Posts Tagged ‘Sean Bagshaw’

Travel Tripod: The Benro A0580F by Sean Bagshaw

Monday, April 22nd, 2013

When I travel by plane with my camera gear I usually check a larger bag with my mid-size Gitzo Mountaineer carbon fiber tripod packed inside, and then I bring my camera and lenses on the plane with me. This system has worked well for years. The tripod is protected, sandwiched between layers of clothing. As long as my luggage isn’t lost I arrive with a sturdy and somewhat light tripod capable of handling anything.  However, at the eleventh hour while preparing for a light weight trip to Costa Rica, I discovered that my usual strategy wasn’t going to work.

Rich-Coast

For this trip I wasn’t going to need much clothing and would also be moving about frequently through rugged terrain on various modes of transportation with limited space so I decided that I would use a single, carry-on back pack to carry all my possessions. Three days before the trip I decided that I should probably do a test pack to make sure I had everything and that the carry-on backpack system was going to fly (pun intended).

I found that I had plenty of room for all my clothes and could also pack my camera, lens and other photo gear in a small f-Stop padded cell inside the pack. I was somewhat stunned, however, to discover that while my carry-on approved pack was about 23 inches long, my tripod (with ballhead removed) was 26 inches. There was no possible way to fit the tripod inside. I considered strapping it to the outside. I have done this successfully in the past when carrying on smaller camera bags.  Since not all air lines will allow carrying on an attached tripod and since the pack was already pushing the carry-on dimension limit anyway, I decided that I didn’t want to risk it.

La-Fortuna-Falls

Scrambling, I quickly got online and searched B&H and Adorama for small tripods. Most of the tripods I could find that would fit in my pack were of the super cheap aluminum variety. I have tried these before and found that they aren’t sturdy enough to be useful with a heavy SLR, don’t have independent legs and don’t have any way to attach a ballhead with a 3/8 inch thread. Finally I found an aluminum/magnezium tripod that was just under 18 inches long and appeared to be somewhat well built. It was from a company I had not heard of before called Benro. If at around $80 it turned out to be lacking in strength or quality at least I wasn’t breaking the bank. I had it shipped over night.

A0580F

When the Benro A0580F arrived just hours before my departure I’ll admit I wasn’t expecting much. But taking it out of the box I was pleasantly surprised. The build quality, materials and features were quite excellent, especially for the price. The leg angles could be adjusted independently. The quick locks on the leg segments were built well and worked as they should. The ballhead mount was sturdy and secure. It even had several nice features that don’t always come on much more expensive tripods such as a bubble level and compass, interchangeable metal spike and rubber feet, a reversible center column, padded foam grip and padded carrying/storage case. Most importantly, it easily fit inside my carry-on.

tripod_c8tripods-adj-lg-anglstripods-hd-mnt-scrws tripods-wng-nt-lock

During the trip I successfully used it to take long exposure images at twilight, deep in the cloud forest and even at night. Admittedly it isn’t the same as having a full sized tripod.  While it proved sturdy enough to hold my Canon 5D Mark III with a 24-105 mm lens, at full extension (especially with the center column extended) there is some tendency for shake if you aren’t careful. Using a cable release mitigated this issue in all but very windy conditions. Also, the trade off of a tripod that collapses to less than 18 inches is that, when fully extended (without the center column) it only elevates my camera to about chest height. Bending over to look through the view finder wasn’t ideal, but seeing the live view mode on the rear screen was no problem.

The-Fortune

In the end my last minute emergency purchase turned out to be a good one and I’ll be keeping  the Benro in my line up for future use as well. I’m completely happy with the quality and features, and the fact that it can deliver sharp images despite it’s minimal size will prove it’s worth many times in the future. In addition to fitting inside a carry-on pack it only weighs 2.6 pounds, just a little more than half as much as my 4.65 pound Gitzo Mountaineer. This makes it very attractive for lightweight backpacking trips as well. Benro even makes a carbon fiber version that shaves the weight down to 2.1 pounds.

When I returned home I was so happy with my purchase that I decided to see what else Benro had to offer. All of their tripods are small and light. The largest has a collapsed length of just 24 inches (still smaller than my Gitzo) and a weight of about five pounds (for aluminum). Most intriguing is their line of Travel Flat tripods. These lay flat when folded, to even better fit within luggage, and they are just as short and even lighter than their traditional tripod designs. Perhaps on a future trip I’ll have another “emergency” so I can try one of these out.

I’m sure there are other good small and light tripods. If you have a travel tripod that you love please share in the comments below.

The Advantages of Luminosity Masks by Sean Bagshaw

Tuesday, April 16th, 2013

I recently produced a series of Photoshop video tutorials called The Complete Guide to Luminosity Masks to help people learn how to use Luminosity Masks in their image developing repertoire. Luminosity Masks are very powerful tools for making refined image adjustments in Photoshop. Their use in landscape and nature photography was originally developed and established by my friend and colleague, Tony Kuyper, with whom I collaborated on the videos. Tony’s Luminosity Masking techniques revolutionized the way photographers like myself, as well as all the members of Photo Cascadia, are able to make adjustments to our images within Photoshop.

If you are familiar with Tony’s work, his written tutorials or his Photoshop actions, then you already have at least basic knowledge of Luminosity Masks. For those just being introduced to Luminosity Masks I thought it would be helpful if I briefly explained what they are and what they can be used for.

Luminosity Masks are actually just one of many ways to create layer masks in Photoshop. Like other types of masks, they can be added to any pixel layer or adjustment layer to control where and to what extent an adjustment or filter will be applied to an image. For example, let’s say I’d like to use a mask to constrain a darkening adjustment only to the sky in this image.

Unadjusted Image

Unadjusted Image

For the purpose of comparison let’s consider a very simple way to generate a mask; painting on a mask with a white or black brush. White areas of a mask will reveal any adjustments made on the layer, black areas will conceal any adjustments made on the layer and shades of gray will partially reveal adjustments depending on how dark the shade of gray is. In the mask below I have painted the landscape black and left the sky white so that the effects of a darkening Levels adjustment will only be revealed in the sky. By using a soft brush I was able to feather the boundaries of the adjustment.

Hand Painted Mask

Hand Painted Mask

Depending on the situation, painting a mask by hand can be challenging and often leaves dark or light halos along edges.

Adjustment Through The Painted Mask

Adjustment Through The Painted Mask

In the next example I created a more precise but non-feathered selection of the sky using the quick selection tool and then created a Levels Adjustment Layer with the selection active. The Levels Adjustment Layer is generated with a mask that automatically reflects my sky selection. This mask constrains the adjustment to the sky like the first mask, but with a very abrupt edge.

Sky Selection Mask

Sky Quick Selection Mask

Depending on how detailed the edges are and how much feathering is needed to make transition zones look natural, this may or may not be the right technique.

Adjustment Through the Quick Selection Mask

Adjustment Through the Quick Selection Mask

There are many instances when a hand painted mask, or simple selection mask, or any number of other types of masks might be the right tool for guiding an adjustment. But as seen in the previous examples they can leave light or dark halos across boundaries or the abruptness of the transition zone does not look natural.

While they aren’t the perfect and single answer to all masking situations, Luminosity Masks can often do a much better job of guiding adjustments in a way that is perfectly feathered into the image and natural in appearance. The example below shows what a Luminosity Mask targeted toward the luminosity values of the sky looks like. Because it is created from the actual luminosity values of each pixel in the image it matches the image pixel for pixel and allows the adjustment to feather itself within the image seamlessly.

Luminosity Mask

Luminosity Mask

Adjustment Through the Luminosity Mask

Adjustment Through the Luminosity Mask

So, where do Luminosity Masks come from? The luminosity values of the color channels in the Channels Panel in Photoshop are used to create luminosity based selections, and these selections can in turn be used to generate Luminosity Masks. In this way Luminosity Masks are just like other methods of creating selections and masks, which means they can be used to guide any type of adjustment or filter, not just Levels or Curves adjustments. Luminosity Masks are simply far more detailed than other masking options. They are also completely self feathering and they allow the user to target different regions of an image based on luminosity or tonal values. Learning to make and use Luminosity Masks takes time and practice. The written tutorials on Tony Kuyper’s website go into great detail on how how to make and use them. Tony has also developed Photoshop actions that streamline the process of mask creation to just a few simple clicks. This video demonstrates how (make sure to view at 720pHD).

Since Tony first published his Luminosity Mask techniques back in 2006 he regularly receives requests for video instruction to support his written tutorials and actions. After he and I discussed the idea for a year or more, we decided to collaborate on a video series, with me writing, recording and producing videos to directly support Tony’s techniques and actions and with Tony consulting and contributing his vast knowledge.

The video segments from The Complete Guide to Luminosity Masks below offer more of an introduction to Luminosity Masks and how I teach them in the video series   Both Tony and I are also happy to answer questions. You can leave me a comment in the comments section below or email me at [email protected]. Tony can be reached through his website, www.Goodlight.us.




 

Photographing the Klamath Basin by David Cobb

Monday, March 25th, 2013

Photographing the Klamath Basin

By David Cobb

 

One of the West’s great photographic treats is visiting the Klamath Basin on the Oregon and California border during the fall or spring bird migration. I’m not a birder, but the site of so much wildlife surrounded by a beautiful stark landscape always makes me excited to take photographs.  My recent spring trip with Sean Bagshaw was brief, but the birds were ample, the light fantastic, and we were able to break in his new camper on its maiden voyage.

 

Sean browses information.

Sean Bagshaw at an information booth.

I’ve photographed here during the fall and spring migrations, and I find the success rate as a photographer better in the spring than the fall due to fall hunting. When the hunters are out the birds are more wary and skittish, and who can blame them? I also find the water reflections more abundant and interesting during the spring migration, which helps with landscape photo opportunities. Fall light offers nice rust tones in the trees and fields for colorful background, but I still prefer photographing here during spring.

During my fall visit a few years ago, I paid for a permit to the wildlife refuge which allowed me to reserve time in different photo blinds. There is a raptor blind, a cramped songbird blind, a water fowl blind, and a wading-bird blind. Some are better at sunset or sunrise, and some are better in spring than fall, so choose your blind accordingly. (For example, the wading-bird blind is better in the spring, since the area can dry out by fall and then wading birds are elsewhere.) If you schedule a blind for the morning expect to be there before sunrise to escape the watchful eyes of your subjects. You may also apply for an afternoon session, but there are limits on how long you can stay in any one blind.

Photographed from the raptor bird blind.

Prairie Falcon

For this spring season visit, Sean and I drove the back roads of the refuge looking for flocks. We traded information with other photographers and locals, and then relocated as necessary to find the next flock. Usually a drive along Stateline Road is a good starting strategy. Local etiquette asks that you keep your distance from the birds, so bring a lens with enough power that you’re not chasing the birds away. And remember to be respectful of the other people who are there to observe.

Flock of Snow Geese

Flock of Snow Geese

Snow Geese Reflection

Snow Geese Reflection

During sunset we found some ponds which offered opportunity for reflected light, and for morning we chose to photograph a flooded field with Mount Shasta standing sentinel in the distance. At the southern end of Tule Lake, you’ll find Captain Jack’s Stronghold where the Modocs defended themselves for a year against soldiers and settlers until surrendering in 1873.

Mount Shasta and Klamath Basin

Mount Shasta stands sentinel over the Klamath Basin.

Reflective pond at sunset.

Sunset over the Klamath Basin

I haven’t been here for the winter raptor photo opportunities, but I’ve heard it’s a regular smorgasbord of birds. If you’re interested in photographing raptors feasting on waterfowl, the best time to arrive is February. The “Winter Wings” festival is usually held mid-February, so around this time you’ll be there near peak.

If you’re planning a trip here, there are neighboring camping opportunities and the nearby town of Klamath Falls, Oregon offers ample lodging.  Also note that many of the parking areas require permits, which can be picked up from most of the surrounding markets.

Non Destructive Dodging And Burning In Photoshop by Sean Bagshaw

Monday, November 12th, 2012

Dodging and Burning (selectively lightening and darkening areas of an image) are terms that have been passed down from the darkroom. Dodging and Burning can be used to create better tonal balance, enhance drama, increase dimension or guide the viewer’s attention. In the realm of digital developing there are many techniques for selectively lightening and darkening areas of an image.

An image of the Little River as my camera captured it.

Little River

Dodging and burning (as well as some other adjustments) have been used to enhance tonal balance, contrast and dimension in the image.

One popular non destructive technique involves creating a 50% gray layer set to the the Overlay blending mode and then using that to darken or lighten the image with either the Dodge and Burn tools or with the Paint Brush tool set to either black or white. A PhotoCascadia reader recently sent us a question wondering if their are advantages to using the Dodge and Burn Tools instead of the Paint Brush Tool in combination with a gray Overlay layer.

In this short video tutorial I demonstrate the 50% gray layer technique and take a look at misconceptions many people have about how the Dodge and Burn Tools work in conjunction with it. I also give a brief demonstration of a powerful technique for non destructive dodging and burning with a 50% gray layer using Luminosity Selections. This is a technique that Tony Kuyper calls Luminosity Painting. It gives control of specific tonal ranges when dodging and burning that people mistakenly assume they are getting when they use the Dodge and Burn Tools with a 50% gray layer.

To learn more about Luminosity Selections, Luminosity Masking, Luminosity Painting and other similar techniques that I mention in the video you might want to check out these references:

I hope you find this short video educational. If you have any questions please leave them in the comments below and I’ll respond as best I can. I’d also love to hear about other dodging and burning techniques that you find effective.

 

Great Books For Night Photographers by Sean Bagshaw

Monday, August 27th, 2012

I often think that the night is more alive and more richly colored than the day.
Vincent Van Gogh


While night photography presents certain challenges, photography is all about capturing light. Even the darkest night is not completely dark. I find that the light at night often allows me to create fresher, more mysterious and more captivating images than daylight. Night lighting that I find particularly exciting are the twilight hours, moon light and even artificial urban light. Photographing at night presents certain challenges and requires specific knowledge, equipment and techniques. The current generation of digital cameras and digital image developing software have made it possible to “see” the night through photographs in ways that weren’t possible before.

Recently I have enjoyed books by two fellow night photographers that proved to be very well written and extremely content rich: Seeing The Unseen by Alister Benn and Photographing The 4th Dimension-TIME by Jim Goldstein.

Seeing The Unseen is a complete handbook for the most up to date techniques in night photography using a digital SLR camera. If you are a creature of the night, or at least captivated by images of silky surf, sweeping stars capes and otherworldly lighting and want to learn how to take such images then this book is a great companion. Alister takes you through his entire process including understanding the different types and phases of night light, preparation, equipment needed, evaluating the scene, focusing, camera settings, use of ISO, field techniques, dynamic range considerations, composition and much more.

Copyright Alister Benn

In addition to being very complete and easy to understand, the book is worth owning simply for the writing and images. Alister’s writing is far more poetic, contemplative and inspiring than one would expect from a how-to guide and his beautiful, imagination capturing images illustrate every page. Seeing The Unseen can be purchased at HarvestingLight.net and until October 1, 2012 you can get 25% off the price (which was already an extreme value) by using the code ALINEW1.

Photographing The 4th Dimension-TIME by Jim Goldstein isn’t specifically about night photography, but rather the techniques and equipment used for manipulating time in photography. It is one of the most extensive, user friendly and elegant guides to the subject. A big part of understanding night photography is related to manipulating the time variable in low light exposures. Jim leaves no stone unturned, carefully explaining how cameras perceive time differently than we do. He spends a good portion of the book on long exposure night photography including techniques, equipment, technical considerations, light painting techniques and photographing star trails. In addition to the night photography specific content he also covers other time related topics such as time sequences, time lapse video, stopping and accentuation action with strobes, and even video techniques. Everything is well cross referenced and supported with clean illustrations and charts. It even includes links to online content and videos as well as printable field checklists and reference charts. The price of this book is also an extreme value.

Jim also now offers a Mastering Star Trail Photography video course with six hours of video instruction on the current techniques of star trail photography. People who purchase the video receive a free copy of the book Photographing The 4th Dimension-TIME.

Copyright Jim Golstein

Finding good learning and reference material can be a challenge these days with so much low quality content to sift through on the web. I have a lot of respect for the talents of both of these gentlemen as photographers, writers and teachers. For those looking for solid and well presented information on night photography I can recommend both of these books.

Mysterious Salmon Light by Sean Bagshaw

Monday, April 23rd, 2012

In October of 2011 Zack Schnepf and I took a very productive and enjoyable excursion to White Pocket, in the Vermilion Cliffs National Monument of northern Arizona. White Pocket rock formations have a unique strangeness and visual intrigue, like a place not of this planet. Zack and I spent four days burning through media cards in a rash of creative intensity. While the landscape itself was energizing, our experience was made even more special by spectacular purple/orange light that would bathe the landscape about 15 minutes before sunrise and 15 minutes after sunset each day. We had both experienced similar light before, but it was so powerful in this location that we came up with a name for it: salmon light.

White Pocket

All of these images were taken during the salmon light phase and they feature a similar magenta, pink or orange ambient glow emanating from high in the atmosphere. The actual light intensity during the salmon light phase of twilight is very low. Photographing at this time requires long exposures, but what those long exposures reveal is beautiful.

White Pocket

Later in that same trip I experienced more salmon light at Coyote Buttes South and Valley Of Fire.

Coyote Buttes South

Valley Of Fire

Looking back I also recall salmon light in the Tetons in September 2011 as well as several other occasions in the mountains, deserts and in Hawaii over the years.

Snake River Overlook, Grand Tetons National Park

Palouse Falls

People have assumed that the affect of salmon light is something I create with image developing techniques. While I certainly take creative advantage of such light in my developing, the basic effect is natural. In Valley Of Fire in Nevada I decided to take some comparison images to show how dramatically the light changes from sunset to the salmon light period. The following two images have been converted from the raw files with nothing more than a slight contrast adjustment. The first was taken just after the sun went down with light still illuminating the clouds on the skyline. The second image was taken about 20 minutes later at the peak of salmon light.

The light right after sunset vs 20 minutes later during the salmon light phase.

You can see how the quality of light has changed. The first image has less color and doesn’t feature the characteristic ambient glow. What you can’t see is how much darker the scene had become that long after sunset. The light in the second image is four stops darker than in the first so it required a shutter speed 16 times longer to achieve the same exposure value.

Curious about what might cause this light phenomenon and how I might be able to hunt down more of it I did some internet research. I found an informative article by Stephen F. Corfidi from the NOAA Storm Prediction Center. What Zack and I call salmon light he calls “lilac afterglow”. According to him it is caused primarily by sunlight reflecting off particles of dust and sulfuric acid droplets that have been ejected into the stratosphere at altitudes of 12 to 18 miles by volcanic eruptions. It occurs most vividly in deserts, on islands and at high altitudes where the air quality is most clean. This volcanic twilight or “afterglow” occurs about 15 minutes before sunrise and after sunset when the lower troposphere is in shadow but particals in the stratosphere are still being illuminated by sunlight that has passed through the lower atmosphere beyond the horizon. The glowing layer of high altitude particles reflects a smooth colored light that washes the entire landscape.

White Pocket

I wondered if 2011 had more than its share of volcanic eruptions so I visited the Smithsonian Global Volcanism Program website. Without crunching the data it is hard to tell if 2011 was a particularly big year for volcanoes but there were many eruptions around the globe as well as the large eruptions in Iceland in 2010. Next time I’m in the high Arizona desert in the fall I will make note of the what the salmon light is like to see if we experienced a greater than normal degree of volcanic twilight.

While it may be difficult to accurately predict when salmon light will occur, I know where I’m more likely to find it. I also know I need to get out early and stay out late to be ready for the afterglow should it turn lilac colored. Volcanic eruptions are part of life on earth. I’m anticipating future volcanic eruptions like the one Mt. Pinatubo had in 1991. From what I have read, the volcanic twilight after that eruption was off the chart.

Add Some Edge Definition And Structure by Sean Bagshaw

Tuesday, March 6th, 2012

Maintaining or introducing edge definition and general structure in an image is something that I often find myself challenged with. Sometimes I need to overcome flat light, back lighting or simply the lack of definition inherent in many raw images. Other times it is to reintroduce definition that was lost from the effects of another developing technique. Often it is to help showcase a feature, create a sense of dimension or create more crisp visual clarity in part of an image. There are many adjustments that can be used to these ends, both in Lightroom and in Photoshop. Clarity in Lightroom is a good starting point and the Clarity slider has been improved in the newly released Lightroom 4. Levels, Curves, Contrast and Shadow/Highlight adjustments as well as the Unsharp Mask filter in Photoshop all offer different approaches and looks. I often employ several of these methods in any given image. However, for the best combination of targeting midtone edge definition while maintaining a non-destructive workflow I find that a High Pass filter method is often my favorite.

The High Pass filter method of adding structure and definition that I like to use goes a little something like this:

  1. With the top layer in your layer stack selected click ctrl+alt+shift+e (cmd+opt+shift+e on a Mac). This will stamp the current state of your image to a new layer at the top of your stack called Layer.
  2. Rename this layer High Pass Contrast, or something like that.

    Ctrl+alt+shift+e (cmd+opt+shift+e on a Mac) will stamp a copy of your image to a new layer at the top of your stack. Rename this layer High Pass Contrast.

  3. With the High Pass Contrast layer selected go to Layer>Smart Objects>Convert To Smart Object. This will allow filters you apply to this layer to be Smart Filters which can be further adjusted in the future.

    Convert the High Pass Contrast layer to a Smart Object.

  4. Now go to Filter>Other>High Pass. Set the radius to the number of pixels you desire. A smaller radius will increase definition along fine edges. A larger radius will create contour in large areas around edges. Since this will be a smart filter on a smart object getting the radius perfect isn’t critical. You can come back and fine tune it later. Click OK.
  5. The High Pass Contrast layer should now appear gray with light/dark halos around the edges in the image.

    Apply the High Pass Filter.

  6. Set the blending mode of the High Pass Contrast layer to Soft Light. This will blend the High Pass Contrast layer with the layers below, increasing edge contrast and definition at the pixel radius you set. For even more contrast you can set the blending mode to Overlay.

    Set the blending mode of the High Pass Contrast layer to Soft Light. Double click on High Pass to reopen the filter and fine tune your adjustment if needed.

  7. You can now click on High Pass on the High Pass Contrast layer to reopen the High Pass Filter dialogue and further fine tune the radius for the look you want.

If you don’t want the High Pass contour effect to be applied to the entire image you can add a mask to the High Pass Contrast layer, fill the mask with black and then paint the effect in just where you want it with a white brush. Instead of painting on your mask you can also make a specific selection from which to create your mask for the High Pass Contrast layer.

Before High Pass Contrast

Final Image

Sometimes I will use two or more High Pass Contrast layers set to different radii so that I can paint in different degrees of definition to different areas of the image. I can also adjust the amount of the High Pass effect by changing the opacity of the High Pass Contrast layer.

This method gives a very similar affect as using the Unsharp Mask (USM) filter set to a large radius to create contrast and definition. However, a USM filter must be applied to an opaque copy layer of the image which means that any adjustment layers below the USM layer will now be rendered useless for future adjustments. Because the High Pass Contrast layer uses the soft light blending mode it is no longer an opaque layer so new adjustments made to layers below will still have affect. This makes it a more flexible and non-destructive technique.

Feel free to leave a comment or question or share your favorite non-destructive techniques for adding definition and structure to an image. If you are interested in learning more of my digital image developing workflow and techniques check out my series of video tutorials.

 

 

Set The Right Contrast and Color Balance With A Single Adjustment – By Sean Bagshaw

Friday, January 27th, 2012

Setting the right contrast and color balance in an image is an essential part of any digital image developing workflow. The correct contrast and color balance should be established as early in your developing workflow as possible. Contrast and color problems that are left unmitigated will become compounded as successive adjustments are made to an image, making them much harder to correct later in the workflow.

This image has had many adjustments made to it for color, tonal balance, contrast and luminosity. Before applying such targeted creative adjustments it was important to first establish the right global contrast and color balance for the image so that problems with contrast and color wouldn't be compounded.

In my workflow classes and video tutorials I show how to start by setting a foundation for contrast and color balance while making preliminary raw adjustments in Lightroom or Adobe Camera Raw. Then I fine tune my global contrast and color balance as one of the initial steps in Photoshop. When making raw adjustments I don’t try to perfect contrast and color balance in Lightroom or Camera Raw. Rather, I get them close and then fine tune them in Photoshop where there are many more tools at my disposal and I can be much more precise. When setting my contrast in Lightroom or Adobe Camera Raw I prefer not to set complete black and white points. Instead I opt to leave some “wiggle” room on either end of the histogram. This leaves some latitude for applying more targeted adjustments later in Photoshop, as you will see.

Leave some space on the ends of the histogram for fine tuning in Photoshop.

Proper contrast in most images is obtained by setting a luminosity black point (a small portion of the image that is completely black) and sometimes a luminosity white point (a small portion of the image that is completely white). Images without a black point and a white point can appear muddy, hazy and flat.

Some images are low contrast by nature, such as images taken in the fog. If your artistic intent is to retain low contrast in an image then setting a black and white point is probably not the right choice.

Some images, such as on a foggy day, are naturally low contrast. Setting black and white points will create too much contrast and reduce the naturally foggy appearance.

Proper color balance is obtained when shadow, midtone and highlight color casts or color shifts have been corrected and objects that are neutral gray appear neutral gray in the image. In images intended to have “white light” or “daylight” colors it is usually appropriate to set the correct color balance in the shadows, midtones and highlights.

There are many ways to work with contrast and color in Photoshop. The Brightness/Contrast and Color Balance Adjustments are tools specifically designed for working with contrast and color respectively. It is also possible to make similar adjustments in slightly different ways using combinations of the Levels, Curves, Hue/Saturation and Selective Color Adjustment tools. Photoshop even includes Auto Contrast and Auto Color adjustments, but I find that these rarely get it right and must be done on the background layer or a copy of the background layer. I would recommend sticking with adjustments you can make using separate Adjustment Layers so that your adjustments are non-destructive.

Most of the techniques for correcting contrast and color balance involve working with each component separately. While these methods can be very accurate and flexible they are often time consuming and require knowledge of color theory, a degree of skill and a good eye. The approach that I use most often, one I call the “global contrast/color correction technique”, is quick, requires very little knowledge of color theory and adjusts for both contrast and color balance at the same time.

Start by opening a raw image file in Photoshop. After you have done spot clean up, cloning and any perspective adjustments that are needed, create a Levels Adjustment Layer (Layer>New Adjustment Layer>Levels). In the Levels dialog select the Red Channel from the drop down menu. Now slide the Shadow slider and the Highlight slider so that they just touch their respective edges of the histogram. You have now set a black point and a white point for the Red Channel.

Move the black and white sliders to the edges of the histogram in the Red Channel.

Now select the Green Channel from the Channel Menu and repeat the process.

Repeat in the Green Channel.

Finally, select the Blue Channel and do the same one more time. Return to the RGB Channel and fine tune your midtone slider as needed for image brightness.

And finally move the black and white sliders to the edges of the histogram in the Blue Channel.

Toggle the Levels Adjustment Layer on and off by clicking the Eye icon to see the results of your adjustment. If your image had poor contrast or a color cast you should now see a marked improvement in both contrast and color balance (see examples below). By setting a dark and light point for each color channel you have essentially killed two birds with one stone. You have set an overall black and white point so that the image has proper contrast and you have also neutralized shadow and highlight color casts at the same time. If you feel that you still have an unwanted color cast in your midtones after setting the blacks and whites you can go back into each color channel and adjust the midtone sliders to further fine tune the color. You can see that if I had not left some shadow and highlight room on either end of the histogram in your raw conversion that this technique would not have worked.

Certain light creates a pleasing color cast that you may not want to neutralize. Warm, sunset or sunrise light is an obvious example. By neutralizing a warm sunrise color cast you will make the light look like mid day light while making the shadows in the image look too blue. If you have an image in which you do not want to neutralize a highlight color cast you can set the shadow contrast and color by moving the sliders on left side of the histogram in each color channel and then selectively tune the white and midtone sliders of each color channel until you get the desired color cast.

Warm sunrise light after raw conversion but before contrast/color adjustment.

Complete contrast/color adjustment using the Levels Color Channel technique results in loss of warm sunrise light and the shadows and sky become too blue.

Adjust the white and midtone sliders in each of the Red, Green and Blue Channels to achieve the desired color cast in the highlights and midtones.

Now the image has better contrast and color balance but retains the wanted warm sunrise glow. It is now ready to have additional adjustments made to reach it's finished state.Without a definitive white point the correct color balance becomes a somewhat subjective choice.

There is also a more precise version of this technique that can be done by using a Threshold Adjustment Layer to set markers at the exact black and white points in an image and then balancing the colors close to 0 and 255 at each of those two points using a curves layer, but most often I find the Levels method demonstrated here works well enough.

Not having the correct contrast or color balance in an image can really detract from the impact you intended it to have. To ensure that your images are not flat or dull and that they do not have distracting color casts or contamination, make sure to establish the right contrast and color balance early in your workflow before it becomes compounded by further developing adjustments.

To learn more about my fine art digital image developing workflow you can check out my video tutorial series.

2011 Year In Photography – Photo Cascadia Team

Monday, December 26th, 2011

By Adrian Klein

Here are we about to exit another year in life and usher in a new one. Always a time to reflect on where we have been and where we want to go. We want to take this time to thank the many viewers and readers of our blog. When we embarked on the Photo Cascadia path a significant part of the goal was to follow our slogan “Learn, Explore, Create”… helping others learn more about photography, explore areas for your next adventure and discover what it takes to create photos that fit your vision. Based on what we have heard in the hundreds of emails over the last couple years we seem to be doing just that. We enjoy the discussions and dialogue so keep it coming.

Without further rambling here is a quick blurb from each of the PC team members about their year in photography and anything else they felt like sharing. Plus a three minute slideshow with image favorites of 2011. Along with this post comes a two to three week winter break before we start bringing you new blog content in 2012. Thank you again!

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Zack Schnepf

It’s been a fantastic and busy year for me. I was able to get out and capture some fantastic images across the country. I was lucky enough to lead some great workshops this year. I was also privileged to get together with my fellow Photocascadia members and got to take a photo trip to the Desert Southwest with Sean Bagshaw. I’m now in the editing stage of my Multiple Exposure, and Tonality Control Photoshop video and hope to be done very soon. I’m also still teaching lots of online Photoshop Workshops, they’ve been a fantastic success this year. And to cap it all off, I’m expecting my second child, a baby boy due in March.

Life is good, and I feel my photography continues to grow. I hope to get out even more next year and continue my series of Photoshop video tutorials. Hope to see you all out in the field and online.

Kevin McNeal

Well as 2011 rounds out and again I find myself asking where time went. So many journeys and things discovered in the past year with both challenges and rewards. This past year I have been lucky enough to travel to the Canadian Rockies, Colorado Rockies, Southwest, Southwestern BC, Oregon, and California. But my favorite part was I finally got to see Iceland after all these years of lusting to get there anyway I could. It did not disappoint, I also got to spend some good times with photography friends as well as well as my Photo Cascadia Group. It has been busy but another great year of photography. I have been so blessed to live out my passion and that I will always be grateful for.

Chip Phillps

2011 was all about experiencing new things for me. I winter camped at Mount Rainier for the first time, I explored the Broken Top area in Oregon’s Cascades, I backpacked to Spray Park for the first time, and my wife and I took an epic 3 week trip to explore the Southwest of England. I was also able to visit Glacier National Park during fall color and snow, and explore new remote regions of the Oregon Coast. I taught many successful workshops and made many new friends. I’m excited about my new collaboration with Amana Images in Tokyo, Japan. I bought a new large format printer, which is really inspiring my creativity as far as printing goes. I’ve been experimenting with putting prints on stretched canvas, and having images printed on sheets of metal for a really dynamic effect. All this plus another exciting year playing principal clarinet with the Spokane Symphony.

David Cobb

The year 2011 was a busy year of shooting for me. I got into the backcountry a bit, but most of the year was spent photographing Japanese gardens across North America for an upcoming book. I’ve included two of those garden images here. I hope you enjoy what I’ve picked as my favorites for the year, and I look forward to what lies in store for 2012.

Sean Bagshaw

Looking back each December on the year gone by is always fun. I’m a sucker for year end reviews: best photos, movies, books, songs, you name it. 2011 has been a year with some great events, memories and milestones for me personally; perhaps right up there with some of the top years in my life. I could write several different year end reviews for 2011. These are some memorable times I had photographing the landscape this year.

February: I spent a couple days skiing and camping in the frigid high desert environs of Hart Mountain with one of my oldest friends, Chuck (RokChuk) Porter.

March: I aborted a trip to Yosemite due to storms and instead had a great time photographing in Death Valley with Big Wave Larry Carpenter.

April: A canceled flight saw me stranded in SoCal for a few days, so Big Wave Larry and I headed to Joshua Tree and marveled at the daily morning light show in the cholla garden.

May: David Cobb and I had a tick nightmare while exploring the canyons of Oregon’s Owyhee country.

June: Between back to back workshops with Christian Heeb and David Cobb in Bend, Oregon, I made a cannonball run down to the California redwoods and back. Thanks to a tip from Big Wave Larry, it was best rhododendron bloom I’ve seen there.

September: Solo trip to the Tetons. The valley was full of smoke and hundreds of other photographers, but a 10 mile hike into the back country put me in clear air and beyond the crowds. I gave myself my semi annual dose of the willies by hiking in the dark in bear country. No bears spotted however.

October: Zack Schnepf and I had a surreal four days camping, cracking wise, photographing and breaking wind at White Pocket. When Zack headed home I met up with the sandstone Jedi, Tony Kuyper, and the desert adventure continued.

November: David Cobb and I taught a photography workshop on the Oregon coast. The photography and classroom sessions were great, but the best memory was having dinner at the Rogue Brewery and using iPhone camera tricks to make David appear four times in our “Last Supper” photo.

December: Kevin McNeal kept all of us bent over laughing at the annual Photo Cascadia gathering in Bandon, while clouds kept us from seeing the lunar eclipse.

All in all, some amazing times with the best people in the world. The photos I took are just the icing. Here’s looking to 2012!

Adrian Klein

2011 is yet another year in life that I had the health and ability to be in the outdoors which I am always thankful for, and oh yeah and I took a few photos while I was out. This year I stayed in the Northwest for most outdoor excursions which to be honest can fulfill me for years to come, it seems there are always new places to explore here despite being a home grown Oregonian. I explored more of SE Oregon including the peaceful Lake Abert. I made it back to Opal Creek Wilderness which was long over due. I did some new hikes from the coast to Mount Hood National Forest.

In the mix of all that was more successful group and private workshops as time allowed. I always enjoy seeing others learn and grow with their photography, something I try to do personally as well. I surely cannot forget taking my 5 year old daughter on her first backpack trip (As long as I can find pink outdoor gear I can likely get her to keep going). As the year started to wind down I was fortunate to spend a couple weeks in Kauai with my family, and yes more photography. Shortly after coming home from that trip was a few days in December with fellow Photo Cascadia members (it’s nice to see each other face-to-face after the hundreds of emails and phone calls throughout the year). I am fortunate to have a fine family and super friends. I hope you have the same and were able to enjoy the great outdoors with or without photography in 2011.


 

 

 

Tips for Backpacking with Camera Gear (ultralight)

Friday, October 21st, 2011

Tips for Backpacking with Camera Gear (ultralight)

By David Cobb

I owned my first “real” camera before I took my first “real” backpacking trip, but they have gone hand-in-hand over the years, and my techniques with both have changed and improved over time. My backpacking and photography grew with long-distance hiking as I learned more about composition while taking thousands of images to document my backcountry trips. My backpacking grew by learning how to pack lighter and lighter over time as I walked further and further. For distance hiking, I needed to walk 20-40 miles (32-64 km) a day in order to complete a thru-hike of 2,500-3,000 miles (4,000-4,800 km). Now I’m returning to the places I only documented before, to re-photograph them in a much more artistic way and under much better light.

Fellow photographer and long-distance hiker Jonathan Ley took this on our walk across Iceland.

Whether it was a walk across the United States or Iceland , I tried to keep my backpacking weight below 30 pounds (13.5 kg) if possible, and closer to 20 (9 kg) when I could. First, let’s start with the pack: Many long-distance hikers use a homemade version saving both money and weight. My backpack of choice is ULA (Ultralight Adventure Equipment), I purchased one of their early models and haven’t needed another since. There is no internal or external frame to the pack, so you already begin 5-7 pounds (2-3 kg) lighter than most backpacks on the market. You may wonder if you need the added support those other backpacks offer? You don’t. You’re packing light, not packing the usual 50-60 pounds (22-27kg). For the internal frame I use a Z-rest, this also doubles as a sleeping pad when I’m in my tent.

My ULA Bag and my Z Rest doubles as a backpack frame.

I go lightweight on my tent too, using a Six Moon Designs Skyscape tent which is affordable and weighs in at 15 ounces (.43 kg). My ground cloth is painters plastic purchased from a hardware store. Some distance hikers prefer nothing, but others use Tyvek as a ground cloth. A Six Moon Designs prototype tent got me through a 1,100 mile (1,800 km) north-south walk along the Canadian Rockies during some pretty nasty weather, so I trust their gear.

Six Moon Designs Skyscape

I cook with a lightweight and homemade alcohol stove created from the bottoms of old pop cans. It cost me about a quarter to make, and weighs about as much. I pack my stove away in a small titanium cook pot to save space. The stove burns denatured alcohol which can be purchased at any hardware store and I carry this fuel in a small plastic water bottle.

My homemade alcohol stove and cook gear.

Food is a personal thing, but for me that too is lightweight, cheap, but also nourishing. I cook my own food during the winter, then dehydrate and vacuum seal it or I purchase it in bulk from a grocery store before vacuum sealing it. For this I save about $6 per meal, packing space, and weight. I’m also a firm believer that if you eat better, you shoot better. When I cook, I just boil water and add it to my dinner bag for rehydration, and eat. No dirty dishes to clean, so I can head out early to photograph a sunset. Clean dishes also come in handy when I’m packing through grizzly country. I’ve walked through large portions of Alaska, the Yukon, Northwest Territories, Alberta, and the U.S. Rockies and have never had a camp incident with a grizzly bear or any wild animal for that matter.

I carry as little water as possible to keep my backpacking weight down. Each quart of water weighs about 2 pounds (.9 kg), so the less water I carry, the less weight I carry, the easier the walking, the less water I need. Much of my packing is in the Pacific Northwest where water can often be found every 5 miles at the most. I don’t need much more than 12 ounces (.34 kg) of water for a stretch like that, so I carry a water bottle that can be purchased at any 7-11. I like the bomb-proof Nalgene bottles, but find them way too heavy. For extra water when I get to camp, I pack with an empty Platypus container, then fill it when I get near my camp destination. I carry a small water purifier, or sometimes just iodine tablets to save weight.

My sleeping bag is a packable Feathered Friends “Hummingbird” 20 degree bag coming in at 13 ounces (.37 kg). I have a liner in this which brings it down to a 10 degree bag. Obviously for winter camping your bag will weigh more as you carry warmer bag, but this is my 3 season bag. I wrap this in a garbage bag to keep it dry in case I fall in a stream or if my pack gets wet in a rain storm.

Since I pack less, I also wear less on my feet. I know some people need more ankle support and prefer boots, but for me the old adage that every pound on your foot adds 3 to your back holds true. I either wear tennis shoes on my feet, lightweight Merrels, or sometimes even Tevas while backpacking. The lighter my feet are, the faster I move, the better I feel.

I also carry a few toiletries, rainfly, headlamp, compass, maps and such to round out my camping gear, so let’s move on to camera gear. I first decide what kind of trip this will be, this limits the gear I’ll carry into the backcountry. Am I going to photograph wildlife only? Then I’ll carry a zoom. Will this be a landscape photography trip? Then I’ll carry my super wide-angle and wide-angle lenses. I’ll also carry my Kenko Pro 1.4x to add a bit of zoom possibility to my 24-70mm lens. I don’t carry my macro lens when backpacking, since I can usually find enough macro subjects when I day hike. I might however carry my Canon 500D diopter (or close-up) lens, this allows my 24-70mm to take close-up macro-like images if I get the itch.

So, let’s assume I’m on a landscape photography backpacking trip. I carry my camera over my shoulder (with lens and polarizer attached) in a small camera bag. My super wide-angle lens is packed away in a Think Tank lens holster. This holster adds padding and also attaches to my extremely small butt-pouch (I wear this pouch backwards when packing in, as it supplies easy access to map, compass, and water) that I use to day-hike to photo locations once I’ve made base camp. I carry extra cards and batteries in my shoulder camera bag, and rarely use grads in the backcountry, but instead I bracket while shooting to blend images later in post processing. For a tripod I carry a carbon fiber Gitzo 1128 Mountaineer Sport Tripod. There are a few lightweight ball-heads out there too: Fiesol and Really Right Stuff make them and fellow Photo Cascadia team member Chip Phillips swears by his Markins Q3 Emille which at .83 pounds (375 grams) is the lightest ball-head I know of that can sturdy the weight of a good camera and lens.

Photo Cascadia member Sean Bagshaw took this image of Chip Phillips and I as we descended Sahale Arm in the North Cascades.

There you have it. I’m a firm believer that by packing lighter you get there faster, easier, and have much more energy to shoot once you get to camp. You have a few months now to get in shape for backpacking season, and to slowly collect some lightweight gear, so I hope this brings more enjoyment to your outdoor experience and allows you more time to “see” photographically along the way. Obviously these are just guidelines to ultralight backpacking techniques, and in the long distance hiking community there is the saying to “hike your hike,” so it’s certainly not my way or the highway here. If you’d like to pack a small chair for your bad back, then do it – just leave the axe at home.