I couldn't get this video to post correctly here, but follow this link and watch it on the creator's (Zack Arias) blog. It is a great video on creating art, photography in particular and the challenges that come with it. Go on, watch it, you won't be sorry.
Friday, February 27, 2009
Thursday, February 26, 2009
Throw away images
Back in the days of slides, before I made the switch to digital, I loved getting back my images, neatly packaged in boxes from the developer. I'd pull them carefully from their cases, lay them out on the light table, flip the switch on the table and watch the images come to life with the glow. Then the loupe came out and I'd lean over each image to examine it, check for color, focus, composition... Then I'd throw 75% of my beloved images straight into the trash.
And rightfully so. At least 75% and probably more like 90% of the images I took were garbage. But what of those images? Did they fill the gaps in the stories I wanted to tell? Or were they extraneous, adding nothing? Probably it was a bit of each, but editing, severe, heartless editing, is probably the most important thing outside of the snapping the image that we do as photographers. Now of course, I do it all digitally, and I've gotten good at it. A few days ago I made more than 200 images of my backyard birds and edited that selection down to the five images I posted here. I nixed about 98%.
What got me thinking about this was a BBC article I stumbled on today about Robert Frank's classic book The Americans. The article is about the images that did not make the cut, some of which were good images, but they failed to fit into the piece the way he had imagined. This is the importance of vision, of understanding where we want to take our art. Frank was telling the story of the American people, and some of his images, even good ones, didn't fit that tale. So he tossed them out. The article ends with this paragraph, which I like:
And this is the point - Frank had the desire and courage to throw away good frames. He had something to say, and that's the power of photography. To have a point of view at the heart of the work is what projects this photographic document to the top of the heap, even 50 years on.
Something for me to ponder the next time I pick up my camera.
Find the BBC article HERE.
And rightfully so. At least 75% and probably more like 90% of the images I took were garbage. But what of those images? Did they fill the gaps in the stories I wanted to tell? Or were they extraneous, adding nothing? Probably it was a bit of each, but editing, severe, heartless editing, is probably the most important thing outside of the snapping the image that we do as photographers. Now of course, I do it all digitally, and I've gotten good at it. A few days ago I made more than 200 images of my backyard birds and edited that selection down to the five images I posted here. I nixed about 98%.
What got me thinking about this was a BBC article I stumbled on today about Robert Frank's classic book The Americans. The article is about the images that did not make the cut, some of which were good images, but they failed to fit into the piece the way he had imagined. This is the importance of vision, of understanding where we want to take our art. Frank was telling the story of the American people, and some of his images, even good ones, didn't fit that tale. So he tossed them out. The article ends with this paragraph, which I like:
And this is the point - Frank had the desire and courage to throw away good frames. He had something to say, and that's the power of photography. To have a point of view at the heart of the work is what projects this photographic document to the top of the heap, even 50 years on.
Something for me to ponder the next time I pick up my camera.
Find the BBC article HERE.
Monday, February 23, 2009
More backyard photos
I'm not in much of a mood to write today so instead thought I'd share a few images from this afternoon, shooting birds at the feeders. Needless to say there isn't a whole lot of variety in terms of species, but the light is getting nice and I've been enjoying standing out in the snow making images.
Common Redpoll. These guys are visiting in droves and devouring about two pounds of sunflower chips a day.
Boreal Chickadee. These are fairly common around the house and a few visit the feeders each day. They've got a thing for peanut butter.
Gray Jay. A family group has been visiting daily. They are something of bullies, scare the other birds off and the then proceed to devour whatever isn't bolted down. You can see some unmentionable disappearing down the gullet of this fella.
Black-capped Chickadee. Everyone's favorite. I had a friend a few year ago who used to say "If Chickadees were as big as Jays, no one would go into the woods." I think there is some truth to that.
Another Common Redpoll. Like I said, they are common.
No real secret to the images. They were all made with my 500mm f4 and Canon 40D. Tripod mounted using my Whimberly Sidekick Gimbal-type adapter.
Hopefully, I'll be feeling a bit more like writing tomorrow.
Common Redpoll. These guys are visiting in droves and devouring about two pounds of sunflower chips a day.
Boreal Chickadee. These are fairly common around the house and a few visit the feeders each day. They've got a thing for peanut butter.
Gray Jay. A family group has been visiting daily. They are something of bullies, scare the other birds off and the then proceed to devour whatever isn't bolted down. You can see some unmentionable disappearing down the gullet of this fella.
Black-capped Chickadee. Everyone's favorite. I had a friend a few year ago who used to say "If Chickadees were as big as Jays, no one would go into the woods." I think there is some truth to that.
Another Common Redpoll. Like I said, they are common.No real secret to the images. They were all made with my 500mm f4 and Canon 40D. Tripod mounted using my Whimberly Sidekick Gimbal-type adapter.
Hopefully, I'll be feeling a bit more like writing tomorrow.
Sunday, February 22, 2009
One Year Ago Today
I just had dinner at the home of some friends. After dinner they showed us some photos from their recent trip to Peru. The images of the Andes, the high pampas, and the tightly packed cities made me miss South America something fierce. When I got home I went into a few of my own images from that end of the world and I wondered where I was exactly one year ago today. I scrolled through the images of my time in Bolivia until I found a few that were taken on February 22, 2008. The image above is one of them. Turns out I was photographing the high desert of southwest Bolivia near the Chilean/Argentine borders. It is a land rich in colors. Red rocky desert, pockets of green pampas grass, red, green, blue and white lakes, pink flamingos and an enormous deep blue sky.
I can't wait to get back to the southern hemisphere.
Friday, February 20, 2009
World Press Photographer's Awards
I finally got around to checking out this year's World Press Photographer's Awards. Many of these images are very difficult to view. The winners are usually very painful to see, humanity at its worst. This year is no different. I thought initially I'd put one of the winning images here, but frankly, the ones that are most powerful, would probably turn a few of you away from this blog forever. However, if you have the constitution for it, I encourage you to click HERE to visit the winner's gallery. It will take some time to browse them all.
The effects of the financial meltdown, wars in Georgia and Kenya, and the aftermath of the earthquake in China are top finishers. And I warn you some of them will bring tears, to your eyes, bile to your throat, or disgust to face. But the winners are also speckled with images of hope, beauty, and how remarkable the world is.
A good lesson from these images is that not all of them are taken in war zones, not all are taken in remote, distant or exotic lands. Many are the stories of normal people. People with stories to tell. People, like many that live in your community. The images are everywhere, it just takes some searching, and no small amount of bravery, to go find them.
Here are three galleries I recommend:
Post Election Violence in Kenya by Walter Astrada- (One of the most difficult to view, but extremely powerful)
Men's 10m Platform Divers at the Bejing Olympics by Julian Abram Wainwright- (Remarkable stop action black and white)
Snow Leopards by Steve Winter- (Incredible images of wild snow leopards and the Himalayas, great use of camera traps)
The effects of the financial meltdown, wars in Georgia and Kenya, and the aftermath of the earthquake in China are top finishers. And I warn you some of them will bring tears, to your eyes, bile to your throat, or disgust to face. But the winners are also speckled with images of hope, beauty, and how remarkable the world is.
A good lesson from these images is that not all of them are taken in war zones, not all are taken in remote, distant or exotic lands. Many are the stories of normal people. People with stories to tell. People, like many that live in your community. The images are everywhere, it just takes some searching, and no small amount of bravery, to go find them.
Here are three galleries I recommend:
Post Election Violence in Kenya by Walter Astrada- (One of the most difficult to view, but extremely powerful)
Men's 10m Platform Divers at the Bejing Olympics by Julian Abram Wainwright- (Remarkable stop action black and white)
Snow Leopards by Steve Winter- (Incredible images of wild snow leopards and the Himalayas, great use of camera traps)
Thursday, February 19, 2009
More on the Rules
My post on the rule of thirds from a couple of days back got me thinking about these rules. And it occurred to me that much of the photography I admire does not follow photographic rules of any kind. The images are often "incorrectly" exposed, unsharp, are crowded, and do not adhere to any guidelines for composition. But they have passion. Great examples of this can be found on the Magnum Photo Blog and on the recently formed Burn Magazine. (Really, go check these out right now, and then come back and finish reading this entry so you know what I'm talking about. Go on. Go.)
OK, now that you've seen some of these images I can go on:
As I think about this, I realize that the things I usually shoot, nature, wildlife, even travel portraiture adhere to more strict rules. Actually, that isn't fair. It's the WAY I shoot nature, wildlife and travel portraiture that follows more strict rules. But seeing these images so different from my own, reminds me of what the art of photography can be. There is only one rule that matters: demonstrate passion, emotion, and honesty. How you go about it is up to you. The images you end up with will be the judge of your success.
OK, now that you've seen some of these images I can go on:
As I think about this, I realize that the things I usually shoot, nature, wildlife, even travel portraiture adhere to more strict rules. Actually, that isn't fair. It's the WAY I shoot nature, wildlife and travel portraiture that follows more strict rules. But seeing these images so different from my own, reminds me of what the art of photography can be. There is only one rule that matters: demonstrate passion, emotion, and honesty. How you go about it is up to you. The images you end up with will be the judge of your success.
Wednesday, February 18, 2009
A Short Rant
A few days back I posted a short and somewhat humorous piece from the Colbert Report about a poor chap who was arrested by Amtrak rent-a-cops for taking photos of trains for an Amtrak photo contest. Well today, care of "A Photo Editor" I found a much less funny example from across the Atlantic. England has just passed laws that allow the arrest of photographers and confiscation of their equipment if there is reason to suspect that their images could be used in the planning of terrorist attacks.
Photographers Rights UK from Nick Turpin on Vimeo.
It's madness I tell you! And another warning to stay vigilant about our rights on this side of the pond.
Photographers Rights UK from Nick Turpin on Vimeo.
It's madness I tell you! And another warning to stay vigilant about our rights on this side of the pond.
How to Kill Creativity
Go and catch the stomach flu.
That, as far as I can tell, is the most efficient way to kill any form of desire to create new things. I'll be back when I finish kicking this thing.
That, as far as I can tell, is the most efficient way to kill any form of desire to create new things. I'll be back when I finish kicking this thing.
Monday, February 16, 2009
Know the Rules, Then Break Them
Photographers love to make rules about how a good image should look. Then of course they say with superiority how you really shouldn’t follow all those rules of convention anyway. Today, I thought I’d write, in a bit of detail, about one of the most hallowed of photographic laws. It is known as “The Rule of Thirds”.
The premise is straightforward: the subject of an image should fall on the lines that divide the frame in thirds. Like so:
Following this rule generally creates pleasing images. Subjects placed in the center of the frame often look unbalanced. Today, I thought I’d take a few images from a recent trip to Big Bend National Park as some examples of how this works: The first shot is a pleasant desert landscape that adheres closely to the rule of thirds:
Now let’s drop some third lines across the image so you can see what I mean.
Notice how the agave plant in the foreground falls almost exactly at the meeting point of two, thirds lines and the top of the mountain on the upper left is just about meeting the top third line. The peak on the upper right and the plant play off each other nicely. This makes a nice well-balanced composition.
The next two shots are birds. Now at some point, I’ll probably do another post on my thoughts on bird photography in particular but in the mean time, lets stick to these two images. Both follow the rule of thirds. The first is a horizontal image of a male Western Bluebird:
Below you can see here how the third lines bisect right through the bird. This composition is typical but effective in the situation where the subject is too distant to provide a frame filling image. Also note the way the bird looks into the frame and the way it's downward tilting bill emphasizes the angle of the branch.
The next is a vertical image and the same rules apply here as well. This one is an Acorn Woodpecker foraging up the side of a dead tree:
And with the third lines in place, the lines hit very close to the bird’s eye, which is usually the focal point of a wildlife shot.
Next we start to bend the rules a bit. Panoramic images already disrupt the familiar rectangular format. They spread across a horizontal (or rarely vertical) plane to expand the view. It creates the sense of an expanded horizon, and occasionally this is the case when multiple images are stitched together. However, often panoramics are simply regular photos cropped to fit the format, as is this image of the Chisos Mountains:
I chose the format to emphasize the length of the rainbow and the similar shape of the mountains dropping into the surrounding desert. Now when I throw a thirds grid over this image, stretched to fit, you can see how the same rule of thirds actually applies in this format as well.
The mountain top hits the top line and the rainbow bends through the top line twice, while the horizon line angles left more or less along the lower third.
As with any rule however, the rule of thirds can, and should, be broken. This is becoming particularly true in advertising and fashion imagery. Look through the New York Times Magazine fashion section on any given Sunday and you’ll see the rule of thirds thrown out the window on almost every image. Because the rule of thirds is so often used, the “recipe” is familiar and to push boundaries it must be broken. This works well with advertising products that are also trying to push boundaries. It makes an important statement when the style of clothes and style of photos combine. Landscape photography is not at the cutting edge of photographic art. We, meaning the general photographic audience, still like classic landscapes. Pushing the conventional boundaries (sweet light, saturated colors, complimentary lines) does not yet happen on a regular basis. Now that isn’t to say the rules are never broken, but the situation must warrant it, unlike fashion photography where the rules are broken on principle. One example of a situation warranting a break with convention is the image below. In this image I wanted to emphasize the mosaic of clouds while still providing enough of the landscape. Here I was trying to demonstrate the sense of space that dominates the desert of Big Bend. I like this image quite a bit, but notably it wasn’t among those from my Big Bend series recently selected by an editor for publication in a photo magazine.
And here I’ve taken the same image and dropped a grid over it. You can see how the horizon line falls substantially below the 1/3 line:
The moral of the story is this: Just like legislative laws, know the rules, they exist for a reason, but don’t follow them blindly, constantly question why the exist and break them when you should.
The premise is straightforward: the subject of an image should fall on the lines that divide the frame in thirds. Like so:
Following this rule generally creates pleasing images. Subjects placed in the center of the frame often look unbalanced. Today, I thought I’d take a few images from a recent trip to Big Bend National Park as some examples of how this works: The first shot is a pleasant desert landscape that adheres closely to the rule of thirds:
Now let’s drop some third lines across the image so you can see what I mean.
Notice how the agave plant in the foreground falls almost exactly at the meeting point of two, thirds lines and the top of the mountain on the upper left is just about meeting the top third line. The peak on the upper right and the plant play off each other nicely. This makes a nice well-balanced composition.
The next two shots are birds. Now at some point, I’ll probably do another post on my thoughts on bird photography in particular but in the mean time, lets stick to these two images. Both follow the rule of thirds. The first is a horizontal image of a male Western Bluebird:
Below you can see here how the third lines bisect right through the bird. This composition is typical but effective in the situation where the subject is too distant to provide a frame filling image. Also note the way the bird looks into the frame and the way it's downward tilting bill emphasizes the angle of the branch.
The next is a vertical image and the same rules apply here as well. This one is an Acorn Woodpecker foraging up the side of a dead tree:
And with the third lines in place, the lines hit very close to the bird’s eye, which is usually the focal point of a wildlife shot.
Next we start to bend the rules a bit. Panoramic images already disrupt the familiar rectangular format. They spread across a horizontal (or rarely vertical) plane to expand the view. It creates the sense of an expanded horizon, and occasionally this is the case when multiple images are stitched together. However, often panoramics are simply regular photos cropped to fit the format, as is this image of the Chisos Mountains:
I chose the format to emphasize the length of the rainbow and the similar shape of the mountains dropping into the surrounding desert. Now when I throw a thirds grid over this image, stretched to fit, you can see how the same rule of thirds actually applies in this format as well.
The mountain top hits the top line and the rainbow bends through the top line twice, while the horizon line angles left more or less along the lower third.
As with any rule however, the rule of thirds can, and should, be broken. This is becoming particularly true in advertising and fashion imagery. Look through the New York Times Magazine fashion section on any given Sunday and you’ll see the rule of thirds thrown out the window on almost every image. Because the rule of thirds is so often used, the “recipe” is familiar and to push boundaries it must be broken. This works well with advertising products that are also trying to push boundaries. It makes an important statement when the style of clothes and style of photos combine. Landscape photography is not at the cutting edge of photographic art. We, meaning the general photographic audience, still like classic landscapes. Pushing the conventional boundaries (sweet light, saturated colors, complimentary lines) does not yet happen on a regular basis. Now that isn’t to say the rules are never broken, but the situation must warrant it, unlike fashion photography where the rules are broken on principle. One example of a situation warranting a break with convention is the image below. In this image I wanted to emphasize the mosaic of clouds while still providing enough of the landscape. Here I was trying to demonstrate the sense of space that dominates the desert of Big Bend. I like this image quite a bit, but notably it wasn’t among those from my Big Bend series recently selected by an editor for publication in a photo magazine.
And here I’ve taken the same image and dropped a grid over it. You can see how the horizon line falls substantially below the 1/3 line:
The moral of the story is this: Just like legislative laws, know the rules, they exist for a reason, but don’t follow them blindly, constantly question why the exist and break them when you should.
Saturday, February 14, 2009
The Importance of Light
The sun is finally rising far enough in the sky now that it is mid-February that my bird feeders are now lit up by the late afternoon light. Yesterday I spent a few minutes standing out in the snow with my 500 snapping photos of the many Black-capped and Boreal Chickadees and Common Redpolls that were swarming the yard. For the first 20 minutes, beams of low-angle sunlight filtered through the trees occasionally lighting up the birds as they flitted in the branches of the willows. Eventually of course, the sun settled behind the hills. I continued to shoot for a few minutes until I realized that the time for photography had passed when the sun disappeared.
The first image, above, was taken when the sun was still shining and casting lovely light on the birds. The second, below, was just a few minutes later after the sun had gone. Both are sharp, both have good detail and clean backgrounds. It is the light that makes all the difference.
Friday, February 13, 2009
Funny, but not really.
I just stumbled on this video from the Colbert Report. Humorous, but not really when you think of what this means in terms of photographic freedom.
Thursday, February 12, 2009
Photography Advice from Strunk and White
Anyone who has taken a college level English or Creative Writing class has likely stumbled upon a little book entitled The Elements of Style. This is a classic about writing the English language, but despite its bland subject matter (grammar) is a surprisingly fun read. It is not to teach you grammar that I write this post. Rather, as I was paging through the book last night, I found a short passage from E.B. White's introduction quoting William Strunk that I found interesting:
Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all sentences short or avoid all detail and treat subjects only in outline, but that every word tell.
It struck me right away how that paragraph can easily be interpreted to photography. In fact I think that is the best non-photographic, photographic advice I've encountered. So bear with me as I take the liberty to re-write it in photographic terms:
Vigorous photography is concise. An image should contain no unnecessary elements, a photo essay no unnecessary images. This requires not that the photographer make all images simple or avoid all detail and treat subjects only in the abstract, but that every element counts.
I think that last bit is the key to the it. Include what you need, and nothing more.
Wednesday, February 11, 2009
A few words on gear
For all my ranting in previous posts about how much gear doesn't matter, I still own and use a lot of it. And because "What kind of camera/lens/tripod/filters/memory cards/backpack/toothbrush do you use?" is the one question I get most often, I thought I'd answer that right away. Here is a quick list and some thoughts on my gear:
1. Tripod- Gitzo GT5540LS- (carbon fiber 4 section legs)/Kirk Ball Head/Wimberly Sidekick
Let's start with the most important piece of equipment in a photographer's quiver. No I'm not talking about the camera (that is assumed) I'm talking about the TRIPOD. If there is one tool that will improve your photography it is this. Now mine is particularly good. I finally got around to buying the best because I got sick of messing around with and being frustrated by cheaper models. But even an inexpensive one will greatly improve your shooting. If you don't have one, go get one. Now.
2. Camera bodies: Canon 40d and Canon 20d and a Canon G9 point and shoot.
I carry two bodies on most of my adventures. It gives some comfort if one of them croaks to have a backup. Plus when the shooting is fast and furious I can mount them both up with different lenses. The 40d is a good mid-level camera, I have very few complaints. Good noise reduction up to about 400 or even 800 ISO, big screen and live view. The 20d is a bit out-dated but it has been very reliable for several years now and I refuse to get rid of it until I can afford to upgrade. The G9 is a great little camera to carry around. It gives publishable results and is RAW capable. Most importantly it goes everywhere.
3. Lenses
A. Canon 70-200 f2.8L - This is my all time favorite lens. Great range, sharp, fast, good bokeh and works for everything from portraits to landscapes to wildlife. Worth every dime of its hefty price tag.
B. Canon 17-40 f4L- My wide angle. When I'm not shooting wildlife I keep this lens mounted up on one of my two cameras with the 70-200. Good, sharp, but I wish it was a stop faster.
C. Canon 500 f4L- The big lens in my quiver and my standard for wildlife. It is big so draws a bit of attention which can be a problem when I'm trying to concentrate on something, but is a good conversation starter at slower moments. It is sharp, fast and takes the 1.4x or 2x Canon teleconverters for extra magnification (though my bodies won't focus automatically with the 2x).
D. Canon 100 f2.8 macro- As much as I love to shoot macro shots this lens doesn't get a lot of use. When I'm packing light, this one stays at home. Still, it has great bokeh, works as a surprisingly good portrait lens and easily magnifies to 1:1.
E. Sigma 30mm f1.4- Since I bought the 17-40 this one also sees less use. I still like the lens a lot. It is sharp, very fast and proves that you don't have to have Canon lenses to have good glass. Plus it was fairly inexpensive for this good of a piece of equipment.
4. Flash- Canon 420 EX Speedlight.
This is a notable weak point in my gear list. It does fine, but just that, no more.
5. Accessories
A. On-flash soft box for portraits- useful in the right circumstances.
B. Flash extender/magnifier for telephoto work- Useful for fill-light on wildlife.
C. Polarizers for every lens but the 500mm- These are on my lenses almost all the time.
D. Cabled remote trigger- Vital for long exposures, and for maximum sharpness.
E. Cable flash extender- Useful for adjusting flash direction.
6. Packs
A. Mountainsmith Paragon- This is mostly my storage pack at this point.
B. Crumpler Brazilian Dollar Home- This is my main bag. It can handle all my photo gear minus the 500, my laptop and accessories. It organizes strangely from the top which makes quick access to stuff lower down a bit tricky, but it is a shoulder bag which allows me to work out of it when needed. Also, because it is a shoulder bag, I've never even gotten a sideways look from airline personnel when carrying it on.
C. Custom made Apocalypse Design case for the 500- This is a basic rectangular padded case with handles and a shoulder strap. It can hold the 500 with camera and teleconverter mounted on it. When I travel I carry this and and the Crumpler as my carry-ons. I've never had a problem, though it all gets a bit heavy on long walks between gates.
D. Many pocketed waist belt designed for archery- This is large enough to hold a wide angle lens, filters, extra batteries, a small water bottle, snacks and other knick-knacks when I'm shooting in the field. I attach the case that came with the 70-200 onto the belt to hold that lens when not in use. It provides easy access to all my stuff without having to take off a backpack. This is a much cheaper though perhaps somewhat less functional alternative to the excellent system made by Think Tank.
That is the bulk of my gear. The fact is that no matter how much crap you own it is you that makes the images. The cool lenses, tripods and bodies are tools to get the images you want but tools only. They cannot replace the photographer's eye, artistic sense, or emotion. Start with the art and then start worrying about stuff.
1. Tripod- Gitzo GT5540LS- (carbon fiber 4 section legs)/Kirk Ball Head/Wimberly Sidekick
Let's start with the most important piece of equipment in a photographer's quiver. No I'm not talking about the camera (that is assumed) I'm talking about the TRIPOD. If there is one tool that will improve your photography it is this. Now mine is particularly good. I finally got around to buying the best because I got sick of messing around with and being frustrated by cheaper models. But even an inexpensive one will greatly improve your shooting. If you don't have one, go get one. Now.
2. Camera bodies: Canon 40d and Canon 20d and a Canon G9 point and shoot.
I carry two bodies on most of my adventures. It gives some comfort if one of them croaks to have a backup. Plus when the shooting is fast and furious I can mount them both up with different lenses. The 40d is a good mid-level camera, I have very few complaints. Good noise reduction up to about 400 or even 800 ISO, big screen and live view. The 20d is a bit out-dated but it has been very reliable for several years now and I refuse to get rid of it until I can afford to upgrade. The G9 is a great little camera to carry around. It gives publishable results and is RAW capable. Most importantly it goes everywhere.
3. Lenses
A. Canon 70-200 f2.8L - This is my all time favorite lens. Great range, sharp, fast, good bokeh and works for everything from portraits to landscapes to wildlife. Worth every dime of its hefty price tag.
B. Canon 17-40 f4L- My wide angle. When I'm not shooting wildlife I keep this lens mounted up on one of my two cameras with the 70-200. Good, sharp, but I wish it was a stop faster.
C. Canon 500 f4L- The big lens in my quiver and my standard for wildlife. It is big so draws a bit of attention which can be a problem when I'm trying to concentrate on something, but is a good conversation starter at slower moments. It is sharp, fast and takes the 1.4x or 2x Canon teleconverters for extra magnification (though my bodies won't focus automatically with the 2x).
D. Canon 100 f2.8 macro- As much as I love to shoot macro shots this lens doesn't get a lot of use. When I'm packing light, this one stays at home. Still, it has great bokeh, works as a surprisingly good portrait lens and easily magnifies to 1:1.
E. Sigma 30mm f1.4- Since I bought the 17-40 this one also sees less use. I still like the lens a lot. It is sharp, very fast and proves that you don't have to have Canon lenses to have good glass. Plus it was fairly inexpensive for this good of a piece of equipment.
4. Flash- Canon 420 EX Speedlight.
This is a notable weak point in my gear list. It does fine, but just that, no more.
5. Accessories
A. On-flash soft box for portraits- useful in the right circumstances.
B. Flash extender/magnifier for telephoto work- Useful for fill-light on wildlife.
C. Polarizers for every lens but the 500mm- These are on my lenses almost all the time.
D. Cabled remote trigger- Vital for long exposures, and for maximum sharpness.
E. Cable flash extender- Useful for adjusting flash direction.
6. Packs
A. Mountainsmith Paragon- This is mostly my storage pack at this point.
B. Crumpler Brazilian Dollar Home- This is my main bag. It can handle all my photo gear minus the 500, my laptop and accessories. It organizes strangely from the top which makes quick access to stuff lower down a bit tricky, but it is a shoulder bag which allows me to work out of it when needed. Also, because it is a shoulder bag, I've never even gotten a sideways look from airline personnel when carrying it on.
C. Custom made Apocalypse Design case for the 500- This is a basic rectangular padded case with handles and a shoulder strap. It can hold the 500 with camera and teleconverter mounted on it. When I travel I carry this and and the Crumpler as my carry-ons. I've never had a problem, though it all gets a bit heavy on long walks between gates.
D. Many pocketed waist belt designed for archery- This is large enough to hold a wide angle lens, filters, extra batteries, a small water bottle, snacks and other knick-knacks when I'm shooting in the field. I attach the case that came with the 70-200 onto the belt to hold that lens when not in use. It provides easy access to all my stuff without having to take off a backpack. This is a much cheaper though perhaps somewhat less functional alternative to the excellent system made by Think Tank.
That is the bulk of my gear. The fact is that no matter how much crap you own it is you that makes the images. The cool lenses, tripods and bodies are tools to get the images you want but tools only. They cannot replace the photographer's eye, artistic sense, or emotion. Start with the art and then start worrying about stuff.
Tuesday, February 10, 2009
A couple of links
I wanted to direct you to a couple of excellent recent posts on two of my favorite photography blogs. David duChemin's Pixelated Image Blog is a daily read for me. I think he tackles photography from the right attitude and his regular blog posts are thoughtful and well written. Case in point are two posts from earlier today Check them out HERE and HERE.
Another blog I regularly visit is that of a great candid portrait photographer, Matt Brandon. He creates exceptional images from Southeast Asia and India. His recent multimedia gallery is well worth the three minutes it takes to watch. HERE.
Enjoy!
Another blog I regularly visit is that of a great candid portrait photographer, Matt Brandon. He creates exceptional images from Southeast Asia and India. His recent multimedia gallery is well worth the three minutes it takes to watch. HERE.
Enjoy!
Point and Shoots
There is a definite elitism among those of us who carry big, cameras, big tripods, big lenses, and even bigger backpacks and shoulder bags in which to carry around all of our big equipment. There is the belief, or perhaps hope, among many photographers starting out. that these tens of thousands of dollars of gear is what is required to be a good photographer. This belief runs so deep that an entire industry is built on getting people new to the hobby to upgrade and upgrade and upgrade until they too are carrying around 60lbs of gear in a backpack the size of a small studio apartment.
There is however a solution. It's called a point and shoot. After many years of hauling around a huge SLR and some collection of lenses to every event, last year I bought a little, though fairly high quality, digital point and shoot. (The Canon G9, not that it really matters). Now instead of hauling around the big glass, or (as often happened) carrying no camera at all when I'm headed out for a ski, run, or walk with the dog, I carry my point and shoot. It is simple, easy and has put an end to the times when I'd wished I'd brought a camera but hadn't. Another side effect is that the camera has rejuvenated some of my photographic creativity. Shooting with the SLR, I often feel as though there is some obligation to make good images, but I don't feel that with the point and shoot. I am free to make hundreds and hundreds of photos of complete crap and I don't feel at all bad about it. So I explore and experiment and just fiddle around with it when I find a subject.
So if you are a new shooter or haven't yet been able to afford dropping the dollars on the big cameras, stick with your point and shoot and remember to play with it. Carry it with you, take, make, and create pictures. That is where real photographers come from, not out of big bags of camera stuff.
Monday, February 9, 2009
Follow-up to Ticked Off.
I was pleased today to see the Anchorage Daily News had excellent editorial about the recent dust-up in Juneau over funding at UAF. They express disappointment (though honestly I would have preferred a bit of outrage), over both Rep. Fairclough's absurd questioning and President Hamilton's lackadaisical, and rather silly, response. Check out the editorial HERE.
Oh, and I promise, my next post will be about photography.
Oh, and I promise, my next post will be about photography.
Friday, February 6, 2009
Ticked Off.
So don't say I didn't warn you. I made it three whole posts without broaching controversial topics. But this was too much to pass up:
According to Mark Hamilton, the president of the University of Alaska, conservationists need to "mature". He was questioned by one of Alaska's illustrious representitive (Anna Fairclough, a Republican from Eagle River) about why the the state should increase funding for the university when most of the students are anti-development. Hamilton replied that really UAF faculty and students are as conservative as they come and and that those that aren't will grow up and mature to see the "real world".
So Mark Hamilton thinks I'm immature for believing it is not ultimately in our best interest to rape and pillage the planet for every dime of profit we can squeeze out of it.
Well right now, I'm sticking my tongue out at him. So There!
According to Mark Hamilton, the president of the University of Alaska, conservationists need to "mature". He was questioned by one of Alaska's illustrious representitive (Anna Fairclough, a Republican from Eagle River) about why the the state should increase funding for the university when most of the students are anti-development. Hamilton replied that really UAF faculty and students are as conservative as they come and and that those that aren't will grow up and mature to see the "real world".
So Mark Hamilton thinks I'm immature for believing it is not ultimately in our best interest to rape and pillage the planet for every dime of profit we can squeeze out of it.
Well right now, I'm sticking my tongue out at him. So There!
Bolivia Tour!
In cooperation with my brother's nonprofit organization (Shine-A-Light) Wild Imagination will be offering a unique tour of Bolivia this fall. This is a trip that will step well beyond normal tourism as we explore modern Aymara and Quechua culture, adventure to a remote community lodge in the Amazon and trek down ancient Inca trade routes. The trip will explore the major areas of the country, the Andes around La Paz, the Yungas region of the mid-elevations and the Amazon. Check out the web site HERE to find out more about the trip and why you should join us.
Wednesday, February 4, 2009
What I'm reading
My bookshelves are covered in photography books and with all due respect, a good portion of the how-to guides are crap. There are a few jewels in the rough, generally those that move past the technicalities and into the philosophy and the thought process of the artists. Galen Rowell's The Inner Game of Outdoor Photography and Phillipe L. Gross' The Tao of Photography: Seeing Beyond Seeing are perfect examples. These are the kinds of books that move beyon f-stop and depth of field to discuss how to see, find, and interpret images. In other words how to make your photography art.
Right now I'm reading another book that tried to blend, somewhat successfully, the art and the science of imagery. It is called The Photographer's Eye by Michael Freeman. I'm enjoying it overall. The text is well thought out and here I think, in that respect, he is on the right track, but I'm finding many of the images less than compelling. Then again, I'm not far into it and that may change. Perhaps I'll post a more detailed review at some point later.
Right now I'm reading another book that tried to blend, somewhat successfully, the art and the science of imagery. It is called The Photographer's Eye by Michael Freeman. I'm enjoying it overall. The text is well thought out and here I think, in that respect, he is on the right track, but I'm finding many of the images less than compelling. Then again, I'm not far into it and that may change. Perhaps I'll post a more detailed review at some point later.
Tuesday, February 3, 2009
Latest Incarnation
For those of you who have followed my blogs of the years (or tried to follow them as I inconsistently posted) this is the new Wild Imagination Photography Blog. In the previous versions of the journal, I've tried to stick to photography, my work, and writing. And I blame that limitation, at least in part, for my repeated and lengthy hiatuses from blogging. So this time, I'm not going to limit myself, at least not as much.
So for those of you who are sensitive to topics like politics, the environment, climate change, wilderness, technology, living off the grid, life, my adventures, and how I choose to trim my beard, then you'd best stay away.
To the rest of you: Welcome.
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