Hudson River Photography Workshops Officially Opens

Week one of our Hudson River Photography Workshops officially opened tonight with a welcome dinner at Samurai Sushi and Hibachi Steakhouse.

To start the photo fun, we did some painting with light. We asked one of the friendly servers to be our model, posing right next to the hibachi table after we turned off all the lights in the room.

Here is Don Elmendorf's painting with light photograph. It's a five second exposure. The light source was a small pocket flashlight - aimed above and directly at the subject, so as not to illuminate the background.

Nice job Don!

Try painting with light. It's fun. You'll need a tripod and a flashlight. Start with your ISO set at 400, your aperture at f/8 and shutter speed at 5 seconds. That's only a starting point. Adjust your exposure accordingly. And... use your camera's self-timer or a cable release.

We also covered HDR, panos and flash photography. And the fun has just begun.

Explore the Light

Rick

P.S. I soften the server's skin in the picture using a technique I'll cover in a later post.

Are You Experienced?

When I give a presentation, one of the first things I ask the audience is, "How many of you use plug-ins?" I am always surprised at the response: only about 10-15 percent raise their hands.

Plug-ins expand the capabilities of Photoshop, Aperture and Lightroom - and they expand your creative horizons. If you have not experienced plug-ins, visit the site - Plug-in Experience - that I set up especially for these digital darkroom wonders. You will find some cool how-to info on the site, as well as discounts on Photomatix, Nik Software, Lucis, Alien Skin and onOne Software plug-ins. What's more, if you have a great plug-in image, I'll publish it on the site. See the Jump In page.

Here are a few examples of plug-in effects (clockwise from top left): original, Antique Plate in Nik Software's Silver Efex Pro, Golden Hour Enhancer in onOne Software's PhotoTools, and Portrait Drama in Topaz Labs.

Explore the Light,
Rick

Take Your Time, Take a Slow Walk Before You Take a Picture

Here's a very simple outdoor photography tip, but one that can be very effective.

When you see a potential subject, take a deep breath, relax, and take a nice walk around the subject. You may be surprised at new photo possibilities when you look at a subject from different angles (and with different lenses).

After two short walks . . .

The top right image was a surprise! It looks as though the kestrel has eyes in the back of its head (to ward off predators, no doubt.) I had never seen a photo like this before.

The bottom right picture was also a surprise. I noted an interesting rock formation while hiking in the Alabama Hills, CA, but the foot did not reveal itself until I followed my own advice about walking around a subject.

Explore the Light,
Rick
P.S. If you play golf: Playing golf is a great way to ruin a walk on a nice day :-)

Guest Blog: David Stearn's "Sunny's Portrait" Keeps It Simple

Here's a good lighting tip from photographer David Stearn: Keep It Simple. The tip and David's photograph are featured, along with the work of some top professional photographers, in my new book, Studio and Location Lighting Secrets.

Take it away David Stearn!

My advice is to start with a simple setup – and to keep it simple. Here I used one light basically positioned in front of and above the subject. I then placed a gold reflector on a table at waist level in front of the subject to bounce some of the light into the shadows on the model face that were created by the main light.

That’s it!

My background was a gray paper sweep. I positioned the model away from the backdrop to maintain the color tone of the gray.

I post-processed the image in Lightroom and Photoshop CS4.

Finally I used Portrait Professional to retouch the image.

Credits are as follows:
Model - Sunny Dayz Sunny's portfolio on Model Mayhem.
Makeup Artist is Celestine McGee.
David's Web site.

• • •

I've known David for about eight years, simply calling him David. Well, I know another David, David Stern, and unfortunately, I used Stern rather than Stearn in my book. Sorry David (Stearn).

Nice Froggie and Horsie...

Well, by now all of you have seen the horse in the frog image. All you had to do was to tilt your head to the right.

The image was reprinted from my favorite book, Perception and Imaging - Photography, A Way of Seeing by Dr. Richard D. Zakia.

Throughout his book, Dr. Zakia offers ideas on how we perceive images - and ways to look at our world, and our photographs, differently.

Thank you Dick for sharing all you know.

A must read.

Explore the Light,
Rick

Nice Froggie: Find The Second Animal In This Picture – But Please Don't Tell

Find the second animal in this image - but please don't spoil the fun for others by telling. Just post how long it took you to find the animal.

Answer posted tomorrow.

There is actually a photography lesson tied into this post.

Explore the Light,
Rick

"Reading" a Photograph

Here's the follow up to my previous post, "Faster and Harder?"

It was simply an exercise (not a scientific test) to get you to think about the direction of movement in a picture - and the feel of a photograph. Some of you chose the top photo, others chose the bottom photo. Many of you elaborated on why you chose one over the other. Cool.

The idea for the post was generated after reading a chapter in my favorite book, Perception and Imaging - Photography, A Way of Seeing, by Dr. Richard Zakia.

In his book, Dr. Zakia quotes Rudolf Arnheim: "Since a picture is 'read' from left to right, pictorial movement toward the right is perceived as being easier, requiring less effort."

Well, the photos in my original post were not generated from the same image so, again, the fun exercise was not scientific.

Compare these two images, and ask yourself if you feel as though the rider in one image is working harder than the other.

At this point, the power of suggestion plays into your decision, too :-)

Finally, and this is important, rather than ask yourself how a picture was taken (f/stop, shutter speed, etc.) ask yourself how a picture makes you feel.

Thank you all for playing along.

Explore the Light,
Rick

Faster and Harder?

Click image to enlarge.

I am curious. In which photograph do you think the riders are working harder to go faster? Please post your answer (top or bottom) here so that all can see. Not everyone is on twitter and facebook.

You will see why I ask this question in my next post. If you do know why, please don't spoil the fun (and learning) for others :-)

Thank you for joining the fun.

Explore the light,
Rick

My Shooting Session with "Annie Leibovitz" - And a Flash Lesson

Yes, Annie does look a little waxy in this photo, as does Fidel. I am sure you know why :-)

Anyway, the top photo illustrates one of my photo philosophies: Take the darn flash off the camera! Here I am using a flash bracket and a coil cord. With that set up, I can place the flash above the lens for both vertical and horizontal pictures, so that the shadow from the flash falls behind the subject, and not next to it. (Of course, it's best to avoid a shadow all together, which you can do by balancing the light from the flash to the available light.)

The bottom left picture was taken with the flash in the camera's hot shoe. Oh no!

The bottom right picture was taken with my off-camera flash set-up, which includes a flash diffuser to soften the light. Now that's more like it.

A bracket/coil cord set-up is great for on-the-go, one-person shooting. If you have an assistant to hold a flash, or if you can mount a flash/flashes on a stand/stands, a wireless controller offers much more flexibility.

Explore the Light,
Rick
P.S. Wax museums are actually good places to practice taking indoor pictures. Fun, too. I guess you know you've made it as a photographer when you get waxed. These photos were taken about eight years ago at Madam Tussauds in NYC. More recent additions include Barrack Obama and Sponge Bob.

This Just In: Ultra-Fast Masking

I just heard about this and had to share the cool news!

The just-released Topaz ReMask plug-in supercharges masking and extraction in Photoshop by applying new extraction technology to this common task. Get lightning-fast masks and painlessly (man, I like that) preserve difficult details like hair and fur, all while staying completely in Photoshop.

The new Topaz ReMask offers several way-cool features:

Speed! Topaz ReMask is much faster at extracting even complex subjects than any other method currently available. This is partly because there's only a small amount of required user input, but mostly because its technology is so adept at creating masks automatically.

Accuracy! The hardest subjects for masking tools are those with complex backgrounds, faint edges, and fine detail like fur or hair. The unique algorithm that Topaz ReMask uses specialize in extracting "difficult" subjects without spending all day doing it.

Workflow! Topaz ReMask flawlessly integrates into a Photoshop workflow because it doesn't make a "trip" to an external app - there isn't even a new user interface to learn! It works immediately on the layer mask directly within Photoshop. This reduces the learning curve and saves processing time, which is part of what makes it so fast and simple to use.

Important: this version of Topaz ReMask only works in Adobe Photoshop because it makes use of Photoshop-specific layer masks.

You can order ReMask from Topaz Labs.

Guest Blogger: John D. Williamson

Here’s a cool guest post from my friend John D. Williamson. Take it away, John!

I never imagined that I would be asked to be a guest blogger for Rick Sammon! Thank you, Rick It’s an honor.

The top image you see here will always hold a special place with me; it was the cover for the 2009 Photo Basics catalog. When I first sat down with the Vice President and Art Director for Westcott, they already knew they wanted an edgy image that had a fashion feel to it. After some discussion we decided on the background, wardrobe and model.

I used the Westcott Strobelite PLUS mono-block with a 7’ Octabank. I positioned the light high above and in front of the model, just off to her right. This provided a very soft wrap around light that had a nice fall off from the top of the image to the bottom. It also added a nice texture to the jacket. I then added a second Strobelite Plus with an optical white umbrella (which I shot through) located just behind me, for a touch of fill. Then, after just a wee bit a post, it was finished.

With the power of the Strobelite units, I was able to have Aubrey, our model, move as she wished. Instead of posing her in the traditional portraiture method… "Now tilt your head, just a little bit more…there. Now take your index finger and move it out just a faction…" I was able to capture a much more natural position as she moved freely, with little direction from me.

The background was a scenic rental from RentScenicBackgrounds.com. The shoot was in my studio, but I wanted the “grungy” feel of bricks in an ally. It all came together to capture an image that was exactly what they wanted.

This bottom image is actually my wife’s cousin, Marie, from Germany. She had come to the States to stay with my wife’s family for a few weeks. She mentioned that she had always wanted to model but didn’t know how to get started. The next day we went to my studio, and four hours later she had the beginnings of a portfolio.

Of the dozen or so images we created, this is my favorite. I often shoot with just a single light source, preferring the look and style of low key images. I used a single Strobelite Plus unit with a Westcott 24”x32” Softbox positioned just out of the frame to the cameras right. I opted not to use a rim light or a fill light to allow her hair to fall off into shadow.

With the versatility of the Stroblite I was able to dial the power down far enough to shoot at f4, and still have the box just 2 feet from Marie. Both of which allowed me to get the softness I wanted.

Exposing For the Highlights is For the Birds!

Take a look at the leading edge of the bird's wings in these two versions of the same image.

Bottom image: leading edge is overexposed. Top image: ahhhh, that's more like it!

I simulated the overexposed highlights in the bottom iamge to illustrate what will probably happen if you shoot in an automatic mode w/out any exposure compensation in a situation like this one - where you have a small area that is brighter than most of the scene.

The solution: set your exposure compensation to – 1/2 (for starters) and shoot RAW. With RAW files, you can recover areas that are overexposed up to about one stop.

Just added (because I was reminded of the point by reader Scott Thomas - who probably does not have jet lag as I currently do): Always check your histogram and overexposure warning on your camera's LCD monitor).

Explore the Light,
Rick

Create The Salvador Dali and Fish-Eye Lens Effect with Your iPhone

Want to create an artistic image with your iPhone camera – the kind of image ("melting" subjects) that perhaps Salvador Dali would have created had he had an iPhone?

Want to create the full-frame fish-eye lens effect (curved lines in an image when you tilt the camera up or down)?

It's easy and fun! For only $49.95 you can download my iPhone Rockin' Rick Rotating Camera Effect App and awaken the artist within.

Or, you can simply rotate the camera (kinda quickly) while you are taking a picture - which is what I did for the two pictures you see here. :-)

Seriously, if you know of any cool photo Apps for the iPhone and want to share them with readers of this blog, please reply to this post.

Explore the Light,
Rick

P.S. Okay, enough silliness! Here is some cool info on the iPhone from my friend Juan Pons.

Did you know that when you send a photo you took with the iPhone as an email attachment from your iPhone, the size of the file that gets sent is much smaller than the original image stored on your iPhone?

When you send your friend that great photo you just took, the iPhone sends a much smaller version to save on the data that is transmitted. For example, the iPhone 3GS has a 3 MegaPixel camera and the files that it creates are 1536x2048, however when you attach that photo to an email your friend only gets a photo that is a measly 600x800. Great for viewing on an email, but usually not big enough to be a good desktop image on your computer.

The same goes for videos, if you email or post to YouTube the videos you took with that iPhone 3GS they are compressed and and don't look nearly as good as the original full sized files.

How do you get large original photos and videos out of your iPhone? Connect your iPhone to your computer and download the original files using iPhoto or similar software. You will be amazed how much better those photos and videos look. 

7D Photo. 7D Rocks!!!

Amazing! These mangoes rock!

What? You were expecting to see some images from the new Canon 7D? Well, stay tuned. Soon come.

In the meantime, chew on a few 7D mangoes.

Also in the meantime, check out Planet 5D for cool and must-know info on the 7D and 5D Mark II.

Explore the Light,
Rick
P.S. Sorry, I just could not resist.

Most Important iPhone Photo Tip

Here's my most important iPhone photo tip: always be on the lookout for cool pictures - the iPhone is amazing . . . and amazingly fun!

Okay... here are some more tips:

The name of the game is to fill the frame.

Try not to shoot into the sun, unless you are photographing a sunrise or sunset - or want a silhouette.

Press the shutter button very gently.

Back light, shoot tight.

With people, see eye to eye.

Keep the horizon line level - and don't place it in the center of the frame.

Use a foreground element (uh, maybe a seagull) to add a sense of depth to a photo.

Play with your image in Photoshop or Photoshop Elements or iPhoto. Many iPhone photos can use a slight boost in contrast. I boosted the color and contrast of this photo, taken today in Morro Bay, CA, with the Mild Color Pop filter in Topaz Adjust (Topaz link on the bottom of this page).

I am in the Morro Bay area planning 2010 projects with my friends Hal and Victoria from the Light Photographic Institute.

Any iPhone photo tips are welcome on this blog.

Explore the Light,
Rick
P.S. Here is another iPhone photo tip: Rotate the camera while taking a photo. The results can be surprising - and quite cool.

Aerial Photo Tips

:-(

Yesterday was my last day at the Maui Photo Festival. Great fun. Great attendees. Great instructors. Great photo opportunities.

A few of us took a chopper ride around the island. Spectacular!

Here are some tips if you ever find yourself in a high-flying situation.

Only one lens? Bring a 24-105mm zoom.

Don't forget your polarizing filter.

Use the Shutter Priority Mode and set the shutter speed to 500th of a second - at least.

Don't let any part of your upper body touch any part of the plane.

Use IS or VR lenses.

Use rapid frame advance.

Keep the horizon line level.

Try not to shoot into the sun.

Beg to have the doors off!!!

If it's cloudy and your pictures lack contrast, as mind did, boost the contrast using Levels or Curves in Photoshop.

If you are in a commercial plane, cup your hand around the lens and hold your hand close to the window to reduce reflections. Wearing a black shirt also helps to reduce window reflections

Explore the light,
Rick
P.S. Hope you can make it to the Maui Photo Festival in 2010. I'll be there . . . in the air, on the beach, in a presentation room, teaching a workshop, or at the bar!

Best Registration Table Photo I've Taken

By now you know me as one who makes pictures rather than takes pictures.

Here is the last picture I made at the Maui Photo Festival - in the lobby, no less . . . and with my Canon G10. It's also the last picture I took for my next book, "Confessions of a Compact Camera Shooter," due out this holiday season.

When I saw the red painting behind the registration table, I knew I had to use it as a background for a portrait – for two reasons: 1) the background itself was beautiful, and 2) the beautiful natural light in the area. Before the general session, I spotted a potential subject, who willingly volunteered for my "Registration Table" photograph.

The only Photoshop work: a bit of selective softening.

The message of this short homily: make pictures everywhere.

Explore the light,
Rick

Almost as Cool as Woodstock

When I was at Woodstock in 1969 I never imagined that I'd be doing what I am doing now – nor could I have imagined what I did tonight.

I gave my "The Camera Looks Both Ways" presentation at the Maui Photo Festival - outdoors, on a huge screen . . . wind blowing and sky filled with stars. Almost like Woodstock, except now I can and will remember the details of the night :-)

Explore the Light,
Rick

Quick Video From Maui Photo Fest

No doubt the coolest guy here is Zane. First, he's a most wonderful person. Second, he's a cool graphic designer, who designed the logo for the event. Here's a quick video that I shot with my Canon G10 that shows Zane's custom-built graphic design chair... complete with WACOM tablet and Quick-Access Adjustments pad.

Good fun!

Explore the light,
Rick

Making Pictures in Maui

Today is pre-con day here at the Maui Photo Festival. Right after lunch (fantastic fish tacos) I made the picture on the right with my ever-ready Canon G10 - as an example of making a picture rather than simply taking a picture.

We used this technique earlier in the day during a workshop run by Judy Host and Eddie Tapp, whose picture graces the cover of my book, Studio and Location Lighting Secrets for Digital Photographers.

I simply asked two helpers to hold a red tablecloth behind this scary looking pirate – not Russell Brown, who indeed is here and also dressed like a pirate, but rather Zany Zane Matthias, one of the directors of the Festival.

Scott Bourne, with whom I host the Photo Focus podcast, shot a video of the making of this picture. Good fun. (The video and Scott.)

Remember, the background can make or break a picture. Arrrrrrrrrrrrr!

Explore the Light,
Rick

Find The Person In the Picture?

Do you have a good eye for detail?

How long did it take you to find the person in this picture? Post your response here. Please don't tell others the location of the person.

My good friend Dr. Richard Zakia, author of Perception and Imaging, sent me this fun photo.

Explore the Light,
Rick

Seeing in HDR and IR

One of the cool things about taking many pictures is that you become better and better at envisioning the end result. In other words, you see the final image in your mind's eye even before you make a picture. The more pictures you take, the clearer your vision. How cool!

So the idea is to make a lot of pictures.

If you are new to photography and/or have trouble seeing the end result, try this experiment: shoot only HDR or IR pictures for a few days.

With IR, you'll start to see the sky as black and foliage as white. You'll look for pictures that will look especially good in IR – scenes that are not affected by the visible light we normally see, which makes shooting at noon even a good idea.

With HDR photography (I use Photomatix), you'll look for high-contrast scenes that can be enhanced through the magic of HDR, which enables you to capture a much wider dynamic range than even the best digital SLR on the planet.

Sticking to one type of image also works with plug-ins. If you have a favorite plug-in, take pictures with the idea of applying that plug-in in Photoshop. My current favorite plug-in is Topaz Adjust, which I used to increase the detail and tonal range of the bottom images you see here.

Click here to learn more about, plug-ins, Photomatix and Topaz Adjust.

So stick to it. Okay?

Explore the Light,
Rick

Promote Yourself With a Bookmark

My guess is that most readers of this blog sell prints or want to sell prints. Others may want magazine assignments. Still others may want commercial gigs.

A cool way to promote yourself and your work is with a bookmark - one that you can hand out or send out for free - or include with an order. The idea is to keep you and your work in the mind of the customer or potential customer.

You can print and trim your own bookmarks. You can even sign them.

Tons of commercial bookmark makers are on the web. Here's one.

One of the keys to making an attractive bookmark is to start with a photo that can cropped vertically. You add the white space (or color of your choice) by using Canvas Size in Photoshop.)

I took this shot today here in Maui. The first Maui Photo Festival starts soon!

Explore the Light,
Rick

The Name of the Game is to Fill the Frame. But....

The other presenters at the Maui Photo Festival have not arrived, so I took a walk on the beach outside the Hyatt Regency Maui, the festival center, and snapped this photo with my G10.

The photo illustrates a technique: The name of the game is to fill the frame. In other words, fill the frame with interesting stuff.

That said, dead space can be cool and very effective, too.

Just stuff to think about when you are composing a picture.

Explore the Light,
Rick

No Time For a Pano? Shoot Wide and Crop

Here's my favorite shot from the Mt. Rainier Aperture Nature Photography Workshop - organized by my friend Scott Bourne. I really wanted to shoot a series of 15 photos (3 exposures each of 5 views of the scene), but we only had 5 minutes at the location. No time to set up my trusty tripod. 

I still got my pano . . . by shooting wide and cropping off the top and bottom of the frame in Photoshop.  

Some ideas on this technique:

- Use the widest lens you have.

- Shoot RAW for the maximum image quality.

- Frame your scene with a pretty darn good idea of how you will crop your image.

- Make sure the horizon line is level.

This is a low-res image posted on a blog – so the color, brightness and sharpness is certainly not ideal. However, if you click on the image and zoom in, you may see nature photographer (and heck of a nice guy) Juan Pons down below. In my original, I will clone him out. Until then, check out his excellent work.

 

Explore the Light,

Rick

P.S. I boosted the color in this image with Topaz Adjust. Info on Topaz and other plug-ins @ the Plug-in Experience.

Big Pano, Small Camera

Who says you need the best digital SLR on the planet to make a great (ok, fun) pano? Sure, all those megapixels help, especially when you want to make a big print and when there is a lot of contrast in the scene.

However, if you are on a budget and only have a compact camera, you can still make cool pano for a Web site or blog - or when making a small print.

I made this pano today at Mt. Rainier with my Canon G10 during the Aperture Nature Photography Workshop. I took four images, hand-held, from left to right, overlapping each image by 1/3. I set my camera to manual exposure - which resulted in an even exposure throughout the image.

From Adobe Bridge, I selected the images and used Photomerge to create the pano.

Have some fun this fall taking some panos of fall foliage!

Explore the light,
Rick

Who Do You Think is The Most Important Living Photographer?

I am thinking of doing a TV series (maybe on PBS or maybe on the WEB or DVD) in which I interview the most important living photographers?

Please let me know who you think is important - and why. A person who has contributed to the art and craft of photography. A person from whom you want to learn how and why they photograph – and what makes them tick.

Please post your recommendations here.

Thank you very much,
Rick

SLR HD Video Basics: Set the scene, get the message across

This is the first in a series of how-to lesson that I'll be posting on shooting HD videos with your digital SLR. Today's topic: Set the scene, get the message across.

There are several reason why this scene (a promo for the SLR HD video workshops that we'll be offering here in Croton-on-Hudson, NY) works:

- We knew the location and envisioned the end result in our mind's eye. In real estate, location is everything. When shooting videos, a cool location sure does help.

– Low contrast setting. We timed the shoot so that we and the waterfall (from the Croton Dam) were both in the shade. Shooting in a low-contrast is much easier than shooing in bright sunlight. In fact, high contrast can be a killer in video - as well as in photography.

- Interesting and not distracting background. The flowing water adds some interest to the scene.

– A slightly out-of-focus background, created by setting my 24-105mm lens to the 105mm setting.

- Filling the frame with the subject... "the name of the game is to fill the frame."

- Shooting at eye level so the viewer could relate to the subjects... "see eye to eye."

- The "talent" (if I may use that word) had energy. They kept the message short and sweet - and fun.

- The sound is well balanced. The sound of the waterfall in the background is not overpowering.

If you are into shooting HD videos with your SLR camera, or want to get into it, and have a question, post it here.

Explore the light,
Rick
P.S. Don't miss the video.

The Making of a Picture: Waiting Room

Most professional fashion, portrait and glamor photographers (as well as other types of creative photographers) go through several stages or steps in the image-making process.

First, they get a vision or an idea in their mind's eye.

Second, they find a location and a model for the shoot - choosing the most appropriate setting and the best model.

Third, they execute their ideas in-camera, carefully selecting the camera angle and the position of the model - paying careful attention to the balance of the scene.

Fourth, they expertly choose the right lens, camera settings, and accessories that will capture the scene - keeping in mind the effects that they want to apply in the digital darkroom.

Finally, they post process their work in Photoshop, Lightroom, Aperture, etc.

I went through those steps in the making of this picture, my current favorite HDR image, which I entitle, "Waiting Room."

One of the important elements in this pictures was the sunlight. I wanted to shoot on a sunny day to capture those light patterns on the floor. As far as composition goes, I framed the upper part of the model's body within the frame on the rear wall. Including the ceiling fan in the frame was a must. To get the entire room in focus, I set my Canon 24-105mm lens on the 24mm setting, set the aperture at f/11 and focused 1/3 into the scene.

It is an HDR image that I created from a series of three bracketed pictures processed in Photomatix. The cool texture and color effect was added in Topaz Adjust - a plug-in that works magic on an image. Try the Spicify filter and Portrait Drama in Topaz Adjust - two of my favorites effects. Portrait Drama was used here.

I added the frame with onOneSoftware's PhotoFrame 4.

Interested in this print? Click here.

I am thinking of producing a book or 1-hour, how-to DVD on HDR, Photomatix and Topaz Adjust. Any interest out there?

Explor the Light,
Rick
P.S. You can get a discount on Photomatix and onOneSoftware here.

Don't Tell Me What You Think, Tell Me What You Feel

I just sent this picture to my good friend and former RIT professor, Dr. Dick Zakia, who is updating his book, Perception and Imaging – Photography, A New Way of Seeing. I asked Dick why he likes this picture. His response, I feel, can benefit all of us. Here goes.

Dear Rick:

I am reminded of a comment my friend Ralph Steiner would often make when critiquing work, "Don't tell me what you think. Tell me what your FEEL."

What I feel is paramount and it is a deep haunting feeling, a mysterious questioning as to what is going on. Who are these people who are deep in thought,what are they thinking? Your photograph is both haunting and mysterious.

At another level, I like the colors, the dress,the masks, the black hands, jewelry – everything works together to convey mystery and questioning. And the aging background certainly adds to the strangeness and ambiguity. Then, of course, there is the symbolism of the mask.

In a word again, it haunts me. It is also a good gestalt in that you need not add or take anything away from the photo to improve it. It is!

Happiness,
Dick
-----------
The story behind the picture. I was participating in a workshop in Venice during Carnavale and noticed these people standing in a square. I asked them to move against the wall and posed them in the manner you see here.

A good exercise: try to convey a feeling in a photograph.

Explore the Light,
Rick

Snow Leopard Information

What? You were expecting info on Apple's new Snow Leopard? Well, there's a ton of info on the Web about the latest and greatest OS from Apple, I really can't add anything more.

However, with Snow Leopard on my mind, I thought I'd go through my files and find a snow leopard image and share some info. Here goes:

• Shot at the Bronx Zoo, behind a fence. I used my 100-400mm zoom set at 400mm and f/6. I held the lens close to the fence and tried not to get any of the fence wires in the frame. The wide aperture and long lens setting blurred the wires, making them disappear. The wide aperture also blurred the background.

• I waited to catch the yawn. Patience is very important in animal photography.

• I followed the animal around until it had some natural catch light in the eyes. Catch light is important in animal photography. You can also add catch light with a flash.

• I set my exposure compensation (while in the Av mode) to - 1/3 so as not to blow out the highlights.

• I created the drop shadow in Photoshop using Layer Styles. The black line around the image was created by selecting the entire image and then by going to Edit > Stroke in Photoshop.

Enough about my snow leopard. I'm off to upgrade to Snow Leopard!

Explore the Light,
Rick

Consider This: Colors are what we see, not what we should see

The image you see here is one of my favorite color images. I love the red interior of the vintage car. It’s an HRD image. I created it by combining six images (Canon 5D Mark II/15mm lens) using Photomaix, and then by applying Topaz Adjust. You’ll find information on HDR (and discounts) on the Plug-in Experience.

Speaking of that red in my photograph, would you call it: rose red, tomato red, bright red, faded red, vibrant red, deep red, red/orange, bold red, cranberry, apple red, or maybe something else?

My point: we all perceive color differently – and refer to colors by different names. We also see colors differently under different lighting conditions. Other factors that effect how we see color include: stress, being tired – and drinking coffee, Coke, beer and wine. Age, too, affects how we see color.

No surprise. After all, as Ralph Evans said, “Colors are what we see, not what we should see.” That is why calibrating your monitor and printer is of the utmost importance. I do it twice a month. I also calibrate my projector before I give a presentation – because the room light changes from location to location. My calibration device: the ColorMunkie.

One of my good friends, Dr. Richard Zakia, author of Perception and Imaging – Photography, A New Way of Seeing, is an expert on color (among many other aspects of photography). In his highly informative and delightfully entertaining book, Dr. Z offers in-depth insight into how and why we see and perceive colors. If you are a nut about color, I suggest you check out his book. Even if you are not a nut about color, I know you’ll learn a ton from his book.

For now, here are some quotes that accompany his chapter on color. Think about each quote. Its meaning will become clear.

“A color cannot exist without an environment.” Edward Land

“Combinations of colors judged offensive a few years ago are in style now.” Roger Remington

“Color, as the most relative meaning in art, has numerous faces and appearances.” Joseph Albers.

“Imagine a piano having 75,000 different sounds.” This is the situation of painters.” Salvador Dali

Dr. Z includes his own quotes:

“Color, like sound and taste, is purely a subjective experience.”

“Red colors tend to increase tension; white, blue and green tend to release tension.”

If color management is driving you nuts, keep this quote in mind: “Color is my day-long obsession, joy and torment.” – Monet.

See, you are not alone. Like all creative photographers/artists, color is important to you.

Control the Light

Here's my #1 tip for outdoor portraits: Control the light with a reflector, diffuser or a flash. All of these accessories have something in common: they can reduce the contrast range in the frame, reducing or eliminating harsh and unflattering shadows. A flash and reflector can also add a nice catch light to a subject's eyes.

Check out the top row of pictures. The girl's dad is holding a diffuser (actually from my Light Control Kit) between the sun and his daughter's face. Look at the harsh shadows on his face. Half of it is hidden in a shadow. The other two shots in the top row show the beautiful effect of the diffuser.

The bottom row of pictures illustrates (L to R): No diffuser, diffuser, diffuser/flash.

Control the light and your subject's faces will light up when they see their pictures.

Explore the Light,
Rick
P.S. My camera for this shoot? My trusty Canon G10.

In and Out of Africa

I took the picture on the left at Fossil Rim Wildlife Center in Glen Rose, Texas - out of Africa.

I took the picture on the right in Botswana - in Africa.

Both photographs have several things in common:
- Light in the eyes. Important in wildlife pictures.
- I focused on the eyes. Important in wildlife photography.
- Tight cropping, which draws attention to the subject.
- I shot as close as possible to eye-level, so the viewer feels like he/she is on the same level as the animal.
- I selected a relatively wide aperture to blur the background.
- I selectively sharpened the image in Photoshop, only sharpening the animals.
- I used my 100-400mm Image Stabilization lens - my favorite lens for wildlife photography.
- I had a good guide who helped me get into the best possible positions for the shots. A good guide is very, very important!

Like to photograph big cats and other big animals? I have opening on the following workshops: December 2009 Fossil Rim. Check out Fossil Rim and shoot me an email about the trip: ricksammon@mac.com.
and
September 2010 Kenya.

Here's a peek at Fossil Rim.

Explore the Light,
Rick

P.S. Speaking of guides, here's a tip from one of my safari guides: When looking for animals, look from right to left, as opposed from left to right... the direction in which we read. Looking from right to left slows you down... and gives you a better chance to spot animals.