RMC Art Class 247 Final - A Presentation of 30 Nature Photographs

I have wanted to take this class for several years and was so excited when I was finally able to. I have struggled with learning photography from books. I had attended several lectures in the community by Dave Shumway and knew he was a great nature photographer and also a good instructor. I was confident that by taking his Nature Photography course, I could really improve my understanding of photography and my ability to take better photos.

I have experienced a lot of frustration in the past in not understanding what I should be doing to take the specific types of photos I was interested in. Dave has made all the aspects of photography that were bouncing about in disparate chunks in my mind, come together in one understandable and cohesive unit. 

There is so much more to learn and so many more photos to take to help me advance my skills but this class has provided me an excellent grounding in the basics that I can build on.

The class final is presenting 30 nature photographs taken during the period of the course. Here are mine.

Getting An Earful

Panasonic DMC-G2, Panasonic 45-200mm f 4.5-5.6 @ 158mm, ISO 200, f7.1, 1/2000 sec, no flash.
Settings: Could have used ISO 100 and had a good shutter speed.
Edit: crop, +exposure, +contrast, +clarity, +sharpen, desat water because it was too bright and drew attention from the subject.

Here's Lookin' At You, Kid

Panasonic DMC-G2, Panasonic 100-300mm f/4.0-5.6 @ 269mm, ISO 400. f/8, 1/500 sec, no flash.
Wanted to make sure I stopped action and had a close shot.
Edit: crop, +exposure, +contrast, +clarity, +saturation, +sharpen, selective -exposure on tree & sky patches, vignette

Keeping A Hawk's Eye

Panasonic DMC-G2, Panasonic 100-300mm f/4.0-5.6 @ 275mm, ISO 400, f/8, 1/400 sec, no flash.

Settings: Wanted to stop action. Hawk constantly turned head. 

Edit: crop, +exposure, +contrast, +clarity, +sharpen, selectively burned large branch because it was too bright.

Yellowstone Valley Overlook

Panasonic DMC-G2, Panasonic 14-42mm f/3.5-5.6 @ 14mm, ISO 200, f/20, 1/30 sec, no flash, circ polarizer.
Settings: Wanted a wide view and good depth DoF. 
Edit: crop, + exposure, + contrast, + clarity, + vibrance, + sharpening, - hilites & whites, + shadows & blacks, +NR luminance, adj. tone curve (faux LR4 HDR), adj blue HSL for more natural looking sky. sharpened.

Golden Grove

Panasonic DMC-G2, Panasonic 14-42mm f/3.5-5.6 @ 15mm, ISO 100, f/13, 1/40 sec, no flash.

Settings: Wanted a wide-angle view and good DoF. 

Edit: crop, + exposure, + contrast, + clarity, + sharpen, +yel & orange saturation, adj for lens distortion to make tree trunks parallel.

Peering Into The Abyss

Panasonic DMC-G2, Panasonic 45-200mm  f4-5.6 @103mm,  ISO 100, f/6.3, 1/320 sec, no flash
Settings: Wanted to stop torpedo action of active chipmunks.
Editing: crop, +exposure, +contrast, +clarity, +sat yellow, +sharpen. Wanted small chipmunk looking into large space.

Sunrise Among Pines

Panasonic DMC-G2, Panasonic 45-200mm f/4.0-5.6 @ 109mm. ISO 100,  f/20, 1/30 sec, no flash.

Settings: Used moderate telephoto to bring sun in. Wanted good DoF for trees and sun. 

Edit: crop, +exposure, +contrast, +clarity, +sharpening, + orange saturation, +sharpen, +NR luminance.

His Majesty

Panasonic DMC-G2, Panasonic 100-300mm f/4.0-5.6 @ 264mm, ISO 100, f/9, 1/100 sec, no flash.

Settings: Wanted telephoto and reasonable shutter speed to stop elks movements, DoF was secondary. 

Edit: crop, +exposure, +contrast, +clarity, +saturation, slight +red & +green sat, +sharpen.

Drought

Panasonic DMC-G2, Panasonic 14-42mm f/3.5-5.6 @ 29mm, ISO 200, f/20, 1/125 sec, no flash.

Settings: Wanted medium angle and good DoF.

Edit: Edit: crop, tone-mapping, sharpen

Likin' Lichen

Panasonic DMC-G2, Panasonic 14-42mm f/3.5-5.6 @ 15mm, ISO 200, f/14, 1/30 sec, no flash.

Settings: Wanted a wide angle, moderate DoF.

Edit: crop, +exposure, +contrast, -hilites, -whites, +shadows, +clarity, +saturation, +yellow & red saturation, +sharpen, vignette

October Survivor

Panasonic DMC-G2, Panasonic 14-42mm f/3.5-5.6 @ 17mm, ISO 200, f/4, 1/400 sec, no flash.
Settings: Could have used lower ISO and still had good shutter speed. Wanted shallow DoF.
Edit: crop, +exposure, +contrast, +clarity, +yellow & purple saturation.

Red Swath

Panasonic DMC-G2, Panasonic 14-42mm f/3.5-5.6 @ 23mm, ISO 200, f/18, 1/16 sec, no flash, circ. polarizer.

Settings: Wanted fairly wide angle.

Edit: crop, +exposure, +contrast, +clarity, +red saturation, +sharpen.

Autumn Stream

Panasonic DMC-G2, Panasonic 14-42mm f/3.5-5.6 @ 14mm, ISO 200, f/20, 1/20 sec, no flash, circ. polarizer.

Settings: Wanted wide angle, good DoF, minimize bright reflections on water.

Edit: crop, +exposure, +contrast, +clarity, +saturation, +yellow saturation, +blue saturation & luminance, +sharpen

Baby Dragon Driftwood

Panasonic DMC-G2, Panasonic 14-42mm f/3.5-5.6 @ 25mm, ISO 100, f/5.6, 1/50 sec, no flash.

Settings: Wanted medium-wide angle.

Edit: crop, +exposure, +contrast, + shadows, +clarity, +red saturation, +sharpen.

Glorious Morn

Panasonic DMC-G2, Panasonic 14-42mm f/3.5-5.6 @ 14mm, ISO 200, f/11, 1/3 sec, tripod, no flash.

Settings: Wanted a wide angle to encompass as much of the scene as possible. Used a little higher ISO to get enough light for a reasonable shutter speed. Used tripod to stabilize.

Edit: crop, adj. temp, -exposure, +contrast, +clarity, +vibrance, +saturation, +NR luminance, +sharpen

Surveying His Kingdom

Panasonic DMC-G2, Panasonic 100-300mm f/4.0-5.6 @ 240m, ISO 200, f/8, 1/600 sec, no flash.

Settings: Wanted faster shutter speed for hand-held and in case deer moved. Wanted background blur.

Edit: crop, +exposure, +contrast, +clarity, +sharpen, +NR luminance.

Sculpted Boulder

Panasonic DMC-G2, Panasonic 14-42mm f/3.5-5.6 @ 23mm, ISO 200, f/16, 1/25 sec, no flash.

Settings: Wanted medium angle, good depth of field, adequate shutter speed for hand-held.

Edit: crop, +contrast, -hilites, - white, +shadows, +black, +clarity, +vibrance, +sharpen, +NR luminance, adj. tone curve (faux HDR settings).

Emblazoned Autumn

Panasonic DMC-G2, Panasonic 45-200mm f/4.0-5.6 @ 103mm, ISO 200, f/20, 1/25 sec, circ polarizer, tripod, no flash.

Settings: Telelphoto lens to foreshorten scene. Wanted good DOF. Polarizer for color enhancement plus control flare.

Edit: crop, +exposure, +contrast, -hilites, -whites, + shadow, +black, + clarity, + vibrance, +NR luminance, adj. tone curve, (faux HDR settings), +sharpen.

Tumbling Waters

Panasonic DMC-G2, Panasonic 14-42mm f/3.5-5.6 @ 34mm, ISO 200, f/18, 1/5 sec, tripod, circ. polarizer, no flash.

Settings: Moderate angle. Good DoF. Very slow shutter to blur moving water. Could have used an even lover ISO and it might have been better.

Edit: crop, +exposure, +contrast, -hilites, -whites, + shadow, +black, + clarity, + vibrance, + green saturation, +NR luminance, adj. tone curve, (faux HDR settings), +sharpen.

 A River Framed

Panasonic DMC-G2, Panasonic 14-42mm f/3.5-5.6 @ 42mm, ISO 200, f/16, 1/50 sec, no flash.

Settings: Wanted moderate angle of view and good DoF, Need to hand-hold because of bushes.

Edit: crop, +exposure, +contrast, +clarity, +yellow, +orange, adj. blue saturation & luminance, +sharpen, vignette.

We Are Family

Panasonic DMC-G2, Panasonic 100-300mm f/4.0-5.6 @ 205mm, ISO 400. f/9, 1/640 sec, no flash.

Settings: Wanted fast shutter speed to stop any movement, telephoto to bring subjects inclose, moderate DoF.

Edit: crop, +exposure, +contrast, +clarity, +sharpen

Silvery Seedheads

Panasonic DMC-G2, Panasonic 45-200mm f/4.0-5.6 @ 61mm, ISO 200. f/4.1, 1/640 sec, no flash.

Settings: Wanted narrow DoF to make subject prominent. Probably could have gone 100 ISO.

Edit: crop, +exposure, +contrast, +clarity, +saturation, +red, +green luminance, +sharpen.

Follow The Light

Panasonic DMC-G2, Panasonic 14-42mm f/3.5-5.6 @ 37mm, ISO 100, f/20, 4/10 sec, no flash.
Settings: Was in a hurry. Didn't check settings. Shutter speed too slow so photo had motion blur.
Edit: +contrast, +vibrance, +saturation, dry brush filter in PSE.

Desolation

Panasonic DMC-G2, Panasonic 14-42mm f/3.5-5.6 @ 14mm, ISO 400, f/20, 1/30 sec, no flash.
Used high ISO to get adequate Tv in fading light & DoF. 
Edit: temp adjust (was too blue), crop, +exposure, +contrast, +clarity, +saturation on sky, +NR luminance on sky, -exposure on foreground log, +sharpen.

Red Ripples

Panasonic DMC-G2, Panasonic 14-42mm f/3.5-5.6 @ 14mm, ISO 400, f/20, 1/8 sec, no flash.

Settings: Wanted wide angle and good DoF.

Edit: crop, +exposure, +contrast, +clarity, +vibrance, +saturation, +orange saturation, +sharpen.

Evening Reflections

Panasonic DMC-G2, Panasonic 14-42mm f/3.5-5.6 @ 14mm, ISO 100, f/20, .30 sec, no flash, tripod.
Settings: Tried to get good DoF and good quality.
Edit: crop, +exposure, +contrast, +clarity, +vibrance, +saturation, +sharpen.

Sanguine Sun

Panasonic DMC-G2, Panasonic 45-200mm f/4.0-5.6 @ 162mm. ISO 200, f/11, 1/100 sec, no flash, 
Settings: Wanted telephoto to bring subject closer. Pinkish tinged sky created by using cloudy WB.
Edit: crop, -exposure, +contrast, +clarity, +NR luminance, +sharpen, vignette.

Fading Mountains

Panasonic DMC-G2, Panasonic 14-42mm f/3.5-5.6 @26mm, ISO 100, f/20, 1/6 sec, no flash.

Settings:Wanted wide angle and good DoF.

Edit: crop, +exposure, +contrast, +clarity, +vibrance, +saturation, +yellow saturation, magenta filter to add sky color, +sharpen, +NR luminance.

Storm Over Beartooth Mountains

Panasonic DMC-G2, Panasonic 14-42mm f/3.5-5.6 @ 29mm, ISO 400, f/4.9, 1/640 sec, no flash.

Settings: Wanted wide angle. Probably could have used smaller aperture. 

Edit: crop, adj temp & tint, +exposure, +contrast, +clarity, +sharpen, +NR luminence.

Bobby Sox Trees

Panasonic DMC-G2, Panasonic 45-200mm f/4.0-5.6 @ 158mm, ISO 400, f/20, 1/13 sec, no flash.

Settings: Needed high ISO to allow a small aperture for good DoF and good enough shutter speed to hand-hold.

Edit: crop, +exposure, +contrast, +clarity, +saturation, -yellow saturation, -magenta saturation, +sharpen, +NR luminance

In the past, if I took a good photo, it was mostly accidental, now it will be purposeful. Watch out all you interesting and beautiful scenes because I will be looking to capture you.

Real High Dynamic Range vs Lightroom4 Faux HDR

Many hobby and professional photographers are intrigued by HDR, including myself. Some are fascinated by the surreal images that can be created while others, like me, prefer the effect to be subtle enough that a viewer questions whether it has been HDR processed from bracketed photos or not.

When preparing my 30 photos for the class final, I decided to do some in HDR so I downloaded a trial version of Photomatix, the most popular of the HDR softwares. I processed a number of photos in this program.

I also learned in my research, that people are doing faux HDR in both LR3 and LR4. (PhotoWalkPro) There are a couple of somewhat different approaches to the adjustments used in the development panel but they both involve boosting contrast, reducing both the highlight and white sliders and increasing the shadow and black controls.

All this "messing around" with the photo introduces some noise so noise reduction is addressed by increasing the luminance control near the bottom of the panel.

One of the popular tutorials uses slight tone curve adjustments. Exposure and temperature are adjusted as needed. Of course, HSL and sharpening adjustments can be used also.

Below are a few photos I did using both methods - HDR in Photomatix and faux HDR in LR4.

Sculpted Boulder - Photomatix HDR

Sculpted Boulder - Using single image faux HDR techniques in LR4.

Tumbling Waters - Photomatix HDR

Tumbling Waters - Using single image faux HDR techniques in LR4

 Yellowstone Valley Overlook - Photomatix HDR

 Yellowstone Valley Overlook - Using single image faux HDR techniques in LR4

Seeing how amazingly similar the images are from one of the top-selling HDR software programs and what can be done in LR makes one question why you would buy a dedicated, stand-alone HDR app. It would seem wisest to invest in LR4 only, which has such amazing capabilities, and do your occasional HDR in it. BTW, for those that want over-the-top HDR, that can be done in LR, I just prefer a subtle version. 

When I carefully analyzed these photos side-by-side, I found I preferred the LR4 faux HDR over the Photomatix so, in most cases, it is what I have used for my final photos.

Another HDR app killer may be caused by the fact that a number of manufacturers (Canon, Nikon, Sony, Pentax, and more) are now making built in HDR capabilities in their cameras. The camera takes a number of bracketed photos (just as you would do for later process in an HDR program) and does the processing in-camera and you instantly have an HDR to review on your camera screen.

Some pro photo bloggers have questioned whether in-camera HDR is a fad or a wave of the future. My research shows it will be more common to see this capability in future cameras, especially since Canon seems to be in the forefront of perfecting this feature and now you can even choose the degree of HDR effect you wish before the camera does the final processing. 

It appears that cameras are rapidly closing in on the ability to produce photos that come closer and closer to replicating what the human eye discerns. 

Here's to the HDR of the future that I believe, will be truly impressive.

Preparation In Fine Art Landscape Photography Part 2

In the previous blog, I presented an article from Luminous Landscape about preparing for a photo shoot and going out in the field. This is a follow-up to that article that includes checklists, walking the scene, the decisions you must make, and more.

Preparation In Fine Art Landscape Photography

Part 2 of 2:
Preparation Checklist

by
Alain Briot 

1 - Introduction

In part two of this 2-parts essay we are going to look at the gear you take with you in the field and at what you do once you are in the field. This second part is presented as a checklist so that you can print it to refer to it in the field if you want. I kept the text to a minimum to make this checklist as concise as possible.  This list is based on my experience working in the field in a variety of conditions (I started photographing seriously in 1981). 

Turret Arch, Arches National Park

2 – Your Gear

A – Necessary gear 

- Primary camera and backup camera- Lenses: wide, normal, telephoto: 12 to 300 for full-frame 35mm- Several extra batteries for all battery-operated gear- Cleaning cloth (microfiber cleaning cloths are the best) and dust blower- Sensor cleaning kit- Cable release- Camera manual if you are not 100% familiar with all camera functions|- Tripod and ballhead- Padded camera bag- Hoodman loupe- Cleaning cloth- Basic tools such as small screwdrivers, pliers, hex wrenches, etc.- Camera L- Bracket ----> Keeps camera on the same optical axis in horizontal and vertical position
 

B – Things to keep in mind when using gear in the field

 

 - Extend your tripod to your full height (unless your composition requires a lower or higher camera position)

----> You must be able to look through your viewfinder without bending over ----> Doing so is more comfortable and will prevent back pain

- Turn lens hood forward so it shades the lens- Don’t keep the lens hood pointing backwards on the lens- Tighten all ballhead and tripod clamps securely

- Turn on blinking highlights on camera histogram

- Know how to read your histogram quickly and accurately

- Expose to the right

- When not shooting, keep your camera ready to use in your bag

----> Keep the lens you use most often on your camera

----> If using a technical camera, keep the camera assembled for faster access 

- Know how to set mirror lockup on your camera

- Use a cable release when the camera is on tripod

C - Carry cameras and lenses in a padded camera bag at all times

Cameras and lenses are fragile and expensive.  If not stored in your camera bag they will eventually be damaged, broken or lost. When you are working in the field, lenses and cameras should not be placed on the road, on the ground, on rocks, walls, etc.  They should not be carried in your shirt or pants pockets either.  They should be carried only in your padded camera bag. 

D - Do not walk with your camera on your tripod

If you sling your tripod over your shoulder with your camera attached to it, you take the chance of launching your camera as if it was a missile. Therefore, never sling your tripod over your shoulder with your camera on it and do not walk or hike with your camera on your tripod. When moving from one location to another remove your camera from the tripod and pack it in your camera bag.  Sooner or later you will be thankful you did. 

E - Use a tripod bag

Quality tripods and ballheads are as expensive as camera equipment. To protect them I carry my carbon fiber tripod and RRS ballhead in a Tamrac tripod bag.  This bag is inexpensive (about $30) and I recommend you use one.  You can buy this bag, or a similar one, from Amazon.com, B&H or other.

F - Never leave your camera on your tripod unattended

Leaving your camera on your tripod unattended is recipe for disaster.  If your tripod falls you won’t be there to stop it and your camera will break.  Therefore, if you need to move away from your camera and tripod for any reason, take your camera off your tripod, pack it away in your camera bag and pack your tripod in your tripod case.

G - Purchase insurance

Even when taking all the precautions mentioned above, working in the field with expensive camera gear carries a certain amount of risk. I therefore recommend that you purchase insurance for damage and theft to protect yourself in case something unexpected happens.

Clouds at Sunset, Capitol Reef National Park

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3 – Your Approach

A - What you have to decide personally

- Where do you want details?
- Highlights, shadows, both?
- This will determine how you need to expose the scene
- Not every photograph needs to be HDR !
---> It is OK to not have details in every area of a photograph
---> Exposure in fine art photography is in part an artistic decision
- Which lenses do you like the most?
- What color palette do you want to use?
- Do you like color, black and white, infrared, alternative processes, duotones, etc. ?

B - Walking the scene

As you walk in the landscape looking for pleasing compositions ask yourself:
- What do I want to photograph?
- What type of composition am I looking for?
- Is the light good?
- Is there a photograph here?
- What is catching my eye?
- What is unique, different, or significant about the composition in front of me?
- How can I make this composition stronger, or different from the photographs of the same scene I have seen before?

Do not take a photograph if you are not sure what is significant in your composition.  Instead, continue looking for a composition you really like, a   composition that “talks” to you. 

C – Create both Verticals and horizontals

When you find a composition you really like, create vertical and horizontal versions of this composition, provided the image lends itself to both formats. That way you are OK should you wish to use the photograph vertically or horizontally later on.  For example, verticals are necessary for book covers while horizontals are necessary for 2-page spreads.

D – Use all three Lens families

Take a photograph of the same scene (obviously not of the same composition) with at least one lens from the 3 lens families: wide angle, normal and telephoto.

Take these three (or more) photographs one after the other so the light does not change between photographs.

Dante’s View, Death Valley National Park

E – Use a cardboard (or optical) viewfinder

Using a viewfinder is different than looking at the scene through your camera. First it is lighter, smaller and you can carry it in your shirt pocket. Second, it is not technical and therefore you can focus on seeing the composition instead of also thinking about f-stop, shutter speed, ISO and other technical issues. Finally, a viewfinder lets you look at the composition through different “lenses” very quickly by moving it closer or further from your eye, and both vertically and horizontally, by turning it up and down.

F - Be considerate of other photographers

We all want to bring back the best photographs possible, but unless we all work together none of us will. The key to getting along with everyone is to be considerate.  Watch where other photographers are, make sure you do not get in their shots, and ask they do the same for you.  Cooperating with each other will make the shoot a success.  This has become particularly important now that there are more and more photographers at popular locations.

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4 - Conclusion: Practice, Practice, Practice!

The tips I share with you here and in Part 1 need to be practiced in order to become second nature.  The goal is to make preparation and technical aspects automatic so that you can focus on the artistic and creative aspects of fine art photography.  Creativity requires comfort and peace of mind.  You cannot be creative when you are uncomfortable or when your equipment is failing you! Only when everything is working smoothly can you can let go of physical realities and focus on what you see in your mind’s eye.

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5 - About Alain Briot

Alain Briot creates fine art photographs, teaches workshops and offers DVD tutorials on composition, conversion, optimization, printing and marketing photographs. Alain is also the author of Mastering Landscape Photography.Mastering Photographic Composition, Creativity and Personal Style and Marketing Fine Art Photography.  All 3 books are available from Amazon and other bookstores as well from Alain’s website.  Kindle versions of Alain’s books are also available on Amazon.com