Hub's Photography Tips & Picks

Create A Sense Of Depth In Your Pictures - Part 2

2010-01-07T08:41:00.000-08:00

Part 1 in this series, explained the importance of “depth of field” in conveying a sense of three dimensions in a photograph. The next three tips are useful when taking pictures with great depth of field – like landscapes. In these images, using shallow depth of field is not an option, because of the necessity to have as much of the scene in focus as possible.

So how does our eye/brain interpret distance in scenes with extreme depth of field?

The technique suggested in this tip is based on the visual phenomena called “convergence of lines”. Lines that our eye/brain recognize as being parallel in reality, but visually merge at a vanishing point within a picture, provide us with the critical cue that distance is present, and that the scene does not exist on a single flat plane.

Pictured above is the classic “train tracks disappearing into the horizon” image. We don’t need to be engineers to understand that, in order for a train track to work, the distance between the rails MUST remain constant. Any time lines appear to defy the laws of physics by converging, as in the picture above, our eye/brain interprets this clue as distance in the picture. As a result, the picture above not only exhibits the 2D elements of height and width (defined by the borders of the picture), but also the missing third dimensional aspect of depth as provided by the converging lines of the train track.

Similar to the train tracks, the convergence of the sides of the highway (above) is perceived as depth and conveys a sense of great distance to Mt. Saint Helens in the background. For the viewer, it’s impossible to resist the sense of the third dimension and to be brought visually into the picture.

The convergence of lines in the picture above is subtler, but remains a very powerful cue for our eye/brain to perceive depth in the picture. The width of each step decreases as the eye travels up the stairway. Since this “can’t” be the reality, we interpret each smaller width as being farther away. In total, the stairway’s converging lines ad the element of three dimensions to the picture.

As you may have noticed, using converging lines as a photographic tool to instill a 3rd dimension also provides an added bonus. Our eyes will naturally follow converging lines into the scene. It’s irresistible. Managing converging lines will add the 3rd dimension and draw your viewer into the picture. How about that? A twofer.

In Part 3 of this series another of nature's visual cues, atmospheric perspective, will be discussed to understand its role in lending a sense of depth in photography.

Creating A Sense Of Depth In Your Pictures - Part 1

2010-01-04T12:00:00.000-08:00

The borders of our pictures automatically provide viewers with two dimensions – height and width. Creating a 3-dimensional world on a flat computer monitor or a photographic print is a bigger challenge for the beginning photographer. But it is a critical skill that photographers master to add realism and draw viewers into their pictures. To add the sense of depth to pictures, we’ll first consider how our eye/brain combination senses three dimensions in the real world. By applying these visual cues to our photography, we can instill the illusion of three dimensions in our pictures.

This series of blog entries will present several methods of introducing the 3rd dimension into our photographs.

What Our Eye/Brain Sees

One of the most important cues our eye/brain seeks out, in its search for an understanding of any scene, concerns focus. In photography we call the phenomenon “depth of field.” Our brain understands that when there are multiple objects in a scene, and they are all equally sharp, then they are probably located on or very close to the same plane.

Above is a simple flower picture. The main subject is obviously the large yellow dahlia. Notice that all the smaller flowers (pansies) surrounding the dahlia also appear sharp. To our mind, logic dictates that all of these flowers must be very close together (from front to back). Because everything is in focus at the same time, there is no obvious visual cue for our mind to place any degree of the third dimension to this picture. As a result, it looks flat and two-dimensional.

Experiencing the Third Dimension

Contrast the first picture with this version of the same scene below.

In this image the dahlia remains sharp, but the pansies are soft and out of focus. Our eye/brain thinks, “Ah, there MUST be distance (or depth) in this picture because there is a visual difference in the sharpness of the elements that make up the image.” We immediately attribute this difference in focus to be the result of their spatial locations in the real world, and we mentally experience the third dimension of depth.

Controlling Depth of Field

We create this 3D illusion when we take the picture. We visualize the final print BEFORE pressing the shutter release button. And, when using a camera with aperture controls, we intentionally select an f/stop that will render this "selective focus" effect.

Large aperture openings (smaller f/stop numbers) create increasingly shallower depth of field (more and more of the scene in front of and behind our focused subject is out of focus or blurred) and infuse that important sensation of three dimensions into our photographs.

Shown below are a series of photographs taken of the same subject to illustrate the impact of aperture size to the amount of the total image that is in focus. The camera's focus point in these pictures was the foreground bottle. Notice that as the f/stop number increases (and the aperture opening size decreases), the bottle in the background becomes increasingly sharper. Also notice how depth is emphasized by the out-of-focus background image, AND how your eye is drawn FIRST, like a magnet, to the sharpest object in each picture.

(All pictures in this series were shot with a DSLR in Aperture Priority Mode. As the f/stop was manually changed to visually depict the effect of f/stop change on Depth of Field, the camera automatically selected the new, appropriate shutter speed.)

By learning to control depth of field, we – as photographers – infuse the third dimension into our imagery. Since our eyes are automatically drawn FIRST to objects that are in focus, we are also intentionally directing our viewers' eyes to the subject of our photograph.

But Wait a Minute...

I hear you asking, “Then what about landscape photographs were everything is in focus from foreground to background. How do I inject three dimensions into this 'totally in focus' picture?" That will be our next tip for creating the illusion of 3 dimensions.

I Bought The Camera. What next?, Hub's Ideas

2009-09-19T14:50:00.000-07:00

Possibly the second most frequently asked question by the beginning photographer (after "Which camera should I buy?") is, "What accessories should I purchase next?" There's no correct answer to this question. Much of a photographer's secondary equipment is determined by his/her photographic specialty, preferences and shooting style. However, that doesn't stop Hub from publishing a recommended "what next" list for those new to photography.

Some attempt has been made to prioritize this list, but undoubtedly there will be those who would shuffle the order -- or offer other suggestions. That's OK. This should get you started.

The list assumes you have this basic DSLR equipment: a camera with a built-in flash, lens and a data card.

A "Dummy's" book for your camera. The camera manufacturer's manual is always my first source for answering questions about my camera. But I've found that buying an independent author's book about my camera usually facilitates learning. These books seem to be written in a more photographer-friendly style that complements the manufacturer's manual and are organized in the same way I'm accustomed to learning. A "how to" book for nearly every popular camera model seems to pop up in book stores and camera shops about the same time as the camera is released to the public. This type of book is an inexpensive learning tool when you're just getting started. Store this book in the next recommended item so it's always handy.
Camera bag. You've got to have some safe place to put everything, and an easy way to lug it all around. Currently, at least in the Pacific Northwest, camera backpacks seem to be hot. I wasn't on the backpack band wagon until recently. I find they are convenient, comfortable, water resistant and do a good job of protecting your photographic investment.
Tripod. A tripod comes in a close second to the camera bag. Although the thought of toting a tripod along may seem "geeky" or cumbersome, you'll soon learn to love this indispensable picture-taking platform for the sharpness it adds to your images and the time it gives you to compose your pictures. Lightweight and sturdy tripods are available to make carrying this accessory manageable.
Cable release. This can be a fixed-wire cable release that screws into your camera's accessory socket or a wireless release that frees you to move farther away from your camera. Using a cable release when your camera is mounted on a tripod eliminates camera shake that's caused when you press the shutter release button.
Extra battery. Don't miss that once-in-a-lifetime shot at 5:00 p.m. because you've been shooting since 6 a.m. Carry a spare battery (or two).
Extra data cards. Ditto.
Lens cleaning brush or "bulb" blower to remove dust safely from the front and rear element of your lens(es) as well as the mirror in your camera body. Your camera's glass surfaces are dust and dirt magnets.
UV filter. Some will say that adding a filter to the front of your lens can be detrimental to the quality of your images. I prefer to play it safe with the front element of my lens and the coatings it contains by protecting it with a high quality UV filter (like Hoya or Tiffen). Accidental bumps and environmental contamination can result in real lens damage. A UV filter is much cheaper to replace. Any resulting degradation in quality will only be noticeable if you happen to own an electron microscope.
Polarizing filter. This is definitely not critical, but I always seem to be pulling this filter out of my camera bag. I use a polarizing filter for its intended purpose -- to reduce glare from reflective surfaces, to create dramatic dark blue skies and, more routinely, as a neutral density filter when I intentionally want to reduce the amount of light entering the camera to achieve longer shutter speeds in daylight conditions. (Great for flowing motion images of our area's world-class collection of waterfalls.)
Off-Camera Flash. When you get serious about improving your portrait, event and/or sports photography, an off-camera flash becomes necessary.

Don't think all these purchases have to be made immediately or at the same time. Cheap, bargain basement accessories can significantly impact image quality and hinder camera performance. (I can't tell you how many times I've seen a $20 tripod tip over with a $700+ camera attached.) Save up your money until you can afford to shop for high quality accessory items.

See Hub's Images They Way They Were Intended - In Print

2009-07-31T00:28:00.000-07:00

I'm frequently asked if the images I use in my educational blogs and live classes can be purchased. I have resisted selling my images because I was concerned about affordability. I print all my images. Consequently each print is expensive, exacting and intended to meet the standards of a gallery print. As a result, the cost of prints might be out of reach for the readers I attempt to help in my digital photography blogs.

I recently discovered a solution that makes it possible to provide an economical way for students to see my images in a larger print form and also allow the modest collector a convenient way of purchasing fine art prints. The result is a professionally printed catalog, Hub's Imagery - By Popular Demand, containing enlarged versions of 21 of my most often requested and favorite images. The catalog cost less than $20. For those interested in owning any of my fine art images, the catalog also contains details for ordering individual prints on-line.

If you are interested in learning more, seeing a catalog preview or ordering the catalog, click here. I hope you will enjoy this series of images as much as I enjoyed putting the catalog together.

Converting a DSLR for Infrared Photography

2009-06-24T22:06:00.000-07:00

Photography goes through phases. The straight documentary use of photography, for which it was originally intended, remains constant. Life requires documentation by both family photographers and professionals. All those billions of pictures become our personal and shared global history.

But there are processes and styles of photographic imagery that pass in and out of favor on a fairly regular basis. Black & white photography is a good example. It all began as black & white images when photography was first invented. Then color entered the scene and was popularized by the introduction of Kodachrome by Eastman Kodak in the 1930s. In the 1970s, black & white emerged once again in strong fashion, but eventually receded to a less respected position. Today, black and white is enjoying a well-deserved resurgence as photographers rediscover the medium. Software makes accurate color to black & white conversion possible, and the unique artistic qualities of black and white images are once again being appreciated.

Infrared photography has that same cyclic nature about it. But unlike black & white software conversion, digital images which have been converted to mimic infrared film have been a disappointment. The nature of real infrared film has been an elusive goal to digital photographers. Yet there is something about the delicacy and fragility of the fantasy-like pictures born of infrared photography that compels photographers to continue seeking a solution in the digital environment.

Using infrared film was a tricky proposition. Because the camera metering of infrared light was impossible, the results were never known until the film was processed. The only solution was bracket, bracket and more bracketing. Somewhere in that maze of bracketed images there had to be a printable negative. Then there was the dense red filter that was required to make the exposure. Reasonable depth of field required long exposures even on a bright sunny day.

Figure 1 - Infrared image using traditional infrared b&w film
©1974,tehubbard, all rights reserved

But, when successful, the results could be stunning. Shown in Figure 1 is a picture taken with Kodak infrared film during my "Infrared Period" in the mid 70s. Certainly, the style is not everyone's "cup of tea", but for many photographers, shooting with infrared film was an eye and mind opening experience.

For DSLR owners, several IR plug-ins have been available for programs like Photoshop and Lightroom for some time. These effects are applied to a normal digital image in post-processing. But none of these post-processing options have approached the true "look and feel" of a traditional infrared film image.

It has been possible for several years to modify DSLR cameras to record only the infrared portion of the spectrum. Problem solved? Well, yes and no. It's correct that the conversion allows true infrared photography, but the action also renders the camera useless for conventional photography. Only recently did I have a spare DSLR available to attempt this conversion. It was Advance Camera in Portland that afforded me the opportunity to request this surgical step. Having a local expert in IR conversions gave me the confidence to take the plunge.

Dave Sleeth at Advance Camera became my IR guru. The victim of my decision was my trusty old Canon Rebel camera (Figure 2).

Figure 2 - Canon Rebel DSLR for IR Conversion

Dave began by giving me all the necessary warnings:

the camera will no longer be usable for flash photography
the metering system will no longer be perfect
since all lenses focus IR differently, the photographer will need to use the diaphragm (depth of field) to assist in focus control.

But most of these concerns are offset by the fact that the image can be seen immediately on the camera's preview LCD and adjustments can be made on the spot. And flash photography was not one of my requirements.

Customers can select the level of IR they want to enter the camera by specifying which IR filter to install (resulting in images with some color to pure black & white). I selected the 800nm filter. This filter produces a very black and white image. The same look as the film I am trying to mimic.

The cost of the conversion is $245 regardless of the IR filter selected. At the same time, the camera is given a thorough cleaning and check up. The camera is also checked with a variety of lenses to check IR focus. The whole process takes only a few days.

I have to say that the results have been amazing. I am able to produce images that are very similar to traditional infrared film. I've also discovered some other pluses with this conversion:

the results are immediately reviewable on the camera's LCD
all my lenses are "tack sharp" -- no focus problems have been encountered
the histogram still provides all the gamut information I want
the absence of a dense red filter makes hand-held exposures at smaller aperture settings possible
I return from shooting sessions knowing that the picture I wanted is on my data card.

Here are a few of the first shots taken with the IR converted Canon Rebel camera:

I decided to push the envelope and attempt to construct an HDR picture in a scene with an unusually high dynamic range. The picture below is composed of 3 exposures (each 2 stops apart) and produced as an HDR image using Photomatix Pro. It worked!

Infrared photography is not for everyone, but for those who like to stretch the limits of photography and explore new creative techniques for expressing their art, IR photography presents a truly unique tool and a rare perspective on the world around us. But be sure to find your own guru to guide you through the conversion process. Better yet, I'll share my guru. Just give Dave a call. He services the cameras of photographers from around the world.

All in all, I am very pleased with my decision to convert my Rebel to IR. Thanks to Dave Sleeth and his crew at Advance Camera, I'm back in the 70s and enjoying every minute.

How to Clean a DSLR Sensor

2009-06-03T18:06:00.000-07:00

Note: This is the second of a two part series on the care of DSLR image sensors. To better understand the subject, please start with Sensing Your DSLR Sensor's Condition.

Figure 1 - Hub's Canon D30 sensor test before cleaning

There is no doubt that my camera's sensor requires cleaning. Figure 1 shows the dust spots that were detected from the test procedure discussed in my previous post. I am not proud of my "dust collection", and the images it produces reflect its poor state of cleanliness.

Then what are the options for cleaning the surface of my image sensor?

1. My first and safest recommendation is to allow the manufacturer or a professional camera repair company tackle the tricky task. I asked one of the country's best repair organizations, Advance Camera of Portland, Oregon for a description and pricing for their sensor cleaning service.

The price for this service on a standard DSLR is $40. This includes cleaning the sensor's surface of dust, general camera cleaning and updating any firmware required to make the camera current. Companies like Advance Camera have trained staff technicians who perform this service daily and are well equipped to return the sensor to its original factory condition.

With this option, the risk of damage is placed on the company performing the service -- not you. If anything goes wrong, you are protected.

WARNING: The following options carry a heavy risk for the camera owner. In some cases, actions you may take to clean your sensor could void your camera's warranty or result in a much more expensive repair. Performing either of the following actions is done solely at the camera owner's risk.

Pretty heavy-duty warning. But we must be realistic and understand the potential for seriously damaging the sensor and/or the camera when any "do-it-yourself" method is attempted.

2. Use a "blower bulb" to blow off the dust.

Figure 2 -- Canon Blower Bulb

A blower bulb, like the one shown in Figure 2, is the second safest way of cleaning your camera's sensor. DO NOT use cans of compressed air. This product's propellant may actually "freeze" your sensor.

Figure 3 -- Light path cavity of DSLR with lens removed

Getting to the camera's imaging sensor is not as easy as taking off the lens. Immediately behind the camera lens is the mirror (shown in Figure 2) that reflects the lens image into the viewfinder housing. Behind the mirror are the curtains that make up the camera's shutter.

The sensor is behind the shutter. To lift the mirror and open the shutter curtains, DSLR camera manufacturers have included a special function on their cameras called "sensor cleaning". Look up "sensor cleaning" in your camera's manual to find out how to access this function on your camera.

Figure 4 -- The camera's sensor exposed when the "sensor cleaning" function is activated.
Ignore the temptation to touch the sensor.

Activating the "sensor cleaning" function will raise the mirror and open the shutter to expose the image sensor (see Figure 4).

Note: The sensor is covered with a glass filter. It is this glass filter that dust calls home -- not on the sensor itself. You will be cleaning this glass filter. Never touch this surface. You will transfer your skin oils and could scratch the glass surface.

In this position, the blower bulb can be used to blow off the surface of the sensor. DO NOT touch the sensor glass with the blower tip. Only the air from the bulb should touch the sensor.

That's it. Reset your camera's "sensor cleaning" function to normal, replace the lens and start shooting.

So, what's the catch? There are three potential problems with this cleaning approach:

dust that is "stuck" to the sensor's glass surface will probably not be blown away. Only loose dust will be removed.
using a bulb blower can actually add more dust to your sensor's surface. Dust that is located within the housing may be dislodged and fall on the surface of the sensor.
there is a remote chance that if you accidentally strike the surface of the sensor glass with the tip of the bulb and scratch the glass. In that extreme case, the camera must be sent in for an expensive repair.

The only way to know for sure is to try this procedure and take another test shot as described in the previous post. If you find that some dust spots haven't moved at all, then they are "stuck" to the surface of the glass and require a more drastic approach remedy.

3. Do-It-Yourself Sensor Cleaning Kit options.

Wouldn't you know it? As soon as DSLRs appeared on the market, some enterprising inventor began selling "do-it-yourself" kits for cleaning sensors. Knowing that my camera needed more than a simple "blowing off", I went to Pro Photo Supply in Portland, Oregon to find out which current products were the best value and safest to use.

I was shown Pro Photo's best selling and most cost effective sensor cleaning products -- both manufactured by Dust-Aid.

Figure 5 - Dust-Aid Platinum, Dry sensor cleaner

The Dust-Aid dry sensor cleaning uses no fluids to clean the sensor. Instead, the rubber stamp-like device uses a special cleaning silicon pad to trap the dust and remove it from the sensor's glass surface. The silicon pad is lightly touched to the surface of the sensor where it captures dust and is lifted with the pad. The system comes with cleaning strips that allow the silicon pad to be cleaned and reused indefinitely.

Figure 6 - Dust-Aid Platinum, Dry sensor cleaner pad is lightly tapped in the 4-corners of the sensor.

The process begins just like the bulb blower method. First activate the camera's sensor cleaning function. As shown in Figure 6 above, the pad is placed in contact with the sensor in each of its four corners. This placement allows enough overlap to clean the entire sensor glass surface. This device easily removes any dust that isn't "welded" onto the sensor surface. In many cases, this cleaning device and process may be all that's needed.

For the tougher jobs, like my D30, the wet sensor cleaner is the most appropriate "do-it-yourself" option.

Figure 7 - Dust-Wand Kit, Wet sensor cleaning

Using the Dust-Wand Kit (shown in Figure 7) is more complicated, but does a very thorough job. The kit comes with three soft plastic wands. The reason for three wands is to accommodate the three current DSLR sensor sizes. The wand is covered with a super soft swab that attaches to the wand. A special non-alcohol, non-flammable and fast drying liquid cleaner is then applied to the cloth-covered wand to clean the sensor's filter glass.

Here's how the process works.

Figure 8 - Attaching the cleaning swab to the plastic wand

The kit comes with detailed directions and diagrams for attaching the cleaning pad fabric to the plastic wand. Figure 8 shows my attempt at creating the "perfect" cleaning wand.

Figure 9 - Moving cleaning wand across the surface of the sensor's filter glass

Once the fabric is folded around the wand, a supplied plastic clip (red circle) holds it in place. The object is to make the top edge of the wand as flat and smooth as possible. It's this edge that will be in direct contact with the filter glass that covers the sensor.
Now it's time to activate the "clean sensor" function on your camera to move the mirror and shutter out of the way.
Apply 3 to 5 drops of cleaning fluid (number of drops is determined by which size wand you are using) to each side of the wrapped wand.
Place the wand in the lower corner of the sensor filter (yes, touching the filter) and gently move the wand across the sensor filter -- ONCE (see Figure 8).
Remove the wand from the camera and discard the wrapped cloth.
Wrap a new cleaning cloth onto the wand (using a new cleaning cloth ensures that no dust will be brought back to the sensor when the second cleaning pass is made).
Add 3 to 5 drops of cleaning fluid.
Place the wand in the upper corner of the sensor filter and gently move the wand across the glass -- ONCE. The overlap between the two cleanings will ensure complete sensor coverage.
Return your camera to normal shooting mode and attach lens.

Did it work? Figure 10 below shows the result of my sensor dust test after following Dust-Aids procedure with their Dust-Wand Kit.

Figure 10 - Result of sensor dust test exposure after Dust-Wand cleaning

It did work. Compare Figure 1 to Figure 10. It was a tense process, but my sensor hasn't been this clean in several years. The camera's like new and back in action again.

The cost for the Dust-Aid Platinum dry cleaning device is $29.99. The price of the more aggressive Dust-Wand wet kit is $39.99. This is about half the cost of other "do-it-yourself" products I've seen on the market. Considering it has been five years since my sensor was last cleaned, I calculate the 50 cleaning cloths that come with the Dust-Wand Kit will last me about 25 years. Kidding aside, there are ample supplies in these kits to last the average user several years.

I thought you might also enjoy seeing two worst-case, before and after examples of sensor cleaning that Advance Camera provided from their own archives. They are shown below as Figures 11 and 12.

Figure 11 - Before (top) and after (bottom) cleaning examples

Figure 12 - Before (top) and after (bottom) cleaning examples

One final example from Advance Camera is shown in Figure 13. In this case, the top image is the results of a customer attempt to clean his sensor. The bottom photo is the result after professional cleaning was performed on the sensor.

Figure 13 - Top image shows the streaked results of a "do-it-yourself" sensor cleaning
while the bottom picture shows the sensor after it was professionally cleaned.

I have also seen some suggestions that a vacuum brush is a sensor cleaning option -- like the ones that are sold to clean computer keyboards. I do own one, but I find that the brush bristles are very stiff. As a result, I worry about scratching the sensor's filter glass and haven't attempted this solution.

Of course, keeping your sensor as clean as possible to reduce the number of sensor cleanings should be the real objective. Here are a couple of tips to prevent dust from making a home on your sensor.

1. Always cover the mirror, shutter, sensor cavity of your camera. Usually a lens is attached to solve this problem. But when you don't have a lens attached to your DSLR, by all means, use the body cap that came with the camera. See Figure 14.

Figure 14 - Use the camera's body cap when a lens is not attached to your DSLR.

2. When changing lenses, face the body of the camera downward to prevent dust from falling into the mirror, shutter and sensor cavity. Dust doesn't usually fall up. See Figure 15.

Figure 15 - Switch lens with the camera body facing downward

Neither of these tips adds any time or cost to your photography, but they will help prevent dust from reaching the surface of your sensor.

One last warning: Sensor cleaning options 2 and 3 present risks that could damage your camera. With the initial investment of "doing it yourself" and having a professional perform the sensor cleaning being about the same consider which is most appropriate for your situation, skills and nerves. The cost of replacing a scratched sensor filter glass ranges from approximately $250 to $800 depending on which DSLR you own.

Sensing Your DSLR Sensor's Condition

2009-06-03T11:05:00.000-07:00

Note: Although I consider myself photographically competent, I need to acknowledge the information and insights I received from two trusted photo industry friends as I researched these two articles on Camera Sensors, Tom Houston of Pro Photo Supply and Dave Sleeth of Advance Camera -- both organizations are Portland, Oregon camera stores. Each gentleman helped me develop this information in a manner that would be most easily understood by the community of beginning DSLR photographers who read my educational blogs.

Technologically, my Canon D30 has been eclipsed several times by newer models with greater resolution and up-to-the-minute innovations. But because it was my first professional DSLR and the comfort factor I experience with the camera, I continue to grab it whenever my work doesn't require extremely high resolution files -- like the images used on my Internet website and blogs.

I have taken this camera everywhere -- Spain, France, Alaska, New York and throughout the southwest U.S. to name a few. It has been exposed to virtually every climate and weather condition imaginable. Although I keep the camera and lenses clean and protected, I began to notice spots on my pictures. These spots were especially obvious when I was using a small aperture opening and the background was a smooth single color. Clear blue skies made these imperfections especially visible and distracting.

Entire Image

Enlarged section of original picture

Figure 1 - Eiffel Tower (Las Vegas version). Original on top. Enlarged version beneath.

The problem started with just one spot. I worked around the problem by "dust busting" my images in Photoshop using the "cloning" tool. Over time, these imperfections began appearing everywhere in my pictures and always in exactly the same places. Figure 1 shows how extensive the problem became. (If you can't see the spots on the pictures of the Eiffel Tower on the top image, the second image is an enlarged section of the same picture with the spots circled in red.)

I knew all along that the problem was dirt falling on (and sticking to) my camera's sensor. But, to me, cleaning my camera's super-sensitive sensor was akin to taking out my own appendix. I'm no surgeon, and this wasn't an operation I was looking forward to attempting.

This first article on camera sensors will provide you with the information for determining the "dirt status" of your sensor and deciding if your sensor needs cleaning. My next post will detail the options available for cleaning a dirty sensor. Nothing shown in this article has the potential of harming your camera or costing you anything, but the following procedure should be carried out occasionally to determine the state of your sensor.

Visually checking the "dirt status" of your camera's sensor is a simple process, but it does take a little time. The camera's imaging sensor is well hidden in a DSLR. It is located behind the mirror and then behind the curtains that make up the camera's shutter. Consequently, taking off the lens and looking inside the camera body does not allow you to see or inspect the sensor.

The easiest and surest way of checking your sensor is by taking a special test picture with your camera. Here are the steps:

Figure 2 -- Set up for taking sensor "test" picture

find a large piece of smooth, single-color cardboard or mounting board (11"x14" or larger will do) with a clean surface
make sure you have a data storage card in your camera
set up the camera to take a picture of this board. (Figure 2 above shows my set up using a tripod to hold the camera
place the camera in Manual Focus mode and set the camera's focus ring to infinity (when looking through the camera's viewfinder, the now "out of focus" piece of board should fill the entire image area)
set the camera to Aperture Priority mode and use an f/stop setting of f/16 (high degree of depth of field)
allow the camera to make the automatic meter reading and take the picture
while you're at it, shoot a couple extra -- just in case.

Now you have one image file (and two back up files) of nothing but out-of-focus "blank". Download these files to your computer. Here's the picture result of the test shot using my D30 DSLR:

Figure 3 -- Original sensor test picture

Figure 4 -- Same as Figure 3, with dust spots circled in red.

Figure 5 -- Sensor test picture after applying Photoshop "Equalize" function

Figure 3 is the "straight out of the camera" image as seen in Photoshop. At the picture size in this blog, it might be difficult to locate the dust spots on your monitor. So, in Figure 4 I circled the dust spots in red. Figure 5 uses a command within Photoshop called "Equalize". (The Equalize command redistributes the brightness values of the pixels in an image so that they more evenly represent the entire range of brightness levels.) Although it's not important here to understand how Equalize works, the results when applied to this test are dramatic. The dust that sits on my camera's sensor is readily apparent in Figure 5, and more prevalent than I was able to identify in the red circles of Figure 4.

(If you don't have imaging editing software, like Photoshop, with an Equalize function, no problem. Try increasing the contrast levels in your software. This will help. But as Figure 4 demonstrates, you'll be able to see if there are large spots of dust on your sensor even without special image enhancement.)

Conclusion: Hub has a very dirty camera sensor.

The next post "How to clean a DSLR sensor" will tackle the problems and dangers of cleaning a dirty sensor as well as the steps you can take to minimize dust reaching your DSLR's imaging sensor.

In the meantime, get ready for the next article by performing the simple test above to see the current condition of your sensor.

Guidelines for Purchasing Your First Digital Single Lens Reflex (DSLR) Camera

2009-05-24T18:30:00.000-07:00

For the first-time DSLR camera buyer, the choices and options can be overwhelming. Here's a list of questions and considerations for making that big decision. A good camera store will ask the same questions to help determine which cameras are the best fit for their customers. Unfortunately, when shopping on the Internet or at mass merchandisers, little or no expert advice is available. So, answer the questions in this list, and take the list with you when you shop for that first DSLR.

Preface -------------------------------------

1. It is not the camera that makes the photographer. Any modern DSLR can take a good picture. It's the photographic knowledge, insights, time, patience and practice of each photographer that ultimately defines their personal style and the artistic merits of their photography.

2. All major DSLR camera manufacturers produce cameras that take excellent pictures. Whether it be Nikon, Canon, Sony, Pentax, Olympus, etc., each manufacturer is driven by customer demand and the ever-present pressure of competition. Consequently, you can be assured that each camera manufacturer offers a camera model presenting similar quality, capabilities and features within your budget range.

3. Be financially realistic. Making the decision to "move up" to DSLR photography carries considerable financial implications. This is true of almost any hobby or interest that we pursue in greater depth or take to the "next level". Photography can be expensive and, for newcomers, is rarely limited to just the purchase of a camera. I also caution first-time buyers that cheap usually signifies low quality. Over and above the initial cost of the DSLR camera body/kit lens, batteries, battery charger and memory card(s), typically the entry fee into DSLR photography will also include the following purchases during the first few months of ownership:

A tripod. (An adequately sturdy tripod will generally fall in the $80 to $200 range.)
Extra lenses. Most newcomers will buy a DSLR together with a lens (called a kit lens), but it's also common for DSLR owners to purchase a second or third lens to increase their photographic options (set aside $200 to $500 for each of these extra lenses).
UV filter(s) to protect the front glass (element) surface of each lens (a good quality UV filter will cost $30 to $50).
A camera bag -- for both convenience and protection reasons (expect to spend $50 and up for this important accessory).
(Optional) computer software to post process your images. Some digital imaging software can be found as freeware on the Internet. These programs are often a "good place to start." If you buy a commercial program like Photoshop Elements or Photoshop CS4, expect to spend $75 to $700.

There are hundreds of accessories you could and might purchase, but the list above identifies the items most often purchased at or near the time a DSLR is purchased.

The Checklist --------------------------------------

1. Determine whether photography will be a serious pursuit or possibly a passing fad in your life. If your interest falls into the "fad" category, save money and buy an inexpensive or even used camera. If you decide later that photography has become a serious passion, you can always move up to a more sophisticated DSLR camera.

2. Determine a budget for the new camera. This will automatically narrow your search and define a group of cameras to evaluate. As discussed above, be realistic and make sure the budget takes into account any accessories you will include with the initial camera purchase (such as camera bag, tripod, filters, extra lens, etc.).

3. Determine the type of photography that most interests you. This knowledge will help determine the features that you "MUST" have in your new camera as well as the accessory equipment you should consider purchasing (such as lenses, tripods, etc.). For example, the requirements of landscape photography are much different to those of portrait photography or macro photography. Know where you want to start your photographic experience.

4. NEVER buy a camera without first TRYING IT OUT! Don't be in a hurry. Go to your local camera shop and "handle" all the cameras in your established budget. Which one "feels" best and easiest FOR YOU to use? Remember, you have to live with this camera. It should "feel" comfortable in your hands and to your eye. There is a size and weight difference between what is comfortable for men and women. (Husbands and wives: Keep this in mind if you are considering buying your spouse a camera. In fact, a DSLR camera purchase is so personal that I suggest gifting the money, thus allowing the new photographer the freedom to select his or her own camera.) In addition, establishing a relationship with a good, reputable local camera shop and their staff will prove beneficial for as long as you are into photography.

5. Read the "Camera Review" section on photo forums and in photo magazines. This will provide you with some (usually expert) opinions regarding the technical merits of each camera you are considering.

6. Check out the Internet forums, go to local camera club meetings and ask friends who have the same photographic subject interest as you to see what equipment they are using. This research will probably spotlight two or three cameras in your price range.

7. Prioritize a list of camera features that you want on your new camera. Do you need aperture priority, external flash capability, depth of field preview, high rate of shots per second, water resistance, diopter adjustment to match your eyesight, etc.? Take this list with you when you go to the camera shop. If these terms are unfamiliar to you, seriously consider spending more time studying the fundamentals of photography. Internet sites like Hub's Camera are FREE and designed to give beginners this grounding in the basics of photography.

8. Don't get caught up in the megapixel race. This is especially true if you will seldom make pictures larger than 8"x10". Any camera from 6 megapixels and up can produce an exceptional 8"x10" enlargement. In reality, there is no noticeable quality difference between, say, a 10 megapixel camera and a 12 megapixel camera. It's certainly not necessary to purchase the camera with the most megapixels to create stunning pictures -- especially if the majority of your picture-making requirements fall within the typical picture size range of 4"x6" to 8"x10", or if your intent is only to share your photography online.

9. When you've narrowed down your choices to two or three, go to the manufacturers' websites and download the electronic version of each camera manual. Read through the manuals to ensure that all the features you require are present and that you understand how the camera is operated.

10. Remember: Once you purchase a camera, you are -- to a large degree -- "locked" into that particular manufacturer's camera line up. You can always buy up to more sophisticated or new models from that manufacturer. But, because each manufacturer has its own proprietary lens mount, you cannot use your lenses on another manufacturer's camera system. You will have to replace the camera and ALL of your lenses to make a manufacturer switch -- an expensive proposition.

11. Know your camera seller. Buy from a reputable dealer whom you trust, and who has a history of good customer support AFTER the sale. If you are fortunate to have a good camera shop in your area, support their business -- especially in the current economy. They will return the favor by becoming your trusted partner in photography. Nothing is more frustrating or demoralizing to a camera shop employee (and owner) than to spend hours answering customer questions and freely providing their expertise, only to have the customer go to a mass merchandiser or an Internet camera discounter to make the final purchase.

12. Once you've purchased a camera, save yourself months of pain and frustration. READ the manual. I am constantly amazed by the number of questions asked on forums that could be easily and quickly answered by reading the camera's manual. Take the time. Read the manual. Join a camera club. Sign up for a photography course at a local university or community college. Participate in a forum where you can share your pictures and receive constructive criticism. Do something that places you in a "hands on" learning environment. You'll not only learn the "ins and outs" of your camera, but you will meet others in your area who are either experts you can trust or fellow photographers at your same skill level. Misery and learning loves company.

You are about to enter one of the most enjoyable and artistically rewarding avocations on the planet. Maintain your sanity and your pocketbook. Make informed and educated equipment decisions.

New Book Pick - "The Joy of Discovery" by David Saffir

2009-03-11T12:37:00.000-07:00

Looking for that unique gift for the photo fanatic in your life? Then David Saffir's newest visual stunner -- "The Joy of Discovery" -- should be at the top of your list. This "celebration of my journey in photography" vividly illustrates David's keen eye for capturing the photographic art that's hidden within every location. Finding those image "treasures" may be well planned and require extreme measures, like being on location at 4 a.m. to catch a moonlit scene at a cliff's edge, or it may be the happy coincidence of timing.

For any photographer who believes that travel to exotic locations is a fundamental requirement of successful photography, you need only browse David's images to realize that beauty is found everywhere. It's the exercising of imagination, craft and style that should be your focus.

Some of David's images may look familiar, but they all have his special touch that make them uniquely Saffir images. His mastery of lines, tone and mood is evident in this book's broad range of subjects and is a delight to any viewer's eyes.

Be sure to include David's "The Joy of Discovery" on your photo bookshelf. Visit his website to see several preview pages and for ordering details.

Hub's Pick - The SLIK Pro 330EZ Tripod

2009-03-01T00:35:00.000-08:00

One of the biggest mistakes a serious beginning photographer can make is to cut corners when purchasing a tripod. Tripods range in cost from about $20 to well over $1,000. The temptation to save money and buy a cheap tripod is understandable, but, in the long run, a waste of good money. Cheap tripods don't provide the stability, durability, camera safety and flexibility photography requires.

I have had my Gitzo tripod for more than 25 years. It has become a friend and my stable photography platform. During this time, I have learned to operate it with my eyes closed. The one problem with my tripod is weight. At about 12 pounds, my Gitzo provides a workout every time I go into the field.

For this reason, I would not recommend my tripod to beginning photographers. (Or to me as a field tripod for that matter.) The recent industry trend in tripods is lightweight and sturdy. To that end, many manufacturers have taken to producing ultra lightweight tripods based on carbon fiber technology. When I started this investigation, I was immediately hit with "sticker shock". They ain't cheap. Even smaller carbon fiber tripods start at $250 and if I needed a larger unit, it could eventually cost more than the camera it was made to support. (By the way $250 was just for the tripod. I would need to add a separate tripod head to have a functioning tripod. Add another $100 plus.)

This isn't the value I was hoping to bring to my readers. We don't require space-age, stealth technology that will outlive the pyramids. What we really need is a semi-light, flexible, extremely stable and affordable "take everywhere" tripod. Serious beginners want to take landscapes, portraits, still lifes, night shots, wildlife and be able to do some experimenting with techniques like HDR photography.

So, I decided to follow my own advice and talk to the people I trust most - my local professional camera dealer. In my case, that means a trip to Pro Photo Supply in Portland, Oregon. The pro I found waiting for me was Tom. I told him I was about to write an article for my readers on tripods, and that I needed his advice on a solid but budget-friendly option for serious beginning photographers.

There was no hesitation. Tom led me directly to the store's tripod display and handed me the SLIK Pro 330EZ tripod. The price was extremely reasonable. I have found this tripod priced between $105 and $120 (Manufacturer's suggested price is $179). Best of all, Tom let me take it for a working "test spin". So that's what I did for the next 10 days.

SLIK's Pro 330EZ

Opening the box, I was pleasantly surprised to find that everything came with the tripod. I didn't need to buy any accessories (as if a tripod head could realistically be called an accessory). The tripod ships with:

tripod (with soft-foam covered top legs)
a two-piece tripod column and pan/tilt head
two bubble levels incorporated
quick release camera mount
instructions

The Pro 330EZ is not made with carbon fiber, but the next best thing - super titanium alloy. This gives the little guy excellent strength and noticeably light weight.

The unit weighs in at 4.4 pounds (including the head) and when collapsed it's a mere 24 inches long. Doing some research I found that an equivalent carbon fiber tripod would only weigh an ounce or two less. Since I was concerned about saving pounds, an extra ounce didn't seem like too much of a sacrifice to save a couple of hundred dollars.

The included camera quick release device attaches to any standard camera tripod socket, making set up and tear down a snap.

With the release device attached, the camera slips onto the tripod mounting plate, snaps into place and is secured by the quick release locking lever shown above. From this angle you can also see the two bubble levels. Extremely handy when attempting to level the camera for horizons, panoramas or any vertical/horizontal elements in the composition.

With the camera mounted, how stable is the unit? I'm pleased to report that this tripod is extremely stable at all heights. I felt my camera was as secure and stable as it would be on my trusty old Gitzo. Even normal bumping of the tripod didn't cause it to tip or fall in any of the configurations I used.

With either size camera the bubble levels are clearly visible for fine adjustment

I used the Pro 330EZ with a Canon EOS (with extra battery compartment accessory) and a Nikon D60 (considerably smaller than the Canon). Both cameras were held securely and without any "top heavy" tendencies or vibrations. SLIK rates the tripod with an 8 pound load capacity. More than enough to safely support a camera and long telephoto lens.

Vertical pictures can be easily accommodated by loosening the platform locking knob and horizontally rotating the camera 90 degrees. Then use the tilt and pan handle to move the camera to the desired vertical position. Very quick.

But the real story behind the Pro 330EZ is the flexibility it provides the photographer.

Each tripod leg has two extension sections that are quickly released and positioned with quick snap leg locks. Fully extended (including the head column extended) the tripod is 48.4 inches high.

The quick release leg locks and smooth action of the leg segments make set up in even the most complex and rugged situations quick and easy. In this set up, the front leg was at full extension as was the center column. And the camera remained rock steady during the long exposures used to create flowing-water motion in the nearby stream.

But that's only the beginning.

At the joints where each leg connects to the center column support, three two-position leg locks allow the angle of the legs to be altered in 2 steps to allow the tripod to conform to unusual shooting situations or a lower camera for unique perspectives.

In the picture above, the leg locks were adjusted to the most extreme angle and the column was raised to allow a lower shooting angle.

Since the center column is made of two pieces (as shown above), one section can be removed to allow an even lower camera position.

In the above picture, the lower section of the center column has been removed to allow an extremely stable camera platform and low perspective. In this lowest position the top of the camera mounting plate is a mere 11 inches above the ground. Pretty cool.

Need to get even lower and closer?

Then reverse the column and lay on your stomach. It takes a while to get used to shooting "upside down", but -- as you know -- a good macro shot is well worth the effort.

Without a doubt, it's mass production that helps keep the cost down on the SLIK Pro 330EZ. But the solid build, fit & finish, smooth operation, flexibility and quick operation of this tripod shouts "professional". It may be considered the low end of the professional line, but don't tell the tripod. It acts just like its big brothers.

Its size and weight are a joy. It easily fits into a backpack or suitcase. Most importantly, a photographer can carry this tripod all day and never notice its 4.4 pounds.

So, my friend Tom at Pro Photo Supply had good reason to point me to the SLIK Pro 330EZ. This "everything's in the box", durable and infinitely flexible tripod is a winner.

As a matter of fact, it's now mine.

About Hub's Photographic Picks

2009-02-28T22:17:00.000-08:00

Reviews of photo equipment flourish on the Internet. Many of these review sites like dpreview.com are worth their weight in gold when it comes to evaluating the technical merits and advancements incorporated in new products. Credible web sites like dpreview.com provide invaluable insights whenever an equipment purchase is being researched. I use them myself. Others cause me to scratch my head and ask, "Does this writer know anything about photography?" (One dead give-away of questionable camera review sites that I continue to spot throughout the Internet are those that use the 100-year old photographic term shutter and spell the word s-h-u-d-d-e-r. It just makes me shudder.)

The occasional recommendations that I make in Hub's Photo Tips and Picks will be based on their general applicability, usability, durability and value to the beginning DSLR users. I will recommend only products that I have used personally and found to provide the "best bang for the buck".

Along the way, I will recommend books, articles, websites and other source materials that I have found to be insightful and educational on all things related to beginning DSLR photography.

So, no I won't be starting with the Canon EOS 5D Mark II or the Nikon D3X. Those "dream machines" are not within my average reader's budget and will remain "cameras to aspire to". Instead, I will be reviewing products that I believe are of the greatest value to those who want solid, dependable equipment that will enhance their photographic experience and NOT require a second mortgage to own.

My "Picks" begin with the next article. I will focus on the most misunderstood and neglected piece of equipment any serious beginning photographer must purchase -- the tripod. I'll review the requirements of a good tripod and one tripod, in particular, that I recently tested and found definitely met the challenge.

Since I will only suggest equipment, software, books and materials that I believe are worth your investment, there is no grading system -- like "4 stars" or "thumbs up/thumbs down." If I didn't think it was worth your time to consider, I wouldn't have wasted my time writing about it.

I hope you enjoy my "Picks" and that each one will add to your enjoyment of photography.

Frame Your Picture In The Camera

2009-02-24T00:23:00.000-08:00

There is a simple, professional photographic trick that when used correctly will immediately add depth and interest to your pictures. The technique is called framing. Unlike the frame you buy at an art store, these frames are provided free by nature and man-made structures that are in your scene.

The dark foreground tree becomes a framing element to add depth to this Zion Park scene.

By placing a naturally occurring picture element to the front and near the borders of your composition, a natural frame is created. The close proximity of this framing element to the front of the picture also increases the perceived distance between the foreground and background of the image.

This Las Vegas Eiffel Tower is framed by the hotel arch.

The technique requires that you thoroughly investigate your subject from every angle to find framing elements that compliment your composition.

In the Rose Garden image above, the flowered archway presents a natural frame and entrance into the formal garden. Being darker than the rest of the image, the archway adds depth and provides a path for the eye to enter the picture.

Oregon Coast

This Oregon Coast line is framed by a native evergreen tree to add interest and emphasize the infinite ocean and sky seen in this picture.

TransAmerica Pyramid

The overhanging roof of a small San Francisco shop provides a natural frame that emphasizes the height of the TransAmerica tower and guides the viewer's eye to the subject.

REMEMBER: To have the framing element in focus as well as the rest of the picture, a large amount of depth of field is required (smaller aperture opening).

Use this simple framing technique to add another element of interest, professionalism and depth to your pictures. Nothing tricky here. Just a willingness to train your eye to see the framing possibilities surrounding your subjects. Like everything else in photography, it's mostly a matter of practice, practice, practice.

Camera Tip - Does your camera need glasses?

2009-01-22T19:22:00.000-08:00

Probably not. But your camera may need adjusting to "see" as you "see".

Unfortunately, not everyone has 20/20 vision. As a matter of fact, most eyes have their own unique focusing characteristics. If your DSLR isn't adjusted to the focusing capability of your eyes, less than sharp images will likely result. For regular eyeglass wearers or those requiring reading glasses, you already know that there is probably a difference between your eyes and standard factory viewfinder settings. This eye-versus-camera vision discrepancy even comes into play when you rely on autofocus mode.

There is a simple solution built in to most DSLRs -- a solution and adjustment that should be checked frequently.

Diopter adjustment control on a Nikon D200

A small, and often overlooked control, located next to your camera's viewfinder is capable of adjusting the diopter within the camera. This simple control plays a critical role in adjusting the camera's viewfinder to your eye's characteristics. Making the diopter adjustment is easy and quick:

1. Find a large piece of plain cardboard. Any light color will do. OR find a well-lit blank wall.
2. Turn OFF your camera's autofocus. Use manual focus. Set the lens focusing ring to infinity. We want the lens to be WAY out of focus.
3. Point your camera's lens at the cardboard or blank wall. Get close enough to the cardboard or wall to completely fill your viewfinder. Don't focus on the cardboard. Leave the focus set at infinity.
4. Look through the viewfinder and (in the case of this Nikon camera) you will see eleven small boxes in the viewfinder. Other cameras may use a different focus target scheme, but you will quickly see these targets when you look through the viewfinder:

The focus target boxes as initially seen in my Nikon camera

Shown above are the boxes I saw through my viewfinder as I started my diopter adjustment. Notice that the boxes are soft or out of focus.

5. Turn the camera's diopter adjustment in either direction until the boxes become very sharp (in focus). If the boxes become even more out of focus, turn the knob in the opposite direction. Eventually you will find a knob position where the boxes are sharp.

Turning the diopter adjustment brings the target boxes into focus.

6. That's it! Your camera's viewfinder is now customized to your eye.

Once the boxes are sharp, your viewfinder is adjusted to your specific vision. I suggest you check this adjustment occasionally because it is possible for the diopter control knob to be accidentally moved during normal camera handling. Since the process only takes seconds and can be done anywhere, it's well worth the time invested.

This adjustment has NO impact on the automatic focusing feature of your camera which will continue to work as before. The danger in not adjusting the viewfinder to your vision is that you may think the autofocus mechanism has incorrectly focused your camera causing you to incorrectly override the suggested focus setting. Or the camera may have selected the wrong object as its focus point, and you may not be able to "see" this inaccuracy and make the necessary correction.

Even if you have perfect vision, there is always the chance that the diopter control knob has moved during normal camera use (e.g., while taking the camera in and out of the camera bag, while changing other camera dial settings, etc.) It's best to synchronize all these visual picture taking components -- your eye, the camera's viewfinder and the autofocus system. And you do this with the diopter adjustment control knob.

On occasion, I have wanted to check my diopter setting in the field. Since I don't normally carry a large cardboard or blank wall into the field, I substitute the sky. This works very well.

If you have questions or comments, just let me know.

Photography Tip - Rain Drops on Flowers

2009-01-13T19:11:00.000-08:00

Because my wife is an avid gardener, I often go with her to local flower shows. That's one of the perks for those living in the Portland, Oregon area -- plenty of spectacular flower shows. Taking pictures of flowers soon gives way to experimentation into better and more creative ways of photographically capturing nature's never ending varieties.

I soon discovered that my most appealing pictures were of the flowers I took early in the morning -- just after the flower beds had been watered. Those dew-drop size water droplets gave my images more "pop" and interest.

Straight, no frills flower picture

The flower in the picture above was taken on my desktop studio. It catches the eye and is sharp enough to show every detail. However, to me, it looks like a typical flower picture. This is where my experimentation began.

Same flower after the rains

But it's the look of this second picture that I find more appealing. The rain drops add more interest to the picture to hold the viewer's attention.

So is there a simple technique for achieving the same results in the field?

I tried several approaches:

Indian rain dances to provoke the gods and initiate a small rain shower
Seeding the clouds over the flower fields to entice a brief moment of rain
Stealing the gardener's hose -- which was never long enough.

I finally came upon a simple solution that I now carry with me every time I go into the field.

Used, nasal spray bottle

That's my secret, portable rain shower. I found that a used and cleaned nasal spray bottle has all the benefits of Mother Nature without the uncertainty. The bottle is only 3 inches high by 2 inches wide. It holds about 2 ounces of water and is leak-proof. Best of all it produces a fine mist of water that is controllable and exactly mimics rain or heavy dew. It fits neatly in my pocket or camera bag and is always close at hand. And no one has ever been concerned when I spray a mist of water on their flowers.

Adding rain drops in the field

I close this tip with the picture above. I took this picture while at a flower show using my water-loaded, nasal spray bottle. The technique gives flowers that extra little spark of interest that intrigues the viewer.

I hope this tip comes in handy for you as well.

Shooting Tip - Christmas Light Displays

2008-12-07T11:32:00.000-08:00

Seems to be a good time for a seasonal photography tip. Millions of pictures will be taken this holiday season to memorialize the creative light displays of dedicated (and occasionally fanatical) artists of the Christmas bulb. Situations like these often result in disappointing pictures due to the unusual light conditions.

My list of equipment and settings for this discussion includes:

Tripod: to stabilize camera during long exposures
ISO: 100 to minimize digital noise and maximize image detail
Shooting Mode: Aperture priority to control depth of field.

Lighting display pictures present some interesting photographic problems.

The picture above is typical of the results in these unique lighting environments. Although the scene has been captured, the highlights have been overexposed and contain no details. The result is the visual "fusing" together of the individual lights that make up the display.

Individual lights are indistinguishable and detail is lost
(ISO 100, 4 seconds, f/8, aperture priority mode)

The picture above is an enlarged section of the first image. Notice the lights that provide the detail in Santa and the snowman have merged to produce an over-exposed mass of white.

The metering problem is created by the amount of dark area in the scene and the extreme intensity of the display lights (the scene's high dynamic range). The camera's metering is attempting to provide an exposure setting that will produce an overall exposure value that is equivalent to 18% gray. In most cases, the amount of dark area is greater than the light areas and has the greatest influence on the camera's metering system. As a result, the camera determines settings that over-expose the display lights.

The goal should be to distinguish the individual lights that make up the scene.

Exposing for the lights reveals the details in the display
(ISO 100, 1 second, f/8, aperture priority mode, -2 stops of exposure compensation applied)

The picture above has been exposed for the display lights. Notice that the individual lights and their colors are now distinguishable. The strings of lights have also provided enough illumination to allow some of the house details to be seen and add structure to the image.

Close up of properly exposed Santa and Frosty
(ISO 100, 1 second, f/8, aperture priority mode, -2 stops of exposure compensation applied)

Now the individual lights and their colors are visible to give the image the details in the displays and colors of the season. I elected to intentionally under-expose the image by 2 stops using the camera's exposure compensation control. How did I settle on 2 stops?

I used a combination of camera feedback:

The camera's preview screen. Watching the preview image I was able to see the results of each trial exposure and "see" the impact of exposure compensation changes. I was looking for the setting where the individual display lights became recognizable.
The camera's histogram. By watching my preview image and ensuring that the curves were not pushed too far to the right border of the histogram.

Here are two more examples from the house next door:

Again, the individual lights are indistinguishable and detail is lost
(ISO 100, 4 seconds, f/8, aperture priority mode)

Exposing for the lights reveals the details in the display
(ISO 100, 1 second, f/8, aperture priority mode, -2 stops of exposure compensation applied)

Notice anything? The exposures for this example are exactly the same as the first example. The point is that there is much similarity between displays. The exposure settings determined for one display become an excellent starting point for others.

A couple of final thoughts:

There are many ways of taking these lighting display pictures. Other photographers might have elected to use a high ISO setting (in the range of 1,000 to 1,600 for example). This is a very workable suggestion when you don't have the luxury of using a tripod and must hand-hold your camera. These higher ISO settings will provide faster shutter speeds. At the same time, just be aware that "noise" will become more apparent as the ISO values increase.
Snow is your friend. Unfortunately, in my area of the country, snow seldom falls during the holiday season. If you are lucky enough to shoot holiday displays with snow on the ground, you will be the beneficiary of additional fill light that is being reflected from the snow. This provides more structure to the picture and, obviously, more of the appropriate holiday mood.
It is possible to go overboard in the quest to make the individual lights distinguishable. I prefer to find an exposure that still provides some detail in the house and/or landscape to give the picture more structure. The picture below suffers from too much compensation and a lack of structure:

Over compensating for the lights reveals the details in the display but loses the structure provided by the house.
(ISO 100, 1 second, f/8, aperture priority mode, -3 stops of exposure compensation applied)

I hope this short discussion helps make your holiday pictures more successful and enjoyable.

Happy holidays from Hub's family to yours.

GPS Metadata For Your DSLR

2008-12-01T00:51:00.001-08:00

It's becoming increasing popular to include location shooting information (GPS) in digital image metadata. Being able to insert GPS information with each digital image file ensures that the orignal location can be identified and shared in the future. Since the major camera manufacturers don't include this capability as a "built-in" function on their latest generation of DSLRs, there has been an increasing number of DSLR GPS solutions appearing on the Internet.

Many of these products rely on synchronizing the device's internal clock with the camera's timing circuit. These units are NOT attached to the camera and track your physical location while you're shooting by keeping a log in memory. When you return from your day of shooting and download your pictures, the software that comes with the GPS devices then writes the GPS coordinates into each image file based on the time recorded in the metadata of each image.

To this aging brain, this process seemed overly complex and easily corrupted if the times were not synchronized or something went wrong with either clock. I couldn't understand why a GPS device couldn't be attached to the camera and the GPS data be written to each image AS it was being shot. This would reduce the complexity to making sure the unit was attached to the camera and turned on.

Well, I found one. At least, I found a rugged unit that is designed to work with most Nikon cameras and Fuji's Pro S5. Since I'm a Nikon user for a good part of my work, I was delighted.

Geomet'r GPS Receiver

The unit is offered by Macsense and is called the Geomet'r GPS Receiver. It's about the size of an Apple Shuffle player. Best of all it attaches easily to the DSLR and has only one, non-confusing on-off button. The cost of the unit is $150. I ordered and received the unit within 5 days.

Geomet'r GPS Receiver attached to a Nikon D200

Shown above is the simple attachment of the GPS receiver to the accessory socket of a Nikon D200 (red circle). The on-off button is located on the socket connector (yellow circle). The unit also includes a velcorized bracket for placing the unit on the camera's flash shoe. I have gotten into the habit of attaching mine to my camera strap.

OPERATING INSTRUCTIONS: Turn on the GPS Receiver. Give the unit about 30 seconds to figure out where in the world it is currently situated. Take pictures.

That's it. As each picture is taken, the GPS location coordinate data is included in the metadata automatically.

Lightroom Metadata Window

Shown here is the metadata portion of Adobe's Lightroom Library workspace. The GPS and Altitude information were entered into this image file when the picture was taken (red box). The GPS data is now permanently embedded information that will always travel with the digital file.

Notice the small arrow at the right side of the red box. Click on this arrow, and here's what you'll see:

GPS Image Coordinates Shown in Google Maps

That's right. Google Maps opens in your browser to show you the exact location of the coordinates recorded in the image metadata.

How cool is that?

Now any picture service that makes use of GPS metadata (like Flickr) will be able to display the location where the picture was taken. Send your best vacation or creative photographs to members of your family, and they will be able to see your pictures and the location.

Things you need to know:

The Geomet'r draws its power directly from your camera's battery. This requires you to charge your batteries more frequently or carry spares. When not in use, TURN THE UNIT OFF or it will continue draining your battery.
Like any other GPS unit, the Geomet'r will not work reliably inside a building. In these cases, I take a picture of the outside of the building to have one image from the session with the exact coordinates. I can add this GPS data to the indoor images later in my digital editing program.

I have found the Geomet'r to be extremely accurate, reliable and rugged. So, if you have been looking for this capability and own a Nikon or Fuji DSLR, check out the Geomet'r.

Footnote: As of this post, Nikon has announced an accessory GPS unit similar in size and function to the Geomet'r called the GP-I. However, the pricing information is not readily available. I have seen price estimates ranging from $200 US to $800 US.

2008-11-27T11:56:00.001-08:00

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Proportions in Photography

2008-11-09T18:33:00.000-08:00

Proportions have always been a source of confusion for beginning photographers. The confusion is apparent in the questions I'm frequently asked at seminars and workshops:

Why can't I make an 8x10 print from the picture I took?
I enlarged my original image file to 8"x10", and now it looks funny. What's wrong with my camera?

Well, there's nothing wrong with the camera or the computer editing program. It's all about proportions. In these cases, physics dictates that some things just can't be done.

The DSLR image format

The picture above illustrates the full format of most DSLR cameras. As the picture is taken, it is ideally proportioned to produce a 4"x6" print that contains the ENTIRE image. In ratio terms, that's a 2 to 3 relationship between the height and width of the print.

Any print that violates this 2:3 relationship will be a distortion of the original image. That's worth repeating. Any full-frame print you make from the camera's original digital file whose sides are not in the ratio of 2 to 3 will not be a true representation of the image you saw through the viewfinder.

Enlarging a 4x6 print to 8x12 (the height and width dimensions are enlarged by the same factor)

Here's an example of an enlargement that is proportional to the original image file. Increasing the size of a print from 4"x6" to 8"x12" is proportional and will not be distorted. The clue is: If you increase both dimensions by the same multiplication factor (in this case 2), the resulting picture will be in proportion to the original.

So, does that mean I can't make an 8"x10" print and keep everything I saw through my viewfinder in the final print without distortion?

Yes it does.

Here is an 8x10 print size (black lines) with the width of the original image set at 10 inches in Photoshop.

The picture above is the same image file enlarged to produce a print that is 10 inches wide. Notice that this sizing produces a picture with a large white border at the top and bottom of the print. But the picture is proportionally correct and will NOT be distorted.

This same image can be enlarged to include everything in the original photo, but distortion will be visible and distracting. (The image will look funny.)

To produce a print that captures all the elements of the orginal file this picture must be scaled in only one direction. As a result, the picture will always appear distorted.

The vertical lines are elongated and distorted to create this full 8x10 print from the full frame of a DSLR camera.

The picture above has been "scaled" (stretched) to fill the entire 8"x10" piece of paper. Simply put, the DSLR full image frame can only be enlarged in a 2:3 ratio and contain the entire original image. Said in another way, both the height and width must be multiplied by the same number to remain exactly proportional.

Can that be true? I see professional photographers selling 8x10 prints all the time.

You're right. But the professional photographer understands this "fact of nature" and crops for the 8"x10" print while he/she is taking the picture.

Photographers understand the area of an image that will be included in an 8x0 print (the red box) when they are taking the picture.

The red box superimposed on the picture above is burned into the mind of long-time photographers. They understand that the original picture must be taken with the final print size in mind. In this case, if the end result is to be an 8"x10", the photographer will keep his entire printable image within the boundaries of the red box. That portion of the image will enlarge to a perfect 8"x10" and the remaining image at each end will be discarded.

By the way, the 8x10 proportion is also applicable to other standard photographic print sizes -- 4"x5", 16"x20" and 20"x24".

Some professional cameras will have this (and other) proportion indicators physically etched into the viewfinder's ground glass to provide an exact visual reference for the photographer.

From a practical and beginner's standpoint, when in doubt leave a little extra room around your image as you take the picture to allow you to eventually make a print that contains all the elements you intended in the picture.

Below are two versions of another picture to illustrate correct and incorrect proportions in a digital image. The distortion caused by scaling (stretching) an image to fill an area that is not proportional to the original is easiest to visualize in "people" pictures:

This picture is shown in the native 2:3 proportion of the original DSLR image.

The same image when forced to fit into the 4:5 ratio of an 8"x10" print via Photoshop's "Scale" function.

Obviously the contorted effect caused by the disproportionate scaling is objectionable and not a true rendering of the subjects. At the same time, notice that every picture element in the original 2:3 ratio photo is contained in this version as well. But each element has been elongated to fit the format while grossly distorting the image.

Finally, there is one more alternative. The actual dimensions of the picture area of the third picture in this post are approximately 10 inches by 6.7 inches. Remember this picture is proportional to the original image file. There is nothing wrong with a 10"x6.7" picture. It just won't fit in a normal frame (like 8"x10") or pre-cut matt. But that's not necessarily bad. You can cut a 10"x6.7" matt or have a framing store cut one for you. For example, a framing company could cut a matt with the outside dimensions of 11"x14" and a cut out measuring 10"x6.7". The resulting matted print would then fit inside a standard 11"x14" frame.

If you have questions or comments, just let me know.

A Primer on Built-In DSLR Flash

2008-10-24T00:05:00.000-07:00

I was amazed at how detailed the twinkling stars appeared as I was watched the first game of the 2008 World Series on an HDTV. Then I realized the game was taking place in the Tampa Bay Devil's enclosed Tropicana Stadium. Those weren't stars. They were thousands of individual electronic flashes capturing the first pitch of the game.

At that same instant, my mind flashed back to the first days of my photographic career when I managed a color lab and processed literally millions of similar pictures for amateur photographers. The events and pictures varied from Friday night high school football games from the top bleacher to parents recording their child's graduation from seat ZZ10, but the results were always the same -- great pictures of the backs of peoples' heads seated 3 to 4 rows in front of the photographer and no image of the event taking place 300 to 400 feet away.

The moral of the story is -- like Dirty Harry would say -- "a man (or woman) has to know his limitations." Limitations is the story of your camera's built-in, electronic flash. The camera's built-in flash is extremely convenient and useful within its effective range.

When taking a flash picture, the light rapidly spreads out to illuminate the subject (above). A portion of the light strikes the subject and is reflected back to the camera's lens. Because of the spreading of the light and the distance that light is required to travel (to and from the subject), much less light returns to the camera than was originally emitted by the flash unit. It's the returning light that determines the aperture setting needed for a correct exposure.

The illuminating power of a photographic flash unit is normally expressed as a guide number. A typical guide number for a flash built into today's DSLR is 40 feet at an ISO of 100. Photographers have used this guide number for years to determine the correct aperture setting (temporarily forget about the automatic flash function on your camera).

The math is simple. Divide the guide number by the distance from the flash to the subject. The result is the aperture setting. For example, a flash with a guide number of 40 and a distance to subject of 5 feet would require an aperture setting of f/8. (40 divided by 5 equals 8)

Back to the automation in your camera. DSLR cameras with an automatic built-in flash are capable of electronically determining the distance to subject and performing the math to set in the proper aperture setting.

So why did I drag you through this explanation and 4th grade math?

Knowing the guide number of your flash unit and this simple equation speaks volumes about what pictures you can and cannot take. If the subject in the example above had been 10 feet away from the camera, the required aperture setting would be f/4. (40 divided by 10 equals 4) This is probably very close to the maximum possible aperture setting of your camera. By the time the subject is 20 feet away from the camera, the required f/2 aperture setting isn't available on your camera. You have exceeded the effective range of the camera's built-in flash.

As shown in the illustration above, the typical effective range of the built-in flash units in today's DSLRs is from 10 feet to 20 feet. As you exceed the maximum effective range of the camera's flash, the subject will become increasingly underexposed (darker) until it is completely lost.

Remember using a telephoto lens does NOT help this situation. The effective range of flash illumination is always determined by the distance of the flash unit to the subject -- regardless of the lens being used.

Estimating the average distance from the bleacher seats to the pitcher's mound at Tropicana Stadium to be 300 feet to 500 feet or more, is it any wonder why these pictures never turn out as expected?

Even most professional external electronic flash units can't take this picture. A typical pro unit might have a guide number of 150. Doing the guide number math with this guide number yields a maximum flash-to-subject distance of 50 feet to 60 feet. (Probably explains why professional sports photographers are seldom found taking pictures of night games from the bleacher seats.)

But someone will say, "Hey, I took a similar picture, and it didn't look too bad." Truth be told, in these instances, the flash played NO visible role in the exposure. What produced the image was the available light provided by the stadium's lighting -- not the flash unit. Certainly the photographer saw the flash fire, but not enough light returned from the subject to make any visible exposure. It was the stadium light that made the picture possible.

If you find yourself in one of these seemingly impossible situations, try turning off the flash and use the light that's available in the arena. It may be necessary to increase the ISO setting to 800 or higher, but it's better than losing the picture opportunity.

Note: Guide numbers are directly related to the ISO setting of the camera. The higher the ISO setting the greater the effective distance of the flash unit becomes. This alternative provides a small gain in effective distance, but the trade off will be pictures that show more and more visual noise (grainy appearance) at each higher ISO setting.

One final cautionary note: Light emitted by the built-in flash unit "spreads out" at all angles when fired. One of these directions is downward.

Flash shadow created by a wide angle lens

This becomes important when using wide angle lenses. The flash picture above was taken with a lens that was too wide for the camera's flash. The result is the shadow seen on the lower half of the wall. The dark area is actually the shadow created as the light was interrupted by the top of the lens. Your camera's manual will indicate the maximum wide angle lens to be used with the camera's flash unit.

I will end this article with two other examples from my days managing a color lab for amateur photographers and processing thousands of pictures everyday. The first occurred when I covered the premier showing of the Star Trek movie for a local newspaper. After two decades of absence from TV, this movie was long anticipated. Sitting in the darkened theater, I couldn't believe my eyes when Captain Kirk first appeared on the screen and dozens of flash pictures were taken. You can't light up light. I saw those pictures pass through the lab the next day. What did these photographers get in return? Pictures of a completely white screen.

The second example occurred every day with a stream of flash pictures people would take of their TV screens. What did they get? Nothing but pictures of a bright flash reflected from the glass of the TV screen.

Know the limitations of the flash.

Shooting Tip - Black and White DSLR Photography

2008-10-09T09:29:00.000-07:00

Shoot in color. Convert to black and white in the computer.

Thought I'd get right to the point. Once again, the beauty and simplicity of the black and white image is making its "every 20 years" resurgence. I, for one, am delighted to see this revival. There's something delicate and emotionally compelling about a good black and white photograph that color cannot always convey.

This difficulty in shooting with a black and white image in mind is learning to "turn your color vision off". Learning to see the subtle changes in grays and the important role light plays in each picture is challenging. Taking up the challenge will not only lead to a new skill and admiration for the black and white photo, but it will also improve your color photography.

When black and white was the only choice for photographers, the ability to "think in black and white" was quickly learned. Today, that learning process can take place in front of your eyes on the computer's monitor. When starting down the black and white road, spend time looking at your existing library of color images and convert them back and forth between color and black and white to observe the differences. What happens to trees, rocks, wood, sky, people, details, shadows, highlights, etc. when the color is eliminated? This exercise will begin to train your eye and mind to make the same conversion when you're shooting in the real world.

Now... go to the library. Yes, I said the library -- not the Internet. Look up the works of some of the masters of black and white photography. Ansel Adams is a good place to start. Study these images to gain an insight into how the masters interpreted their world in terms of black and white. I recommend the actual library book because the images in these books were usually printed under the guidance of the photographer. The images in these books reflect how the photographer wanted you to experience his vision. Much of the subtlety and impact can be lost when viewing the same images on your monitor from an Internet photo collection.

So, here's a color image that I took with the intention of producing a black and white photograph. I followed all the rules of exposure (see Hub's Camera primer for "Exposure Is Everything", Parts 1a and 1b) to produce an acceptable and printable color image.

Old Grist Mill, Clark County, Washington

In my image editing program, Photoshop CS3, I used the black and white conversion option under the "Image/Adjustments" menu. In the case of Photoshop CS3, the conversion of color to black and white has been enhanced to allow individual color intensities in the original image to be altered during the change from color to black and white. For example, I could lighten the trees in this picture by adjusting the green channel. Not all image editing programs have this enhanced capability, but all should have an option to convert your color image to black and white. That's OK. Here's my converted image:

Old Grist Mill, converted to B&W in Photoshop

This is what I "saw" with my black and white vision when I was on location. You'll often hear experienced photographers call this "pre-visualizing the image." They have the ability of seeing the color, tones and details of this image in their minds in shades of black and white. That's a very good thing. But take heart, it's a learned skill that you can master. Practice, practice, practice.

As you train your eye, you will learn to pre-visualize the final picture in many forms. Here's a variant of the same image toned to mimic old-style antique toning processes:

Old Grist Mill, toned in Photoshop CS3

In this version of the original photograph, the scene is reproduced in shades of black and brown to render a different look and feel to the image. The possibilities are nearly endless. The trick is learning to see them as you are taking the picture.

I started this discussion by saying "shoot in color and convert to black and white in the computer." Some DSLR cameras have a black and white option in their menus. If you select this option, no color will be recorded -- just shades of gray.

However, you never know when you might want this picture in color for some other purpose. So shoot the picture in color and then convert the image in your computer and SAVE it under another name. This way you'll always have the original color photograph to use later.

If you have questions or comments, please let me know.

Hub's Visionary Photographers Blog Launches Today

2008-10-05T23:20:00.000-07:00

Today is the official announcement and opening of Hub's Visionary Photographers blog.

The articles presented in this blog are contributed by today's leading photographers, photo educators and photographic authors. (That's right. You won't be subjected to my writings.) Here you will find the wisdom, words and images of those photographic luminaries who are defining the art of photography in a digital world and leading us to new levels of visual expression. Each Visionary has a sincere and burning desire to help the next generation of creative photographers.

As with all my photography blogs, it's FREE. Just lots of great information, insight and inspiration for anyone serious about photography and who wants to learn more about today's photographic heros.

So, check it out and sign up for a feed or immediate email notification of new articles.

Compact Flash Cards - Digital Film

2008-09-22T16:59:00.000-07:00

Compact Flash (CF) cards are the predominant in-camera, storage media for the majority of modern DSLR cameras. This post looks at Compact Flash cards and the jargon you will encounter when making a purchase decision.

The original compact flash by IBM (left) and a current CF card sold by Calumet Photo

Compact flash card are miniature hard drives that have been optimized for use in today's high performance DSLRs. Currently CF cards are readily available with storage capacities from 1 megabyte to 64 gigabytes. (Because of the ever decreasing cost of these cards, CF cards lower than 1 gigabyte are more difficult to find and rapidly disappearing.)

Type II CF card (left) and Type I CF card (right)

CF cards come in two flavors: Type I and Type II. The difference is thickness. Type II cards are thicker than Type I. (5mm vs. 3.3mm respectively). Your camera manual will tell you if you are limited to Type I or Type II.

The original IBM compact flash card has a place in history because every subsequent advancement uses the writing speed of the original as its speed measurement base. (This is the same tactic taken by CD manufacturers when citing writing speed -- comparing the newest CD to the original Compact Disks.)

The speed of the original IBM CF Type II was 150,000 bytes per second. Today CF cards can be purchased with 305X write speeds. That's 305 times the original 150,000 bytes per second or 45 megabytes per second.

It's obvious that as the megapixel count on DSLR image sensors increase, the files stored on CF cards are becoming larger and larger. So higher storage capacity certainly makes sense -- unless you like changing CF cards or downloading images every few shots.

But what about the increases in write speed? Why is this important? Well, write speed of a CF card ultimately determines how quickly a modern DSLR can release an image from its internal memory. And this is very important when shooting in "continuous" mode (sometimes referred to as sports shooting mode). The number of images your camera can take in rapid succession is in large part determined by how fast the previous file(s) can be written to the CF card and eliminated from the camera's memory. With some high-end DSLR cameras having the capability of taking 10+ images per SECOND, the bottleneck to continuous shooting becomes the speed the CF card is able to accept and write image data.

For most mid-range DSLRs currently on the market, a speed rating of 133x and up should keep up with the data throughput demands of the camera in continuous shooting mode. Of course, this will change tomorrow as faster cameras are introduced.

Beware of CF card prices that seem too good to be true. They probably are. Double check the specifications of these bargain cards to ensure that they meet the parameters of this discussion. If you aren't provided specs, don't buy the card.

If you have questions or comments, please let me know.

Never Stop Learning

2008-09-22T09:21:00.000-07:00

Photography student at the Santa Fe Workshop

One of the most frequently asked questions I encounter from "freshman" photographers around the country is, "Where and how can I learn more about photography?" Two qualifiers are often attached to this question:

"that doesn't require me to have years of shooting and technical experience"
"that doesn't cost too much".

Obviously, the Internet offers some of these learning opportunities. Even sites that are primarily driven by a more technically oriented membership have sections devoted to beginning photographers. One such site is dpreview.com. Among the many forums hosted by DPREVIEW is an area devoted to "Beginner's Questions". What's most appealing about this forum is the willingness of the most experienced photographers to share their knowledge. Having followed this forum for many years, I have observed that there has been no question left ignored, unanswered or considered too basic. In fact, if you post a question on this forum you are likely to receive dozens of comments/replies within the first few hours.

As much as I admire these Internet educational sites and the service they perform, they (including this blog) are no substitute for hands-on guidance in photography. So I would like to offer some suggestions that provide the beginning photographer with live and in-person opportunities for a more personal photographic learning experience.

Camera Clubs

Virtually every community has at least one camera club. Camera club meetings can occur once or twice each month and the membership usually includes all levels of photographic experience -- beginner to professional. Membership fees are nominal, but well worth the investment. Since these organizations were established to foster and nurture photography, they are designed to cater to the needs of the new photographer. Most importantly everyone at a club meeting shares your love of photography and insatiable appetite to learn more.

A large portion of these local camera clubs belong to regional organizations called Councils. These Councils coordinate group activities, newsletters, educational seminars and photo competitions that individual camera clubs alone could not afford to develop or manage. If you enter, "camera club councils" into Google, you will likely find a Council that covers your location. The council websites contain a list of member clubs in your area as well as the contact information. Here's one such Council that I have grown to admire over the years for the activities and information they provide their member clubs -- The New England Camera Club Council. The NECCC covers the northeast U.S. and conducts one of the largest and most anticipated yearly conventions and educational events in the country. Take a look at the NECCC to get a flavor for what a camera club membership can mean for you.

You might also consider joining the Photographic Society of America. PSA is the mother organization for camera club Councils. PSA has an entire program specifically focused on the new member/new photographer. Their website is a collection of the best ideas and educational opportunities available. Member galleries afford you the opportunity to explore the work of other serious amateurs and learn from their experiences.

Local Community Colleges

The most frequently overlooked educational opportunity is in everyone's backyard -- your local community colleges. These institutions routinely offer credit and non-credit classes that range from basic to advanced photography subject matter. In many cases, the teachers are area working photographers who know your location and are a part of your community. These classes not only bring together photographers of similar skill levels, but people who are your neighbors. Fellow students can become lifelong friends and an "ever present" local resource of photographic knowledge. Community colleges may be the home of "user-friendly education" because students attending these adult education classes all share a similar passion and skill level ... and are all seeking the same answers.

I recently ran a Google search on "community college, photography" and received 2.26 million hits. Statistically speaking there's a high probability that you have a community college option in your area. The cost of a 6 to 10 week basic photography course is usually in the same range as membership in a camera club.

Specialized Photographic Workshops and Seminars

Several well respected private photographic workshops are available around the country. Nearly every one of these workshops is situated in a picturesque location. Again the range of student photographic expertise varies. These workshops make a business of developing and offering sessions that are geared to all levels of experience.

Students at the Santa Fe Workshop reviewing a famous photographer's portfolio

These workshops also represent the most expensive learning option. That said, it's money well spent. I have always considered workshops to be exciting photographic vacations. Viewed as a major vacation event, workshops are no more expensive than any other week-long vacation you might be contemplating. More importantly, the educators at these sessions are among the most respected photographers of our time. Spending a week with one of these photographic luminaries and fellow photographers in a small, focused class environment is a once-in-a-lifetime experience that is well worth saving your money to attend.

Two such organizations that I have personally experienced and admire are:

The Santa Fe Workshop - Located in Santa Fe, New Mexico. The director of the Santa Fe Workshop works tirelessly to ensure each year's selection of classes contains a who's who of respected photographic instructors, and that each session is packed with hands-on learning and personal critiquing opportunities. A complete digital darkroom is available as well as exposure to the latest photographic equipment. Sessions are conducted throughout the year. Attending a Santa Fe Workshop week-long session should be on your "Bucket List".
The Nikonians - Providing seminars and shooting events throughout the U.S. and Europe. The Nikonians is an independent organization for Nikon DSLR owners of ALL skill levels. Most Nikonian seminars are one or two day events that take place across the country. In addition, the Nikonians offer frequent guided photographic expeditions to some of the most photographic areas of the U.S.

Santa Fe Workshop's fully equipped digital darkroom provides students the experience of using and learning on the latest in imaging technology.

Nikonian founders on location during a recent expedition to the Grand Tetons

Many professional photographers supplement their income by conducting seminars around the country. Googling "photo seminars" reveals a long list of area events by these photographers. Private seminars usually cost a little more and are generally designed to cover a specific aspect of photography (for example, landscape photography, portrait photography, digital printing, workflow, etc.)

Most successful, customer-focused camera shops understand the PR and financial advantages that photo classes provide their businesses. So check your area camera shop for a list of upcoming classes. Most of these seminars are short (one day or less) and range from free to a very small admission charge -- a real bargain.

Photo Art Galleries/Exhibits

Exhibits of the works of today's master photographers (like this Douglas Kirkland exhibit) travel to special events and galleries all over the country.

Nearly every community features photographic exhibits throughout the year. Venues include established art galleries to county fairs and from libraries to camera shops. Spotlighted photographers can be local, national or international. Take every opportunity to visit photographic exhibits. Learn from the work of others. You'll likely find a style and subject matter that's in tune with your personal taste. Learning from the works of others is certainly the highest form of flattery and provides beginning direction to your own photography.

Photo-Centric Conventions/Trade Shows

Trade shows are prime locations for seeing the latest photo technologies and learning from the manufacturers' experts.

If you want to be overwhelmed with the latest information and technology, attend a photo-specific convention that includes manufacturer booths/exhibits. Naturally, the manufacturers' goal for participating in these trade shows is to SELL. However, you are guaranteed to find the best photographic experts from each company at these shows. They are especially sensitive to the beginning photographer and accustomed to answering the most basic to the most technical questions. And, best of all, you get to play with the newest equipment and technology. It's definitely an educational and "wish list" opportunity.

High on the list of "must attend" trade shows for photographers is Photo Plus Expo held at the Javits Center in New York City each October. PPE brings virtually every photo manufacturer together to display their wares. You'll find some of the most prestigious photographers on the planet conducting on-site seminars and exhibiting their art. New York is, without a doubt, the center of the photographic world, so expect to be one of about 60,000 attendees while enjoying a fantastic photography adventure.

Renowned photographer Albert Watson inspires a standing room only crowd of over 300 admiring photographers at the 2007 Photo Plus Expo in NYC

Similar, but smaller, trade shows/conventions are conducted year-round throughout the U.S. Attending one trade show each year will keep you abreast of advancements in our craft and expose you to many exceptional on-site, sponsored seminars tailored to your interests. Some of these events include:

North American Nature Photography Association (NANPA)
MacWorld
Photo manufacturer's association (PMA)
Wedding and Portrait Photographers International (WPPI)
Imaging USA (the Professional Photographers of America annual gathering and trade show)

Do-It-Yourself

I include this classification to remind every beginning DSLR user that real learning takes place every time you pick up your camera. I learn something nearly every time I shoot a picture. It's these personal occasions that allow me to experiment with the lessons I have learned from any of the above events. There's no better teacher than experience. The more you shoot, the more you learn. Take notes when you shoot, and download/review every picture.

So the answer to the question is: There's a world of hands-on photographic learning opportunities for the beginning photographer. And, there is always something happening near you.

I hope you are able to experience a few of these educational events. It's all part of the fun of your new-found art form.

If you have questions or comments, feel free to contact me.

The Cheap Photo Studio

2008-09-09T16:00:00.001-07:00

Putting aside the possibility of exposing how basically cheap I can be, this post discusses one way you can construct a table top studio in your own home. The idea for this post came from my recent experiences as a blog writer.

I knew from the onset that, to be truly useful to the beginning photographer, the information I supplied on this site demanded photos that clearly illustrated the material being presented. I also knew that in most cases, the photos would be of small, camera size objects. Ideally the studio set up would be close to my computer, so I could quickly snap an image, import the file into my computer and marry it with my blog content.

I have large studio access some distance from my computer, but the answer for me was to create a small table top studio that was within arm's length of my digital darkroom. As I looked at the commercial options, it seemed that most appropriate table top studio kits cost $100 or more. Since my blogs are without financial support and I don't sell anything, spending $100+ seemed excessive.

I decided to explore a home-brewed alternative and construct my own mini-studio. Here's how it came together.

My first concern was lighting. I wanted relatively soft lighting that approached the color temperature of daylight to reduce my white balance concerns. Spending time at my local Home Depot lighting department, I found one of those new fangled fluorescent replacement bulbs in 100 watt equivalent that was balanced for daylight:

My Home Depot 23 watt daylight fluorescent bulb produces the equivalent light level
as a 100 watt conventional bulb. Cost: $4.50 each.

Since the physical area of this table top set up is only about 6 square feet, three 100 watt equivalent bulbs provide ample light for exposures made with a tripod-mounted camera. (My average exposure has been 1/60th of a second at f/8. Fast enough and plenty of depth of field.)

Next I toured the automotive department where I found a budget bin containing "clamp on" utility lights with a silver reflective surface. I bought three of these light fixtures for $3.98 each.

The Home Depot clamp on utility light with daylight fluorescent bulb installed.
Each fixture plus bulb combination cost $8.48.

The accidental advantages of this lamp-fixture combination are cooler operating temperature, lower electrical consumption and longer bulb life. Works for me.

To create a seamless background, I used a 30 inch x 40 inch photo mounting board that I had on hand. Mounting board not only provides the seamless background effect I wanted, but allows me to quickly change background colors as the picture requires. Fixing the mounting board in place was a breeze when I realized the carpenter clamps in my garage would snap in place on the edges of my photo table to securely hold the board without marring the board or table surfaces.

You guessed it. I originally bought my carpenter clamps from Home Depot as well.

I have light stands, but only one resides in my computer darkroom. So, I used furniture at hand to provide additional supports. You won't believe what I eventually found most useful for this purpose.

Table top studio in action.

Here's the final product. By clamping the mounting board to my table top edge and curving the board to lay against the back wall, I created a working table top studio that I could quickly change to accommodate any small object. By the way, that light stand holding the high key light on the left is a wire-framed bar stool.

My out of pocket cost for this Home Depot Studio was $25.44 plus some odds and ends I had in my workshop. I use scrap white mounting board pieces when I need to add some reflected bounce light. Because I'm using solid colored mounting boards in a seamless arrangement, retouching and masking in Photoshop is a snap. (Usually the magic wand tool in Photoshop is good enough to completely mask out the background.)

Note: Because these are fluorescent bulbs, allow a couple of minutes for the bulbs to warm up to their full intensity. Also make sure you purchase the daylight balanced version.

It's true that we are slaves to an expensive hobby. However, there are ways of minimizing the cost without negatively impacting the quality of our photography.

If you have similar do-it-yourself cost savings tips for your fellow photographers, I'd love to hear about them. I'm sure someone out there is getting creative with duct tape. If you have any questions or comments, you know where to find me.

Equipment Tip - Shutter Release & Image Sharpness

2008-09-02T20:03:00.000-07:00

A few posts ago, I touted the advantages of using a tripod whenever possible to increase the sharpness of your images. I briefly commented on using a shutter release cable to add to camera stability. Consider triggering the shutter even when the camera is mounted on a tripod. Even with the support offered by the tripod, camera shake can still occur -- especially with lower quality, inexpensive tripods. Here are three ways the shutter can be released when the camera is mounted on a tripod:

Push the shutter button with your finger. Advantages: You never forget to take your trigger finger with you, and it doesn't cost anything. Cons: The action of pushing the button can shake or move the camera to impact the quality and sharpness of your picture.
Use the camera's self-timer feature. (And you thought it was just for taking pictures of yourself.) Advantages: Again the feature is always there, and it came free with the camera. Cons: Takes some time to set up, and when you physically push the button to activate the self-timer the camera might move slightly.
Use a wired or wireless shutter release. Advantages: Since the device is a switch that actuates your electronic shutter, it provides a truly motionless shutter button release and the sharpest alternative. Cons: The cost of purchasing the accessory.

The cost was prohibitive enough that it wasn't until recently that I made the investment. (Up to this time I had been using the camera's self-timer exclusively.) The shutter release cables made by my camera manufacturer were expensive and were never on sale.

Then I saw an ad on Pro Camera Gear's website for a wired and wireless remote made by a company called Micnova. The wired model was selling for $12.99 and the wireless remote version was priced at $29.95. That's over 60% less than I had thought I was going to spend. Being a wild and crazy guy (as well as never knowing when I might need the wireless feature to safely capture Sasquatch in the mountains of Washington), I purchased the wireless remote.

The Micnova wireless remote consists of two units:
1) the receiver and 2) the transmitter.

The wireless remote came with batteries and just needed to be attached to the front connector of my Nikon D200. Bingo. Ready to take pictures.

The unit can be user set to any of 16 channels to avoid interference with the other Sports Illustrated photographers at the Super Bowl game. The button on the transmitter works just like the button on my camera's body. Push the button part way down to activate the meter and auto-focus, and then press the button the rest of the way down to trigger the shutter.

So, here's a way of getting the advantages of a shutter release cable when taking tripod mounted pictures without spending too much money. Best of all, you don't have to worry about accidentally leaving a finger at home. In actual shooting conditions, I've been as far away as 30 feet from the camera, and the shutter has functioned without a hiccup. Both the wired and remote versions are available for most popular DSLRs.

Hope this is helpful. If you have comments or questions, you know where to find me.