Monday, April 18, 2011

Tips on Shooting Fireworks and Post Production

1. Use a tripod.
2. Use a cable release so you can watch the firework rocket trajectory with both eyes on the sky.
3. Use a zoom lens - 70 to 200 mm or more unless you need to capture the background.
4. Put the camera on manual and set the Shutter Speed for around 4 seconds and aperture of f 11.
5. Manual focus to infinity.
6. ISO 200.
7. Take an interesting background exposure - more wide angle. Use this as your background layer in Photoshop.
8. In Photoshop, choose your background image and then the other single fireworks images and adjust each in Camera RAW. Open your background image first. Use the Lasso tool (L) to select areas to use of each individual fireworks images and with the Move tool (V) drag each onto a new layer above your background image.
9. Blend each layer with Lighten.
10. Reposition each display (on its own layer) with the Move tool (V) as needed.
11. Then use the hi pass filter to sharpen as needed. (Flatten and then Duplicate the background layer, then select Filter, Other, Hi Pass filter, adjust for thin white lines, then select the Overlay Blend Mode).
One is a blend and I'm sure you could tell which one!! Enjoy and have fun. This new technique worked better for me then the bulb with the black card I had used in the past.
Straight Fireworks_Shot with Multiple Bursts in One Frame
Fireworks Montage_Gloucester Harbor
Which to you prefer?   Get ready to send yours along to:
http://www.flickr.com/groups/jmpcreative/

Watch for more assignments and creative ideas!  AND sign up for a weekend Creative Photography Workshop.  See my Schedule on my website Event Page: http://www.judithmphotography.com/events

Monday, April 11, 2011

Still Point Art Gallery BLOG: Bobby Baker - Black and White Silence

 One of the Photographer's I mentor is the current Artist of Distinction in Still Point Art Gallery's current online show.  I am mentioned in the article as well.  Enhance your creativity and sign up for a Creative Photography Workshop!.
I just released my summer weekend workshop series- Creative Photography - to be held in and around Gloucester, MA, selected weekends in June, July and August.  The schedule is listed under Events on my website at: http://www.judithmphotography.com/events

E mail me for further information at judith@judithmphotograpy.com

But for now, Enjoy the Blog:
 Still Point Art Gallery BLOG: Bobby Baker - Black and White Silence: "Bobby Baker was honored with the title of Artist of Distinction for the work he submitted and is showing in Still Point Art Gallery's curre..."

Tuesday, April 5, 2011

Fresh RAW Food_The Simple Things in Life.

Grapes fresh off the Vine

Fresh Tomatoe

Life is a Bowl of Cherries
Carrots


Carrots
Fresh produce and the Farmer's Market.  All good things to look forward to after a long winter. Color or Black and White?  Food Photography can be very inspiring.  Look at the work with Peppers by Edward Weston.  He wrote:  It is classic, completely satisfying _ a pepper_ but more than a pepper: abstract, in that it is completely outside subject matter.
Red Twisted Sister Pepper

B&W Peppers

Red Peppers

So grab a basket and gather subject matter for a rewarding photo shoot.  Use diffused window light or soft light in studio with a soft box or translucent umbrella with your strobes or flash as the main light and reflector on the side for fill  for a natural effect.  Experiment!!

Monday, March 28, 2011

High Five Photo Tips_ #2_March 2011

High Five Photo Tips

JMP Top Five Monthly tips for March are:
1.      Try a star effect for the sun using a small aperture F stop such as f 22.  If there is too much glare, position the sun behind an object such as a tree and use a lens hood or shield the front of the lens such as with a cap or hat.   
Haleakala Crater, High Noon

   2.     Try HDR.  The new Nik HDR Efex Pro plug in filter for Photoshop or Lightroom makes the processing so much easier.  http://www.niksoftware.com/hdrefexpro/usa/entry.php
To shoot for HDR, I recommend using: 1.  3 to 5 exposure bracketed shots (each varying by one f stop for under, correct and overexposed images), with 2. Aperture priority (usually around f 8 or 11) so the camera will bracket by changes in the shutter speed, 3. A tripod,  4. Autofocus first and then set on manual, 5. Shoot on Continuous High shooting mode.
For Nikon you will need 5 one F shop bracketed images but for Canon you can choose 2 f stop brackets and thus will only need 3 images to get the same exposure info to use for HDR.  Check your camera manual for details on setting up bracketed images since it will vary.  I prefer my D3 since a dedicated button is right on the camera whereas for the D300 it is a menu item.


Haleakala Crater HDR with Nik HDR Efex Pro
3.     Instead of HDR, try double processing in Photoshop by opening the image as a Smart Object. Then Right click on this layer in the layers panel and select New Smart Object via Copy.  This will give you a second copy.  Since they are both smart objects, each can be adjusted in Camera Raw separately - such as adjust the lower one for the ground and the upper one for the sky.  You will want to keep the brighter image on the bottom background layer.  Then using an inverted or black mask on the upper layer, paint with white on this mask to expose the darker part of the upper image you want to include in your final image.  Use a medium sized hard-edged brush. Vary the brush opacity to adjust the strength of this adjustment or when done adjust the opacity of this layer to get the effect you want. Try using the gradient tool on this mask to add a gradual transition to your effect. Practice on your normally exposed middle image in an HDR sequence and see how you like it compared to your HDR image. Let me know what you think!
Double processed as smart objects

Original image_Horses in the meadow


 4.     Explore the capabilities of Lightroom 3.  You can download a trial version and have some fun.  The RAW processing is the same as in Photoshop but the workflow is better for photographers. You can then fine tune in Photoshop if you need some hi tech correction such as Content Aware Scaling or Editing.  Then just remember when done with your PS edit, to SAVE first before SAVE AS to have it go back next to your original image.   If you want to re-edit in Photoshop, make sure you select -Edit Original to see all the layers.  Let me know if you would like a list of my preferences for LR set up.

5.     Whatever downloading system you use, rename the photos during this phase and add metadata such as copyright and contact info. Keywords can be added and/or some basic processing can also be done at this time.  I use Lightroom and apply the Date, with the full year first, edit field with the name of the group or location and then the sequence number to each image.  I place them in a folder for each year under a subfolder for the date.  During the import,  I select Copy as a DNG and select  make a separate copy to  to save a copy of the RAW images under the download date to a portable or other backup hard drive.  Example of a file name would be: 20110222_MauiSurf_001 in the folder 2011 and subfolder 2011-02-22. I later rename this folder to add some descriptor such as Surf.

Surfer at dusk

Sunset HDR

Sunday, March 20, 2011

AIPAD in NYC

Pablo Picasso by Irving Penn
Association of International Photography Art Dealers show in NYC at the Armory is always a favorite of mine.  Classic photography as well as Contemporary and edgy work fill the space.  Happy to see there were sales going on and red dots on some walls. A good sign.  Interesting to see the display and framing options as well.

Wonderfully exuberant was Richard Avedon’s double portrait of the poets Allen Ginsberg and Peter Orlovsky, naked and arm in arm, at Eric Franck. More brooding artist work was Robert Mapplethorpe’s 1976 shot of a young Patti Smith (at Contemporary Works/Vintage Works), grasping a radiator as she sits on a bare apartment floor.

Classic 20th-century images by the likes of Ansel Adams, Edward Weston, Berenice Abbott and Andre Kertesz were my real reason for seeing the show. The front-and-center booth of Edwynn Houk had a nicely balanced selection that includes Alfred Stieglitz, Edward Steichen, Paul Strand and Man Ray, as well as some more recent work by Stephen Shore and Bruce Davidson.

Alec Soth




 How do you decide what to collect?  What you love instantly on first sight, or what you feel will have long term value?  Trends or classics?   Some ideas to help you collect:

    • 1
      Understand the art photography process. A photographer achieves a compelling shot by shooting an engaging subject using proper lighting in the best environment. The photographer then creates either a photographic print or a digital photographic print.
    • 2
      Establish price guidelines for your collection. Decide whether to collect fewer, more valuable pieces or develop a larger collection of less-expensive pieces. Your interest in subject matter or specific artist may help to set this level. More established artists' work will demand a larger investment.
    • 3
      Choose a style or photographer. Many collectors of fine art photography are drawn to a specific subject or the style of a certain photographer. Once you find a piece that you're interested in, ask the photographer about the photograph. Ask if there's a story behind it, or what connected the artist to the subject at that moment. Sometimes you're fortunate enough to speak with the artist one-on-one. At other times, you'll need to depend on phone calls or e-mails. Knowing more about the piece will give it value to you--both personally and financially.
    • 4
      Choose which piece to invest in, and make the purchase.
    • 5
      Care for your art.  Place your prints in a frame that has museum glass.  Use a acid free mat for protection and to enhance the presentation.
    • 6
      Add more pieces over time at a rate that your budget can tolerate.


2.     Go to lots of Art shows, Galleries, local Art Associations, art and photography web portfolios and look at Art - including but not exclusively showing photography.  Define your taste.  Read about photography and keep looking at images.  COLOR and B&W magazines for fine art photography is another good choice for a review of  contemporary photography. Decide if you like color or toned and B&W photography, classic or contemporary. Find a photographer you like and follow her work. AND start collecting.

Thursday, March 3, 2011

High Five Photo Tips_#!_February 2011

High Five Photo Tips

JMP Top Five Monthly tips for February are:

watefall vertical
Yosemite Waterfall
1.  Shoot more verticals.  Snapshots are usually horizontal but verticals will often help you redirect the eye to what you want the viewer to see.
2. Convert to B&W or sepia if depth, shape and textures play a bigger role in a scene than color. You can make a virtual copy in Lightroom to explore LR variation or use Nik Silver Efex Pro for another great way to convert to B&W. An update, version 2, to be released soon.
3. If unable to get sharp images due to movement, such as wind or water that you cannot control, go with it and use the motion creatively.
aquarium fish
Fish in Motion - Maui Aquarium
4. Try shooting silhouettes in the sunset on Aperture Priority using minus 1 to minus 2 exposure compensation to allow the silhouetted object to go to black while preserving your sunset.
5. Look at your histogram to learn to feel where highlights and shadows fall in your image and what you can accept - then adjust your exposure from there. Generally, you want a curve shifted more to the right (with digital vs film) while avoiding the blinkies except for acceptable specular highlights.
bird silhouette
Photo montage with silhouette of bird with rannunculus


Thursday, February 24, 2011

Shooting in the Cold by Guest Blogger Richard Hydren


This is a guest entry by Richard Hydren. While Judith is enjoying the warmth of  Hawaii for several weeks she asked me to offer a few thoughts on winter shooting.

Going out into the cold of winter to do anything requires planning. If the objective of the adventure is taking pictures, the planning gets more complicated. In addition to all the things you have to do to keep yourself from freezing, we need to consider the problems your electronic equipment faces.

Condensation and battery life top the list of major concerns. I contacted 2 friends for their thoughts on the subject. First is Mike Hedderman, who runs the video and still photography crews at Raytheon. His team is charged with the responsibility of documenting every project that company is involved in.

Mike’s replay: “The guys said, as I'm sure you're aware, that they keep their cameras under large parkas but this sometimes causes condensation which they rid the lens of it by using a pump ball to blow ambient air onto the lens. If we do need to keep it under our parka we usually keep a plastic bag around it. When the camera is brought out into the cold it slows the adjustment period which reduces the condensation and what condensation does occur is usually attracted to the plastic bag and not the camera. We also occasionally use a cooler with the heat packs. This keeps the equipment warm and allows them to not have to walk around with pounds of equipment on their shoulder all while wrapped in a plastic bag.”

While this is great advice for the photography equipment, many us of now like to work tethered to our computers. Even in the cold! So the second expert on the subject I contacted was David Dion, owner of The Brick Computer Company in Ipswich, Mass.

David’s response: I do not think cameras and their lenses suffer the same consequences as a laptop. The issue with laptops are slow response from LCD, potential hard drive start up issue, and condensation prematurely aging components. Cameras are much more sealed and those seals are very water proof. I think, as you mentioned, the performance of the lens and motors may be the issue with cameras and condensation build up on the lens is just an annoyance until the lens temp comes up.”

My experience with shooting in cold air comes from years of photographing ski racers. Because I would be standing out in the cold for a 2-3 hour first run, followed by a 2-3 hour second run,  the problem of condensation is all over by the time the first racer is flying down the slope. But keeping the battery going was another story.

Of course, keeping your hands warm all that time is project requiring planning and my stand by are those “tea-bag” hand warmers. These come in various sizes now. Small toe warmers with adhesive backs can fit into the tight corners, the large body warmers, also with the adhesive backing, can blanket larger areas. These products work when fresh air circulates inside the sack of herbs, which produces heat until the process uses up the active material which is when they get hard. So a breathable blanket material surrounding both the camera and the hand warmers should be used to trap the heat in.

A couple of toe warmers stuck to the inside of a sock can then be wrapped around the camera’s battery area and held in place with rubber bands. If you worry for the electric motors in your lens and keeping them running as quickly as advertised, wrap a sock with a hand or body warmer around your auto focus lens between races.

To use the computer in cold air, place it on top of a towel or some other breathable cloth with a number of body warmers under. If you have access to regular power, bring a small heating pad with you. I’ve also shot at night during snow storms with the computer tethered inside a running vehicle with the heater running at max. It’s all about thoughtful planning.

Now here is a great secret to add to your bag of money-saving tricks. When the shoot is over, place the “tea-bag” warmers into a zip-lock baggie, squeeze the air out and seal it. Recently a ski buddy was bragging that he was re-using his hand warmers from the previous day. Not to be out done, I handed him my hot hand warmer from inside my mitten and explained that it was from the previous weekend!

The usefulness of the $2.00 product is about 8 to 24 hours depending on size, but that time frame can be interrupted, extending the life over several photo sessions.


I hope you have found this helpful, please feel free to add your comments, thoughts and photos on the subject.

Richard Hydren,
Hydren Advertising and Design
Photography: hydren.com
Web Design and Development: websofwonder.com