Using Filters to Build a Landscape

In the following series of photos, I show how two filters can be used together to expand the dyamic range of your camera, and correct for contrasty light. 

Each frame was taken on a tripod within seconds of each other.  Every exposure was identical with the camera settings at: 1/5, f11, ISO 100, Cloudy WB, manual exposure, and autofocus.

In the first image, I metered the foliage in the foreground and set the exposure that provided detail in the foliage.  As you can see, this worked well for the bottom part of the frame, but the sky was then overexposed.

 PHOTO 1: NO FILTERS

For the second frame, I added a Hoya circular polarizer and twisted the filter until I saw an added vibrancy to the greens, and greater contrast in the water. Notice how much warmer the entire scene becomes, and the way the filter changes the appearance of the water.  

 PHOTO 2: CIRCULAR POLARIZER ADDED

In photo 3, I add a 2 stop graduated neutral density filter on top of the polarizer which as you can see below, changes a washed out white sky to it's natural blue appearance.

PHOTO 3: Two stop Neutral Density filter added

When I got home I applied some cropping, added a touch of saturation, and the final image is seen here.

FINAL IMAGE

This series was taken for Instructional purposes, and I hope you've found it helpful.  Please feel free to share via Facebook, Twitter, etc.

3 Tips to Create Sharp Photos When a Tripod is Prohibited

If given a choice, I would much prefer to carry a tripod at all times since it allows for unlimited creative freedom with very long exposure times, smaller apertures, and lower ISOs.  When using one is not permitted however, it's important to have some tricks at your disposal so you don't go home empty handed.

Inside the highly trafficked temple of the Lincoln Memorial, Park Rangers are quick to deliver the phrase no photographer wants to hear; "No Tripods Allowed." This restriction coupled with the low light conditions presents a terrific creative challenge for those looking for sharp enlargements. Yet, as Lincoln himself said, “Always bear in mind that your own resolution to succeed is more important than any other.“ When a tripod is not possible, don’t settle for soft images.  Here are some guidelines to consistently capture sharp photos.

1) Choice of Shutter Speed

Perhaps the most important consideration in preventing camera shake is your choice of shutter speed. Be cautious of relying solely on lens features such as image stabilization and vibration reduction.  These may offer some extra flexibility, but they are far from perfect.  There is a simple rule of thumb to determine the slowest shutter speed you can handhold at before risking camera shake.  You can remember it by using this equation:

1/The Focal Length being used

• For example, if you are using a 100mm lens on a full frame camera, the slowest shutter speed you can safely handhold at is 1/100.  

• If you are using a 400mm lens, the minimum shutter speed recommended is 1/400.  

• With a 200mm lens, the slowest shutter would be 1/200.

Please note: Like most rules, there are exceptions to this guideline.  Regardless of the lens you are using, the slowest shutter speed you should ever handhold at is about 1/90th of a second. Anything slower can result in soft images.   

Also, if your camera has a smaller sensor with a crop factor of 1.5x, 1.6x, or 2x, that needs to be factored into the equation.  For example, the Nikon D7000 has a crop factor of 1.5, therefore the effective focal length of a 100mm lens is actually 150mm.  As such, the slowest recommended shutter speed for handholding this camera and lens is 1/150.

Considering the low light levels of the Lincoln Memorial, I had to raise my ISO to 800 and use a wide aperture of f4 in order to achieve a shutter speed of 1/100.    

2) Brace Your Camera

Any stable platform can be used as a makeshift tripod.  I’ve used downed trees, fence posts, boulders, and even my camera bag to steady the camera in a pinch.  When visiting the Tuckaleechee Caverns http://www.tuckaleecheecaverns.com beneath the Great Smoky Mountains in Tennessee, tripod use was not permitted since the cave formations are quite brittle.  An accidental bump from a tripod leg can easily break the delicate stalagmites that have formed over hundreds of years.  I locked the tripod away in the trunk, and descended into the dark world below.  

It was in this darkness that I came across a rare underground waterfall named “Silver Falls”.  In order to blur the water, I wanted to use a slower shutter speed of about 1/15.  Of course handholding at that speed would have made for a completely blurry image.  Luckily, there was a metal safety rail to support and balance the camera.  It wasn’t nearly as ideal as a tripod, but with a bit of ingenuity, it worked quite well.  The trick was to place the lens barrel on the rail while the back of the camera was supported by my face.  Rather than attempting to press the shutter button and jostle the setup, I used the camera’s two second timer.

3) Proper Handholding Technique

There are times you will need to break the minimum handholding guidelines I detailed in tip number one.  If there is nothing to rest the camera on, and you have to use a slow shutter speed to get enough light into the camera, it is still possible to make a sharp photo. This was certainly the case when I photographed the impressive nave of St. Patrick’s Cathedral in New York. I needed a shutter speed of 1/40th to properly expose the scene.  Tripods are not permitted inside and I felt it would be disruptive to rest the camera on a pew, so the only option was to handhold.  

To do this, bring both elbows in against your sides and support the camera from underneath with the left hand.  The right hand grasps the camera grip and your index finger rests on the shutter button.  The viewfinder should be pressed firmly but gently against the eye.  To balance yourself, stand with your feet flat and shoulder width apart.  Some photographers recommend holding your breath, I find this actually creates unnecessary tension.  Instead, I prefer to breathe easy, relax, and steady myself before pressing the shutter.

Getting Down and Dirty

Photographing wildlife from a bug’s eye perspective is a simple way to gain a unique point of view.  While I always recommend a tripod with longer lenses, a nice alternative is to make your own ground level camera support like this. Ideally you want to be able to have the camera so low that it’s actually touching the grass, leaves, flowers, etc.  This may involve a few extra bug bites and muddy jeans, but the results are well worth the effort. 

In order to show the foreground as a blur of color, I like to use a wide aperture like f2.8 or f4.  This also works to de-emphasize the background elements.  I then place my autofocus point on the actual subject as that is the part of the scene I want the sharpest.

From this low vantage point, the animals usually don’t feel as threatened as they would were you standing up tall.  Since they feel more comfortable, it provides an opportunity to watch quietly through the viewfinder as the creature goes about its business.

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The Rich Spring Colors of an Overcast Day

A Spring hike on an overcast day can be very productive as the light is perfectly even, creating a natural softbox.  The grounds at the Planting Fields Arboretum on Long Island are particularly spectacular with a diverse collection of trees and flowers.  

 

The Play House was built in 1915 for the Coe family's children.  Each spring, its pink facade is complemented by the beautiful Japanese cherry blossoms.

A wide angle view of a restful bench surrounded by vibrant flowers.

A closeup study of a flower's stamen and pollen.

Blue skies are over-rated.  When the forecast calls for possible showers, it's a terrific time to head outdoors with your camera.  

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Please, Step in Front of My Lens

 

Believe it or not, I have seen a large number of well-meaning New Yorkers who try not to step into a photographer's photo. They'll stop dead in their tracks, and politely wait for the person to capture their image before continuing along. I commend these fine citizens for their courtesy, but I do have a somewhat odd request. Please, feel free to step in front of my lens. Yes, I really said that. Allow me to explain.

When someone stands in front of your subject, it unlocks a rich world of compositional layers. This added depth leads the viewer's eye from the foreground through the middle of the scene, all the way to the background. I believe the relationship between these different aspects of a photo can work together to tell a story.

While some of these moments are created through what Bob Ross referred to as "happy accidents", the observant photographer can work to knowingly incorporate this concept into their repertoire. As you'll see, it can even be used to eliminate distracting elements and focus attention on your subject.

As for the technical details, the level of blurring is dependent on three things;

A wide aperture like f2.8, or f4 to create a very shallow depth of field.

The distance between your lens, and the subject you're trying to blur.  The nearer they are, the softer they'll be. This is a result of the lenses minimum focusing distance. For example, with a Canon 70-200mm lens, I need to be at least 4.9 feet away in order to achieve focus. Anything closer than that minimum distance will be out of focus.

A telephoto lens like a 70-200mm will enhance this effect.

The next time someone steps in front of your lens, don't let off your shutter button. Keep shooting, and use their presence to create a unique image.

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Avoiding Trouble on Capitol Hill

 

My original idea was to make a picture of the Capitol as the golden light of sunset bathed the building in warm light.  A few clouds quickly doused this plan and left me scrambling for a new option.  I decided to head around the back to explore the grounds and possibly find a different kind of composition.  I set up my tripod, the camera, flash, and pocket wizards.  Took one shot, and the bright light directed security directly to me.  "Sir, how are you doing tonight? I know there are no signs but you're not allowed to use a tripod on these grounds".  No problem I said politely, after all, he was just doing his job. He said I could continue to shoot as long as I was behind the sidewalk, at least that's what I heard.  Disappointed, I kept walking and the sun had already set.  Seemed like one of those nights where I would go home with a few shots, but nothing memorable.  That was all about to change.

In circling the building, I came upon this beautiful magnolia tree in full bloom and if composed just right, it would frame the Capitol nicely.  I went behind the sidewalk to be a good citizen and follow the rules, set my gear up, fired the flash, captured this shot, looked to the left, and you guessed it...a new security guard, only this one was angry.  My first instinct was to wave hello, be friendly and explain that I already spoke to security and got the lay of the land.  Seems I must have misunderstood, as I was still on the Capitol grounds, and the tripod was not allowed.  

I apologized and mentioned that I honestly thought I was OK "way over here".  I knew I had this shot in the card, and started to formulate a plan in case he asked me to delete the card.  What would I do?  Luckily it never came to that.  He asked where I was from, and it turns out he dated a girl from my hometown.  I apologized again for the inconvenience and thanked him for his understanding.  I bid him adieu, grabbed a cab, and reviewed the shot on my LCD.  Turned out to be a memorable night afterall.

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Crossing the Horizon

 Too often I hear photographers regurgitate the old phrase; "Don't put your horizon line in the center of the frame."  They claim it will result in a static composition, or a less dramatic scene. I'm here to state otherwise.

When you arrive at a beautiful location there is absolutely no need to limit your compositional options. Frame the shot every which way. This includes centered, rule of thirds, ten & ninety, horizontal, and vertical.

Photography is about expressing your inner vision through a photograph. Do not let tired rules cloud your eyes.

 

The images in this post would not exist had I followed the recommended guidelines.  Don't let another great shot pass you by.  Break the rules and create the scene as you see fit.  Afterall, it's your art!

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A Beacon of Light for Our Nation

 

 Camera Settings: f18, 5", ISO 100 Tripod 

To plan this image I used the very handy Photo Ephemeris program.  Not only does it provide accurate sunrise and sunset times, but it actually illustrates the precise direction of the sun in relation to your location.  For example, I knew the sun would be setting behind Lincoln which meant there was a better chance for a colorful sky at dusk rather than dawn.  Sometimes being in the right place at the right time is half the battle.  In this case, the other challenge was staying warm.  DC was brutally frigid this weekend recalling the James Taylor lyrics "Lord knows when the cold wind blows it'll turn your head around" from the classic song Fire and Rain.  

All of this however was forgotten the moment I gazed towards the warm glow of the Lincoln Memorial. There the statue of President peers out over the National Mall, a shining beacon of light during a dark period for our country.  Earlier that day, Congresswoman Gabrielle Giffords was tragically shot, and the flags in the distance were lowered to half-mast.  I sincerely wish her a full recovery, and hope that despite the horrendous nature of this act, it will somehow lead to the advancement of peace.  It was Lincoln who said, "Peace does not appear so distant as it did. I hope it will come soon, and come to stay; and so come as to be worth the keeping in all future time."  

 

Getting Closer to Birds in the Wild

Getting close to a bird in the wild is not an easy task.  Long lenses and tele-extenders are helpful, but typically fall short of providing frame filling close-ups.   Here are some basic techniques I use to get in position for most wildlife encounters, especially birds. 

 

First, avoid wearing bright clothing, especially red, orange and yellow.  These will tend to scare off most creatures even from a distance.  Try to blend in with neutral earth tones and camouflage.  Sometimes walking on your knees will be necessary, so leave your designer jeans at home.  By remaining low, you are forced to slow down, and your chances of getting a great shot improve dramatically. 

As soon as you arrive at your location take the camera out of the bag, and mount it on your tripod.  By having the camera ready to go, you will eliminate disruptive sounds like the zipper on a bag opening.  Plus, you’ll be able to shoot in an instant should the opportunity arise.

When you spot your subject, do not walk directly towards it on a straight line.  This will be seen as an aggressive move, and the bird will take off immediately.  Instead, approach slowly on more of an indirect angle.  Avoid making direct eye contact as it can be viewed as confrontational.  Instead, use your peripheral vision while pretending to scan the ground for food.  If the bird is startled, stand motionless until it returns to its natural behavior.  Proceed with caution, and inch forward quietly.

The next time you’re in the field, give this a try and let me know how it goes.  You just may find yourself with a great catch!

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Unblocking the Viewfinder Within

 

A few years ago, I likely would not have taken this shot.  Why?  Because I wouldn't have seen the potential in it.  I was a light snob, always searching for the perfect situation with a scene fit for a calendar.  If things didn't unfold the way I wanted, or it was too cloudy, I would pack up and leave.  This of course was not a very productive way to spend my time outdoors.  

Thankfully, I came to realize there is great potential to create wonderful photos everywhere we go, even when the conditions are not ideal.  It was Ernst Haas who said "The limitations in your photography are in yourself, for what we see is what we are."  I was blown away by this statement, and still reflect on it often.  WHAT WE SEE IS WHAT WE ARE, thank you Mr. Haas.  

On this outing, my initial goal was to find and shoot the Eatons Neck Lighthouse while it was bathed in the warm light of sunset.  Unfortunately, a "No Trespassing" sign followed by another "We're Not Kidding" sign, forced us to turn around.  Seems the Lighthouse is on Coast Guard property, and you need to make an appointment to view it.  We tried a side road, but that was blocked too.  

Rather than going home, we headed over to the local town beach "Hobart Beach".  Sue spotted several Long Tailed Ducks which were beautiful in their winter plumage, and I watched a Gull eating a Starfish.  We continued along the rocky shore and I noticed this little island underneath this great big sky.  Immediately I visualized it as a black and white scene with the dark pillowy clouds, and the smoke stacks way off in the distance.  It had a feeling of isolation, vast and empty, and I set up the tripod just as quickly as if the Grand Canyon was in front of me.  I used Live View and placed the island at the very bottom of the frame considering the "Ten and Ninety" compositional rule.  Manually, I focused on the island at 10x magnification using a 17-40mm wide angle lens.  I exposed the island normally and used a 3 stop grad ND filter to darken the sky further.  The final shot was at 4 seconds, f14, and ISO 100.  

After reviewing the image this morning, I feel like it's more interesting than any lighthouse could have been. I don't need a map with an X to mark the spot I should shoot.  I want to explore what's out there, and in doing so, connect with all that's inside me.    

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