Post Production: Curves Adjustments

It's amazing what a little post production can do to lift a photograph to the next level. I'm not talking about HDR, or over saturating the colors, or even blending images (although all of those can 'lift' a photo when used in moderation), but I'm talking about the basics. The tools you can find in most photo development software. I personally use Adobe Lightroom for all my post production and cataloging and love it. I think it's a great program, but there are many others that work just as well, especially with the basics I'm discussing here. When you shoot in RAW format (as I do 100% of the time) the file NEEDS post production. The reason I shoot in RAW is to get as much information from the original photo as possible and also be able to control aspects such as white balance and exposure in post production without losing file information. Very seldom do I do nothing to a photo. Most often, a quick curves adjustment is all a RAW photo needs. That's what I've done here. The photo above is one that needed a slight curves adjustment, creating a cleaner finished product. 

Above is the difference between the RAW file (left) and the developed photo (right). You can also see the curves tool on the right hand side that looks like an elongated 'S'. On this photo I adjusted the darks to -25 and the lights to +38. It creates a bit more contrast and really shows off the details and colors in the foreground and sky.

If you are serious about photography and you're not shooting in RAW I would strongly recommend switching. You will notice a difference, especially in the digital darkroom.

Note: If you have tried to access my website in the last day or two you may have been redirected. I apologize for the inconvenience. I am working on a new and improved website that will hopefully be more informative and easier to navigate. Check back soon!

Desktop Wallpaper: Grand Canyon January 2013

I want to start a new feature on the blog where I offer a free desktop wallpaper each month. If you've tried to use my images as background images in the past and found it frustrating to find out it only shows up pixelated and ugly looking, that's because I have uploaded my images to be only as big as 700 pixels on the longest side. The images I upload as desktop wallpapers will be 1920x1200 and 1280x1024, large enough to fit on most laptop or desktop screens. If that means nothing to you, just know that when I offer the desktop wallpapers you will be able to use them on your computer full screen and they will look as crisp and clean as I intended them. Feel free to share this with your friends and enjoy looking at your new desktop background, courtesy of the Grand Canyon!

Instructions on how to set image to background
On a Mac:
1. Click on the image below that'll best fit your monitor
2. Ctrl+click on the image
3. Click 'Save Image As...'
4. Save image in a folder to find later
5. Find the image and Ctrl+click on it
6. Click 'Set Desktop Picture'
7. Voila! You have a new desktop wallpaper!

On a PC:
1. Click on the image below that'll best fit your monitor
2. Right-click on the image
3. Click 'Save Image As...'
4. Save image in a folder to find later
5. Find the image and right-click on it
6. Click 'Set as Desktop Background'
7. Viola! You have a new desktop wallpaper!

Choose the size to best fit your monitor.

1920x1200 (Same as above)

1280x1024

If you would like to request a size, please let me know in the comments below. Enjoy!

Different Shades of Light

These two photos were taken minutes apart, and although they don't seem much different there are subtleties I love in both. The first image is compact, warm with bits of waning light brushing the tips of the canyon walls. In the second, the light has faded, but brought out pinks and purples throughout the canyon. And that little bit of sky showing creates a grander feel than the first.

I love catching the alpenglow light on a mountain peak or canyon wall but sometimes the best light is just after the sun has set. The light is even. The deep contrast-y shadows are gone and you're left with a pure unadulterated scene. This twilight light can cast some incredible color our eyes often miss. Stick around the next time you're out shooting and watch for this moment. You'll be glad you did. Don't forget your tripod, though; long exposures are inevitable in this type of light.

Choosing the Right Lens

Near the Utah Nevada border north of Wendover. This scene beckoned for a telephoto lens to compress the layers of desert mountains. Used a 70-200mm telephoto at 200mm. 

Choosing the proper lens for any photographic scene is an integral part of producing your vision as a photographer. Your lens choice can produce radically different images of the same scene. Wide angle lenses (ex. 16-35mm, 17-40mm, 18-55mm) tend to distort the image, making objects look stretched out and elongated; perfect for wide open landscapes, not so perfect for somebody's nose. Speaking of people's faces, if you're into portraits the best lens to accurately portray someone's face is 50mm. This focal length is the closest to how we see. If you put your camera, with the lens at 50mm, up to your eye and then take it down, the scene should look very similar. Cropped of course, but as far as distortion and size, it should be the same.* There are some amazingly priced 50mm prime lenses that give you fast glass at a classic focal length. My favorite being the Canon 50mm 1.8, sitting at a cool $107. I like to use anything 50mm+ when shooting portraits and will oftentimes use my telephoto 70-200mm lens with fantastic results. Telephoto lenses (70-200mm, 300mm) are great for compressing a scene and bringing foreground and background layers closer together. Seeing in telephoto may be a little difficult, and you can miss a potentially great shot if you're not used to it. Something I do often is put the camera to my eye and scan the scene with my telephoto lens in search of nice compositions. I may not always see those shots in the beginning, but I've been successful using this technique and I think it is a great way to practice "seeing" in telephoto.

 I like to have a vision going into a scene, but if something unexpected unfolds right in front of me I'm going to want to be able to make the most of it. This is where knowing your lenses, and how they capture a scene, will set you apart from the crowd and keep you coming home with an arsenal of images. 

Beautiful Ogden Valley at sunset. Using a wide angle lens allowed the fence in the foreground to lead the eye into the scene and wide open background. I used a 24mm tilt shift lens. 

*Of course, there is a difference when dealing with camera bodies that have crop sensors compared to full frame sensors. Some photographers prefer an 85mm lens on a full frame body for portraits, but the idea that the focal range between 50mm-85mm being similar to the eye is still applicable.

 

Cataloging Photos with Adobe Lightroom

I've been reviewing old photos and came across several that I had dismissed initially but are actually some of my favorites in their own series.  Amazingly enough this happens quite often, which is exactly why I never delete photos, always back them up, and continually review old ones.  You never know what surprises you're going to find.  I catalog my photos to keep them organized and filtered.  I use Lightroom for this purpose and I find that it works wonders.  You have to keep up on it, but with the help of a regular routine you'll be thanking yourself later. 

As soon as I am able to sit down with my computer and CF card after a shoot, I plug in my card reader and start downloading images.  Ideally, I am near my external hard drive and can do a back up then and there and forget about it.  No matter when I get to it I will back up my photos.  Backing up your photos may be the most important step, so don't forget it!  I can do this automatically with Adobe Lightroom and kill two birds with one stone on one download.  I've preset mine so that all I have to do is plug in my external hard drive and press OK and it'll automatically back up to my selected hard drive.  If it's not plugged into my computer Lightroom will remind me.  After I get all my photos into Lightroom and backed up on external hard drives, I start to go through and weed out the good from the bad.  I use a 'flag' for the ones that draw an initial reaction and I know are good, and a rejection flag for any overexposures or out of focus photos I know I don't want to keep.  Then, I go through the flagged photos and narrow it down even further to the best of the best with a rating of five stars.  I can filter the photos so that only the flagged photos are showing and develop from there, eventually focusing on the five star images.

When I am satisfied with my selection of "good" photos I start to play around in the digital darkroom.  Does the photo tell a better story in black and white?  Will it look better cropped?  What can I change to express my vision?  Aside from correcting exposure, color correcting and removing dust spots I don't like to "correct" too much unless I'm trying to achieve a certain look.  The point is to try and capture it in-camera as best you can.  Photoshop, Lightroom or iPhoto will only take you so far.  Getting an image right in-camera is the best practice and will improve anyone's photography.  I try to take that to heart.  

Last but not least, I go through my images regularly.  If I missed a back up I get it done as soon as I can. If I haven't gone through and edited dust spots, I'll do it.  Most importantly, I'll look with a fresh set of eyes at all the captures and if there is a photo I think should be flagged or even starred that isn't I'll do it then.  It's amazing what a fresh set of eyes can see.  I often find photos that were initially overlooked and wonder why I hadn't flagged them or given them a better status to begin with.  The best practice is to review, review, review!

Lightning Over Salt Lake

I have wanted to get a shot like this for some time.  It seemed every time I tried I was too late, or in the wrong spot.  A few Sunday's ago the west sky was full of lightning and I knew it was the perfect time for some shots.  I wanted to add more elements to the scene instead of just taking a picture of lightning so I went to a viewpoint I had scoped out some time before and composed as best I could for the unpredictable lightning.  It may seem daunting at first, but capturing lightning is actually pretty easy once you know how.  So I put together some tips below.

Capturing Lightning:

1. Use a Tripod.  This is a must for the length of time the shutter will be open.  To reduce any movement during the long shutter speed here are some other tips you should keep in mind*:
1. Turn off IS (Image Stabilization).  If you have your camera on a tripod it is still going to try to compensate for hand holding and make your image a little blurry.
2. Enable Mirror Lock on your camera.  Read the manual or search in your menu to find this.  One shutter click flips the mirror up inside the camera before taking the shot and a second shutter click will take the shot. 
3. Use a Shutter Release Cable.  Touching the camera will produce camera shake.
4. Use a low ISO.
2. Use a longer shutter speed.  Lightning comes and goes quickly, so make it easy on yourself, use a slow shutter speed and any time lightning strikes while your shutter is open (say during a 15 second stretch like the photo above) will show up on the sensor, and on your photo.
3. Find an interesting foreground/subject and work with the lightning around it.  It’s just a shot of lightning if there is nothing else interesting in the photo.
4. Take lots and lots of shots.  You’re not going to get it the first time.  Keep at it.  Find the best (safest) place and shoot away!

*These tips should be practiced any time you use a tripod.  

Adjusting to the Light

These past few weeks have produced some great summer light with the late gathering storms coming over the Wasatch Mountains.  Some of the best light and color comes from dramatic clouds.  Which is why getting out before and after the storm can produce some really stunning imagery.  So, don't shy away from clouds.  Even complete cloud cover can break up at the last minute and give you a light show at sunset.  It's all about being patient.  Even if nothing happens nine times out of ten, it's that one time that will keep you coming back for more.  

Salt Lake City Downtown Library in the foreground of summer storm lighting

You don't always get that light show you were hoping for, so what do you do when the sky is boring?  Cloud cover can be a great "soft box" for flowers and moss and produce much needed saturation in foreground elements.  It can also be useful for slowing your shutter speed for river and waterfall shots.   With a boring sky, go to the ground.

Cloud cover at midday made this photo without a filter.

Most people head in during a storm, but for photography, getting out in the wet and cold can be very gratifying in the end.  Note: Just make sure to protect your gear and yourself.  Plastic bags are a must in wet conditions.

The subtle snowfall and icy conditions give this photo depth.

Being a weekend warrior of adventures and photography, I find myself taking what I can get.  Weather and light conditions can make or break a photo, but being able to adapt to those different conditions can make the photographer.  Sure, that one photo you were hoping to capture may not work out, but try something different.  What makes the conditions unique?  How is the scene different?  Explore, discover, adapt.  

Beginner Tips: Aperture

Image courtesy of Photoluminary

To continue with some beginner tips I wanted to talk about aperture.  If you know what aperture does and how to use it your photography will improve and be even more enjoyable.  There is a setting on most cameras to control aperture only leaving all other settings in auto, called aperture priority mode (Av: Canon, A: Nikon, see manual for other).  First, you need to understand what the aperture does.  In every lens there is a fan-like circle that controls how much light comes into the sensor, which is called the aperture.  With a small number like 1.8 the hole is very large and let's in a lot of light, making it easier to shoot in low light with a faster shutter speed.  A high number like 22 makes the hole rather small and allows very little light to reach the sensor, making your shutter speed longer.  Now, there is another factor that is in play and that is Depth of Field (DOF).  When you use an aperture of 1.8 you're going to have a very shallow DOF and most everything, besides what you've focused on in that plane, is going to be out of focus.  This is very effective when shooting portraits or when the background is distracting.  If you want everything to be in focus from near to far, an aperture above 8.0 is usually effective.  Many photographers have found the "sweet spot" in each lens as to not lose quality and still have a deep DOF, and it's usually around 8.0-10.  If you want to slow the shutter speed on purpose, using an aperture of 22 will do just that.  I like to play around with the apertures from 8-22 and see if there is much difference in a certain scene.

In addition to talking about aperture, lenses are also tied in to the subject.  Lenses with really low aperture numbers are referred to as fast lenses and usually carry a high price tag.  For example, a 70-200 mm lens with image stabilization and a constant aperture of 2.8 is a very fast lens and is about $2,500.  Whereas a similar featured 70-200 mm lens at a constant aperture of 4 (still a pretty fast lens) is priced around $1,200.  Both pretty expensive lenses, but you get the idea.  If you're looking for a really fast lens at a low price I would strongly recommend a prime lens like the 50 mm f/1.8 (The number after the f is the lowest aperture possible).  This lens is by far the best bang for your buck at around $100.  If you ever shoot indoors or in low light this lens is a must.  Also, a great lens for portraits as the distance is how our eyes see and won't distort any part of the image.

As I've said before, the best way to learn is to go out and experiment on your own.  The best way to see the difference in aperture is to focus on something around two feet in front of you with the background further away, take the picture at different apertures and compare. 

Beginner Tips: Quick Tips

Photography is a great hobby, passion or even profession.  If you’re thinking about getting more involved in taking pictures there is no better time than the present.  Digital has made photography easy and affordable.  Many may consider themselves photographers because they have the equipment, but nothing can make up for the learned or natural ability to take a photograph.  There is so much more than I ever thought to creating a good photograph.  There is much more art, thought and consideration into a photograph than just pointing a camera in a general direction and clicking the shutter.  So, if you want to take your photographing skills to the next level I have put together a few beginner tips and will continue to include beginner tips entries.  To start out, I put together some quick tips.  

1. Get your camera off Auto Mode.  If you set your camera to Priority Mode (P) you have control over settings without needing to know how to set aperture or shutter speed.  As you learn how to control aperture and shutter speed I would suggest shooting in Aperture Priority Mode (Av for Canon, A for Nikon).  That way you can control the aperture and benefit from being able to control depth of field without worrying about shutter speed.  
2. Composition.  Whether you’re a novice or a pro, your composition can make or break a photo.  It doesn’t matter what kind of gear you have, your composition and subject can be the most important factor in your photography.  For some people it comes natural.  For others not so much.  Look at how other great photographers place their subject in the frame.  How does your eye travel through the photo.  Are you distracted by something in the background?  Decide what needs to be included and what should be left out.  Some rules to keep in mind:
1. Rule of thirds:  Break the frame into thirds and put your subject(s) at those intersections.  
2. Fill the frame:  To repeat the great Robert Capa, “If your pictures aren’t good enough, you’re not close enough.”*
3. Decrease distractions: That lady in the muumuu in the foreground of your amazing picture of the Pyramids of Giza may be a little distracting.  Unless, of course, ladies in muumuu’s in the foregrounds of majestic monuments is your style. 
4. Lead the runner:  Usually, you don’t want the person looking off the edge of the frame, or the car driving out of the frame.  Give your subject room to go wherever they’re headed. 
3. Light:  Lighting is probably the most important aspect of photography.  The best light is early morning and late afternoon.  Middle of the day is flat and boring.  Light at the beginning or end of the day has deep shadows, rich color, and overall dramatic lighting. However, don't miss an opportunity just because the clock says noon, other factors can contribute to dramatic light.  For example, some of the best light can come before or after a storm.  Be aware of how light is hitting your subject and search out the best light.
4. Know how the flash works, then turn it off.  It’s amazing how an on-camera flash can ruin a photo.  If you use flash a lot consider investing in an external flash, but first try without by speeding up the shutter speed, cranking up the ISO, and/or start with a low aperture.  
5. Be experimental.  Try night photography, find a different angle, break the rules. When you try new things you figure out how to slow the shutter speed or make a starburst.  

*I actually believe this quote may mean figuratively rather than literally, but either way, it's a great photography quote. 

Landscape and Nature Photography Tips

I am continually learning about photography and how to capture light.  How that light is portrayed and captured is mostly dependent on the operator of the camera, and there are ways to manipulate or control that light to make an eye-catching image.  Light is the most important aspect of photography and there are several tricks and tips to expose and capture it correctly.  Here are a few tips on the matter:

1. Use Graduated Neutral Density Filters:  Many times I use a Singh-Ray Graduated Neutral Density filter to "hold back" a brighter area of a scene that may be underexposed without the filter.  The first time I realized a camera's limitaions in range of light was in Angkor Wat, Cambodia when I climbed up to one of the temples to see the sunset.  When I exposed for the sky the foreground was silhouetted.  When I exposed for the foreground the sky was white and blown out.  At that time I was just getting into photography and learning more about what a camera can actually do.  I worked with the silhouette pictures and still came back with some good photos, but I couldn't stop thinking about what could have been and how proper exposure is actually done.  That is where a graduated ND filter comes in.  Now, every time I pull out my Singh-Ray graduated ND filter I think of that moment in my photographic learning process.  Since then I have learned so much more about photography.  I've invested in the right tools and (hopefully) expanded my artistic image.  In the image below, I use my ND filter just to darken the sky a bit without losing detail in the all important foreground.  I also used an ND filter to allow less light in and slow my shutter speed, giving the clouds a wispy look.  

Sunset at Reynolds Flat in Big Cottonwood Canyon, Utah.  

Canon 1Ds Mark II, 17-40mm f/4L.  ISO 100  f/6.3  3.2 sec

2. Use your histogram: Another tip I've most recently learned (but probably should have paid more attention to earlier) is how to use your histogram.  The histogram shows you how your image is exposed.  If most of the histogram is on the left, most of the image is dark, and possibly too dark.  And visa versa if it's on the right.  Probably the best piece of advice I have read is to try and have your histogram in the middle without touching either left or right end, but coming close.  This means every shadow or highlight is registered on the sensor, otherwise saying that nothing will be lost in the image.  This was very important for me when I shot the image below.  Parts of the histogram were further to the left, and I could see that the rocks at the bottom of the frame were probably why, but I thought that was fine since it further drew the eye to the hilighted cabins on the mountain side.  Using the histogram has helped me many times in situations where I can't see the LCD screen on my camera because of glare or when I just can't tell if the information I'm trying to gather is going to be lost.  

Light falls upon cabins in the mountains of Midway, Utah.  

Canon 1Ds Mark II, 17-40mm f/4L.  ISO 100  f/13  1/200 sec

3. Slow down:  This tip is a combination of using a slow shutter speed for different effects and the importance of using a tripod.  In landscape and nature photography a tripod is one of your most important pieces of equipment (besides the actual camera, of course).  A steady tripod allows you to slow the shutter speed to silken water, clouds, or show motion.  Also, when using a small aperture such as f/22 for large depth of field and/or ISO 100 for the best quality, the shutter speed is going to automatically slow down.  There are multiple reasons to use a tripod and will drastically help any photographer looking to improve their photography. 

Millcreek Canyon waterfall.  Canon 1Ds Mark II, 17-40mm f/4L.  ISO 100  f/8  3.2 sec

4. Get out and shoot:  Most importantly, get out and explore this great world! 

How To: Lens Distortion

After a long day at work, I decided to test out my new tripod at the Salt Lake City LDS Temple.  Lighting was great and the new tripod worked well, but when I downloaded my images to my computer I noticed the temple looked more like the leaning tower of pisa than the SLC Temple.  This was because of lens/barrel distortion.  I have a great 17-40mm Canon lens, but at 17mm it can start to distort straight lines, especially towards the edges.  It's not necessarily the lens' fault, lens distortion is expected with any wide angle lens, but I knew I had to fix it.  So I did a little research and found a program called PTLens and immediately downloaded the free trial.  After fiddling with the controls a bit it became easy.  In minutes I was fixing my unpleasing images and turning them into what I had envisioned them to look like in the first place.  I still haven't experimented with the other capabilities this program offers such as chromatic aberration and vignetting, but they should be a great addition.  This program, or any program like it, is a priceless addition for any serious photographer.  I know when my free trial is up I will have no problem forking over the $25 for the full download.

Here are some examples of the capabilities of PTLens:

The ground looks level, but the temple is completely tilted.

With the help of PTLens the temple is standing straight. 

When titling the lens up to fit the building into the picture distortion like this is very extreme.

Again, PTLens fixes the problem and gives the image a professional look.

To say the least, I was impressed and excited to improve my photography so much with such little effort.

Note: Tripod was great and easy to get use to.  For the money, it's awesome.  I just hope it can stand up 'til I can afford a real professional tripod.