Accessing Large Document PSB Files In Lightroom And Bridge

by Sean Bagshaw
September 19th, 2016
First light on the Smoking Mountain, Fitz Roy.

First light on the Smoking Mountain, Fitz Roy.

The video tutorial below shows how to save image files that exceed the TIFF file size limit as PSB files and also how to access them in Lightroom and Bridge. This is a challenge that is becoming more common as digital camera resolution increases and as stitching multiple images to make super high resolution photos becomes more popular. I hope you find it helpful. If you have any questions or tips for working with large image files that you have found helpful make sure to share them in the comments section below.

As digital camera resolution continues to increase, with 30 to 50 MP cameras becoming the norm, and as photographers employ more advanced PS techniques with lots of layers, smart objects and luminosity masks, it is common to bump up against image file size limitations. PSD files have a maximum file size limit of 2GB. TIFF files have a 4GB size limit. Unfortunately Photoshop doesn’t do a good job of predicting final saved file size when there are a lot of layers, masks and smart objects involved. So even when the file size indicator shows a file size of less than 4GB you will often get an error message when trying to save. I find that many of my images indicate a file size of less than 3GB but actually exceed the 4GB size limit.

I frequently get questions from photographers wondering what to do when their images exceed the size limit. When an image exceeds the 4GB tiff limit the solution is to save it as a PSB file, where “B” stands for big. PSB files have a size limit of 4 exabytes! I had never heard of an exabyte before, but apparently it is a million terabytes, so the PSB format should do the trick for just about any image considering that my computer only has a measly 8 terabytes of hard drive space anyway.

PSB files are a the solution, but they don’t come without their own issues. You can see them in Bridge, but they don’t generate a thumbnail, so you can’t tell what the image is just by looking at it.

If you are a Lightroom user then you currently can’t even import PSB files into your Lightroom catalog at all. This is a problem for me because I do use LR extensively for cataloging and locating my images. If I don’t see an image in LR I quickly forget it even exists. It also means that I can’t include the image in Lightroom slide shows, collections or print it from Lightroom. Even if I do remember that I have a particular PSB image it is a hassle trying to hunt down where it is so I can open it in PS. It would really be nice if Adobe would add PSB support to Lightroom, but I’m not the first person to say this and so far they haven’t.

Until then, here is a solution that will enable you to see PSB images in Lightroom and Bridge. It’s less than perfect, but better than nothing. I’ll also mention that I didn’t figure this out. As with most of what I know about photography, I learned it through the kindness of others who are smarter than I am and I’m just paying the knowledge forward. Check out the video to see how to save PSB files and how to access them in Lightroom.

 

Sean is a full time photographer and photography educator. You can see more of his images and find out about his video tutorial courses and upcoming workshops, tours and classes on his website at www.OutdoorExposurePhoto.com.

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The Histogram – One of the Most Useful Tools in Photography

by photocascadia
September 14th, 2016

by Zack Schnepf

I think the histogram is one of the most important and useful tools in all of photography.  It’s a tool I rely on throughout my entire workflow, but I notice it’s a concept that many students have a hard time fully understanding. It can be confusing at first, but once you understand your histogram, you can master your exposures. In this article I’ll share how I use the histogram and why I find it so usefulI.   I’ll discuss how I use it the field and in post production.

What is a histogram, how do you read it, and what information does it gives you?  Basically, a histogram is a graphical representation of the tonality of an image.  It shows what tones and colors exist in an image and the concentration of these tones.  Here is the basic anatomy of a histogram.  This histogram is from the image below of First Snow on Gothic Peak.  The left edge of the graph represents pure black, any tones beyond the left edge have no detail in them.  Conversely, the right edge represents pure white,  any tones beyond the right edge have no highlight detail, they are just pure white.  The middle of the graph represents the mid tones of the image.  So, left to right is the luminosity scale, or how bright or dark the tones are.  In this histogram you can see overlapping graphs of the three color channels RGB(red, green, blue) The height of the graphs indicates the concentration of tones of color and luminosity tones.  For instance, in the histogram you can see I have a spike in the blue channel toward the left side, that tells me I have a lot of dark blue tones in this image.  There is also a spike in the red channel right in the middle which tells me I have a large concentration of red midtones which you can see in the red foliage of the image.  The Height of the peaks is not important for judging exposure, so don’t worry how high the peaks are.  One of the most important things I look for in the field and in post processing is information that might be getting lost in either the shadows, or highlights.  In this histogram you can see that all of the information is being contained.  I can tell, because none of the color channel graphs are bumping into either edge.  I’ll elaborate on this further in the sections below.

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In the field, I rely on my histogram as a guide to give me an accurate assessment of each exposure I capture.  One of the biggest mistakes I see when teaching photo workshops is a student judging an exposure using the LCD on their camera.  I’ve been burned by this too many times to count.  I’ll be shooting in a low ambient light situation, take a quick look at the image on the LCD and think it looks great, but when I get home and view it on my computer I realize it’s way underexposed.  The low ambient light makes the image on the LCD seem really bright.  The only way to truly judge an exposure in the field is to check the histogram.   Below are 2 bracketed exposures of the same scene.  One exposed to capture the tones in the bright sky and the other exposed to capture the tones in the foreground area.  In the field, the darker exposure looked good on the LCD, you could even see detail in the foreground grasses, but one look at the histogram told me those foreground tones were way too dark.  You can see on the histogram for the darker exposure, the highlight detail is being captured well, there is no information being lost in the highlight, but there is a large spike next to the left edge of the histogram.  This indicates a high concentration of dark tones that contain very little detail.  I wanted to take another exposure to capture detail in the shadows.

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This lighter exposure has plenty of detail in the shadows.  You can see in the histogram, the detail that was being lost in the shadows is being captured well.  There is now plenty of detail in the foreground grasses and stream.  On the other hand, the highlight tones are blowing out.  You can see there is a huge spike on the right edge of the histogram and it goes right up to the edge and beyond.  Anything beyond the edge has no detail in it.  This is what is known as a high dynamic range scene.  You could try to compromise and get an exposure in between and use Lightroom and Photoshop to recover the tones that are being lost, or you can bracket exposures and try to combine multiple exposures that contain a lot more information.  Either way, the histogram is the tool that will tell you if you have captured the information you need, or not.

Example3

In post production the histogram helps me determine which tonality adjustments to make.  Below is an image captured while teaching a workshop in the Palouse this spring.  You can see on the histogram, most of the color and luminance tones are concentrated in the middle and left side of the image.  This indicates that it is a low contrast, dark exposure.  This is important information to determine what post processing this image needs.  I would like to add contrast, but also brighten the image.

Example1

This is after one contrast adjustment.  I was able to increase contrast, brighten the image, and control some highlights that were getting too bright.  You can see the tones in the histogram are more spread out, but the highlights and shadows have plenty of detail information in them.  From here I can decide if want to add more contrast.  I can also lighten, or darken the overall exposure.  Either way, the histogram will help guide me to the finished image.

Example2

You can learn more about Zack and his instructional videos on his website

Outside the Box: Advice for Making Risky Creative Decisions

by Erin Babnik
September 7th, 2016

 

“The moment that you feel that, just possibly, you’re walking down the street naked, exposing too much of your heart and your mind and what exists on the inside, showing too much of yourself. That’s the moment you may be starting to get it right.”Neil Gaiman

Exhibiting any creative work entails some amount of risk. Anyone who has a reason to show their work to others has a reason to care about how well it is received. No creative photographer is ever entirely immune to fretting over that simple question that begs for consideration before the release of a new photograph: “Will they like it?” Even if all that is at stake is a feeling of accomplishment, the risk is real, especially for those photographs that we hold dearest.

The higher levels of risk involve decisions that take us outside our norms, whether they are departures from the conventions of a genre as a whole or simply from those of one’s own oeuvre. A risky decision might entail working in a certain type of light, featuring an obscure location, composing in an unconventional fashion, employing a new post-processing treatment, or any number of other decisions that might place us outside our comfort zones. The further we step out on a limb, the more unnerving it can be, so having a strong will is important for taking those steps. What follows is advice for making risky creative decisions with confidence, some thoughts to keep in mind when you feel as though you may be flying without a net.

Onward and Upward

Risk is essential to creative work. Taking risks is how we make progress, how we manage to put something of our own selves into our photographs, and how we can get that special taste of satisfaction for having done so. It is all too easy to fall into habits that seem to work well and that feel safe, and sometimes those habits can become limiting. Of course, there is a lot to be said for reaching a point of some consistency as an artist. Establishing what we like is crucial to self-expression, so consistency in a portfolio usually indicates a certain level of creative maturity. Nonetheless, if consistency drifts into habitual repetition, it ceases to be self-expression; at that point, it’s just rehashing. When you find yourself at a crossroads wondering if you should play it safe or take a risk on something, just remember that the latter option is likely to be more rewarding in the long run. Even if you deem it a failure at first, your decision may be a first step towards a development that you never could have imagined at the outset.

Sweet Emotion by Erin Babnik

Making a risky decision can feel like standing on the edge of a chasm, contemplating a jump. When I chose to use a fast shutter speed for this photo of a waterfall in the Graian Alps, I actually felt a considerable amount of anxiety about it, since smoothed out water is the norm for such subjects, even in my own output. I also took a risk in choosing a location that I had never seen photographed before, although I am more comfortable with that sort of risk because it is not unusual for me. Nonetheless, I thoroughly enjoyed shooting and processing this photo; despite the challenges involved, it was one of those rare images that seemed to pour right out of me with the greatest of ease, and that gave me the confidence to release it.

Move Towards, Not Away

Probably the strongest reason to make any unusual creative decision is because of a compulsion to do it. If we are genuinely drawn to an idea or are at least curious to see the results, then we are responding to an inner urge, following our own instincts. The opposite situation would be to make a decision to do something unusual for the mere sake of novelty, fixating on what we want to avoid instead of on what we find interesting. Creativity is the pursuit of ideas and the application of them, not a simple rejection of what came before. If a risky decision holds distinct appeal, then at least you know that you’re following your own nose when you carry it out, and that is usually reason enough to do it.

Goodwater by Erin Babnik

So-called “quiet” photos are inherently risky, since it is typically the more dramatic scenes that tend to draw the greatest responses. A small encrustation of salt makes a humble subject, but I had my own firm reasons for producing this photo of one.

Be in it for the Long Haul

When a photograph departs from some kind of norm, a portion of your audience may not ‘get’ it. Accept that familiarity is appealing to most people, and that not everyone who typically enjoys your photographs will cheer you on enthusiastically down whatever trail you may blaze. Even if your experiments do not result in immediate encouragement, there could be momentum building, and if that is the case, then you will only ever realize it if you stay the course. Regardless, doing something unconventional is gutsy, and that point in itself should provide a certain degree of satisfaction and motivation. Knowing that you are being true to yourself is a source of real power that can continue to propel you forward.

Moondance by Erin Babnik

I have photographed this particular Joshua tree on many occasions and have led numerous workshop participants to it so that they could enjoy it too. My go-to vantage point is from a different angle, from which the tree looks like a native American dreamcatcher, and my typical compositional scheme is utterly different, featuring long shadows as leading lines and a more traditional division of space. A bout of insomnia caused me to approach this tree at an unusual time and to have different ideas about it, producing a photo that is one of my all-time personal favorites.

Be Honest with Yourself

It is possible to convince ourselves that our accidents are happy ones, especially if we put a lot of effort into a photograph that ultimately missed a mark in some regard. If a photograph has some quality that is unusual simply because misfortune struck, then it should undergo special scrutiny. Sometimes the results of happenstance will be genuinely appealing and will inspire further experimentation along the same lines, but otherwise we need to let go. We should never allow a rescue mentality to convince us that an unsatisfactory photo is a bold act of creativity.

Thick Skin by Erin Babnik

Abstract photos are the least likely of any type of nature photo to generate a lot of interest. Ironically, this one turned out to be one of my most popular images, but I expected just the opposite before releasing it. My reasons for sharing it were many, but the expectation of success was not one of them.

Tomorrow is Another Day

Keeping perspective is important. No matter what you produce today, even if it amounts to the biggest feather in your cap, the next blank canvas awaits you. What ultimately matters most is the process of creation, which for a nature photographer means experiencing the outdoors, having responses to those experiences, and expressing those responses through the medium of photography. Everything that follows is peripheral and should not be allowed to derail the process. As the saying goes, just keep on keeping on—and above all, remember to have fun.

How do you handle risky decisions? Is there anything that you like to keep in mind to make them any easier? Please feel free to share your thoughts in the comments below.

 

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Erin divides her time between Cascadia’s Californian southern boundary and Slovenia, traveling and photographing extensively from home bases in both locations. Make sure to bookmark Erin’s site at www.erinbabnik.com. You can also follow her on FacebookTwitter and 500px.

45 Things I Have Learned From Photography

by Adrian Klein
August 31st, 2016

Over the last couple years I have been taking notes on my phone of various thoughts on what I feel have learned from my time in photography. Hard to believe it’s been a decade now since I started to take it seriously. Along with these random thoughts I referenced some of my past presentation slides and some were created as I typed this post out. Those that know me should not be surprised. I like lists and that is really all this is! I am sure I will get the question… why 45? It’s simply because that is what I ended up with. It’s not some magic number that represents anything special.

Ground Rainbow
1.    New or expensive gear can be nice yet does not make you a better photographer. It’s good to follow what is coming out and changing without pulling out that credit card for every announcement.
2.    The rat race of social media is not worth fretting over counting likes, comments and shares. Sometimes you are ahead, sometimes you are behind.
3.    A sense of camaraderie and making friends in photography is very important. Don’t always fly solo.
4.    A good outdoor trip with few to no keepers is still better than being indoors. It’s the experience that helps shape who we are.
5.    In my early years I thought my work was awesome but it really stunk like a skunk and I am fine with that. Everyone starts somewhere. I can never stop growing and learning.
6.    Don’t under value your own work. Always selling your work for peanuts does not help you or the industry. It’s okay to say no to some requests.
7.    Be open to feedback, whether it’s praise or constructive critique. Simply being open to listening to others opinions does not mean you have to change your work. On the flip side be respectful when you provide feedback.
8.    No matter the accomplishments (or failures) it’s still a photo and I am still the same person. Don’t pat yourself on the back too much nor give yourself too hard of a time.
9.    Placing well or winning a well-known photography competition will not bring you fame or fortune.
10.    If you send a photo out to a client with a known flaw they will find it. I learned to always spend the money to reprint when needed.

Rock On!
11.    The one photo you post on your website that you can’t print large for whatever reason, is the one someone will request large.
12.    My horizon will be off by 2 degrees no matter what tools I use in the field. Horizon correction software was made for people like me.
13.    Abstract photos often get little love online (or in general) but I post them anyway because I love them. Even when photography is a business there needs to times when it’s be purely for you.
14.    Everyone has at least one piece of equipment they will regret going the ultra-cheap route. Mine was remotes going through 6 in about a year before learning my lesson.
15.    Although I love to travel I won’t be able to visit every place on the planet that I see in other photographers photos. I am fine with this. Be happy where you can get to and just enjoy getting out.
16.    In nature photography there’s much more than photographing colorful sunrises and sunsets day in and day out. Don’t forget to look down and all around at all times of the day and in all weather.
17.    Trying to ‘fix’ a photo in post processing that was shot poorly is usually like trying to salvage a half sunken ship. Get it right from the beginning.
18.    The most amazing sky an hour or two before sunset will often end up being the biggest dud by the time the golden hour comes.
19.    Sometimes you need to leave the camera behind (or stop chasing new scenes) and focus on family. Trying to do both all the time won’t make you or the family happy.
20.    Taking an amazing photo, whatever that means at the time for me, does bring a sense of elation and high that likely only other photographers understand.

Snowline II
21.    I went through a funk more than once where photography carried little interest or inspiration to me for months. We all go through phases. Let it ride knowing you will come out on the other side.
22.     Collaborate where and when you can. I wouldn’t be writing this blog post for the Photo Cascadia site right now if I wasn’t open to collaborating with others (who in the end have become good friends).
23.    Your equipment will fail you at the most inopportune time if you photograph enough. I have many stories with a full corrupt CF card from a wedding where I was the sole photographer near the top.
24.    Try saying “Woah look at the body!” out loud at work while viewing the latest camera online. Guarantee you will get some interesting looks and responses.
25.    No I won’t license my image for free to use in an article where you will place my website URL while I will wait for the inquiries to purchase my work come pouring in.
26.    It’s okay to compare your work to others as a means of learning and growing with your photography. Doing it thinking others are good and you’re not is self-destructive.
27.    I am merely a single pixel in a very large sensor we call earth and a tiny blimp on the radar of time. I don’t take myself too seriously and neither should you.
28.    Nature photography and loving the outdoors is something my wife and I had in common when we met and still do today. I am always thankful for the support she shows to this endeavor called photography.
29.    I try not criticizing others work solely because it doesn’t align with what I think is great photography. Simply because I don’t think it is great doesn’t mean it’s any less worthy.
30.    I have learned as much (or more) from bad photos as from good photos I have taken. It’s never a complete waste.

Rocky Candy
31.    You can do pretty much anything in post processing except replicating what a good polarizer can do when it comes to removing glare. It’s not a tool to leave behind.
32.    No matter how well you know your equipment there will be a time(s) you make a rookie mistake. When taking photos the day after night photography don’t forget to bring down that ISO or changing back to RAW after photographing your kids soccer game.
33.    Take risks with your photography without risking your life. If you are not around to enjoy taking photos it obviously wasn’t worth it.  Fortunately I am here to write this.
34.    Study. Whether it’s studying how you take photos in the field or studying photography online or many other ways, it’s all important to avoid becoming stagnant. The only constant in life is change.
35.    If you care about your photos read the fine print before submitting to photography contests. You may be giving the rights away without knowing it.
36.    Don’t worry much about ‘comp stomping’ as being original with every photo today is hard even in best of intentions. Your style and creativity will come in time.
37.    It’s not worth the effort and cost to print my own work. I will always use a lab.
38.    Take time to get your work printed even if it’s small prints or books. It’s a shame to leave everything you photograph to online viewing only. Viewing your work printed is seeing it in a different light.
39.    Be leery of projects that require investment of time and or money that give a guaranteed return for someone else but not you. I have been burned a couple times not seeing the warning signals soon enough.
40.    Use your animal instincts and don’t forget to chimp before you leave the scene. Coming home and saying @%#&! because you missed something that would have been an easy correction is painful.

Morning Transitions
41.    If you don’t own a good tripod and ball head, stop reading this article now and go buy one immediately. All the best equipment means little with nature photography if your tripod sucks.
42.    Leading workshops is hard work to do it right. If you don’t care about being a true guide/teacher to others and it’s only for the all mighty dollar or to simply grow your personal photo collection, do everyone a favor and don’t hold workshops.
43.    No matter how much technology advances understanding composition is paramount. The best camera technology isn’t going to set the camera up for you, tell where to place your tripod legs and what to focus on… at least not yet.
44.    Watching your children taking their first photos that are more than snap-shots is a very cool and rewarding feeling. Especially when they are as excited about it as you are.
45.    Less is more. Do what you can to simplify elements in your composition. One of the larger challenges as nature photographers is to take busy and chaotic scenes from Mother Nature to make a compelling photograph.

I am sure I could keep typing with endless thoughts on what I have learned from photography yet this is good stopping point and enough to ponder for those that took the time to get this far in my post. Whether you have been interested in photography for 45 days or 45 years, feel free to share what you have learned from your time behind the camera.

For the Love of Ghost Towns

by David Cobb
August 22nd, 2016

Ghost Town Overview

There are a number of reasons I’m drawn to photographing ghost towns. Perhaps it’s something to do for a change of pace, maybe it’s photographing the history of a bygone era, or possibly it’s my fascination with dystopian literature. But mostly it’s just fun. I’ve photographed ghost towns from Alaska to Mexico. Most of them exist from the boom-and-bust of the mining era, while others are from the days of Manifest Destiny gone awry; leftovers from a time when Americans thought if we moved to arid lands for cultivation then the rain would follow.

Tinder Box

The ruins these people left behind are in different states of disrepair. Some are preserved as parks, some are not and are left to crumble, and others are resurrected as artist colonies for an affordable place to work and live. Whatever their state, there is always something to explore and photograph.

I’ve explored and photographed the well-known ghost towns (i.e. Bodie) to the little-known towns (i.e.) Farlin. Hell, I even did a ghost town long-distance walk across the Yukon and Northwest Territories on the 221 mile (355km) Canol Heritage Trail, and followed a World War II oil pipeline through the wilderness. The walk past little-used and abandoned autos, pump-house towns, and work stations was fascinating. Additionally, I walked the 33-mile (53km) Chilkoot Trail from Dyea, Alaska to Bennett, British Columbia that follows a land of artifacts and relics from the Klondike Gold Rush. But you don’t need to walk long distances for most ghost towns; they’re on maps and a good AWD vehicle will get you to most of them. Just remember that the majority of ghost towns are at a higher elevation and not lowland valleys, so you might need to wait until summer for access.

Brookman Cabin

Upon arriving for the first time, I like to get that establishing shot. Maybe it’s an overview of the entire town from a nearby highpoint, or possibly it’s a shot of one of the more prominent buildings in town like the mine itself. If the light is not right, I’ll come back to that establishing image as the light improves, but at least I’ve found what represents the town as a whole. Once I have the establishing shot, I begin to look for the intimate. Ghost towns are known for what’s left behind. It could be a table setting, an old poster still on the wall, or implements hanging from the ceiling, but I look for those things that might tell more of the story of the place I’m photographing.

Bottles & Blades

Wash Basin

Ghost towns usually have plenty of texture and plenty of rust that can create interesting patterns of shape and color. I look at the old boards for details of pattern and rusted old cars with peeling paint can offer a myriad of abstract compositions too. If artists are moving into the area, look for the weird. Near a Nevada ghost town I photographed, there was a whole field of cars planted in the ground grill first. The exposed sections of the autos were covered with graffiti art exploring life, politics, and the exotic.

Heart Car

American Rust

Since this is a ghost town, also look for the creepy. I had one ghost town all to myself in the middle of Montana. I walked into an old abandoned hotel to look around and then heard something upstairs. When I walked upstairs I just saw a long hallway of light and dark, and thought to myself, “I’m not going down there.” But I did try to capture in a photo the way I felt at the time.

Spectral Hall

Also when you’re visiting a ghost town look for the cemetery; there is always one nearby. Some can be quaint, others historic, and still others a bit spooky. Any way you capture them, the images can be interesting and will also help tell the story of place. Ghost towns are also a great place for night photography, and light painting the old buildings while photographing the stars overhead can make for a fun evening shoot. If you’re photographing at night, use common sense and leave the steel wool at home. Sparks from these efforts can level a whole town, and enough historic relics from California to Florida have already been lost to photographer’s fire.

In 2017 I’ll be returning to Montana to conduct a photographic loop of the western ghost town locales. I hope you can join me. You can click here for more information.

 Cemetery

Backpacking With a Toddler

by Chip Phillips
August 19th, 2016

 

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Recently, my wife and I took our two-year-old son on his first backpacking trip.  We spent four nights in Wyoming’s Wind River Range, hiking 22 miles round trip to Shadow Lake, just west of the famous Cirque of the Towers.  Are we crazy?  Maybe.  Probably.  But it was one of the most memorable, awe-inspiring, and fun experiences of my life.  Even though, weeks later, we’re still getting all the dirt out of our hair.

Our son, who is 27 months old, is pushing 30 pounds.  Although he walked short distances on his own here and there, he spent most of the hikes on my wife’s back in a Deuter baby carrier.  That left me to carry pretty much all our gear.  With my photography equipment in my pack as well, it was very heavy.  Keeping weight down any way we could was crucial.  My gear is already really light: ultralight tent, sleeping bags, sleeping pads; titanium cookware and 2-ounce canister stove.  I swear by my Steri-Pen UV water purifier, which is very light.  Our son loves drinking milk, so we brought powdered milk, and we brought some individually wrapped snack cheese for extra nutrition with minimal weight.  He also loves oatmeal, so we packed a few instant oatmeal packets for him.  Besides that, he pretty much shared our backpacking meals with us.  But of course the biggest kiddo-related weight issue would be diapers.  I did some research and discovered GroVia diapers: they’re “hybrid” cloth diapers with disposable, biodegradable inserts.  The inserts, while not quite as absorbent as our usual disposable brand, were light, packed tiny, and worked surprisingly well.  We bought two of the cloth diaper “covers” and rotated them throughout the trip.  This system saved us so much space and weight.

Giving our son a chance to hike a bit, especially in the flat, sandy-trailed meadows, was a lot of fun for him, and a nice break for my wife’s back.  It gave him an opportunity to stop and smell the wildflowers, and point out all the butterflies.  My wife: “what does a butterfly say?” Son: “butterfly say I love you.”

Seeing him take joy in bugs, clamber up a granite boulder and giggle with pride, and greet the tiny baby trout in a crystal-clear mountain lake (“hi littley fishy!”) are things I’ll never forget.  There’s nothing in the world like witnessing my son experience the wonder of the wilderness.

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Our sleeping arrangements took a bit of planning.  As we were just above 10,000 feet elevation, nights got pretty cold.  Our son slept in an REI poly base layer long-sleeve tee and socks, under fleece footy pajamas, in a fleece sleep sack (like a sleeping bag with arm holes).  We tried having him sleep in his toddler Patagonia down coat, but that didn’t seem to be comfortable for him, so we wrapped my down coat around him like a blanket.  He slept between us on his own kid-size Thermarest sleeping pad.

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Backpacking with a toddler is a challenge.  I’m not gonna lie.  Our packs were heavy and our backs were sore.  But it was so worth it.  I hope to give my son the opportunity to, as Emerson said, “live in the sunshine, swim the sea, drink the wild air.”  I want him to feel the exhiliration of the wilderness; to wonder at the stars and feel the ancient earth under his feet.  I want him to know the calls of ospreys and the peeps of marmots.  And, hopefully, I want to experience this with him again.  Soon!

 

 

 

2016 Favorite Locations To Photograph Wildflowers On Mount Rainier- Kevin McNeal

by Kevin McNeal
August 15th, 2016

Images from Grand Park in Mount Rainier in the Pacific Northwest Of Washington State

Every year since I began photography, my summer days are spent hiking on Mt Rainier looking for wildflowers. After scouting several places on the mountain this year,  I have compiled a list of some of my favorite places to find wildflowers on Mt Rainier. Everywhere I look, there are all sorts of arrangements including Indian paintbrush, lupine, asters, and lilies just to mention a few. Trying to recommend one place to go would be impossible but I am going to try to highlight a few places I think should not be missed. Every wildflower season I begin my journey on Mt Rainier on the Sunrise side near the visitor center and generally the wildflowers always start peaking here first. This is an easy location to drive to when looking for wildflowers without much hiking. This year for some reason there are no flowers in the vicinity of the Sunrise area.

Images from Emmons Glacier and Silver Forest Trail near Sunrise Visitor Center on Mount Rainier in the Pacific Northwest Of Washington State But if you park your car at the Sunrise visitor center there are many trails that branch off from the visitor center if you don’t mind hiking. I like to hike the Sourdough trail working my way to Berkley Park and Grand Park. This is usually for my first trip of the year when photographing on Mt Rainier. Park at the Sunrise Visitor center and make your way up along the Sourdough Trail.

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Look for flowers on the slopes with Rainier in the background; just be careful not to fall on the rocks. While hiking this gorgeous trail take in the view. It is one of the best on the mountain. As you continue you make your way by Frozen Lake. Take note of the color of the water – unbelievable! To make it to Berkeley Park keep going roughly 2-3 miles to witness without a doubt the most wildflowers in the park. Even though you do not get a view of the mountain from this park it is worth the hike. As you hike here you will pass a creek that follows you throughout the park.

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This is a great opportunity to shoot Lewis Monkey flowers (the pink ones that grow next to streams). Do not be afraid to get your feet wet to get the best compositions here, as there is opportunity everywhere. To get more views of the mountain keep going on the trail to Grand Park as you are met with an open meadow that goes on forever.

Images from Grand Park in Mount Rainier in the Pacific Northwest Of Washington State

On the return to the visitor center makes sure to head down the trail when you hit Frozen Lake to go by Shadow Lake, which is a great place to relax and have a picnic. This is the lake you can see from the Sourdough Trail when you look down into the valley. Now keep along this trail and you will get back to the Sunrise visitor center.

For a sunrise if you are situated on the Sunrise Visitor Center side, I would highly recommend a visit to Tipsoo Lakes which is looking very good this year with a variety of wildflowers. Tipsoo Lake is a short drive back down the mountain from the Sunrise Visitor Center. It offers great reflections of the mountain and wildflowers together. Make sure to hike the hill behind the lake to even get better views of the mountain.

Images from Tipsoo Lake on Mount Rainier in the Pacific Northwest Of Washington State

Images from Tipsoo Lake on Mount Rainier in the Pacific Northwest Of Washington State

Images from Tipsoo Lake on Mount Rainier in the Pacific Northwest Of Washington State

Now if you are heading to the Paradise side, which is always a fan favorite for wildflowers, it offers great views as well. I always begin my journey on Paradise side with a sunrise shot from the Dead Horse Creek Trail.

Images from Mount Rainier in the Pacific Northwest Of Washington State

Images from Mount Rainier in the Pacific Northwest Of Washington State

You cannot go wrong from here as long as get high enough to unobstructed views of the mountain. There are plenty of wildflowers along this trail and a great place to get sidelight on Rainier. Follow this trail all the way up to High Skyline Trail to get closer then you could ever imagine to the mountain. The treat this year is the wildflowers are higher then they have ever been and you can get some very close up views of the mountain with great foregrounds of wildflowers. To get there make sure to keep going all the way to the top so you are heading in the direction of Muir Camp. Once up top you will have a completely unobstructed view of the mountain and wildflowers. After this continue along the High Skyline trail until he heads back down to Paradise area.

You will make your way for about two miles before you get to the meadows worth shooting again.Warning: this place is filled with people and hard to get pictures without people in them. If you are lucky enough to get the place to yourself make sure to stop at the bridge and get a few shots of Edith Creek and the surrounding wildflowers with Rainier as your backdrop. Make sure though to include the S-Curve that leads up and around to the mountain for a great shot.While there get a shot of Myrtle Falls with Rainier in the distance.

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Just past the bridge continuing up the hill you find great meadows of wildflowers and views of the Tatoosh Range if you look the opposite way of the mountain.

Images from Mount Rainier in the Pacific Northwest Of Washington State

This year the meadows are abundant with lupine. You can never go wrong with this image for stock purposes. If time allows I always like to make my way over to Mazama Ridge as this place rarely fails for good compositions of the mountain and wildflowers.

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There are great patches of wildflowers along the trail on the switchbacks up to Mazama Ridge that look great with views of the mountain from the Mazama side. While here also don’t forget to look the other way and photograph wildflowers with the Tatoosh Range. A favorite place to photograph the mountain is Reflection Lakes. This is a great place to photograph for sunrise when you are looking to get somewhere quick. Because you can drive right up to it is very popular and usually has a lot of photographers there but it is easy to find room to shoot especially at either of the far ends.

Images from Mount Rainier in the Pacific Northwest Of Washington State

Images from Reflections Lakes on Mount Rainier in the Pacific Northwest Of Washington State

Well these are some of the stunning locations to shoot on Mt Rainier this year if you get a chance to visit. Remember every year it changes when and where to find the wildflowers so always do your homework before coming to make sure you plan everything correct to time the wildflowers!

Using The New Select and Mask Feature in Photoshop CC 2015.5

by Sean Bagshaw
August 2nd, 2016

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I have to say that getting regular Photoshop updates and new features through my Creative Cloud subscription has been great. In the most recent update to CC Adobe gave the Refine Selection/Refine Mask features a big overhaul and combined them into a single new task space called Select and Mask. This new task space makes it even easier to create selections and refine them so your masks can be even more precise and will target adjustments just how you intend. It seems that the edge detection ability in this new feature has also been improved over the old Refine tool, making even better selections of very fine details, such as grass, hair and tree branches.

In this video tutorial I demonstrate how to use the new Select and Mask feature and also show how it can be used in conjunction with the TKActions V4 panel, even though this feature didn’t exist when the panel came out.

Sean is a full time photographer and photography educator. You can see more of his images and find out about his video tutorial courses and upcoming workshops, tours and classes on his website at www.OutdoorExposurePhoto.com.

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Current Trends in Photo Print Mediums

by photocascadia
July 31st, 2016

by Zack Schnepf

I’ve been doing art festivals and gallery shows for 8 years now.  In that time I’ve noticed several changing trends in regards to what type of prints customers prefer.  I’ve seen a huge shift away from traditional framed prints and canvas and toward newer technology like aluminum and acrylic prints.  I think there are several reasons for this shift.  In this article I’ll talk about my observations while selling prints and share my opinion on why people are buying more metal and acrylic and what advantages they offer over traditional print mediums.

A little history.  When I started doing art festivals eight years ago there were only two mediums most photographers were printing on.  Tradition printing papers like glossy and matte inkjet paper, and canvas prints.  About five years ago, I started to see a few photographers printing on aluminum, acrylic and a few other non-traditional mediums.  I really liked the look of these new mediums, but they were more expensive and in the case of the acrylic prints, really heavy.  At that time I was in the middle of a failed experiment trying out canvas printing.  Canvas prints failed for me because I specialize in highly detailed grand landscape scenes and the detail gets lost in the texture.  Certain images still sold well on canvas, but they were primarily low detail abstracts and painterly looking scenes that lent themselves to the medium.

After my failed canvas experiment I wanted to try some prints on Aluminum.  Aluminum prints have a lot of advantages over traditional print mediums.  They are much more durable, water proof, scratch resistant, light weight, very archival, don’t need to be framed, very three dimensional, and very bright.  They also have less reflection issues compared to framed prints with standard glass.  They do have a few disadvantages as well.  They are not as detailed as traditional inkjet prints and have a much more limited color gamut.  The limited color gamut is my biggest issue with metal prints.  It can be very challenging to get certain colors to render correctly.  Because of this, I have test prints made before I order a full size aluminum print.  Once I get a test print, I make adjustments to the print file and order a another test print until I get the results I’m looking for.  In my experience, green is the hardest color to render correctly.

5 years ago, when I tried aluminum prints for the first time, they were a big hit.  Very few other photographers were printing on metal so my images really stood out at shows.  They also look very impressive in person due to their 3 dimensionality, brightness and punchy colors.  Pretty soon, all of the images I displayed were printed on aluminum and I’ve enjoyed good success at shows ever since.

Photo: iPhone photo of my 2016 both setup displaying aluminum and acrylic prints.

Art Festival Booth 2016

Recently I’ve been experimenting with acrylic prints and they are my current favorite.  They represent the best of both worlds and the best overall quality in my opinion.  Like aluminum prints, they are bright and have a beautiful three dimensional glossy look, but they also retain the detail and color gamut of traditional inkjet prints.  They do have a few draw backs compared to metal prints.  They are heavier, and they scratch easier.  Scratching is the only real issue i have with the acrylic prints.  You need to be careful when moving, or cleaning acrylic prints.

Photo:  iPhone photo, acrylic print made by Nevada Art Printers

Acrylic Print

Conclusion and recommendations.  We have more options that ever for printing our photographs.  Different types of images work well on different print mediums.  For the grand landscapes I’m focusing on, metal and acrylic are my current favorite print mediums.  If I were choosing a print to hang on my own wall I would probably choose an acrylic print, unless it was an area that wasn’t lit very well.  In that case I would choose an aluminum print for it’s brightness and reflectivity.  For most customers I recommend aluminum first.  The durability, brightness, visual impact, and ease of maintenance are hard to beat.  The exception is certain images don’t print well on aluminum.  There are about 20% of my images that I can’t get to print very well on aluminum.  In these cases I recommend acrylic instead.

Where do I have my prints made?  I still produce my own traditional prints, but I use specialty printers for both acrylic and aluminum.  For aluminum prints I use: http://www.hdaluminumprints.com.  Randy at HD Aluminum Prints does a fantastic job and profiles better than any other aluminum printer I’ve used. I have my acrylic prints made at:  http://www.nevadaartprinters.com.  They produce incredible quality acrylic prints!

Photogenic Light: Alternatives to Photographing Landscapes at Sunrise or Sunset

by Erin Babnik
July 18th, 2016

 

The digital era has ushered in an abundance of stunning landscape photographs that represent clouds ablaze with color at sunrise or sunset. Thanks to increasingly capable cameras and software, photographing fiery skies and developing those images has never been easier. The wonderful visual impact of vibrant colors will surely guarantee the appeal of such scenes until the end of time, but there are many other options for creating compelling photographs of grand vistas. Here are some suggestions for types of light that can be very photogenic for large, scenic views.

1 ) Ambient Light

Even when the sun is well below the horizon, particles in the air can reflect its light, casting a soft ambient glow across the land. This type of light can be very subtle and warm, producing pleasing, feathered shadows and allowing colors and textures to appear very distinct. Once an area begins to receive direct light, shadows form hard edges and become strong elements on their own, often cutting across the lines of other forms. In areas where the lines of the land itself are what you want to feature, it is usually best to avoid hard shadows that complicate the scene. Locations that work particularly well with ambient light are those with interesting textures and with varying elevation of the terrain. Soft, warm light of any sort is great for bringing out colors, so colorful land can be particularly photogenic in ambient light as well.

Quiet Riot

2) Dappled Light

Dappled light occurs when the sun is still relatively high and cloud cover is about fifty percent or more. The effect of soft shadows alternating with bright, spotlit areas can be very dramatic. In these sorts of conditions, the light tends to change very quickly, so it’s often a good idea to find a composition and then wait and watch for a while. When your primary point of interest gets picked out by a spot of light, you’re likely to come away with an exciting photograph.

Getting Close

3) Diffused Light

Even overcast conditions can show off the special qualities of certain locations. A solid layer of clouds can act like a giant soft box when the sun is above them, diffusing its light enough to soften shadows. Like ambient light, diffused light works well for locations with a lot of textures.

Curve Appeal

4) Twilight/Night

Twilight is often called the “Blue Hour” by photographers because of the rich blue hues that the sky takes on while the sun is not very low beneath the horizon. This period is a great time to photograph the moon or to feature textures on the ground that appear clearly when reflecting soft light. After the sky goes black, it becomes a somewhat vacant space in an image until it is dark enough for the stars to shine brightly or for the colors of the Milky Way to be visible. I am placing twilight and night in the same category because landscape photographers often combine exposures of both for better handling of dynamic range in night scenes. A so-called “twilight blend” entails shooting the land portion of a scene at twilight and then leaving the camera in place on its tripod until the stars come out and can be captured in a second exposure (or the reverse order in the case of sunrise).

Nowhere

These four types of light are not the only alternatives to photographing scenic views at sunrise or sunset, but they can be especially fruitful. With the right combination of light and location, it is possible to produce compelling, expansive scenes at any time of the day. Creating photographs in different types of light can provide your portfolio with great variety and depth, and it will give you more options for the sheer enjoyment of photographing landscapes.

If you have any questions about these suggestions or would like to add to them, please feel free to leave a comment below!

 

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Erin divides her time between Cascadia’s Californian southern boundary and Slovenia, traveling and photographing extensively from home bases in both locations. Make sure to bookmark Erin’s site at www.erinbabnik.com. You can also follow her on FacebookTwitter and 500px.