This shot required very little special post-processing…just setting the correct color balance,and a bit of subtle mid-tone contrast. The real work of creating this particular image happened in the field…well…on the beach,actually.:)
This is a mid-day shot –I took it around 2 pm. Deep blue storm clouds were moving in. The water at Bahia Honda in the Florida Keys is this incredible turquoise or emerald color (depending upon light conditions and how rough the water is) and the sand is smooth and white. I wanted something different for this image. Jay I were playing around with our cameras…and this is the result.
There were a couple of problems with this scene as I stood there. First,the waves weren’t big enough to blur out easily…but they were too small to look good frozen in time. No matter what I did with my camera settings,I wasn’t getting a very interesting image. Second,there were strands of dark seaweed floating in the water. They created distracting streaks in the water,and left my test shots feeling pretty unappealing.
The solution to both problems? A whole lot of Neutral Density Filter. I used my own filter,and also borrowed Jay’s. The filters significantly reduced the amount of light entering the lens –by about ten stops in all. So,in order to get a correct exposure,I had to use a long shutter speed. 10 seconds at f/11 produced exactly the effect I wanted. The waves were completely smoothed out,so that the water seems calm and almost surreal. And all that floating seaweed? Well,it moved around so much with each wave that it blurred itself into oblivion! I didn’t have to clone out a single strand.
Even the clouds are softer –because they shifted during the long exposure. The rock in the foreground provides a clear point of interest,and since it is in clear focus,the scene doesn’t feel too blurred. Sometimes it’s helpful to have a sharp foreground object when you blur an image like this –it helps to anchor the scene.
So –what do you think? Was the technique successful? Does the image work for you?
Have you ever used a Neutral Density Filter? Or a long shutter speed to produce an effect like this? If not –maybe you should try it! It’s kinda fun!:)
Have you heard of HDR? Have you tried it? Here’s a recording from Jay’s recent Google+ Hangout with Alex Koloskov,where we discuss the HDR Workflow,the camera gear we use,and the different programs that we use to generate HDR images.
The original discussion was broadcast live using the Google+ Public Broadcast feature. For those who couldn’t join us for the original discussion,we hope you enjoy the recording! If you have questions,please feel free to leave a comment on this post.
When Jay and I have a series of steps that need to be accomplished in Photoshop over and over again,we build an action. The image you see above has a simple frame around it. If you look at any of my photographs on social networking sites –like Google+ or Facebook –you’ll see the same frame again and again. A few years ago,I built a simple action that would create that frame automatically. So now,every time I finish processing an image,I just click a single button. The image is re-sized,converted to the sRGB profile,framed,labeled,and saved in my portfolio. It’s quick and easy. When I prepare an image for my website,I do the same thing. One click and it’s done. Actions are a perfect solution to handling any repetitive tasks in PS…and we get questions about them all the time.
A few weeks ago,we hosted a hangout on Google+. We invited G+ community members to join us for a brief tutorial and a discussion about Photoshop Actions. We stared off by walking through the steps required to build a very simple action in Photoshop –and then we talked about saving,loading,and running actions. Afterwards,we took questions from the group. By the time we finished,we’d talked a bit about editing actions,and the limitations of using actions in PS.
Of course,we understand that many people can’t join us when we host a hangout…so,we recorded it for you. We’re posting it here for those who are interested. We hope you enjoy it!
After taking a dip in the ocean during our trip to Iceland,our tripods were badly in need of cleaning. Since it’s important to clean your tripod now and then,we thought we’d share the process on our blog. We try to clean our tripods about twice a year –more often if we’ve been shooting in sand,salt water,or swamps. Grains of sand can work their way into the grooves and threads of your tripod –you’ll know they’re in there if you hear a grinding or grating sound as you turn the knobs or make adjustments to the tripod. Salt water can corrode some metals –so you should rinse your tripod after shooting at the beach. And swamp water –well,the bacteria that grows in swamps can climb right into your tripod legs and just hang out there…multiplying happily until you open your tripod and discover that it really stinks! Cleaning the tripod isn’t particularly difficult…though it can take some time. Jay and I usually clean both tripods at once,so we set aside a morning to do it.
The first step is to take the tripod apart. Each tripod will be different –Jay and I both have Gitzo’s,but they are from different years,and the parts are different. But since they both have twist lock leg mechanisms,they come apart in the same way. We loosen them the same way we would if we wanted to extend the leg segment,and then we keep on twisting in the same direction until the leg detaches. Easy. Locking clips will require a different set of steps –some have removable screws,and some are held in by pins that are not removable. If your tripod doesn’t come apart,don’t sweat it. You can still clean your tripod. I’ll get to that in a minute.
The important thing is to keep track of where all those little pieces go,so that you can put it all back together when you are done. If you are worried about putting it all back together,take some photos for reference as you work. You may find that there are more pieces than you expected. Here’s Varina’s tripod,all taken apart. Notice that we didn’t remove the screws that hold the top of the legs to the center piece. We find that they don’t usually need to be cleaned.
Once the tripod is in pieces,we fill up the sink with hot,soapy water and get down to business. Today,we used Palmolive dish washing soap –which worked just fine. There’s no particular brand that we recommend –but you do want to use dish soap,since it cuts through grease and won’t leave a residue. I use a soft scrubbing pad to clean each part,and an old toothbrush to get the threads clean. I generally keep a small bowl of dish soap handy. I dip my toothbrush into it now and then so that I can get through the grease. You’ll need to scrub the threads carefully to remove any grease that is stuck in there…along with sand,silt,and slime.:) Then a quick rinse,and we lay it all out on a cloth to dry.
Keep in mind that rough-cut edges of metal pieces can give you splinters! Our carbon fiber tripods tend to lose tiny,sharp shards of metal from the ends of the leg segments. I pulled two out of my fingers this morning. Ouch! If you are concerned about it,wear rubber gloves to protect your hands. They’ll keep the grease off your hands and keep your fingers from getting all wrinkly,too.:)
If your tripod doesn’t come apart,just flush out each joint with hot,soapy water. You can use a small brush to get into the little grooves and openings to clean them out as well. Adjust your locking clips and slide the legs in and out under sudsy water if you can. That will help to loosen any grit that is trapped in tight places. You should be able to get the tripod pretty clean that way. Extend all the legs and allow it to dry thoroughly before putting it away.
And now,back to our cleaning process…
Once the pieces are clean and dry,it’s time to put everything back together. You need to use a little bit of grease to keep everything working smoothly. We put a tiny bit of lithium grease on the threads –you can see from the photo how much we use. A little goes a long way –and if you put too much,you’ll just end up having to wipe it off later. We put that little bit of grease on the threads and then screw the leg segments in place slowly –screwing them in and out a bit as we go to help spread the grease around. The pieces should turn smoothly…if you hear a gritty grating sound as you put the pieces back together,check for debris in the threads. You may need to do a better job cleaning. You’ll need grease in all the moving parts –there’s no need to grease screws that should remain tight. Just moving joints and twist locks.
Wipe off any excess grease with a paper towel,and you’re done! Now,that wasn’t so bad,was it!?:)
The frequency with which you’ll need to clean your tripod depends upon how you use it. If it never leaves the house,you probably don’t need to clean it at all. If you are shooting on the grass or a muddy path –just rinse the feet when necessary and you are good to go. Rain won’t hurt your tripod –though prolonged exposure to moisture will corrode some metals…so take the time to dry it off when you come in and leave it open until it’s thoroughly dry. Always rinse your tripod if you use it in salt water –salt can cause corrosion as well.
Take simple precautions to help keep your tripod clean a little longer. When we are shooting in sand,mud,or water,we always extend the lowest leg of the tripod at least a few inches beyond the mess. That simple action keeps the joint up out of the muck. If you can avoid it,don’t immerse the joint in sand or salt water. But don’t worry to much if it does get into the joints. Just take some time to clean it up and you’ll be good to go!
We get lots of questions about how we blend our images. For photos with an extremely wide dynamic range –like the one you see here –we blend two or more exposures for a finished image. We use a manual technique that we’ve worked together to develop over the years. The process involves creating and refining masks to achieve a natural look. It would take too much time to explain the entire process –our recorded webinars teach the entire process in about 9 hours –but we’ve put together a brief video that shows our basic workflow.
Autumn is coming soon to a region near you! We wanted to pull together a few examples for inspiration –and some tips to help you make the most of your time in the field.
This image taken from top of Brandywine Falls in Cuyahoga National Park. We arrived just before sunrise,and Varina used a wide angle lens to capture the color in the sky before it faded. She bracketed the shot in order to capture the entire dynamic range,and then used our manual iHDR Technique to combine three images.
Overcast skies are common this time of year,and they provide soft,even lighting –which is ideal for back-lighting fall leaves. Soft directional lighting lets the leaves glow without leaving them overexposed. Jay took this photograph off-trail at Liberty Park.
While enjoying the fall colors,don’t forget to notice the small details. Varina found these pretty leaves beside the trail. She stacked them to show the brilliant hues side by side. If you are shooting small details in bright sun,use a diffuser to soften the light.
We try to make the most of reflections at any time of year,but in the fall,they can be particularly beautiful. In this photograph from last year,Jay used the calm waters of Maroon Lake in Colorado to capture the reflection of the fall colors on the mountains. Jay choose NOT to use his circular polarizer filter because it would have minimized the reflections of the mountains and clouds.
And finally,make the most of Autumn’s beautiful skies! Changing weather conditions can mean quickly-changing skies. When the clouds put on a show,make sure you are ready to capture breathtaking fall color juxtaposed with dramatic skies!
Tips for Photographing Falls Colors
Fall colors are easiest to photograph under a thin,even cloud cover. This provides soft overcast light that helps balance out the highlight and shadows. Soft,morning or evening light is beautiful as well –but controlling the dynamic range can be difficult.
Don’t forget to notice the details –pay attention to water droplets on leaves,and the texture of bark on the trees.
Use a circular polarizer to reduce scattered light and enhance Fall colors. This is especially effective when you are photographing wet leaves.
When necessary,use a GND filter to balance the light. This will bring out the details in every part of the image.
Look for reflections to enhance the colors of the fall images. Don’t use a circular polarizer when you are trying to capture reflections.
Jay took this photo in Olympic National Park on an overcast day. The light in the forest was so soft and beautiful,and the fresh greens seemed almost golden in the scattered light.
When Jay opened this file in Adobe Camera RAW,it didn’t look like this. We’ve created a short video to show how he processed this image. It’s easier than you might expect!
Our goal is usually to create an image that feels natural to the viewer. Keep in mind that this is just one way to do it –you may choose a different process or a different program. There’s no single “right”way.
To learn more about RAW processing check out our Session 2 our Nature Photography and iHDR Workflow Recording:Histogram and RAW Processing
When we’re on location,we spend a lot of time looking for foreground. We want to convey a sense of location –not just distant,untouchable beauty…but the feeling that you are a part of this place. You can see the tiny details right in front of you…reach out and touch the rocks or put your fingers in the water…walk into the photograph. We want you to feel that you are standing there experiencing it in person. Maybe that’s asking a bit much from a photograph,but we do try.:)
The above photo is from Snowmass Wilderness in Colorado. We spent hours wandering these beautiful hillsides –the area offered stunning beauty,but not very many obvious foreground objects. I used the interesting bark of the tree to give the viewer a sense of the texture of the bark. When you know how that papery,white bark looks and feels,you gain a deeper understanding of the place…a connection with the landscape. If you can get up close and personal,your brain interprets the image more fully. You start to feel the textures in the bark,the warmth of the sun on your face –you know these sensations,and when you see a photograph,memory mingles with vision to evoke a response.
Not convinced? Try this…take a piece of paper and hold it up in front of your computer screen so that it covers the foreground in each image in this post. In the photo above,cover up those tree trunks on the left. In the rest of the photos below,cover up the bottom third –or half –of the photograph. Are the images as effective without the foreground?
This shot from the everglades in Florida is entirely different from the last one. When you look at a photo,do you take the time to let the sensations of the place sink in? The dry grass crackling underfoot,the wind rattling the leaves,the light filtering through heavy thunderheads. And does the foreground in this shot help draw you in?
And what about shooting in locations that seem similar to one another? The desert,for example. Is one desert just like the next? Sand,tumbleweed,dune…how do I convince you that you haven’t seen this desert before? The sky –lovely as it is –doesn’t tell you a thing about where you are. The distant mountains are indistinct…it’s the foreground that gives you a sense of place. Take a look at the next three images –and note how the foreground provides information about the place. (And remember that if these images were printed at large size,you’d be able to see even more details!)
This is Utah’s beautiful desert …
And this one is in California’s Death Valley National Park…
And this is in Arizona…
Foreground isn’t always necessary –but it can be an important defining element. Get creative! Invite the viewer to step into your mind and see through your eyes.
Does finding a foreground element and composing an image come naturally to you? Or do you struggle to include foreground details in your photos? Do you have suggestions or tips for other photographers? Comments are always welcome. Maybe others can learn from your experience!
…be ready to answer the call. In nature photography opportunity doesn’t always knock at the most convenient time,or in the best location. On more then one occasion,we’ve found ourselves under perfect skies while in the car between destinations…or as we were hiking towards a spectacular photographic icon…or when we have six kids in the back seat. When the skies are right,we try to take advantage of the opportunity,no matter where we are. And we’re usually pretty glad we did.
As we were hiking towards Horseshoe Bend in Arizona,the storm clouds opened up,and beams of soft light lit the entire area. Rather then continuing down the trail to Horseshoe bend (and risking a missed opportunity) we set up our cameras trail-side to capture the partially diffused light. We made it to Horseshoe Bend a few minutes later,but we captured the best light on the way.
While hiking through Norris Geyser Basin in Yellowstone National Park,we were surprised by a fast moving storm. As we were running towards a shelter,we noticed the blue glow of Pearl Spring with dark storm clouds hanging in the background. Jay set up his tripod and captured a single shot before running to catch up with Varina and the kids…who reached the shelter just moments before it started hailing.
On the last day of a trip to Utah,heavy clouds obscured the sky. We were en route to the airport,when the cloud cover began to open up…so we changed our course. Rather than heading directly for Salt Lake City,we pulled out the map and headed towards the beautiful clouds. We stopped on the side of the road to capture a few photos before the clouds closed in once again. In the end,we caught our flight with time to spare –and got some unexpected photographs as well.
When you are shooting outdoors,you never know when opportunity will come knocking…but when it does,we hope you’ll be ready to answer with camera in hand.
Photography is all about capturing a moment in time. Sometimes,we use shutter speed as long as several minutes,and sometimes we need something much faster. In order to capture this bizarre image,I used a shutter speed of just 1/2500 of a second!
What is this? It is an abstract image taken just as a bubble burst –in the boiling “mud pots”of Yellowstone National Park.
How do you create an image like this one?
Find the right location. In this case,the bubbles were forming in the same location over and over again –if they appear randomly,it can be difficult to capture one at just the right moment.
Set you focus in advance.Once you know where the bubble is most likely to appear,focus your lens at that location and disable the auto-focus. Now your lens is set correctly,and you can concentrate on getting the shot.
Take some test shots. You need to decide what aperture and DOF you need to use. Choose a shutter speed fast enough to completely freeze the motion –in this case,1/2500 sec. I chose an aperture of 5.6 in order to get sufficient depth of field. Then,I adjusted my ISO until my exposure was correct.
Be sure to check your Histogram! Because of all that bright white mud,I had to manually overexpose the shot (~ 1.5 stops) to get the image nice and bright. But I don’t want to end up with blown highlights! A quick check of the histogram told me that my settings were just right.
On the day I took this shot,there was a light overcast sky,which helped to minimize blown highlight on the wet surfaces and –and to keep the shadows soft.
And now,all you have to do is wait…and click away. To be honest,it was a lot of fun to capture these images. Varina and I,and our students,spent a couple of hours taking 100s of shots of the bubbles…After all,even grown ups like to play with mud! (But don’t actually play IN this mud –it’s HOT!)
I processed the shot with low contrast,and cloned out a few distracting shadows in the smooth mud behind and I had my shot.
The same technique can be applied to capture other subjects in nature –such as a hummingbird that returns to the same feeder,insects visiting a pollen-rich flower,and water droplets falling in the same spot.
Here is an photography by Varina that was produced using similar technique.
This shot required very little special post-processing…just setting the correct color balance,and a bit of subtle mid-tone contrast. The real work of creating this particular image happened in the field…well…on the beach,actually.:)
eBook:The Workflow Series – Mountains
Q and A –Where does an image end up?