photography – Page 2 – CanonBlogger

Photography Location

May 1, 2017October 17, 2017 Jason1 Comment

A lot of the time people ask me what suggestions or recommendations I can give them when they look for a photographer. It’s usually because the person is not in an area I can get to, or it’s a family member or a friend that wants to pick my brain (even though it hurts sometimes! 🙂 ) When I get this question, I tell most people that choosing a photographer is much like choosing a house or real estate: It’s all about location!

What do I mean by this? Simply put: a photographer can shoot on-location. I see many photographers speak to their ability to shoot on-location, and this is an important aspect of many genres ranging from wedding photography, to band photography, and even architectural work. Heck, last week I did a maternity shoot that was “on location.” So, why is this such an important thing to be able to stake claim to? Three key things come to mind for me:

1. Adaptability – Being able to shoot on location means you can adapt. If the surroundings are beautiful, you can adjust your composition to include elements of the scene to give a sense of time and space to an image. If the surroundings aren’t so beautiful, then it equally means you are able to diffuse things so that you can’t tell where a shot was taken – only that it’s a beautiful shot!

2. Controlling – Yes, being able to shoot on location means you are adaptable, but it also means you can control for a number of factors, and of utmost importance here is the ability to control the light. You can bring flash to fill shadows, or scrims to bring shadows to harsh light. If a photographer can control for the light in a scene – the shot will improve by a factor of ten in most instances.

3. Fundamentals – Given the above two factors are in place, this also usually means that the photographer brings a certain set of fundamental skills to the table. He or she knows an aperture versus a shutter setting, and can likely tell you whether ISO 100 is better or worse than ISO 32000 (depending on the look of course!). Although many like to wax esoteric about photography in abstract terms (myself included), there are certain fundamentals that every photographer worth their salt would and should know. If you can shoot on location, you likely have these fundamentals.

These are just three of the factors that I think about when I see a photographer say they are an “on-location” photographer. Of course the proof is in the pudding, and while I certainly would not pick a photographer solely on whether or not that term is included in their online presence, the ability to back up statements with a solid portfolio (and yes, an interview if you have the time to talk to a potential photographer!)

While we all like to think we have these traits, and in enough of a capacity to “bring it” for any client – let’s face it…some photographers are better than others. Either they’ve got a natural knack for it where others have to work harder at it, or they’ve just simply been shooting a lot longer. Seriously…time means practice, and the more you practice, the better you are at anything! There are photographers who have been shooting for decades and some of us can’t hold a candle to them. Meanwhile, others have been shooting for days, and I often stand in awe of their work. So, consider the above three things when you decide to hang out your own shingle – because people will likely be looking for these traits. Do you have them? Do you have more? Less? Something different? Something new?

What traits do you bring to the table? Or better yet, what traits do you think are important for potential clients to consider when hiring a photographer? The above is just my opinion – but that doesn’t mean it’s the ultimate answer! Am I right or am I way off base? Sound off with your own thoughts as the conversation is always the best part about this blog! Can’t wait to hear what you have to say! Until next time, keep the comments coming – oh yeah, and keep on shooting!

From Bad to Beautiful

September 13, 2012February 18, 2020 JasonLeave a comment

Making better pictures comes in three forms – better setup, better composition, and better post production. You will make your best shots if you improve in each of these areas. So, today, I’m going to share a technique I’ve used to take boring and bad photos to make them beautiful in post production. Here’s where we’re going to go:

So, the final product looks pretty good here, right? It means we must have had a keeper to begin with, right? Well, not necessarily – the first shot looked like it was under-exposed, and could easily have been thrown out. Take a look:

Yeah, it looks pretty bland – there’s no pop, the shadows are too dark, the blues in the sky are bland, and it’s something that we might just blow past as an under-exposed shot. The truth is though – we’ve gotta trust the histogram. Take a look

What we have to remember is that there are no blown highlight details or shadow details lost according to our histogram. We’ve got detail on both ends. What the histogram is telling us though, is that more of our photo is in shadow than in highlights. We do have some of both, but we need to bring some balance to it. So, let’s get started

In getting started, we need to bring out the shadow detail more, but I also want to bring some of those highlights down a little too, because it just looks a little too harsh. Here’s the default scene inside of Lightroom. Let’s see what happens when we bring the highlights down – and when I say “down”, I mean way down!

See how the harshness of the sky on the right has been pulled back? Much better, but we still need to bring out some of that shadow detail on the next step, so, let’s take a look:

Remember, it’s just my personal tastes, but I like the settings of 50-15-15 through to really get some eye-dropping pop in my photos. It’s pretty nice, but if I push these sliders much further, it will start to look garish. This means I need to dabble a little with the tone curve to get the pop that I am looking for. So, in remembering the histogram, I am wanting a bit more detail from the dark and the bright areas need to pop a little more too without getting lighter. Here’s where I made some tone curve adjustments:

The pop is really starting to take shape here…but the red still need a little more brightness to them to really keep the look and feel consistent wit what I want the image to look like once all is said and done. To do that, I dive into the color palette, grab the red luminosity slider and crank it up all the way. The results are pretty nice!

It’s at this point when I noticed a dust bunny from my lens (see near the top of the sky). So, I headed back up to the top of the Develop Module to take care of business:

Now that I’ve fixed the dust bunny, it’s time to move onto my final step..my lens correction! No matter how good your lens is, there are imperfections, from chromatic abberations to edge distortions. The general rule of thumb is that the wider the lens, the more edge distortion there is. Since I shot this with my 10-22 which is an ultrawide, there’s some substantial distortion to fix. So, let’s take a look:

For those of you that prefer audio/video tutorials, I’ve done a short YouTube video. It’s a lot faster than the read, but some details are lost if you tend to go after minutia:

Enjoy, and we’ll see you here next time! 🙂

What Is Zoom?

April 4, 2012September 4, 2022 JasonLeave a comment

A great question came up in my Twitter feed a while back, and felt it was worthy of putting together a short post to help explain the whole concept of zoom on cameras. The original tweet asked:

“What’s the best focal length on a lens to reach 400 yards so I can see a 1 inch square at that distance?”

We started talking about different long length lenses, such as the 400mm, 800mm, and 1200mm lens options from Canon. All were (are) very pricey and beyond the budget for my friend. he then started asking why a 35x zoom point and shoot wouldn’t be an option. So, the discussion turned to a teachable moment! How exciting for a teacher! The recap is two simple points:

Point #1 When manufacturers refer to the zoom of a lens, whether it’s a P&S camera, binoculars, or digiscopes, they are referring to how much of a magnification one can get over “normal viewing conditions”. Notice how I put the last part in quotes. What are normal conditions anyway? What kind of vision is normal? 20/20 vision? And what are we looking at? Something 10 yards away or 400 yards away. The point here is that there are so many subjective factors, the “zoom” isn’t really has hard and fast a number as one would think. We can approximate sure, but it’s not set in stone, and certainly a measurable distance is nothing more than a rough guess.

Point #2 The zoom of an SLR lens isn’t at all on par with the zoom of other equipment – it actually is a hard and fast number. Simply put, the zoom of a lens is the ratio of it’s longest reach to it’s shortest reach. A 70-200mm lens starts with a focal length of 70mm and ends with a focal length of 200mm. This is the distance from the focusing point to the sensor. So, a 70-200 lens has a “zoom” of 200/70 or almost 3x. A 100-400 lens would have a zoom factor of 4. it’s simple math for SLR lenses.

This is a classic example of where the same term can mean different things to different people.

So, my answer to him? Well, to see something at 400 yards large enough to take a decent picture you would likely need an 800mm lens or 1200mm lens. You also probably need a 1x or 2x TC to really get far enough. The problem with taking a picture at this distance is that heat, atmospheric conditions, and just the physical limitations of optics would not make for appropriate conditions to capture decent images. Most wildlife photographers I know of like to get closer than 400 yards from a subject to take their picture, and for good reason. The distance to subject is of prime importance in capturing wildlife photos. Zoom or no zoom (prime lenses), there’s no substitute for proximity! Photography all too often comes down to something along the lines of real estate mentalities…location, location, location!

My best example? A hummingbird I shot from a mere 15 feet away!

Take Time to Play

September 23, 2011September 24, 2017 JasonLeave a comment

Ever feel like your creativity is at a standstill? Something got it on hold? The common belief is that creative or mental blocks come from trying too hard to actually be creative. So, how can we stop trying to hard? It’s not that we should stop trying per se. It’s more that we need to stop trying to make every image a powerful image. Being playful often starts with just laughing at yourself. Seriously…laugh at yourself. Do something stupid or silly. That becomes infectious and can move you forward to play.

In being playful with your work, it’s often even more helpful to put down the tripods, and SLR’s. Put down the lenses and filters. Put down the soft boxes and fill flashes. Being playful means letting go of the “rules” of photography. I’m reading David DuChemin’s book, The Inspired Eye (available now on his website – use EYE3Free for 20% off through Sat.), and in it, he speaks to this idea that that inspiration can come from play.

Some ideas from David include taking a day and try taking pictures whenever the mood hits. Even if you are shooting through wet glass, or in a moving car. Take a picture with your focus ring taped down. The softness from the out of focus shot can force you to look at something more generic like the lines and energy of a scene. It really is inspired capture that David is going for here, and that can definitely come from play.

One of my favorite images from my own library is a niece – I was literally playing. I wasn’t expecting anything great, or show-stopper quality. Just goofing around. I was laughing and being silly, and so was she. I took the camera to ridiculous angles, knowing it wouldn’t work (or so I thought). Just goes to show you the power of play in photography:

The upshot? Take time to play – only good things can come from it!

What? You’re Not Going to PSW?

September 5, 2011September 23, 2017 JasonLeave a comment

Photoshop World – aka PSW – has become a week-long hug-fest, and is a bi-annual tradition,especially among the NAPP faithful. As an active and sometimes promotional arm of NAPP, I can promise you that if ever given an opportunity to attend PSW, I will jump at said opportunity. Having said that, I’ve been a member fr nearly four years now and still have not found the financial wherewithal to pony up the necessary funds needed to:

1. Pay for the cost of entry

2. Pay for the cost of travel

3. Pay for hotel accommodations

4. Pay for the cost of food

It’s an expensive proposition, which I conservatively estimate at nearly $1000. This does not mean it isn’t worth the money, because it most likely is, even if for networking purposes only (and I am sure there are educational opportunities galore)! Let’s face it – if you want to be a “player” in the photography world, there is usually justification to attend PSw either in Orlando (Spring) or Las Vegas (Fall).

My problem is that I am something of a one-man-show. And photography is very much a secondary stream of income, when it even does present opportunities. My primary job has always been in IT. I suspect it always will be. So, to find the time off for a traditional working stiff is tough – I am often needed, and earn precious little vacation time every year. So, unless a company that values both my IT and photography skills hires me (Adobe, are you listening? ), I will likely not be in a position to attend this event.

As is often the case, I know I am not alone. So, here’s your chance to let your non-PSW light shine! What are you doing this week? For me, I am taking a little time off between jobs actually. After accepting an offer at a new company (I am not holding my breath for Adobe), I have a week or so to spare from my calendar (but not my budget) to travel a little, and am visiting family in both AZ and NY. Let’s face it, family should always come first, and here is no exception. This last weekend I spent in AZ, and coming up later this week is a trip to NY. Maybe I’ll get in a little fall foliage out east, but not sure as the fall seems to be late arriving all over this year.

So, there’s my plans, and why I won’t be there! What’s your excuse? Why are you not at PSW? Sound off in the comments! See ya back here tomorrow, and keep on shootin’! I’ll be back again with the August contest winner and a new contest for September that will knock your socks off!

Buying Used?

September 1, 2011September 23, 2017 Jason2 Comments

I’ve not been in the gear market for a while, but while discussing some technical stuff with colleagues over in the NAPP forums, had some time to check pricing in various outlets for used gear, and there are some deals going on these days! In my previous experience, used gear would go for roughly 10-15% less than the new retail equivalents. That percentage is apparently a bit low now as some gear is selling for up to 25% off new pricing! So, if you’re in the market for gear, check out the used market for some serious savings! Here’s a few items I saw in just a mere matter of minutes:

Nikon D7000: New = $1200, Used = $1000 (16%)
Sony A580 kit: New=$899, Used = $699 (23%)
Sigma 50mm f1.4: New=499, Used = $420 (15%)
Canon 500mm f4: New=$7000, Used=$5600 (18%)
Canon 5D Mark II: New=$2500, Used=$2135 (15%)

There’s more out there, but that’s just a sampling of what you can expect to see. The nice thing is many of these items include useful accessories like bags, straps, cases, and media cards as incentive pieces…savings add up even more (about a 20% average in my estimation). For what it’s worth, I used the forums from Fred Miranda to look up used gear pricing and B&H for retail equivalents. Your mileage may vary.

Fred Miranda Photography Forum — Buy Sell Listings

What sort of discount would you expect to pay for used gear over it’s new counterparts? Is 15% the new minimum? 20%? 30% What’s considered a “good deal” anymore? Since I’ve not been in the market to buy anything lately, am totally not sure where things are except what I’ve seen above. Those sound good to me but I have not scoured all of the internet to be sure…so, let me know if you’ve had similar or different experiences. Likewise, if you’ve got any of your own deals you’ve noticed recently? Sound off in the comments!

Shooting Shadows

August 31, 2011September 24, 2017 JasonLeave a comment

Most of the time the subject of the a photo is easy to see – whether it’s a portrait, landscape, travel, or architecture. While these subjects are easy to identify, the use of shadows in these topics is not discussed as often as it should be. We spend so much time trying to get the lit portion of our images in focus, composed to our satisfaction, making sure things are sharp, and all the rest, we sometimes miss the value of shadows in our imagery.

The shadows of an image can be just as important to the composition as the lit parts are. When talking about how to light images with strobes and studio lights, the use of shadows to give definition is often discussed, but the same discussions can be germane to naturally lit photos too. Remember, the word photography means to paint with light (photo and graphos), so even the absence of light can be significant in defining our images.

Whether you shoot portraiture, architecture, landscapes, or even abstracts, shadows can and do play a role in how you compose your images. Do you look at the shadows in your images? What story do shadows tell in your work?

Share your own thoughts on how to accomplish a story by shooting with shadows below in the comments – would love to hear others feedback. In the meantime, keep on shooting.

When is Your Creative Zone?

August 30, 2011September 24, 2017 JasonLeave a comment

We all have Circadian rhythms or body cycles that are tuned specifically to us…whether you identify that as being a morning person or a night owl. This also applies to your creative rituals too though. Because our body clocks all operate on a unique pattern of restfulness and alertness, we have different times when we are the most creative. Our mind is able to focus on creative ideas and energies, and the distractions of the rest of the world aren’t nearly as distracting. The windmills are out there and we tilt away at them with every fiber of energy! Do you know when your creative zone occurs?

For me, that time often comes right around midnight. If I am not too sleepy, or I power through the initial desire to just go to bed, my mind suddenly becomes much clearer, my vision focuses, and I get so much done from my creative space, it’s kind of eerie. Tracy woke up once to find my literally typing a million miles a minute…the thoughts couldn’t get out of my brain fast enough. After about 3-4 hours of it though, my entire body just shuts down. The exciting thing though, is that I’ve been able to identify this creative zone. I know if I need to get some writing done, or some post production work on photos, or anything creative – those are the hours when I get the most accomplished.

We’re all different though, some people have this rush of creativity in the morning, or in the middle of meals or other activities. I’ve talked to so many people who still are unsure of when they really are at their creative best. When people attend workshops and get immersed in a creative world, the ideas flow much more naturally. The same holds for conferences, seminars, and any type of learning environment. It’s like the mind knows that other creatives are around and the energy for learning and expression is much higher than what we are normally exposed to. The trick comes in being able to identify when your creative zone normally happens when you are in that daily routine. Is it right when you wake up? After that first cup of coffee? Right before you go to bed at night? Or is it on those sleepless nights at 2am when your creative juices just start flowing?

When is your creative zone?

Masking in Photoshop Lightroom

August 26, 2011September 24, 2017 JasonLeave a comment

Often when I talk to people about their work flow one big question and the need to do some pixel based editing in Photoshop, one of the questions that often comes up is “Why can’t I do X in Lightroom?”

Most of the time, it involves answers that include explanations of pixel based editing versus parametric editing, and lots of other technical reasons as to why certain things can’t happen in LR. But sometimes (and this is the best part), I find out they are adding to their work flow because it can be done in Lightroom! One of the most common ones is masking effects. When I show people this, I almost always get a “Holy Cow!” or some other variation on the “cow” part.

So, today I thought I’d share a quick tutorial on how to implement masking edits in Lightroom. Let’s take a look at the base image I am using here – a boat dock on Raquette Lake in the Adirondacks of upstate NY:

So, the dock here is a significant portion of the subject, but it’s way darker than the rest of the image, and really could be increased by a stop or two relative to the sky. So, rather than round trip to PS, let’s see what we can do here. I’ll start off with making a general masking selection of the entire area. So I check the Adjustment Brush (near the top of the Develop Module on the far right hand side), and then at the bottom of the image (over on the left), there’s a box that says “Show Selected Mask Overly”. I check that box. Then I just start painting!

It’s a prety broad brush I’ve used, so we need to clean it up, as some of the water got caught and that will leave an ugly halo effect if I don’t take care of it. So, to get more detailed selections completed, I zoom in, and then switch to erase mode while still showing the mask. This is in the lower options of the Adjustment Brush, on the right hand panel – see where it has “A”, “B”, and “Erase”? Click the erase and start painting again to undo the mask:

You, of course, will have to adjust the size, feathering and opacity of your brush to taste, and to accommodate your brushing technique as needed (hint: Wacom tablets work better than regular mice or trackballs). Once you’re finished with your refining of the mask, go ahead and uncheck the option to display the mask and see your results.

At this point you can actually do something else kind of cool – hover your mouse over the dot that is on display and then slide it to the left or right as you see the exposure increase and decrease for the selected area! Pretty cool, eh? This same technique works with other features in the adjustment brush, whether you are working on eyes, teeth, dodging, burning, or even skin softening. The scrubby slider is a nice feature in here. Then, finally, one thing I’ll do is make a side-by-side comparison of the image in a before and after mode to make sure my changes aren’t too garish or over the top (you can do a side-by-side comparison, top and bottom comparison and even split the screen between the two for a more detailed look):

Looks pretty good for this quick tutorial…and here’s the final image after our masking edits are done:

Now I grant you that this is probably not a portfolio image, but it hopefully was helpful in illustrating how you can mask and edit your photos inside of Lightroom without having to do the round trip as often to Photoshop!

Like this tip/trick? Got any other comments, questions, or curiosities of how to leverage Lightroom more in your own work flow? Sound off in the comments, and as always, keep on shooting!

Learning Digital Photography: Episode #57

May 20, 2011January 19, 2017 Jason3 Comments

You heard it right, the latest and greatest episode of the LDP Podcast is now live and downloadable from your favorite outlet. Six long weeks in the making and with the patience of my special guest, Kevin Mullins, this is Episode #57!

For those of you that may not have heard of him, Kevin Mullins hails from across the pond to get together on a podcast and talk shop on photography. A well-established wedding photographer in the UK, Kevin is probably one of the most talented wedding photographers I know. He joins me in the latest episode of the Learning Digital Photography Podcast to talk about the documentary style of photography and the impact that has on how you both shoot and manage your business. You can download it from iTunes or directly from the website via the following links. Below the links are the show notes…enjoy!

iTunes Download

Talking Points

Approaching group shots versus cookie-cutter portrait poses
Work flow of the wedding day – how things start, where to budget time, & how things end.
Gear preferences
Pre-planning the event in Documentary Photography
Still and video convergence

Links Mentioned:

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