moved to New Mexico. While living in New Mexico I spent quite a bit of time in the
outdoors. I use to hike and ride my bike in the deserts, and also did some camping and
fishing in the nearby mountains. From New Mexico, we moved back to Las Vegas in
1993. I’ve lived in Vegas ever since.
2. When and how did you get your start in photography?
I got my start in photography in 2004. My father gave me a Pentax ZX 35mm
film camera. I didn’t know anything about compositions, exposure, or how to use the
basic functions of the camera. After many months of failed attempts to take a decent
picture, and the high costs of film development, I gave up. In 2008, when my son was
born, I got my first digital camera which was a Canon Rebel XTI. I started with just family
pictures at first, and honestly I wasn’t good at that either. During my travels, I
would constantly see these amazing sunsets/sunrises and I wished I could capture what I
was seeing. One day I decided to go online to do some research on landscape
photography. Once I saw all the fantastic images online……..I was hooked! I had to
learn more! From there, that’s where my photography journey began.
3. Much of your landscape photography is centered in the America Southwest. What do you love about this area, and what keeps you coming back?
What I love about the Southwest, is all the amazing landscapes here. What
keeps me coming back is the landscapes are constantly changing. The light is never the
same, the atmosphere is always different, there are so many different variables that make
photographing these landscapes interesting.
4. You recently travelled to Iceland, tell us how it is similar and different from the
stark landscapes of the desert southwest?
Iceland……the landscape of Iceland is beautiful and unique in its own way.
Iceland is very similar to the deserts of the southwest, particularly the areas around Death
Valley National Park. The landscapes are very similar in terms of their otherworldly/lunar
features. They are also similar with their rugged appearance and treeless vistas. Where
they differ, obviously the climate is different, but in Iceland there is water everywhere.
Waterfalls flowing from every cliff in sight. You will see random tarns amongst
the volcanic landscape. Another feature that was very different from the deserts of the
Southwest, was the contrast in colors. There were so many color variations throughout
the landscapes in Iceland.
5. When you’re not photographing the desert southwest, where do you like to travel and photograph and why?
When I’m not photographing the deserts, I like to photograph anything that is the
complete opposite of the desert. Whether it be the lush canyons of the Columbia River
Gorge, or the shores of the Pacific Ocean along the southern California or Oregon coast,
anything that is different than the desert works for me. I love shooting all landscapes. I’m
not too picky.
6. What are your top three personal favorite images and why?
“Hoodoo Magic” With this image, I have seen virga numerous times here in the
desert. But this display of virga was something like I had never seen. On this particular
evening in the Bisti Wilderness area of New Mexico, my buddy Paul and I were just
watching this storm develop for about 45 minutes. The sun eventually broke through the
clouds giving us an amazing display of light. The sun really brought the landscape to life.
“Nuclear Dunes” (see top image) The light I witnessed on this evening was in my top three
sunsets I’ve seen in my photography journey. I had gotten off work late that afternoon.
My plan was to drive to Lone Pine, California for sunset on my way to the Eastern Sierras but
there was no way I was gonna make for sunset, so I went with my alternative plan, and hit
the Mesquite Sand Dunes for sunset instead. I remember complaining to myself because
the sky didn’t look like it would have any potential, but I hiked out onto the dunes
anyway. I sat there for a little while contemplating if I should leave or not. As I started
packing up my gear I saw a little glimmer of light creeping through the clouds on the
horizon. I didn’t think much of it, until I saw a little glimpse of pink in the clouds. I turned
back around, and within seconds that sky was ablaze with color. That light lasted a good
hour after sunset. I only saw one other person shooting that evening. Talking
about that image gives me the chills.
“Peeled “ This small scene is one of my personal favorites. A couple friends and I
stumbled upon this area while exploring a section of the Painted Desert in Arizona. This
section of cracked mud was very interesting to me because of the peeling features of the
mud and the natural gradient in colors. I waited about 25 minutes before sunset for the
sun to get lower to the horizon. The timing couldn’t have been any better. For me, the
mix of golden light and shadows looked incredible on these cracks.
7. Explain your nickname D Breezy, and what it means to be D Breezied?
The name D Breezy is a name I came up with some time ago when I initially set
up my account on Flickr. It’s basically D, for David, and Breezy for my easy going
attitude. I’m the type of person that just goes with the flow. For some reason the name
has kinda stuck with me over the years. It’s funny because I never thought that the name
would stick like that. What it means to be D Breezied is when you miss great light due to
daily life, family, or sitting at home instead of being out shooting. I seriously can’t believe that the
term D Breezied is being used on a regular basis now. It started off as a joke years ago.
8. What is the most important piece of photo equipment you can’t live without?
The one piece of photograph equipment that I can’t live with out with would have
to be my Really Right Stuff TVC33 tripod. It took me some years to understand how
important a sturdy tripod is. Once I got the RRS legs, I was thrilled to have legs that I
could use in any type of shooting situation. Probably the best piece of photography
equipment that i’ve purchased.
You can see more of David’s outstanding images at: davidthompsonphotography.com/
December 21st, 2014
Once again another year is coming to a close for all of us which brings time to look back on the past and what might lie ahead for the new year. This year marks the 5 year milestone since Photo Cascadia was born. Surviving the toddler years we are feeling strong with a continued united mission “learn, explore, create” as we intended from the early days. It’s pretty amazing how well we all get along. Some of us knew nothing more than the name and associated photos of each other when Photo Cascadia started. That said Photo Cascadia would not be where it is today without you. Thank you to all of our subscribers and viewers to the newsletter, blog, social media and everywhere else!
Looking back at the photos each of us from Photo Cascadia captured this year and the places we visited, we feel truly fortunate. Wherever 2014 took you with your photography adventures we hope you enjoy looking back at what it brought for you. For us viewing this slideshow is fresh reminder of the beauty that surrounds us on this planet. Regardless of politics, religion and other beliefs we all enjoy what earth has to offer us from grand landscapes to intimate scenes. A great quote that sums it up best.
“A landscape image cuts across all political and national boundaries, it transcends the constraints of language and culture.” – Charlie Waite
We invite you to take a few minutes (3:35 if I have to be exact) to see a few of our favorites from the team this past year. Slide show is best viewed full screen at 1080p resolution.
We will take a holiday break from blog posts until sometime in January. After that we should be posting again and look forward to engaging with all of you as we do throughout the year. We hope this holiday season brings you memorable experiences and quality time with family and friends.
Happy Holidays and New Year from the crew at Photo Cascadia!
Adrian Klein, Chip Phillips, David M Cobb, Kevin McNeal, Zack Schnepf and Sean Bagshaw
December 2nd, 2014
By David Cobb
A decade ago I traveled through Iceland exploring and planning for my 2006 walk across the island. I marveled at the stark scenery and the long hours of beautiful light-a photographer’s paradise. Today, you can’t fling a spoonful of Slátur (blood pudding) in Iceland without hitting a photographer. Those early feelings in an earlier day I had for Iceland rose again on a recent trip to Slovenia, but on this trip I felt I had barely scratched the surface of discovering the beauty of Slovenia.
The Slovenian photo opportunities are much more than the beautiful Church of Assumption atop an island of Lake Bled–waterfalls abound, gorges seemingly are everywhere, the Julian Alps are spectacular, and the countryside is filled with vineyards farms, and picturesque landscapes.
My trip began in the capital city of Ljubljana (a place I joked was the only city with more coffee shops and bicycle riders than my hometown of many years Portland, Oregon). The streets of old town are attractive and easy to wander with a camera and tripod, and at night they truly become alive with lights reflecting onto the river below. And like many European cities, Ljubljana is topped with a castle that you must explore.
Next on the list was a trip to Lake Bled which is truly in a fairyland setting. From here short trips can be made to the popular sites of Lake Bohinj, Vintgar Gorge, Savica Falls, and other parts of Triglav National Park. I’m sure there are more than a million places to discover, explore, and photograph here, but I only had time for a few as we moved on to our next destination east to the town of Ptuj which is surrounded by rolling hills and vineyards that reminded me a bit of Tuscany or even the Palouse. The rural countryside, green grasses, and fall color combined with the soft light to make for some enjoyable photography. The small city streets are also quite photogenic, and the morning city fog adds an air of mystery to it all. From here we left to explore the northern section of Croatia, a country I’ve visited in the past but wanted to see more. We returned to Slovenia along its small coastline and stayed in the town of Piran–a lively coastal city and photogenic along the harbor.
A two-hour drive brought us back to Ljubljana and completed our loop of the country. The people here were always friendly and knew English well. The food ranged from very good to excellent, so I never had a bad meal. Like I said, I barely scratched the surface of this country’s photo opportunities. Fellow Photo Cascadia member Sean Bagshaw also vacationed here in 2014 and we’re planning to conduct a fall color photo tour of this country with Slovenian photographer Luka Esenko in 2017, so stay tuned for updates.