A Sunset on Gary’s Crack – Photographing Smith Rock Oregon – My latest video at YouTube.
A Winter Afternoon in The Mt Hood National Forest – Gary and Darlene spend some time photographing the forest.
I found some time to practice with my Mavic Pro… and I didn’t crash. 😀 Flying this drone and feeling comfortable doesn’t come hand and hand to me. I find flying this machine very stressful but I hope that that feeling goes away the more that I fly.
Now that I’ve broken the ice with this video look forward to more videos from me. Please consider subscribing to my YouTube channel in the meantime. I’d sure appreciate it.
Critique and Competition in Photography – The Painted Hills in Central Oregon.
My son Chris and I took my mom to the Painted Hills this past Sunday. Mom had never been there and was completely stoked by its beauty.
I enjoy taking photo at this location with a long lens. I usually take my 70-200 and shoot little micro scenes of the textures and folds in the hills. I also enjoy the textures of the soil, but I have found that it confuses some people, I’ll explain later. On this day I used my Tamron 150-600 G2 and had a great time.
I entered a similar photo to this in a competition once. One of the things that I was gigged for was the texture. I remember that every time that I return to this location. The judge couldn’t figure out what the “grain in the foreground” was. I just slapped my forehead and fell back in my chair in dismay. I wanted to yell into the screen that it was coarse soil. I also entered a cool shot of the lava ocean entry and I was gigged due to some “diffusion and lens distortion” that one judge perceived to be an issue. The issue was the steam from the lava. I was taken aback by that one too. All in all I did fairly well in the competition, but after that day I became a bit disillusioned by professional competitions. Their critique gave me no encouragement or advice in how to improve my work, but I suppose that’s not the purpose of these competitions anyway.
Call me dumb or closed minded but I got nothing from the critique or comments. I think that competitions are fine, but really, I hate making photography a competition to begin with. I also question the qualifications beyond the certifications of some of those who are judges after the last one that I participated in. I compare them with “book learned” engineers. I’d love to have taken a couple of them out into the field with me and show them how I work.
All of the photographers whom I admire and am inspired by do not enter competitions. For them, I perceive, and I photography isn’t about winning. It’s not about professional credentials. It’s about the experience and inspiring others to follow their dreams and aspirations. I hope that I do this with my own work. In my opinion competitions only encourage the victors.
In the end a photographer’s audience will not judge them or their work by the competitions that they win, or the credentials that they earn but, rather, the images that they create that touch their audience in the most personal way, many of which aren’t technically perfect. And only you and those who admire what you do can actually honestly judge your work in a positive way.
Critique is fine, but ultimately it’s objective. And when the judge’s goal is to be critical of the photo, it won’t be viewed in the same way as the photographer’s fans. And it certainly won’t be seen in the same light as the one who created the image.
Create your work for yourself first. Break away from standards that are used to judge photos. That’s where creativity and originality starts. If you need advice seek it from someone whom you admire and trust. Take the critique of a stranger, no matter their professional credentials, with less weight than those who are trying to find positive in what you’ve done. And don’t get discouraged.
Finding Fantastic Focus – Learning Hyperfocal Distance. It’s a beautiful morning as you gather your camera and gear to head out to take some beautiful landscape photos. You understand the settings that you’ll need to get the proper exposure, in this case with a fast enough shutter to overcome the blur caused by the breeze that’s tosses the flowers around in front of you. In the background is a view of Mount Hood on the horizon. You allow the camera to set the focus by using one of the automatic settings. Perhaps you focus on either the foreground or the background. Or, if you are using manual focus, you use the age old method learned from another photographer who learned it from his uncle who was a photographer who learned it from some guy named Ansel, you focus a third of the way into the scene and hope for the best.
Once you get home and download your photos you notice that in some of the photos the foreground is out of focus and the background is in perfect focus, while in others the foreground is sharp but the background is out of focus. Some may be fine from front to back but you don’t know why or how it happened.
In time, as you hone your photography skills, you will want to understand how to focus properly and consistently. It’s something that is hard to guess your way through or to accidentally discover. And once you figure out that there’s a method, understanding it seems daunting but it’s rather simple to understand if explained properly, so I’ll give it a try.
What you need to understand is something called hyperfocal distance. By focusing your camera at the hyperfocal distance your photo will be in acceptable focus from half that distance all the way to infinity. In other words if your hyperfocal distance is 20 feet everything will be in focus from 10 feet to infinity. In landscape photography especially it allows you to maximize your depth of field. Knowing this, in this example, we can then push our depth of field out by focusing to 30 feet, ten feet past your subject, maximizing the depth of field.
Determining the hyperfocal distance for a particular focal length and aperture combination can be tricky, but there are charts that you can put in your billfold or camera case. There are also apps for your smartphone that will help you calculate what it is for your particular camera, focal length and aperture setting. Because of this I won’t go into the complications of the mathematics involved in determining your hyperfocal distance. With one of the variables being “The Circle of Confusion”, it would be easier to explain a method that I use that you can start using right away to maximize your depth of field resulting in a more accurate and consistent focus in your photos.
Start by switching your lens to Manual. Turn off any kind of vibration reduction if you’re using a tripod, leave it active if you’re hand holding. Make sure to stop down, aiming for the lens “sweet spot”, an aperture setting of roughly f/8 – f/11. The sweet spot is the range of sharpest aperture settings of your lens. It’s typically two full stops from your widest aperture depending on the lens. Just make sure to stop down to increase your depth of field.
Turn on your Live View screen and increase its magnification and scroll the view to the closest spot that you want to be in focus in the scene. Observe that area as you turn your lens focus ring to infinity, which will slightly blur your foreground, and then focus back from infinity slowly until your foreground object just comes into sharp focus then stop. Once you do this you’ve moved your depth of field out as far as it can go while maintaining focus at your foreground object. Using this method you don’t need to know distances to set your focus.
I should mention that there are times when hyperfocal distance is not desired or necessary. Many forms of photography rely on a shallow depth of field such as portraiture or macro photography. In that case, none of this is necessary as having areas that lack focus is desired to direct the viewer’s attention to the subject which is in focus.
Also modern digital photography and computerized post processing allows a photographer to take multiple shots of a scene, focusing from front to back, and then combine them to create a focus that is sharp throughout the image. This method is called Focus Stacking, but in most cases it’s unnecessary if you use the methods described in this article.
As in most cases when an instructor explains something, they will always seem to take the long way. I know that I gave you the shortcut at the end of a lengthy description, but in any skill it’s more than doing, it’s also about understanding. The more that we understand what we are doing, the more we’re able to perfect how we do it. I hope that this rudimentary explanation of hyperfocal distance helps you to take your photos one step closer to perfection.
Central Oregon Cascade Peak Identification – I had an opportunity to drive to the top of Powell Butte in Central Oregon just to see the view. From this point of view you can see south of Bend all the way to Mount Hood. You’re also able to see Smith Rock. While I was up there I decided to do this short video identifying the various peaks from south to north.
Photography in The Winter
As the Mama’s and The Papa’s once sang, “All the leaves are brown, and the sky is grey”. But that shouldn’t stop you from taking a walk on a Winter’s day. And while you’re at it, don’t think that photography season has passed. I can think of at least six reason why Winter is a great time for photography.
The first reason that comes to mind concerns the weather. The common thought about photography in the weather would be that it’s a terrible time to go due to the grey skies, rain or snow. It is commonly believed, especially among non-photographers, that the Summertime is the best time for photos. Although the Summer weather is a great time to be in the outdoors it may not be the best time to make beautiful photos – Especially photos of dramatic light and skies. A clear blue sky is beautiful in a photo, but there can be a lot of negative space to try to fill, whereas a grey, dramatic cloudy sky can add texture and drama to the scene.
Rain can help a scene as well, especially a forested creek or a waterfall. The rain wets the foliage that may still be in the forest, including moss and evergreen trees. When the foliage is wet I like to apply a circular polarizer to my lens and turn it until the shine and glare that’s on the leaves and rocks, which is a reflection of the sky and ambient light, disappear, which will in turn bring out the color of the forest. Don’t hesitate to go out and photograph in the snow. The snow can make some great photos, especially fresh snow. A bluebird day and fresh snow will bring clear views of the horizon and any geographic features such as a mountain into view.
Wintertime is the best time for beautiful sunrises. Winter skies and rainstorms can, at times, clear or partially clear at night and during daybreak only to succumb to a completely overcast or stormy sky soon after sunrise. I always try to go to bed early, set my alarm and head out to a view to try to witness a sunrise.
Winter forest scenes can be dramatic as well as artistic. The lack of foliage leaves the forest with a clear view through tree trucks and bushes. Many times a view of a scene such as a creek, waterfall or view into the distance is exposed in the Winter when it’s obscured by foliage in the Summer. Also, with the tree trunks exposed, creative abstract landscape scenes can be found.
Summertime weather, sun and no rain, leaves the streams and waterfalls dry or with a limited flow but the rains of Winter fill these streams with water. With rain comes renewed growth of the moss around these streams and waterfalls as well.Winter can be a great time to photograph them. And don’t hesitate to arrive after a fresh snow to photograph them in the Winter white forest. I enjoy photographing streams and waterfalls in the Winter.
Winter weather will also filter out a lot of fair weather photographers too. Not all will dare to go out to get those unique Winter photos. This leaves you with more room to work at a location. Less people in a photograph will allow you to concentrate your subject better, no matter if you’re photographing a landscape or a portrait shoot in a park.
Then there are the holidays. The Winter season brings holidays that will traditionally bring families together for family events and get togethers. Don’t let these times with family pass without documenting them with a photograph. A lot of times, in this busy day and age, we are so distracted by our personal day to day routine that these holidays are the only times throughout the year when family can be gathered together in one place. Take advantage of that time to gather images for posterity.
As you can see the Winter season is no time to set your camera aside. There are plenty of reasons to look at Winter as another time of the year to get beautiful photos.
Each year come August I start to look forward to the Perseid Meteor Shower. The Perseids are an annual event that comes each year as the Earth passes through the orbital path of the Comet Swift-Tuttle. The debris from the comet’s path causes little pieces of the comet to fall through the Earth’s atmosphere at over 100,000 miles per hour causing an amazing amount of falling stars, sometimes from 100-200 per hour. The Perseid Meteor Shower of 2018 was helped by its occurrence during the dark skies of a New Moon.
Another occasion that’s becoming an annual August event is my Dead Ox Ranch Photographer’s Campout. Last year we dedicated the event to capturing photos of the Solar Eclipse. This year we were there to capture photos of the Perseid Meteor Shower.
The Dead Ox Ranch isn’t as morbid of a place as it sounds. The name was given to the ranch by the chance occurrence of there being a dead cow on the property when it changed hands in a sale in its past. The ranch is over 100 years old and is located east of Baker City near Virtue Flats and ruts from the old Oregon Trail. It’s just an hour drive from Hell’s Canyon and the Wallowa Mountains. It’s also the location for some of the darkest skies in the state.
Disregarding all of the above, the ranch itself is like going back in time to an era of outdoor group socials, picnics and sitting around in the yard in the summertime heat visiting and talking to friends and family with an ice-cold beverage. Once everyone arrives and we are all set up in our camps we mix and mingle and discuss our common purpose for being there, photography.
The only chance that we take is being there in the Summer during the peak wildfire season, and this years has been a bad one. The state was covered with smoke from fires originating not only in Oregon but from fires in both California and British Columbia. It’s been terrible indeed, but we somehow lucked out with clear skies with only traces of smoke that came and went for the whole three-day event. If we would have had smoky skies we would have somehow made the best of it anyway but that wasn’t the case.
Our mission for the workshop was to create what is called a composite image. One that is made from several photos to create one single image. Our goal was to make an image that included a group of meteors gathered over a three hour period of time. To do that we wanted to create the photo using a base layer taken at twilight so we can have focus and definition and yet still have dim and cool light like night time. Then a photo of the sky later at night when the Milky Way was filling the sky. After that we set up our cameras to take 30 second exposures one after the other for three hours to gather photos of as many meteors as possible. Once we gathered all of these photos we then went into our digital darkroom to blend them all together.
To composite the photos we made our basic adjustments in Adobe Lightroom and then opened all of the files into Adobe Photoshop as layers. Once we had them in Photoshop it was a matter of creating masks and selecting a blend mode to allow each layer to show through in its place and order. After some final adjustments the whole stack of layers was merged together into a single image. Although this is a general description I felt compelled to explain the process to those who aren’t aware of how these images are made. In today’s world of digital photography certain lines can be blurred between art and photography.
The whole group of photographers had a great time. I’m convinced that when we were out playing at sunset and into the dark we reverted back to kids again. And when we gathered to process our photos, we were all amazed at the results. I included the image that I created as an example of the composite image that the class came to create for themselves.
Even if you don’t create a complex composite image in Photoshop, a beautiful single image of a meteor is reward enough for a night under the stars. Keep this in mind next August when the stars start falling during the Perseid Meteor Shower. Perhaps you can join us at the Dead Ox Ranch for a workshop.
Pathway To The Stars. The Milky Way Over Mount Hood Oregon – I had a great time hanging around in the dark with my brudda Rob last night. We shot the night sky over Mount Hood from the north side while talking about the Milky Way over Mauna Loa – The night was as warm as a Big Island night – and other places where we’ve stood and observed the stars.
There are very few things that surpass the brilliance of the stars on a dark Summer night. Since I was a small boy I have slept outside whenever possible, even if only in my backyard. I’m fortunate to have lived in some places that have extremely dark night skies.
I remember great times while I was in school in the Illinois Valley of Southern Oregon when neighbor friends, my brother and I would just lay blankets out in the pasture, set up our sleeping bags and count falling stars and satellites until we fell asleep only to wake up again at sunrise covered in dew.
I was reading the other day that 80% of the people in the United States are unable to see the Milky Way at night. That’s a sad figure. I sincerely feel that when we remove ourselves from the natural world we suffer. Taking away the stars in the sky that have caused so many people to dream fantastic dreams and thoughts of wonderment and hope is the last brick in the wall of separation of humanity from Nature. Stand in a city some night and search for anything natural. Even the sky is cloaked in a bath of unnatural light. How can we understand what Nature requires from us if we don’t understand her?
Please do yourself and Nature a favor and reconnect your soul to the Earth and all of its natural fantastic wonders. Drive somewhere dark some night and look up. Bring a blanket and a sleeping bag. You may be there for a while.
Robert Randolph and The Family Band in Portland – Darlene and I had an opportunity to photograph the Portland Oregon Waterfront Blues Festival with Robert Randolph and The Family Band as a headlining act. We’re big fans and had a great time. We were able to meet him after the concert as well as a couple of the band members. I was so impressed at how kind, friendly and humble that they are.