Photo Cascadia Blog
Archive for the ‘Color’ Category
My favorite way to experience photography is through print. It’s hard to describe the tremendous satisfaction I get when viewing my own prints, or prints from a photographer I admire. I’ve always enjoyed printing myself. I learned to print in the darkroom in my college photography classes and when I moved to digital I taught myself how to make my own prints at home. As my photography progressed people started to ask if they could buy prints of my images. Eventually, I started doing art festivals and gallery shows to share my work and make more print sales. Whether you plan to print yourself, or have prints made by a dedicated print shop it’s essential that you understand a few basic concepts about color management and preparing images for print.
We live in an increasingly screen based culture. The majority of photography I see is on some sort of screen. A lot of photographers I meet who are starting photography exist almost exclusively in the digital universe. Eventually though, you, or someone you know might want a print made of your photos. Photographic printing can be daunting at first, but it’s very satisfying to see your own images in print, and you will be a better photographer if you understand the fundamentals of color management and print preparation. In this article, I’ll share five essential tips for getting you and your images ready to print.
- CALIBRATE YOUR MONITOR:
It’s hard to stress how important this is. There is no point spending hours processing your photos for print if you haven’t calibrated your monitor. It’s the foundation of color management, and brings everyone into a common color standard. I remember when I got started in photography many years ago, I read on some forums about the importance of calibrating my monitor. At the time I was more concerned with acquiring more lenses and gear and didn’t see why it was a big deal. When I started printing I learned a hard and expensive lesson. The first prints I made were a huge disappointment. They didn’t look like what I saw on my monitor at all, the colors were off and it came out really dark. With a little more friendly advise I finally invested in a decent calibrations package. Once I calibrated my monitor I realized two important things. One, it’s really helpful when everyone is using the same color standards and profiles, otherwise what may look red on my screen could look orange, or purple on another. Two, I had my monitor set way too bright. Reflected light from a print will never look as bright as transmitted light from a screen. Lowering screen brightness much better reflects how an image will print. Here is a link to the colormunki screen calibrator I use now. Very easy to use and profiles really accurately. All of their products work really well, but I like the customization options with the colormunki display model: http://xritephoto.com/colormunki-display
- UNDERSTAND BASIC COLOR MANAGEMENT:
Whether you are printing yourself, sending your files to a dedicated print shop, or preparing an image for a publisher, you will get much better results if you understand the basics of color management. There are two basic concepts to understand when managing color on your computer. The first is using the correct color space when exporting from Lightroom, or Adobe Camera Raw and the right color setting in Photoshop. I always use the Pro Photo RGB color space as it has the widest color gamut, I prefer to start my editing with as many colors as possible especially if I will be printing the image. The second concept is using the right printing profile. If you’re having someone else print for you, it’s still important to understand printer profiles. You can use a printer profile to soft proof your image and get a preview of how it will look when printed with the specific printer and paper they use. Printer profiles are scripts used by the printer to adhere to color standards, they help the printer produce an image that looks as close to what you see on your screen as possible. I’ll talk more about soft proofing in the next section.
- SOFT PROOFING AND HARD PROOFING:
Soft proofing is using software such as Lightroom, or Photoshop to preview a printer profile. Soft proofing attempts to simulate what the image will look like when printed on a specific print paper with a specific printer. I think soft proofing is useful to get you in the right ballpark, but I don’t trust soft proofing completely. It is still pretty unreliable when trying preview exactly what a print will look like. I use soft proofing to get me close and then I order a test print which is called a hard proof. Once the test print is made, or arrives from a print shop, I can evaluate it and make any adjustments that I think it needs. This method is what I rely on when making prints for customers, art shows and galleries. The videos below help explain soft proofing in Lightroom and Photoshop.
Great video on soft proofing in Lightroom: https://www.youtube.com/watch?v=8M9B8ABOb9U
Another video about basic soft proofing in Photoshop: https://www.youtube.com/watch?v=Y47uoKE_dAs
- SHARPEN APPROPRIATELY FOR EACH PRINT MEDIUM AND SIZE.
Each print medium I use requires different levels of sharpening to look it’s best. For instance, noise from over sharpening shows up easier on metal prints. Both acrylic and traditional inkjet prints are more forgiving and hide minor noise and digital artifacts better. Canvas is the most forgiving. Print size is also something to consider. What does this mean in practical terms for my workflow? I’ve adopted a simple and flexible approach to sharpening. I do normal output sharpening in Lightroom or ACR to correct for softness introduced by camera, lens, and the RAW format. The amount varies for each image. I continue with my workflow in photoshop to produce a master file with all layers and adjustments preserved if possible. If I’m going to make a print, I save a flattened copy of the master file and sharpen it specifically for that print size and medium. Sometimes it doesn’t need additional sharpening, but if it does it’s usually the last adjustment I make before sending it to print. As a general guideline, I sharpen more for smaller prints, and less for larger prints. The is counter intuitive for many people, but I’ve found that smaller prints need more because they lose sharpness when they are scaled down, and large prints tend to show any unwanted effects that might arise from over sharpening. This is my personal preference and there are other factors to consider including the view distance.
- ADJUST LUMINANCE FOR SPECIFIC PRINT MEDIUMS.
Each print medium has it’s own perceptual brightness and ambient reflectivity. Like I described in the sharpening section, I save a flattened copy of my master file for each specific size and print medium I print on. Aluminum prints and lumachrome acrylic prints have high ambient reflectivity and perceptual brightness, therefore they require very little, if any brightness adjustment. Traditional inkjet prints and canvas require a lot more brightness adjustments if you want to replicate the look you see on your screen.
I’ve been printing a long time, and I’ve learned several important lessons from printing over the years. I’ve noticed that my processing workflow has evolved to accommodate printing. I now tend to process with printing in mind first, and make specific changes to the file later when posting to the web. I also have evolved to process in the most editable and non destructive way to preserve the image quality. I think printing has made me a better photographer and has helped me improve my image quality.
Old video blog about basic printing from Photoshop: http://www.photocascadia.com/blog/intro-to-photoshop-printing-video/#.WIT_MrGZMUE
Recommended printing companies: These are the two print companies that I use. I’ve tried a lot print shops, and these guys both produce incredible, quality prints. I get my Aluminum prints from: http://www.hdaluminumprints.com and acrylic prints from http://www.nevadaartprinters.com
Lucky number seven in 2016 for Photo Cascadia. Seven for the first full year with seven team members and seven for the number of years Photo Cascadia has been around. Speaking of luck it was honestly mostly luck in the beginning that this specific team of photographers formed, have become good friends and enjoy sharing experiences and knowledge with all of you for as long as we have. During this time we have seen similar groups form and fold. We hope this seven year stretch is only the beginning of our journey as you join us along for the ride. In the end it’s you, the readers, that continue to provide energy for what we do at Photo Cascadia. For this we are extremely grateful and thankful… thank you!
Where did 2016 take you for adventure and photography? I am sure it was similar to many on the Photo Cascadia team where we spent time in our own backyards, crossing state lines as well as some continent hopping. If you have been watching our blog for more than a year now you will know that mid December is when Photo Cascadia takes a break from our weekly posting until mid January. It’s our time to step back and reflect on the year that has past while winding down with family and friends.
As we reflect on things it’s a good time to remember that all the places we get to visit should be available for those that come after us. It seems 2016 we unfortunately saw a rise, at least in the media if not reality, around people doing permanent damage to places we all want to enjoy and photograph as well as companies and political forces looking to seize locations set aside for long term preservation. Now days, perhaps more than ever, we all need breaks into nature whether some of us realize it or not as the number of us living in a concrete jungle grows. With that I leave you with one of my favorite quotes.
“May your trails be crooked, winding, lonesome, dangerous, leading to the most amazing view. May your mountains rise into and above the clouds.” – Edward Abbey
We take this time to provide a year end visual show of where we have traveled with some behind the scenes clips. Take a four minute break and check it out.
May your year close out with many lasting memories and the new year start with a trail full of endless possibilities.
Landscape photographers are increasingly turning toward more interpretive modes of presentation in order to express their own ideas about the scenes that they encounter. New techniques in field work and related digital processing have fueled this development, often enabling photographers to produce images that were nearly impossible to achieve in the film era. These techniques address a plethora of age-old problems in landscape photography, from displaying a vast depth-of-field to escaping the constraints of shutter speeds and fixed angles of view. Whether the goal is to overcome limitations of current photographic equipment or to infuse a photograph with creative subjectivity, digital solutions have opened up a new world of options and have generated a world of terminology to go with them. In response to frequent requests for explanations of certain terms, I offer the following lexicon.
These terms are those that pertain to recent developments, advancements in field work and related post-processing made possible by the digital era. I have intentionally omitted common terms that have direct counterparts in darkroom development, such as dodging, burning, and cropping. This list is hardly exhaustive and is intended to highlight those techniques that have been most significant in landscape photography of the last decade. In addition, I have included terms that describe some newer techniques that I am increasingly asked to explain.
Blends combine separate image files or else different treatments of a single file into a final image. Blending requires the use of layers and masking in editing software such as Adobe Photoshop. A ‘blend’ is generally distinct from a ‘composite’ in its use of source files created during a single photography outing at a particular location.
Possibly the most essential of all blending techniques for landscape photographers is the Exposure Blend, which allows for selective control over tones in an image. A typical use of an exposure blend would be to present sky and land areas of a scene such that they appear to be in balance tonally, as the human eye might see them. Unlike the use of graduated filters, exposure blends allow for targeted tonal changes in any location of the image and at any level of opacity. These blends might combine different exposures produced as separate files or else differently processed iterations of a single raw file. Exposure Blends are typically achieved with freehand masking or with luminosity masking.
Focal Length Blend:
This type of blend combines frames of a single scene that were shot at different focal lengths. The typical use of this kind of blend is to overcome the effects of “pancaking” or diminution of background features caused by the use of a wide-angle lens. By combining a longer focal length for a background with a wider one of a foreground, photographers can restore the prominence and presence of background features that might otherwise appear less impressive than they would in person. Focal Length Blends require manual blending using hard-edged masks.
One of the most versatile types of blending, the Perspective Blend allows the combination of frames shot using different nodal points. The most common type of Perspective Blend is the so-called “Vertorama”, which is essentially a vertically oriented panorama. Perspective Blends can also combine slightly different camera heights or angles that allow more descriptive or expressive views of certain foreground features without compromising the desired view of the background. Perspective Blends can be achieved with automated stitching software or with manual blending.
A Time Blend collapses together different moments of a natural event, allowing for a more extensive narrative or a more descriptive presentation, similar to what a video might accomplish. While an Exposure Blend might combine different moments that are only seconds apart (or less), a Time Blend could include instances that span across minutes or even an hour or more. A typical example would be a scene with fast-moving atmosphere and quickly changing light that showcases the most significant moments of the event. Another common variation on the technique is combining different shutter speeds in a single image, such as having a longer shutter speed to blur moving water and a shorter one to freeze foliage movement. Time Blends typically require freehand masking.
This technique was developed to overcome problems of extreme dynamic range during twilight or night. The basic approach is to photograph land portions of a scene with ample ambient light separately from the night sky, keeping the camera in position on a tripod as long as it takes to create good exposures of both the land and the sky (typically about an hour). Twilight Blends can be achieved with freehand masking or with luminosity masking and usually require a substantial shift in white balance for the land portions of the image.
These effects accentuate or augment a scene in ways that emphasize a mood and contribute to the style of a photo’s final presentation.
When light shines through atmosphere that diffuses it substantially, any shadow areas behind the light lose contrast. The effect is often a pleasing, “glowy” one that emphasizes the light source. This natural phenomenon can be accentuated dramatically or even imitated outright by overlaying pixels that add brightness and diffusion. These pixels might be layers of bright color or selected areas of a blurred and brightened copy of the image file. The opacity of the effect is generally highest closer to the light source, typically requiring freehand application for naturalistic results. Photographer Ryan Dyar is widely regarded as the greatest pioneer of this technique, and his portfolio contains many images that exemplify it.
Light Painting in processing is akin to dodging and burning in that it selectively brightens or darkens areas of an image, often with a change in hue involved as well. A typical application might add brightness and warmth to selected highlight areas and add cooler hues to darker ones in order to emphasize visual hierarchy, to direct eye movement, or to emphasize depth. Light Painting is usually best controlled with a combination of luminosity masks and freehand application, and it may involve the use of numerous layers that build up to a result like glazing techniques in oil painting. (Note that this is a processing technique that should not be confused with in-field “Light Painting”, which involves using artificial light sources and long exposures in low light situations.)
This effect does have a direct counterpart in darkroom development, but I decided to include it in this lexicon because it has been widely adopted and adapted in the digital era. Photographer Michael Orton originated the technique using slide film in the mid-1980’s as a means of emulating the “Pen and Ink and Watercolor” technique of painting that produced a dreamy effect through its combination of media with different qualities. To create a similar effect with photography, Orton sandwiched together two slides that he took of a single scene, one slide with high detail and little color, along with a second slide that was out of focus and very colorful. Digital applications of this idea are numerous, ranging from subtle treatments that simply offset the effects of web sharpening, to more emphatic treatments that lend a painterly, glowing quality to an image. Numerous software filters, plug-ins, and scripts exist for automated applications of the effect, and of course manual applications are possible using layers in Photoshop.
The following techniques are among those that have been foundational in the more progressive strands of landscape photography in the digital era. They have opened up new options for composition, subject matter, conditions, locations, and timing to the extent that they lie at the heart of a distinct zeitgeist that has become evident in the last decade.
Focus stacking combines files shot with different focus points in order achieve a greater depth of field than would be possible in a single file. With this technique it is possible to have sharp focus on features at the very closest focusing distance of a lens while also having the same level of sharpness for everything else in a scene, all the way out to infinity focus. There are numerous standalone software programs that can automate the process of focus stacking, and Photoshop has stock features for focus stacking as well. Focus stacking can also be achieved manually via blending with layers and masks, although a manual blend is easiest to achieve with images that do not require the combination of many focus points.
The acronym for “High Dynamic Range”, this term describes any process that combines different exposures for the purpose of increasing the range of tones in an image beyond what is achievable in a single exposure. Many photographers reserve this term to distinguish automated processes that effect image tonality globally in a photograph, as distinct from manual blending techniques that allow highly selective control over tones in an image (see Exposure Blending above).
A luminosity mask is a blending tool that allows precise targeting of tones in an image. The most common uses of a luminosity mask are exposure blending, dodging, and burning, but these masks are useful for a huge variety of editing tasks, including color work, light painting, adding light bleed, and creating custom Orton effects, among others. A luminosity mask is a type of “found mask”, which is any mask created from one of the eleven standard channels available in different image modes within Photoshop. The channel that all luminosity masks derive from is the Gray channel, which contains only the luminance values for a given image. Channels that contain color values, such as the Red or Blue channels, can also be very useful and work in the same way that luminosity masks do. Because found masks use gradations of tones or colors that exist as pixels in a photograph, they are much more precise for blending tasks than freehand masking is, and they are less likely to produce unwanted ‘halos’ and artifacts, as can happen easily with simple applications of hard-edged masks (that is, those created with selection tools such as the Lasso Tool). There are numerous Photoshop action sets available to create luminosity masks quickly and easily, the most popular being those available from Tony Kuyper.
Stitching refers to the process of seamlessly combining frames shot by panning a camera horizontally, vertically, or both. There are numerous standalone software programs for creating stitched images, and some are very sophisticated, allowing photographers to stitch together frames from very wide focal lengths and from different nodal points. Photoshop also has features that enable automated stitching, and of course manual solutions exist as well.
Warping is a selective distortion of an image that has countless uses. Common examples include altering the relative proportions of certain parts of a scene, pulling unwanted edge details out of the frame, shifting regions of an image within the frame, correcting leaning features, and adding curvature to straight elements. Warping can be accomplished with the very edge of an ultra-wide-angle lens or with software tools, but blending with another layer of image data that contains normal proportions for the rest of the scene is usually necessary in either case. Although numerous software programs have warping features, Photoshop includes the most variety of them and offers the greatest amount of control, especially given the option to use masking for more targeted effects.
WHEN, WHY, AND HOW MUCH?
My own preference is to use processing solutions creatively but conservatively, always striving for a high level of naturalism and subtlety and without creating images that have no basis in my own experiences. Nonetheless, those limitations are merely my preferences for my own output, and I enjoy seeing compelling photographs that push beyond the limits that I might set for myself. Perhaps the most important consideration for any type of processing is the rationale for choosing a particular technique. Like any decisions in art, those that work in the service of a creative goal are more likely to produce satisfying results. Anything done with intention tends to register with more viewers, allowing them to discover points where craft and ideas come together in powerful, meaningful displays of creative choice.
**Special thanks to the artists whose images are linked in this article and who collaborated with me on the selection of them!
Can you guess which of these techniques went into the photographs displayed in this article? Do you have any questions about any of these terms? Would you like to suggest terms for inclusion in future versions of this lexicon? If so, please feel free to chime in below.
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 Facebook, Twitter and 500px.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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!
In May of this year I had an opportunity to spend a few days in Acadia National Park. If you are not familiar with the area it’s in the state of Maine, one of the six states making up the New England region. When it comes to photography the area is certainly more known for visiting in fall season to capture vivid red, yellow and orange colors from the plethora of deciduous trees filling the landscape. Fall season aside there is still much to see and photograph during the other three seasons, including spring. In spring the trees and foliage are in full bloom with an array of green hues to fill up your camera lens.
While a few days allows for seeing the main sites I would overall recommend a couple more beyond that to check out more of the area and get on a couple more trails or kayaking. I will also say I am someone that typically researches quite a bit ahead of time for any trip of a few days or more. This one I pretty much winged it. I give that caveat ahead of my trip review for additional context.
When I got into Acadia it was the Friday starting on Memorial Day weekend. I was certainly prepared for jammed roads, too many tourists and little space. Much to my surprise it was not bad at all with plenty of moments to take in the area without too much commotion.
There are many options just outside of park as well as some inside the park, including camping. Since lodging when I travel by myself literally means a decent place to sleep, and nothing more, I chose an inexpensive motel on the main highway just outside the main entrance of the park. It worked out well for me.
In the park options are limited. Just outside the park there places like Bar Harbor with plenty of options. As said before I was mainly there to see sites. I hit the local grocery store and used the fridge at the motel. Don’t forget to eat plenty of lobster, it’s pretty much everywhere.
You can actually fly into Bangor International which is only about a 45 mile drive to Acadia. I happened to already be in Portland (Portland, Maine that is not to be confused with my hometown Portland, Oregon) where it made sense for me to drive the 160 miles vs getting on another plane.
There is a little bit of everything here from small ponds to ocean waves and lush forests to mountain views. The Park Loop Rd is the main route in the east portion of the park. One thing I like about the setup of the main loop is the one-way two lane feature where the right lane doubles as a parking spot in most parts. For photography this is great. I see something I like and can literally stop the car in the middle of the road to get out and take photos. Yes this means that once you pass a spot the only way back to it is doing the full loop again but the pros outweigh the cons.
Whether you like rough rocky shores or small town boat harbors ANP has them as well. The iconic Bass Harbor Head Lighthouse is located outside the busiest part of the park and worth checking out. Truth be told I was looking forward to photographing the Portland Head Lighthouse more, yet on my visit it was dressed in scaffolding for maintenance, maybe next time.
The first afternoon and morning of my second day brought spells of fog which made for some great atmosphere to photograph. We often talk about national parks being too crowded and for the most part I agree with that. Yet on my first evening I was photographing this fine grove of ferns and I had wondered if the park was closed and I got locked in! I spent 15 to 20 minutes standing on the road photographing this scene in the early evening with not a single car coming by and it was on the main park loop. All I could hear was the sound of occasional water dripping and leaves waving when breezes came through. It was fantastic.
The next morning as the sun scorched it’s way through the fog there was fine scenes I encountered. On this foggy road I ‘parked’ my car just behind where I stood to take this photo. Only a couple cars and runners strolled through.
My good friend and fellow Photo Cascadia team member did tell me there are good options for photographing rocks. There certainly are some cool finds. While my hair got soaked to the point water was running down my face from the dense fog I found this neat rock formation. I am thinking boot yet I also see a dolphin. What do you see?
Perhaps the most fun to see and photograph rock wise was Little Hunters Beach. There is no big sign to show you the way; you can easily miss it if you aren’t looking for it. It’s like one gigantic bag of marbles were dumped on the shore. Can’t remember the last time I saw this many beautiful rocks in one spot.
Some of the best views are up on Cadillac Mountain; at just over 460 meters is the highest point which feels low until you remind yourself you are on the ocean. You can hike just a short ways and be away from the masses. If you are a curb side shooter this place works too. Don’t be fooled thinking that just because you are nearing summer and sunrise is before 5 am that it will be quiet. Boy was I in for a surprise. Hundreds were up there to watch the sunrise, most just to experience the scene not to photograph.
This sunrise was the best I had all trip and the sliver of sun poking through was all we saw before the clouds engulfed it. This foreground seemed fitting as the rocks look a little like lobster claws.
If you prefer a little more man made than pure nature there is very nice little Japanese one right outside the park called Asticou Azalea Garden that is free to visit.
Definitely cannot forget about getting down close to the rugged rocky ocean shoreline. I get mesmerized watching the waves slosh around. Thunderhole is a great place to see if you can time it right for waves. During my time there the water was too calm for much action according to one of the rangers. No worry for me plenty else to see.
All in all it was a pretty quick trip yet a fine place to spend a few days photographing and exploring. If you have never been it’s certainly one to add to your bucket list. I hope to make a trip back during fall in the future.
On the subject of national parks I will get on my soap box ever so briefly. With the staggering increase volume of visitors each year to some of the major parks in the United States it’s no wonder we are seeing the many headlines of a small number of people making poor decisions negatively impacting a park landscape or wildlife. I would say mostly I have seen stories from Yellowstone this year yet that park is not alone. Others may not agree with me yet I feel the most popular parks are approaching a crisis. If we don’t effectively manage through the high visitor rate that appears to be continuing upward I fear a system of national parks we know today may be a lot less enjoyable 30 to 50 years from now. Although I don’t love permitting systems or limiting access to what we deem ‘our national parks’ I am beginning to wonder if the peak seasons at large popular parks need to entertain new ideas to effectively limit traffic, both number of people and vehicles. I won’t dive into a deep debate here, simply something to ponder. On that note get out there and enjoy your parks as I will be doing the same this summer with my family.
Knowing how to use post-processing software is important for any creative photographer, but it is equally important to know what to do with that knowledge. No matter how proficient we are with our development tools, we still need to decide which direction to take an image for its final presentation. What follows is a guide for getting the most out of your image development by having clear strategies to guide the process. These strategies fall into two basic categories: directing attention and conveying character.
1) DIRECTING ATTENTION: Work with the composition, not against it.
Effective post-processing will emphasize the composition of a photograph by helping it to direct eye movement and to highlight points of visual interest. The first step to determining how to proceed with processing is to have a clear idea of how the eye should travel through the frame and which parts of the image are most important. Where is the main path that the eye should follow? Is there a primary point of interest? Are other points of interest playing a supporting role or are they competing for attention? Is anything drawing the eye out of the frame? With these questions answered, we can concentrate on a few approaches to addressing any concerns that they raise.
• Finesse the Light
The eye follows light, so it will be attracted to the most luminous parts of an image. Increasing or decreasing the luminance of an area selectively can help to bring it ‘forward’ or to push it ‘back’ in the hierarchy of visual interest. Likewise, a gradation of light can be very effective in transitioning the eye between zones.
Some caveats: While digital processing gives us remarkable and very selective control over luminance in an image, there are limits to what we can accomplish in affecting the quality of light in a scene. Very strong, directional light is the most difficult to finesse because its effects tend to be quite emphatic, while soft light is quite malleable, allowing for a high degree of discretion in post-processing. The suggestions above for adjusting luminance can only go so far—if the light in a photograph is working strongly against its composition, then that photo is probably a candidate for reshooting in different conditions.
• Adjust Colors
Colors can attract attention much like luminance does. Warmer colors ‘advance’ and draw the eye more than cool ones, which tend to recede in an image. Nonetheless, cool colors can demand a lot of attention if they are anomalies in an otherwise warm color palette. Selectively adjusting the hue or saturation of a feature can have a great effect on its presence in the frame, allowing you to control how much attention it demands.
• Take Charge of Textures and Forms
Features with greater dimensionality attract more attention, while flatter ones are less noticeable. Sometimes increasing the contrast of a feature will help to make it stand out better. Conversely, making an area “flatter” (that is, less dimensional) can help to take attention away from it. If a scene has an area of busy detail that detracts from the more interesting parts of the photograph, then reducing the contrast there could be beneficial to the overall image.
Forms that are very different from everything around them are also likely to attract attention. For example, a footprint in an area of smooth sand or a jet contrail in the sky may amount to an unfortunate distraction, in which case it may be a good idea to remove those features by cloning them out.
2) CONVEYING CHARACTER: Bring out the essence of the image.
Any compelling photograph has the potential to suggest certain qualities of character or mood over others. A scene may be cheerful, ominous, dreamy, surreal, whimsical, or any number of other possibilities. Identifying the essence of an image in these terms will provide a framework for processing decisions of a more creative nature. Once you have a good idea of the character or mood that you would like to express, there are a few categories of adjustments to consider that can be very useful in creating the final look of an image accordingly.
• Tailor the Overall Tonality
Most photographers agree that camera settings should target an exposure that will provide the most flexibility when it comes time to process the image. Working this way in the field may result in an initial tonality that differs from what will best express the mood that you have envisioned for the final photo, however. A cheerful feeling may require a brighter treatment, while darker tones tend to suggest a more “moody” character. Even the range of tones may need to be narrowed or expanded to hit the right note, as it were. For example, when giving an image an airy, high-key treatment, you may want to restrict the range of tones so that there are no absolute blacks in it.
• Constrain the Color Palette
Colors can do a lot to express a certain character. A palette of earthy tones tends to provide a more mature, relaxing appearance, while more vibrant palettes can suggest high levels of energy or exuberance. Shifting certain hues within an image can get them to adhere better to the dominant color scheme, making the character of a final photograph more pronounced. Harmonious color palettes are not only more expressive but are more settling to the eye, so it is worthwhile to explore the possibilities for getting colors to harmonize and to set the right mood for the scene.
• Emphasize Ambience
Some processing treatments do more to establish a sense of ambience than anything else. Deliberately softening an image or making it more hazy can cause it to appear more dreamy, whereas increasing sharpness and clarity can lend a more gritty tone to the whole. Making light sources appear to glow by diffusing them versus hardening their edges can have a great effect on the tenor of a scene. Such treatments can be very subtle and yet still go a long way towards emphasizing the qualities of an image that make it particularly expressive.
Considering how we might direct attention and what character we want to convey will give clear direction to our development process. Although there are endless options for editing images these days, they are all best employed in the service of a goal. Sometimes a round of experimentation is necessary to help define those goals, but once the direction is clear, all else will follow with more effective results. Do you ever struggle with the direction to take a photograph during its development? What strategies do you find most helpful in pointing the way forward?
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 Facebook, Twitter and 500px.
I did a blog post a number of years back on abstract nature photography yet it’s been a long time and thought I would revisit this topic. I really enjoy this type of photography especially when you find hidden gems that others may not have seen or might have passed over many times before you. Often what ends up being the final photo doesn’t jump out at you without surveying a scene for potential compositions. Sometimes I dig in and strike it rich finding those gems and other times I come up empty handed which is part of the fun.
Rather than a lot of typing for this post I will let the video do most of the talking this time around. I am not normally the video tutorial kind of person yet I am getting myself to branch out into this type of work. Below is the video and three photos I discuss in greater detail. For each scene I show several compositions I took leading up to the final to help understand my thought process to build a compelling abstract or intimate nature photo.
Standing Tall – In cold wet forest of the Columbia River Gorge in early winter
Desert Lizard – In the dry cool desert Southwest in Fall inside Zion National Park
Final Flames of Fall – Above a forest in the Columbia River Gorge during the final days of fall
Video covering the three photos above in much more detail. Happy viewing!
I recently got the chance to co-host a Photo Walk in Vancouver, BC, Canada with 500px. We also had the luck to have Fuji as a sponsor for the event and to have a representative from Fuji join us. About 80 people participated in the Photo Walk. There were lots of Fuji giveaways and everybody walked away with some goodies including a lucky participant that won an underwater camera.
For those that were wondering what exactly a Photo Walk is. Here is the short answer; it’s an organized photo event that brings photographers together from all walks of life with a common interest in taking pictures.
There are many benefits to joining a Photo Walk in your local area. It gets photographers together with like-minded goals. It introduces you to the events and organizations that are in your area that have to do with photography. Also, it gives you the chance to meet all kinds of people with diverse backgrounds that, when together, share ideas and thoughts. The Photo Walks often take place in an area of the city that really highlight the area’s beauty. It’s a great way to see your city as well learn new things.
For this Photo Walk I chose the Vancouver Seawall in Stanley Park as the place to meet the group of photographers and really showcase Vancouver’s stunning city skyline views. Vancouver is well known around the world for its tall buildings and gorgeous harbor views of the city. The Vancouver Seawall is just a short walk from the main downtown area, yet allows one to feel like you are far enough away from the city to really enjoy it without the crowds.
The group started at the historic Vancouver Rowing Club and worked its way around the seawall shooting all different perspectives of the city skyline. Right away we encountered a great spot for photographing fall colors. Some people got adventurous and laid on the grass and took turns photographing the fall leaves. The photo below is an example.
The shooting of the fall colors gave the group a great chance talk about the potential of an important concept in nature photography called High Dynamic Range or HDR. High Dynamic Photography is the process of taking multiple exposures of the same scene with different exposures and combining them into one exposure. The final exposure is made up of all the exposures and thus has a wider dynamic range of exposure in a single image. Some had done it before and others were learning about it for the first time. People also shared some of their tricks when shooting, as for example, when shooting into the sun at an aperture of f/22 to make a sun star. After finishing shooting the fall colors and trees along the seawall the group moved on to shoot the inner harbor and city skyline. Everyone was eager to learn all about the different ways to shoot the city as well as learn about their camera settings to take advantage of the light. We choose a time to photograph near sunset to show of the late light of twilight on the cityscape as shown in the examples below.
We were also fortunate enough to get a near full moon that gave the group more opportunities to shoot late into the night. The group made its way along the seawall noting some of the local wildlife such as the harbor seals. People also took time to talk about photo equipment and what cameras and lenses to use and in what situations to use them. With a wide diversity of cameras and tripods the group tried out several different pieces of equipment including some newer lenses by Fuji. The Vancouver Seawall is also in my opinion one of the best places to shoot panoramas of the city with reflections. So the group got together and did some panoramas that worked out great with the light and the location. The scenes below show examples of panoramas.
The sun began to set in the west and the last of the day’s light hit the Vancouver landscape city skyline. This gave the group an opportunity to shoot a group photo of some of the participants, which people can share. We managed to all squeeze close enough with the backdrop of Vancouver.
Eventually we made our way back to the start of the Photo Walk continuing to photograph the city at night with all its glorious reflections in the water. The group even found a way to shoot at night without a tripod by placing the camera on the seawall ledge, which made for a great impromptu tripod.
During the few hours together we got to know each other and made new friends. We also learnt lots of new things about Vancouver and photography.
The night ended with people exchanging contact information and well as the promise to post their images on their Facebook page.
Co-hosting the event with 500px gave me a great opportunity to learn some new things as well as meet a great bunch of new people. It was amazing to see how many people showed up from different experiences yet shared a common goal of taking great photos. So thank you everyone who showed up and hope to see everyone again in the near future. And thanks to our sponsor, Fuji and 500px for co-hosting the event.
One of my favorite subjects to photograph is lighthouses. There’re so many possibilities in terms of composition when shooting lighthouses. And when it comes to deciding what image or images to display its really hard to decide a favorite. I recently came back from a trip to the San Jan Islands to shoot the Lime Kiln Lighthouse. Ever since I began photography I have seen images of this lighthouse in magazines, books, and the Internet. It has always been a goal of mine to capture this mesmerizing subject in amazing conditions. I have visited this place half a dozen times but have always met with cloudy conditions. This past week I finally got some great weather and was able to shoot the lighthouse for three straight days.
Lime Kiln Lighthouse is found on Friday Harbor, which is one of the many islands that make up the San Juan Islands in the Pacific Northwest. To get here you need to take a ferry from Anacortes, which runs only a few times a day. Once on the island it is a short twenty-minute drive across the island to Lime Kiln State Park. Accessing the lighthouse is easy with a short hike and can be photographed from both sides.
Like most people I try to check the internet for up to the minute weather reports and time adventures with favorable conditions but for some reason the Lime Kiln Lighthouse has always alluded me and never worked out so when I made the decision to go the weather forecast was calling for partly cloudy conditions all week so I figured this was my chance. I made the drive to Anacortes from Olympia but was dealt a bad blow in traffic and it took me double the time to get there.
As I pulled up to the ticket booth the lady explained I just missed the 4:45 pm and would now have to wait till 8:45 pm. This meant I would miss another opportunity to photograph this lighthouse that had been getting the better of me ever since I began photography. With sadness I began to tell me story to the lady hoping she could come up with a solution to my problem. With a little change in her voice she explained that I might just make a ferry ride to Lopez Island and then do some island hoping to catch a last minute ferry that would get me to Friday Harbor by 9pm and the lighthouse by 9:30pm. Sunset was at 9:20pm. Would that be too late and would I have to forgo this trip again and try again another day?
I decided to give it a try and when it was all done and said I got to the lighthouse a little earlier than expected and was treated to an amazing sunset. In the end I was able to capture three full days of different conditions and now setting on a composition would be the toughest part. When I edit my images one or two might strike me as standouts and make the choice easy for me but other times not so easy.
This was one of those times. I had so many choices to go with that I decided to write this blog on my frustration and hopefully receive some feedback from my readers. So I would love to know if you have any favorites out of this image since I am not sure where to begin..
For the last five years I’ve taken spring trips down to the Californian Redwoods. Each year I take the trip with the hope of photographing the stunning rhododendrons with the fog and mist that occurs frequently in spring and summer. The last few years I have either been too early or too late. I have witnessed some stunning weather conditions in terms of fog and mist, which produced stunning crepuscular rays but no flowers. From past experiences it seemed to always occur in late morning light as the fog would rise and the sun breaks through.
This year I had the fortunate luck to have some fellow Photo Cascadia members teach a workshop down in the Redwoods a week earlier. They reported the rhododendrons we’re just about at peak and if I were to head down right away I would be arriving at the perfect time. So I packed up my bags and convinced the wife when needed a getaway. With some begging and pleading we headed down to California. As usual, we made a few stops along the southern Oregon coast and made the most out of the trip. In terms of weather reports I usually scout out a week early to see if the conditions are favorable but this this time I had to just head straight down there with no delays. The last four years I’ve seen crepuscular rays almost every day I’ve ever visited the redwoods in spring. So now all I needed to do was find a pleasing composition with both the fog and the rhododendrons, and possibly a burst of sunrays to top things off.
If you have never been to the California redwoods it is an oasis of larger-than-life trees. Knowing where to photograph if you’ve never been or not done your research beforehand can be very challenging. With the Redwoods being as large as they are, it helps to know the best trails to capture all of the elements in one scene. The redwoods are broken into several areas that are quite spaced apart. Although similar to each other, each has its own distinct look when it comes to the layout. Every year it changes quite drastically in terms of where the rhododendrons are best for photographing. For my visit, the first thing I did was go to the visitor center and seek advice. They were very helpful in suggesting several trails that were excellent at the time. They also advised me in terms of where to be and when tin terms of placement of the breaking sun and fog.
Although I saw several sets of rhododendrons along the main highway in Del Norte Coast Redwoods State Park, I would suggest not stopping along the highway as the cars came to close to the side to comfortably photograph. As in past years, I was recommended to hike the Damnation trail, which had several stunning areas of rhododendrons with the trails not being too busy with other people. To avoid crowds I suggest getting there first thing in the morning. Going early allows time to find a pleasing composition while waiting for the light to be just right. On a side note, many cars early in the morning were broken into in the parking areas as the highway is right there and is quick access for the thieves. On both mornings I was there cars have been broken into before I got there.
When it comes photographing, the rhododendrons in the California redwoods it helps to pre-visualize some possible compositions or scenarios you would like to shoot. I never visit a place with just one composition in mind, but I do research on the Internet beforehand. This allows me the opportunity to see what others are doing, and trying to take it on step further in terms of creativity and impact. For example, one of the images that stuck with me, was an image of the rhododendrons taken from the ground looking up at sky to also include perspective of the gigantic Redwood trees. The combination of these two together when photographed properly really brings a story to life. When light is available I always strive for mist or fog because this seems to really enhance the pink in the rhododendron flower and makes it pop in the image. Shooting later in the afternoon when the sun is out can be almost next to impossible to really get the impact of the color due to the harsh light. So to maximize the color in your images strive to photograph when the mist is present in the morning.
One of the challenges of shooting the rhododendrons is that many are located very high up on the tree. For this reason I would photograph with a lens that is medium telephoto. When I photographed with my ultra wide angle (14-24mm), the rhododendrons got lost in the scene. So I photographed with a 28– 300mm lens that allowed me to really bring the rhododendron in tight and maximize impact.
Because of the telephoto lens, compression also enhanced the important elements in the image. If you do shoot later in the afternoon when the sun is out, you will have to shoot multiple exposures or HDR. This is due to the extreme total contrast between the shadows and the light areas, which can be very challenging in the forest. I did shoot quite a bit in the afternoon, using multiple exposures. Unfortunately I was not happy with most of the results from shooting at this time.
So in summary, photographing the California redwoods is one of the highlights of my photography journey. Until you see them in person, it’s hard to grasp how tall these trees really are. When you combine these tall redwoods with all the elements at the same time it is pure heaven. To have success photographing the redwoods do your research, find where the rhododendrons are and try to time your visit with early morning sessions. But the most important thing is ,be patient and wait for early-morning weather changes when the fog rises and the sun breaks. This is more frequent than you would think, always leads to some spectacular images.