VW Monthly Roundup – March 2014

Please excuse the construction sounds in the background – my bad!

Here are the highlights of what happened in our awesome landscape photography community!

And for those of you who like to read, here is a summary:

  • New members – go and say Hi and check out their Goals
  • Are you a new member? Please feel free to introduce yourself
  • This is where you will find the latest articles
  • We have excellent response to the last month’s contest. Check out of the amazing image submitted by the members Shallow Depth of Field
  • Want to be inspired? Here is collection of some outstanding work from photographers all over the globe: Be Inspired
  • And who knew that Natural abstract would be one of the most popular topic. Check out some the images submitted by fellow members: Natural Abstracts
  • We are working to make this a better community and would love to have your feedback. If you have a suggestion…or just some praise please leave us a note: Feedback & Suggestions

Please leave comments below on what you would like to see in this awesome community.

Varina and Jay on Digital Photo Experience with Rick Sammon

DPEPodcast

We had a great time talking with Rick Sammon on his Digital Photo Experience Podcast. It starts with a great interview with Peter Read Miller – who is a sports photographer with some great insights to pass on. Our talk with Rick starts right around 31:30. Be sure to check out our special offer for Rick’s listeners for our Ultimate Landscape Photography Course! You can listen to the podcast and get the discount code here: http://bit.ly/QCdn9q.

We hope you enjoy it – and feel free to share!

Photographing Motion

Photos may capture and ‘freeze’ a subject, but that doesn’t mean they have to reflect a single moment in time.  Here are a few methods for reflecting movement in photos.

With this first shot, I wanted to make the most of both the color and the circular movement.

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Swirling leaves on an Australian pond

A fast shutter speed would have captured small spots of color on the surface of the water. Because the swirling leaves were creating such an interesting pattern, I used a long shutter speed to alter the single spots of color into colorful streaks. These streaks fill a larger portion of the frame and make the image even more colorful than it was in reality. I also blended two exposures to create this dynamic and colorful image – one for the foreground, and one for the brighter waterfall in the background.

Yellowstone’s boiling white mud creates amazingly beautiful bubbles.

Burst - Varina Patel

A boiling white mud pot at Yellowstone National Park

For this shot, I used a fast shutter speed and zoomed in close to fill the entire frame with mud. The close shot created a minimalist composition with a single bubble as the point of interest. Because the sunny day allowed for a faster shutter speed, I was also able to capture the darker shadows inside the bubble which allowed the patterns to truly stand out.

In this next image, the sun had just set and it was starting to get dark. Because of the fading light and windy conditions, the moving flowers and clouds made it impossible to completely ‘freeze’ the shot. Windy days provide excellent opportunities to get creative.

Mountain Meadow

Montana’s Glacier National Park

With a wide angle lens, I positioned myself close to the purple and yellow flowers in the foreground. I selected camera settings that allowed for a nice, long shutter speed. I used the long shutter to capture the motion of the flowers in the foreground, creating a unique and unusual look. The movement in the clouds adds to the motion. The sharply focused mountains provide a steady counterpoint to keep the photo feeling grounded.

In this shot, a choppy sea caused thick foam to form on the water’s surface. As the waves crashed against the rocks, the heavy foam exploded into incredibly complex liquid formations.

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Foamy ocean surf in Australia

With the help of a very fast shutter speed, I could freeze the motion of the foam to capture its beautifully intricate details. I also chose to convert the shot to black and white to showcase the detail and patterns… as opposed to color.

In this photo, the North Star appears stationary over a moonlit Balanced Rock as other stars orbit around it.

Time Turner

A starry night at Arches National Park in Utah

Taken with my camera on a tripod, this photo is a combination of 180 shots – each with a 30 second exposure. These multiple photos were then blended together in Photoshop. This is a good option for capturing very slow motion… such as the motion of the stars. Thirty seconds is enough time to capture tiny shifts in position; but to capture a broader shift, like the lines you see in this image, you need an extremely long exposure or a large collection of exposures. I chose to create and blend a series of images because one extremely long exposure would create too much noise for a high quality photo.

The final photo in this post captures the mountain’s beautiful alpenglow (the glowing red light on the mountain opposite the sun). On this day, the water was extremely choppy. It was splashing my face and camera, and I had to frequently wipe the lens to ensure it was dry enough for a 30-second exposure. Maybe you already know that I love minimalist compositions… so it may come as no surprise to you that my goal here was to simplify.

Once in a Lifetime

Glacier National Park in Montana

For this shot, my camera was on a tripod, low to the ground. The 30-second exposure smoothed the motion of both the water and the clouds, drawing your eye to the main point of interest – the mountain’s beautiful red glow.

Whether you choose to ‘freeze’ a moving subject or to reflect its movement, there are many ways to approach motion in photography. How do you most enjoy expressing motion in your photographs?

VW3 – Shallow DOF

Welcome to Visual Wilderness Episode #3! In this episode, we talk about our March assignment for Visual Wilderness – Shallow Depth of Field. We discuss some of the reasons we might choose to use a wide aperture, and we’ll talk about what we were trying to accomplish with some of our own shallow DOF photos.

Balancing Photography and Family

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Lots of people ask me how I balance photography and family. I’ll tell you this. It isn’t easy. Some days I have so much to do that I forget to eat lunch. Some days, I’m so tired that I can’t focus on what I’m writing. But most days, I do ok… and it’s hard to complain when you have such awesome kids – and a great job, too. The trick to getting everything done is pretty simple, actually. For me, it’s all about focus and flexibility.

Wednesday evening – 4:15 pm – I’ll drive the kids to the dojo for a short practice before class begins at 5. Then, I’ll leave three kids at the dojo for classes and head back home to prepare dinner. While dinner is cooking, I’ll drive back to the dojo to pick up the 10-year-old after Advanced Class, and take him to basketball practice. And then back to the Dojo once again to pick up the 12-year-old after Black Belt Club. I’ll take her back home and let her eat dinner with her big sister. Spaghetti for dinner – Yum! And then, I’ll head back to the dojo one more time – to pick up my 17-year-old after his Instructor Class. He’ll eat his dinner at home, and then I’m off to pick up the 10-year-old now that basketball practice is finished. He still needs his dinner – and then I’ve got to get everyone off to bed. And that’s just the evening…

The morning is busy with getting the kids out the door – we’re up at 5:45 am. And once they’re all at school, I’m busy with photography stuff – an online meeting, preparing a couple of blog posts, recording audio for an instructional video, putting the finishing touches on a presentation, doing some research for an upcoming trip, maybe even processing an image or two.

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When the kids are home, they’re my first priority. I walk away from the computer and put my attention on them. I help with homework, and play board games, and help them practice martial arts or basketball or whatever they need. I find that if I’m trying to focus on work and the kids want my attention too, I get frustrated. And with lots of kids around, it’s not realistic to expect that I won’t be interrupted every few minutes. So, instead of putting myself in a position where I would feel frustrated, I shift my attention completely. When the kids walk in the door, I belong to them. I try not to schedule meetings for times when my kids are at home and awake. I don’t do presentations in the afternoons or on weekends. Nope. Those times belong to the kids. Period.

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And when they walk out the door in the morning to get on the school bus, I shift my attention to work. Maybe I’m not as productive as I could be. I suppose I could get more done if I spent more time working, rather than talking and laughing with my kids. But why would I want to do that? :)

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Honestly, the hardest part of all this is just keeping track of everyone’s schedules. I always have one eye on the clock – and I sometimes worry that I’ll forget someone somewhere. (Does every parent worry about that?) Every day is different, so I have to be ready to turn on a dime. Somebody forgot their homework. Someone wants to go visit a friend. Someone has outgrown their shoes. Everyone needs a trip to the dentist… It never ends. But don’t worry. I’m not complaining. I have my calendar synced to my computer and my phone, and I set an alarm when I’m likely to forget something. I thrive on keeping busy during the week, and I try to use my weekends to re-charge. We might spend a few hours working on a fun project (we built a cool little robot named Picasso a few weeks ago), or we’ll go to the Science museum, or go for a walk in the woods. We like to have cookouts and go hiking and exploring in the woods – or swimming in the rivers if its warm enough. By Monday, I’m ready to get back to work, and we start all over again!

It’s tough to balance everything. No doubt about it. But it’s a challenge I thoroughly enjoy.

Would you hole up in a hotel room?

Sometimes, the weather doesn’t cooperate when we’re on location. During one visit to Zion National Park in Utah, heavy rain fell for three solid days. This is the weather that flash floods come from… and come they did. A narrow canyon that had been empty minutes before suddenly let loose a raging flood of current. We watched from a safe distance, and then photographed this beautiful landscape that was so different from the Zion we knew.

Zion National Park - Utah, USA

Within hours, waterfalls formed on rock faces where there had been none before. Every crevice became a flowing river, and the water pooled in pockets and basins and hollows. We shared an umbrella – and shot in the rain.

Waterfall in the Desert - Varina Patel

Normally bone-dry, the sandstone mountains of this beautiful place turned to rich orange and pink as the water soaked in. It was an experience like no other – being in a place like this in uncommon weather. Our photos were so different from anything we’d captured here before. It was like exploring someplace entirely new.

Zion National Park - Utah, USA

But something else happened on this trip that really blew our minds. The day after the storms finally passed on, we met a young photographer at another nearby park. He was excited to be out shooting in such a beautiful place, and he told us that he’s paid a lot of money to spend a few days on location with an experienced photographer. He said they’d been stuck in a hotel room for the past three days because of the weather… and this was his first day shooting. When we seemed surprised, he noted that he didn’t feel to badly about it – the “pro” had told him that he was experiencing the “reality” of the profession. Apparently, “real” photographers hole up in hotel rooms when the weather gets bad. I guess we really messed up, being out there in weather like that. Nobody ever told us that being a pro meant ignoring the opportunity offered by unique conditions. Nobody told us we should hide from the rain.

Next time, we’ll know better.

The Flood - Varina Patel

Seriously though – we like to think of photography as an adventure. It’s a string of challenges, and that’s what makes it so endlessly appealing. We’re not suggesting that you should go out and shoot in dangerous weather… PLEASE DON’T! Check with park rangers to find out which areas could be dangerous, and use common sense. (Stay out of crevices and canyons if rain is coming – flash floods can be deadly. If there’s lightening, get yourself indoors or stay in a safe place. And so on.) But if you can be safe about it, get out there and enjoy the beauty of the storm. You never know what you might miss if don’t go out!

VW2 – Simple Manual Blending

In this episode, we welcome special guest Leigh Diprose from FujiFilm Australia. We get started by talking with Leigh about Fuji’s mirrorless camera systems. (We love the low noise capability of these cameras at high ISO.)

Then, Jay opens up a couple of RAW files from the Fuji X-E2 to show how he processes them. He walks us through the blending process to create a finished, natural-looking photograph. If you’d like to try your hand at manual blending, we have included JPEG images so you can practice.

Building on Shared Experiences

This blog post has been bouncing around inside my head for a couple of weeks now. People often ask me how I come up with so many ideas for blog posts – how I keep putting them out week after week, year after year. It’s really not so difficult, because each post comes from an experience – a conversation with another photographer, a question from a student, a compositional challenge in the field… and this post is no different. This post is for Dianne Hall… because she asked the question that got me thinking… and kept me thinking for the past few weeks.

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We were walking along a street in Sydney, discussing photography and art and composition. I was trying to explain how I try to tap into shared experiences when I create a composition. She pointed to a man mowing his lawn near the road, and asked me what I would do with him if I were to take a photo. So, I tried to explain to her how I would work through the process. It’s difficult to put things like that into words… but that’s what I love about teaching. It forces me to find the words to explain something intangible… which in turn, gives me a deeper understanding of what I’m teaching.

I explained that in order to share the picture in my head, I have to understand how my viewer will see what I present. I can never assume that they will understand my intentions with any photograph. We can not read each other’s minds – but we can tap into shared experiences. If I ask you to imagine the call of a trumpet – you can probably pull that up in your memory. That’s a shared experience. The taste of ice cream… the feel of it on your tongue… the crunch of the cone… all of that is shared experience. I know that most people who see my photos will understand those basic things. So that’s what I need to tap into when I make a photo. And so, that’s where I begin when I’m building a composition.

So, where would I begin with a photo of the man mowing the lawn? I’d start with shared experiences. You know the smell of cut grass… but how can I share something you smell in a photo? Actually, it’s not hard to do that. I just need to trigger that smell in your mind… and I do that with a visual element. I want to be sure to include the grass flying out of the rotary mower… because that little visual detail is enough to trigger your experience of the smell of the grass. It’s an important detail. So, I’ll time my shot so that I capture the grass flying through the air. Some of you might even feel a little bit of hay fever coming on when I mention it. ;)

I can also count on you to understand the feeling of a hot day, right? And that’s an important element of the experience I’m trying to share with you. So, I’ll need to include the sweat dripping on the man’s forehead, and the sheen of moisture on his bare arms. I need to include the angle of his body as he pushes the mower… because that will trigger your understanding of hard work and exertion. I need to make sure that I am shooting from an angle that will show all these little details – and that I choose my moment carefully. I might also want to include a little bit of a sense of place. In this case, the man was mowing a little strip of grass in front of his home. I liked the smallness of his lawn. So, I’d be sure to frame my shot so you could see that he was sweating away on his tiny patch of grass… it’s an element of humor that we can all relate to.

So that’s where I’d start. Those are the basic elements I need to include if I want to communicate something to you with this imaginary photograph I’m taking. But that’s just the beginning. There’s something else that I need to consider if I want my photo to be effective. What I don’t include in the photo is just as important as what I do include. There was a line of cars parked in front of this guy’s house. Is that important to my story? It’s not. And furthermore, it distracts from my story. If I include those cars in my photo, I’m demanding that you call up other memories and experiences… which will distract from the moment I’m trying to share. I don’t want you to imagine the heat of a car on a sunny day, or the smell of auto exhaust. I don’t want you to hear the bark of a dog – so I left him out of the frame too. And I left out the lady walking toward me on the sidewalk, and the fire hydrant nearby… and so on.

Sometimes it’s tough to break down a scene like this – and its even more difficult to create a photo that conveys a vivid experience, feeling, or mood. Sometimes, a photo will just happen – appearing fully-formed as if it had a life of its own. But more often than not, I think you’ll find that photos that have real impact require some thought and planning.

Tips for Cool Night Photos!

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I took this shot during our workshop in Australia. I gave away my f/2.8 lens so a student could follow along with the workflow we were presenting – so my settings were different from the others in the group… but no worries. Keep an eye on your histogram, and don’t be afraid of experimentation. Here are my basic tips for night photography.

1. Get your focus right. Your auto-focus won’t work in the dark, but a flashlight should give you the light you need to set your focus. Take a test shot and zoom way in to check so you don’t find yourself with a bunch of blurred photos when you’re done! I stood and held the flashlight for 15 minutes or more while everyone set their focus. It took some time since we were making sure everyone was on the same page.

2. Light Painting is fun – and I think it might be even more fun with a large group! :) We all released our shutters at the same time, and then Jay and I took turns moving the light across the rocks in front of us. We took a whole lot of shots… some were too bright, and some were too dark. Just keep experimenting until you get something you like!

3. Pay attention to your histogram – but don’t expect a neat “bell curve”. You are working with very dark tones, so you should see a peak on the left side of the histogram. You probably won’t see much on the right side of your histogram unless you really go crazy with the light painting. :)

4. Use a wide-open aperture, and keep your shutter speed under 20 seconds or so. A longer shutter speed will result in short star trails. (If you WANT star trails, you’ll need a series of 30-second exposures.) You’ll need to bump up your ISO to get the aperture and shutter speed you want… so you’ll probably want to clean up some noise in post.

Here are a couple of other night shots from other locations:

Residual Light - Varina Patel

Vermilion Cliffs, Arizona – I took this shot at the tail-end of twilight with a 266 second exposure.

Time Turner

Arches National Park, Utah – This is a blend of 210 exposures – at 30-seconds each. Best date night EVER!

Have you been out shooting at night? Share your suggestions and experiences in the comments! And have fun out there!