Fine Art Photography Techniques: Sunday's Shot Tech

Happy Mothers Day, everyone!

Freshly sprinkled from an early morning shower, this beautiful ‘Forever Rose’ bush caught my gaze. 

Photo Tech:

First, let me point out – cloudy overcast and/or rainy mornings are one of the best conditions for capturing wildlife and floral images.   Light from an overcast sky, especially if it is one of those very bright – white – overcast mornings, diffuses the light helping to eliminate shadows, at the same time saturates color.  It is a very exciting time to go out and shoot off a few frames – carry an umbrella if necessary, but get out there!

Though I do not suggest this – I hand held the camera capturing these images; much better to use a tripod when shooting in low light.  As with most of my photography, the camera was set to Aperture Priority mode[1] and wanting some serious Bokeh – or blurring in and around the point of focus - I dialed in f/1.4 to f/3.0 for these series of shots.  Composition was completed through the viewfinder and I shot off about 12 different composition-frames.  Final numbers look like this:

ISO 100

Canon 50mm f/1.4 lens

f/2.2

1/320 sec – This relatively high shutter speed allowed for the successful hand- held capture of this image.

+1/3 exposure compensation

Post Production:

Slight color correction to rid just a hint of green color cast – I used CS5 for this process.  No other modifications were necessary for the final piece.

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[1] Aperture Priority Mode – user chooses the F/stop setting and the camera automatically selects the shutter speed.

Fine Art Photography Techniques: Sunday's Snap Shot Tech

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This weeks Sunday Snapshot Tech is another frame from a recent photo shoot on the shores of Long boat Key, Florida.  This Gulf coastline is located near Bradenton, about 40 miles South of Tampa.  As a family we have been visiting here for 20 plus years.    Anne and me took a stroll after enjoying a fine meal in Sarasota; the sun dipped below the horizon, the washing and rolling of the agitated surf; after all these years, each time we visit, it is like the first.

Lewin at work Photo by Anne Lewin

Several frames were shot to capture the waves at different positions – I choose this frame with the water completely covering the beach – it conveyed the vastness of the ocean from this vantage point on the beach – the frame illustrates my feelings, my interpretation of what I saw, felt, heard and smelled.   

Photo Tech:

My 70-200mm is already mounted to the tripod, the spiked feet extended to grab hold of the damp sand – I spend a few moments scanning the view – the horizon – for a composition.

After I pick my location it is crucial the horizon is straight through the viewfinder; we know trying to “straighten” an image file in post production will interfere – alter- the quality.  So, we always strive to capture the scene the best we can from behind the viewfinder.

The lens was zoomed to 70mm, the aperture closed-down to f/20, for deep depth of field, (DoF), and most unusual, an 800 ISO value, not to help capture the scene in low light, but as an experiment to add digital noise, (film-grain, if you will), to the picture.  I triggered the shutter via an electronic device to help reduce camera shake during the slow shutter speed required to capture this image.  (A big thank you to my wife, Anne, for capturing me at work; photo of me snapped about 20 minutes before the featured image discussed in this blog entry was captured.)  

Here is the complete list of specs for the above image file:

ISO 800

F/20

Speed = ¼ second

+2/3 exposure compensation

Post Production:

The color image file was adjusted for brightness; a small amount of dodge & burn was applied to the background waves, (I left the drift wood as is).  The BW conversion included a modified blue filter and Cyanotype color dip.  For effect, I added the burnt frame.  If printed, the digital burnt frame will be replaced for either a real burnt edge print or none at all.

The final image shows softness due in part to the slow shutter speed in combination with a little digital noise from using ISO 800.  I hope you like this image and be sure to try this type of shot next time you are on the beach – contact me with your questions.  Have a great day!

Best regards,

Lance

Fine Art Photography Techniques: Sunday's Snap Shot Tech

We all enjoyed a wonderful dinner with family - getting together to chat - share stories - and I got the latest about Max's tower climbing position with an Atlanta Telecommunications Company.  While we talked on my Father-in-laws porch, I fired off a few frames.

Introduction: 

Though it was very bright outside, the porch overhang diffused the light naturally eliminating shadows and harshness normally associated with bright sunlight.  Perfect lighting for the candid shot I was hoping for, as Max and I talked.

Photo Tech:

The f/2.8 70-200mm lens was zoomed to 100mm for this composition.  Though it was bright - the brightness of the white bench would trick the onboard CPU to underexpose the shot.  I set the [exposure compensation] to +1/3 for all the frames captured and the aperture to f/4.5.  Being in [Aperture Priority] mode, the camera picks the shutter speed to match my f/4.5 aperture setting.  I shot about 10 frames capturing this one image as the keeper.  Notice, I left a lot of space to Max's left; we want to convey a sense of the space or perspective to the viewer.  The view recognizes Max is hanging out; knees up and his position in the corner of this, wide, three person porch swing.

Post Production:

As always, to properly convert a color image to a black & white rendering, first adjust the color image that best represents what you want - normally we want to capture what we experienced at the time of the original exposure.  Sometimes we need to adjust the white balance, brightness and overall contrast - I used basic Dodge & Burn techniques in CS5 and manually color corrected the scene to eliminate a little color cast.   Because I was not able to completely tone-down the red color cast that bothered me - I desaturated the color just a little; lessening the effect of color cast.

The BW conversion was completed using Efex Pro 2 using a yellow filter.  No other exposure modifications was applied.  

As always, please, contact me with questions-comments.  Have a great week!

Best regard's,

Lance

  

Fine Art Photography Techniques: Sunday's Snap Shot Tech

The crack of dawn showed great photographic potential: gazing through the hotel window the first sparkles of sun light were trying to creep through the lingering fog that was formed by the drop in temperature overnight – 35 degrees to be precise – sitting on top of the relatively warmer surface. 

Anne and me took a weekend get-a-way to Desoto Park in North Eastern Alabama – our agenda included mountain biking and time for me to capture images for my book.  The area is beautiful, rich in its variety of vegetation and untouched landscapes scattered with miles of walking trails meandering up, down and along the Desoto River.  We dressed warmly, sipped a cup of hot coffee and off we went. Anne carried my camera bag; I carried my tripod with the camera already securely mounted.

To be honest, it was very cold – several times stopping to place my hands under my arms to warm my fingers – Anne moved about with little issue taking opportunities to capture a few landscape shots and me working.  Next time I’ll dress warmer. Looking upriver, I saw the scene in the picture posted above. 

Fine Art Interpretation:

I bracketed[1] the upriver scene using three different angles of view – finding which best represented what I was seeing - what I was experiencing.  In this particular case – and common when using a zoom lens – bracketing included changing the composition, though done so without moving the camera’s position.  The final scene was cropped through the viewfinder using the f/2.8 70-200mm, zoomed to 100mm.

Photo Tech:

We are photographing in low light, and trying to capture the ‘grandscape’ our eyes and brain bring to our senses – In aperture priority mode, I dialed the camera to f/22 – a small aperture to create a very wide and deep Depth of Field.[2]  The camera will automatically choose a corresponding shutter speed to complete the exposure. 

Additional settings included my cameras default or calibrated ISO setting of 100.  As I stress in all my workshops, using ISO 100, (and in some cameras the default setting is 200), provides the least amount of digital noise, (in the film days, grain), in your photographs.  Though it was low light, it was still bright enough that I did not shoot this scene as a timed or Bulb exposure, but instead used an electronic triggering device to activate the shutter release button - reducing camera shake by the absence of the user touching the camera. 

Post Production:

First, I carefully adjusted the color image file for chromatic and luminance accuracy – as determined by my interpretation of the scene – little was done to improve upon what the camera captured: I used the Dodge & Burn tools in CS5 to add a touch of highlight to the foreground rocks and limbs in the back ground.  Only after I was satisfied with the color image file did I convert to a Black & White rendering.   There are a few techniques to find the interpretation you are after in a BW conversion, (in both traditional and digital darkrooms), but we will not delve into these techniques here; in the future I will be presenting a special workshop on Post Production methods.  Contact me for details.  

Again, I hope the Sunday Snap Shot Technique blogs help you better understand, and learn how to use the power in your cameras, thus unleashing your creativity!    Have a great day!

Best regards,

Lance  

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[1] Bracketing – capturing 3 or more frames of a composition: without moving the position of the camera, three or more shots are triggered using different f-stop setting, ISO, shutter speed or other ways to change how the scene is captured – without changing the original composition.

[2] Depth of Field: what is in focus in front and behind the subject, (point-of-focus).  Please, contact

Lance A. Lewin for further discussion on the cause and effects of Depth of Field.

Fine Art Photography Techniques: Sunday's Snap Shot Tech

The photograph is enchanting by its sheer simplicity:

After visiting this beach on Long Boat Key in Manatee County, Florida, many years ago, I was inspired to start pointing my lens Westward and capture these wonderful moments in nature; not just what I was seeing, but more important, what I was feeling.   As a photographer, you strive to crop and capture a scene that captures your emotional state at the time you originally viewed it.   In much the same way, a painter strokes the canvas using color and a variety of brush strokes, hopefully, revealing to the viewer the emotional interpretation as they envisioned. 

Here’s the tech on this photograph: Data for final version

ISO 100

White Balance = Cloudy - cuts down on the blue cast that would normally result from using a 5500K color temp at this time of night.

50mm lens @f/22 (aperture Priority mode) - Using very small aperture creates a very deep and wide depth of field.

Manual fill-in Flash @+2 exposure compensation - Needed to highlight the driftwood in the foreground.

Hand held electronic infrared shutter release device - Remotely trigging the camera to help eliminate shaking.

Camera mounted on a sturdy, spiked-feet, tripod - A steady base-mount for camera is vital for long exposures.

  

After I composed the scene through the viewfinder I instructed my wife, Anne, to walk around the large, sculpture-like, driftwood, and fire the Flash at different points in continuous succession until I yelled, (being windy, it was hard to hear clearly; so I screamed my instructions), to stop! 

The frame pictured above was the result of four bracketed attempts using different fill-in Flash combinations; the +2 Flash compensation setting and a series of five flash bursts was the keeper. 

To enhance a sense of space, I have the final version cropped as a 40x16 print size.

Please, contact me with your questions: lewin.author@gmail.com or 678.294.0502, or leave a comment below.

Best regards,

Lance

Fine Art Photography Techniques: Sunday's Snap Shot Tech

Sunday afternoon - April 1st. 2012 - My son, Max, and his daughter Isla Marie, dropped by for a few minutes - while talking I said, hey, let me grab the lens and shoot off a couple of frames:

Isla walked up and down my front lawn - I manually focused, (I actually tried using AF, (auto-focus), yes, believe it or not - but I felt it was too slow for Isla's quick pace across the lawn), my heavy 70-200mm, set at F/6, and moved about to be sure the background was suitable in case I captured 'the moment'.  Always check for a suitable background - move yourself or subject - if possible - to accommodate the frame - the space.  I took 20 frames and captured the one illustrated above.

First Sculpture the Original Color Frame in Post Production:
In CS5 I slightly corrected color balance to make a bit less warm - the camera tends to cover some images with a color-cast - I slightly biased toward a cool interpretation.   Compared to the the rest of the photo, Isla's face and arms were a bit too dark for my taste - my interpretation: Using Dodge & Burn tools in Cs5 I was able to carefully lighten - but ever so little - Isla's face, and a touch on the arms.

BW Conversion: Efex Pro 2
The final was sculptured as follows: adding a Red filter; light application of vignetting; added a small adjustment to add contrast to Isla's face; Light-Copper dip; added a thin burnt-edge white frame.
Done.

Please, contact me with your comments-questions!  Have a great Day!
LAL

State Route 52: snow-covered road to Ellijay, Georgia

The radio squawked, “…and overnight Ellijay received 6 to 7 inches of snow…”  “Really?”, my wife, Anne, responded towards the radio. 

Anne and me travel to Gordon, Gilmer and surrounding counties several times a year to attend the fall apple festivals, photograph the colored foliage during the Thanksgiving holiday, boating on Carters Lake in the summer, and our favorite activity, mountain biking outside of Ellijay. 

In a few minutes we made up our minds to drive north from Kennesaw, hopefully to see more snow.  The Tahoe was packed with my photography gear and extra outerwear. 

 The plan: drive north on Interstate 75, transition to Highway 411, connect onto Old 411 then turn North East up and over State Route 282 towards Ellijay.  Anne turns the engine over; we were off to our first waypoint.

We enjoy photographic opportunities along 411 and Old 411.  The distant mountainside is draped with frozen snow while falling snow softens the image to render an oil painting like canvas through the viewfinder.  It is beautiful.

Figure 1 Landscape off of Old Hwy. 411 in North Georgia  Lance Lewin Copyright 2010

We turned right onto State Route 282.  About three quarters of a mile locals flag us to a stop; two 18 wheelers are attempting to back down the narrow pass.  We looked ahead and see two other vehicles slipping on the snowy surface.  There is no passage through the maze of scattered trucks and cars; without hesitation we pull a U-turn; mumbling as we go, how this circumstance was “meant to be”, really?

Up till this point we encountered only a little more snow than in Kennesaw.  That’s a bummer, but the falling and blowing snow blanketing the area was more than enough to make Anne and me giddy with excitement, (I can’t believe I said “giddy”!).  However, the situation was about to become more exciting.

Change of plans: We detour towards Chatsworth via High Way 411 and turn onto State Route 52…the yellow road sign reads: 22 miles of Winding Road to Ellijay.  Awesome! 

After a mile the roads become white washed with snow.  Anne’s left hand reaches out and switches on the four-wheel drive.   Route 52 begins climbing steeply towards Fort Mountain; the turns add another twist, (pun intended), adding to this already hazardous climb.  The snow falls heavier the farther we proceed.  We encounter two felled trees, which Anne easily negotiates. A mile past the Fort Mountain Park entrance we stop.  We are alone.

Figure 2 Rt. 52 near Fort Mountain State Park, North Georgia   Lance Lewin Copyright 2010

Stepping outside we sink 10 inches into the snow.  Twenty-four inch drifts line the left shoulder.  The swirling white snow and twenty degree temperatures cast eerie greenish-grey colors through the frigid air.  The storm permeates throughout the forest whistling as it travels; the trees stand tall like soldiers in a parade glistering with frosted snow draping their limbs.  The air is crisp, clean; the scene is surreal.

In Ellijay, we share our tale with the owners of “Royall’s Place” and the few folks who have walked in to find warmth, good food and friendly smiles.  We are served hot apple pie and fresh coffee before our drive back home.

(Lance is a professional photographer and freelance writer from Kennesaw.

 To view other photographs by Lewin, visit  www.emotionalrenderings.com Copyright 2010)